RECOVERY
written by Charles Deemer
FADE
IN:
INT. RETIREMENT CENTER - THERAPY
ROOM - EVENING
A nurse, MOLLY, is helping an OLD WOMAN walk when another
NURSE comes up.
Molly, who came of age in the late
sixties and early
seventies, is slender and (despite
the white uniform) a
little bohemian-looking in her wire
frame glasses. She
looks every bit of the folk singer
she still manages to be
in her off-duty life.
NURSE
Sorry I'm late.
(to the old woman)
Mary, look at
you! You're doing
great.
Molly and the other nurse exchange
places.
NURSE
(to Molly)
I hope I'm not
screwing you up.
Tonight's the night,
isn't it?
MOLLY
I don't start til
nine, and I'm
doing gallery row
before then.
NURSE
Good luck! Sorry I'll miss you.
Molly waves thanks and is gone.
2.
INT. RETIREMENT CENTER - NURSE'S
LOUNGE - EVENING
Molly is just finishing changing
from her uniform to
civilian dress (on the bohemian
side) when the HEAD NURSE
enters.
HEAD NURSE
Good, I caught you
before you left.
The board approved
your promotion.
MOLLY
That's great.
HEAD NURSE
Now if we don't lose
you to
Nashville . . . your concert's
tonight, isn't it?
MOLLY
Playing in a bar is not a concert,
and Nashville doesn't
like folk
music. I'm running late - thanks
for the good news.
And she's gone.
EXT. DOWNTOWN CITY - ART GALLERY -
NIGHT
It's "First Thursday"
night, a time when art galleries open
their doors to an habitual throng of
gallery-goers. Foot
traffic is considerable along
gallery row in the city (we'll
call it Minneapolis).
INT. ART GALLERY - NIGHT
The atmosphere inside a gallery is
as festive as a major
opening, helped along by the
generous offerings of wine and
cheese.
Standing before an abstract painting
are Molly and her best
friend, ANN. The latter, too, grew up as a part of the
Love
Generation.
Ann, who has put on considerable
weight over the years,
flaunts her Earth-motherliness in
bright colors and
flamboyant dress.
Each woman has a glass of wine; Ann
is nibbling on cheese
and crackers.
3.
MOLLY
My Mary learned to
walk again
today. It was incredible to see.
(studying the
painting)
I don't like this at
all.
ANN
They can put whatever
they want on
the walls - the
food's always
great. I'm getting more wine - you
ready?
Molly finishes her drink.
MOLLY
I have to go.
ANN
You don't start til
nine, do you?
MOLLY
I have to pick up my
guitar and run
an errand. Are you going to come
by?
ANN
I wouldn't miss it for the world.
I haven't heard you
in ages.
MOLLY
You hear me all the
time.
ANN
I mean, with a real
audience and
everything. It's been over a year.
MOLLY
Try almost two.
ANN
See what I mean? Of course, I'll
be there. Maybe not til the last
set, I have a pile of
papers to
grade.
MOLLY
I'll look for you.
They embrace, and Molly is gone.
4.
EXT. MOLLY'S APARTMENT - STREET -
NIGHT
A cab pulls up in front of Molly's apartment building. She
gets out and talks to the driver.
MOLLY
I'll just be a
minute.
INT. MOLLY'S APT - NIGHT
Molly comes in, turning on the light. Her apartment is
decorated with sixties era rock
posters and psychedelic art.
She punches her answering machine
and, while it plays,
fetches her guitar from the adjacent
room and returns to
listen.
ANSWERING MACHINE
Hi, Molly, it's
me. Great party!
You give me the worst
hangovers.
I'll try you later. .
. .
(beep) . . . Molly,
It's Barbara.
I got a very strange
call from some
guy named Bruce
today, who says
he's an old friend of
yours. He
saw my name on our album and got me
through
information. I don't
know - something about him struck
me wrong, so I didn't
tell him
anything. Give me a call, would
you? I don't know why, but he
really upset me. Thanks.
Oh - the
party was great.
The messages are over.
The latter message has stopped Molly
in her tracks. She
stares at the machine, as if wishing
the last message would
go away.
Then, with a deep breath, she's out
of there.
EXT. ART GALLERY - NIGHT
Ann and several other women come out
of a gallery. Ann is
stuffing food from inside into her
purse.
5.
WOMAN #1
How about going up to the Rainbow
next?
WOMAN #2
Everyone agree?
ANN
I'm going home. I have a pile of
papers to grade.
WOMAN #2
Call me tomorrow?
ANN
Sure. Molly's playing at the Goose
Hollow tonight - I'm
going to try
and make the last
set.
WOMAN #1
I read something in
the Weekly
about that.
Ann starts to move off.
ANN
Be there or be
square!
WOMAN #2
Is folksinging coming
back?
ANN
It never went
anywhere - just the
audiences did!
It's the curtain line she's been
looking for, and with a
flamboyant gesture, Ann is on her
way.
EXT. ANN'S APARTMENT BUILDING -
NIGHT
Ann comes up the steps to her
apartment building and unlocks
the main door.
INT. ANN'S APT BLDG - HALLWAY -
NIGHT
She unlocks the door to her
apartment. She hesitates a
moment, as if sensing that something isn't right. Then she
enters.
6.
INT. ANN'S APT - NIGHT
She comes into the apartment and
turns on the light.
Bright, almost day-glo, colors fill
the apartment and jump
out at us.
BRUCE
(O.S.)
Where the hell you been, Annie?
Ann jumps. Her hand goes to her chest.
BRUCE, who has been seated on the
sofa, stands up and enters
the front foyer. He's a well-built rugged type in his
forties; his physique masks considerable intelligence.
BRUCE
Don't you recognize
me?
ANN
Bruce. How'd you get in here?
BRUCE
I didn't get where
I've been by
letting a few locks
stop me.
You've gotten fat.
ANN
Wonderful to see you,
too.
BRUCE
I'm looking for
Heather. Or Molly,
as she calls herself
now.
Ann is quickly recovering, thinking
on her feet, trying to
wiggle her way out of the
confrontation she's sure is
coming.
ANN
I'd love to chat, but
I'm running
late. So if you
don't mind- . . .
As she tries to escort him out,
Bruce grabs her by the arm,
hurting her.
BRUCE
I do mind. Where's Heather?
ANN
You're hurting me.
7.
He lets go.
ANN
I didn't know you were out.
BRUCE
Too bad, right? I could've gotten
life, for all you
care. So tell me
how to find Heather,
and I'll be on
my way.
ANN
We're not close any
more.
He grabs her again.
BRUCE
I know goddamn well you know where
she is.
Ann, for all her size, is terrified
of him.
INT. CLUB - NIGHT
Goose Hollow is a bar with the
atmosphere of a sixties
coffee house.
Molly is finger-picking guitar and
singing from a small
stage, to scattered tables of
customers. She's not bad at
all.
MOLLY
(singing,
traditional)
Gonna lay down my old
guitar
Lay down my old
guitar
Wish I could strap it
to my side
And take it along
with me
Molly finishes the final chorus and
ends. Scattered
applause, some polite, some very
enthusiastic.
EXT. CLUB - STREET - NIGHT
A cab pulls up in front of Goose
Hollow and Ann gets out.
She is holding a handkerchief to her
mouth.
8.
INT. CLUB - NIGHT
Molly is taking a break.
MOLLY
Thank you, you're a
wonderful
audience. I'll be back in ten or
fifteen minutes.
She steps off the stage, moving to a
table of friends.
Ann comes in, looking around, and
finds Molly.
INT. CLUB - AT THE TABLE - NIGHT
Molly has just joined her friends
when Ann comes up. The
handkerchief at her mouth is bloody.
MOLLY
Ann--!
When Ann talks, she reveals a lost
front tooth.
ANN
Bruce is out - he's
looking for
you.
Molly embraces Ann, comforting her.
MOLLY
We're going to the
police.
ANN
(privately)
You can't afford to
get involved.
MOLLY
Don't be ridiculous.
INT. POLICE STATION - NIGHT
Molly is sitting in a waiting
area. Seeing someone coming,
she stands.
A police officer escorts Ann to the
waiting area.
9.
POLICE OFFICER
We have her
statement. Is there
someplace you two can stay tonight?
Where he wouldn't
know about to
find you?
MOLLY
In other words, we're
not getting
protection.
You're too busy.
POLICE OFFICER
Ma'am, our resources
are too
limited to-- . . .
MOLLY
Fine.
Let's get out of here.
As they start away, Ann turns to say
something.
MOLLY
Ann, forget it.
Ann does. They continue on silently, cynically accepting
that the police can't help them.
INT. HOTEL - FRONT DESK - NIGHT
Molly is signing in. Ann waits behind her, swollen but
cleaned up now.
Getting the key, Molly leads the way
to the elevators.
ANN
You can't hide from
him forever.
MOLLY
I'm not hiding. I'm buying time to
think.
INT. HOTEL ROOM - TABLE - DAY
Molly and Ann sit over coffee the
next day. There is
tension in the silence between them.
MOLLY
I'm going to leave town for a
while.
10.
ANN
If you run away-- . .
.
MOLLY
Somehow or other, he
must've heard
the album, recognized
me, and
tracked me down that
way. I can't
let him terrorize
every friend I
have. Sooner or later, he'll hurt
somebody bad enough
to find me.
ANN
You can't hide from
him the rest of
your life. And where would you go?
MOLLY
I know a guy in
Oregon. He's
invited me to visit.
This is news to Ann, whose reaction
shows it.
MOLLY
I met him at the
workshop in
Colorado last
summer. We've been
corresponding. I told you about
him.
ANN
Fred? That guy?
MOLLY
Frank.
ANN
He's been writing you, and you
didn't tell me?
MOLLY
What are you, my
mother?
Seriously, I'm sure I
could crash
at his place for a while. Maybe if
Bruce finds out I'm
out of town,
he'll go away. I'm ready for a
vacation anyway.
ANN
Some vacation. You can't just put
your life on hold
because he's
back.
11.
MOLLY
I don't know what
else to do.
There's a silence.
ANN
Let's set a trap for
him. Send him
back to prison where he belongs.
MOLLY
He never belonged in
prison.
ANN
How can you still
defend him? I'm
lucky I only lost a
tooth.
MOLLY
You never approved of
Bruce, fine,
and I'm certainly not
justifying
what he did to you.
I'm saying he
didn't deserve all
the time he got
for having grandiose
ideas of
overthrowing the
government. He's
a victim of the
paranoia of the
sixties.
ANN
You're forgetting
something. He
probably blames
you. That's why
he's here.
MOLLY
I know. I'm afraid of him, Ann . .
. . I'm terrified . .
.
Ann reaches over the table and takes
her hand.
EXT. RENTAL CAR LOT - DAY
Molly has just rented a car.
A second car pulls into the lot,
driven by Ann. She gets
out and goes directly to the trunk.
MOLLY
Any problem?
12.
ANN
I took three buses to
get to where
I rented this, just
to be on the
safe side.
MOLLY
And no sign of him?
ANN
Nope.
They transfer Molly's luggage from
the trunk of Ann's rented
car to the trunk of Molly's rented
car.
ANN
I'm spending the day
at the lake.
MOLLY
Good for you.
The bags are moved. Molly and Ann embrace.
ANN
I'll miss you. Call me often.
MOLLY
You go right to the police if he
comes by again.
ANN
No problem!
MOLLY
Actually I decided there's a good
side to all
this. I really do need
a break from work.
ANN
Always the infernal
optimist. How
far you plan to drive
today?
When's Frank
expecting you?
MOLLY
Frank won't know I'm
coming until
he listens to his
answering
machine.
ANN
You're leaving before
telling him?
13.
MOLLY
If he can't put me
up, I'll think
of something
else. I have no plans
- that's the beauty
of it! This is
the first vacation I've taken out
of town in
years. I'm going to
enjoy it.
She gets into the car.
ANN
Bullshit. This has us both scared
to death. Call me when you get
settled tonight. I'm sure I'll be
home by nine.
MOLLY
Maybe not:
if you meet a mermale,
honey, who knows when
you'll get
home?
She starts the engine and pulls
away.
ANN
Love you! Call me!
INT./EXT. A SERIES OF SHOTS - DAY
as Molly heads out of the city in
her rented car, driving
west.
At first, she looks tense as she
drives, frequently checking
the rearview mirror, but the more
the miles pile up, the
more she is able to relax.
Finally, on the open highway, she is
able to turn on the
radio and sing along with a song she
likes. It's beginning
to feel a little like a vacation.
INT./EXT. HIGHWAY - CAR - NIGHT
Molly's car drives along the
highway.
A motel is ahead, and she slows down
for it. Before she
gets to the entrance, she passes a
stranded MOTORIST,
standing beside his raised hood.
14.
As Molly passes, he waves
frantically at her, looking a wee
bit crazed, but she passes him and
goes ahead to turn into
the motel.
INT. MOTEL ROOM - NIGHT
Molly has just dialed Ann's number
from the motel room. She
gets an answering machine.
MOLLY
Ann, it's me. I'm worried that
you're not home. Mermales don't
exist, we both know
that. So where
the hell are
you? Call me the
minute you get in. Damn, I have to
get the number. I'll call you
right back.
She hangs up. She's very worried about her friend.
INT. MOTEL ROOM - LATER - NIGHT
The lights are out, and Molly is
asleep. The phone rings.
Molly turns on the bedside lamp and
answers it.
MOLLY
Hello? Ann?
INTERCUT PHONE CONVERSATION
Ann is calling from Barbara's
house. BARBARA, a woman in
her late thirties, stands beside
her.
ANN
It's me. I just got your message.
I'm spending the night
at
Barbara's.
MOLLY
What happened?
ANN
Nothing. My nerves got to me. I
needed company.
15.
MOLLY
Has Bruce shown up
again?
ANN
No sign of him. No news is good
news, I guess. Did you get ahold
of Frank?
MOLLY
Not yet. Have you told Barbara
about me and Bruce?
ANN
Of course not.
MOLLY
Thanks.
ANN
Molly, this is
nuts. You don't
even know where
you'll be staying.
MOLLY
I'm fine, really I am. I'm great.
I just worry about
you two.
ANN
Don't. If he shows his face again,
we're going straight
to the police.
I think he left town.
MOLLY
I hope you're
right. I'll check in
with you tomorrow.
She hangs up.
Before getting into bed, she hears
something outside. She
turns out the bedside lamp and moves
to the front window,
hiding behind the drapes.
She carefully parts the drapes and
looks outside.
EXT. MOTEL - PARKING LOT - NIGHT
Outside, the motorist who was having
trouble earlier is
working on his car, trying to see
under a slowly fading
flashlight.
A whiskey bottle is balanced on the
front fender.
16.
INT. MOTEL
Molly closes the drapes and goes
back to bed.
EXT. MOTEL - PARKING LOT - DAY
Molly comes out to her car. Beside her rental is the car of
the stranded motorist, and Molly notices that the man is
asleep on the back seat.
She gets into her car, making an
effort to be quiet so as
not to wake the motorist. She starts the engine, backs up,
and is on her way again.
EXT./INT. HIGHWAY - CAR - DAY
Molly is back on the road, singing
along with the radio.
EXT. MOTEL - PARKING LOT - DAY
The disheveled motorist climbs out
of the car, looking like
a hungover wreck.
Across the way, a CLEANING WOMAN
notices him. She starts
toward him, carrying her mop like a
weapon.
CLEANING WOMAN
You get out of here!
The motorist regards her as more
nuisance than threat but he
still makes sure he is behind the
wheel before she arrives.
Now a MANAGER from the front desk
has come out to see what
the ruckus is about.
The motorist starts the car and
starts backing up. The
cleaning woman is heading toward his
car with the mop.
The motorist speeds out of the lot
as the woman shakes her
fist at him.
INT. MOTORIST'S CAR - DAY
He's relieved to be out of there.
He reaches under the front seat as
he drives and pulls out a
pint bottle. He skillfully opens it with one hand and
takes
a nip.
17.
EXT. HIGHWAY - DAY
The motorist's car moves along the
same highway in the same
direction that Molly traveled.
EXT. SMALL TOWN - STREET - DAY
Molly's car is parked at a phone booth along Main Street in
a small town.
INT. PHONE BOOTH
Molly finally has reached Frank.
MOLLY
No, that's
wonderful! Frank, I'm
so happy for you. . .
. I'm just
surprised. I mean, I don't
remember you telling
me you were
engaged. . . . Well,
I'm taking my
time, you know?, just
relaxing and,
well, taking my time.
. . . Of
course, I'll call you
the minute I
arrive. . . .
Congratulations
again, Frank. I'm
very happy for
you. . . . Bye.
She hangs up.
For the first time, she realizes she
is on the road with no
place to go and no plan.
She also realizes disappointment
that Frank has married,
ending the long-distance fantasy of
having a romantic
relationship with him.
She gets back into her car.
INT. CAR - DAY
She starts the engine but doesn't
move off. She's thinking.
And thinking.
Finally, as if suddenly inspired,
she peels out.
18.
INT. CAR - DAY
As if making some kind of decision,
she turns the radio up
louder than before. She's trying very hard to be foot loose
and fancy free - but only partially
succeeding at it.
EXT. HIGHWAY - NIGHT
Molly's car moves along a deserted
highway.
INT. CAR - NIGHT
Molly looks deep in thought. The radio music is soft.
Suddenly the car begins to shake -
she's blown a front tire.
EXT. HIGHWAY - THE CAR - NIGHT
Molly manages to get the car to the
side of the road and
stops.
INT. CAR - NIGHT
Molly takes a deep breath, fully
understanding her
predicament.
MOLLY
(under her breath)
Goddamn you, Frank .
. .
As if surprised by what she just
heard herself say, she puts
one hand to her mouth, stifling
amusement at herself.
EXT. HIGHWAY - THE CAR - NIGHT
She gets out of the car and opens
the trunk. Looking inside
in the darkness, she can't see a
thing.
Molly looks worried.
EXT. HIGHWAY - LATER - NIGHT
Molly's car is still parked along
the road. The trunk door
is still up.
In the distance, the motorist's car
approaches.
19.
INT. MOLLY'S CAR - NIGHT
Molly sits behind the steering
wheel, waiting. The
approaching headlights get her
attention, and she gets out.
INT. MOTORIST'S CAR - NIGHT
The motorist sees the car ahead and
slows down.
EXT. HIGHWAY - NIGHT
The motorist's car parks behind
Molly's car. She approaches
the car as he gets out.
From now on, the motorist is called
by his name, which is
ROGER. Roger is tall and slender and, when sober, a
goodlooking man.
ROGER
I remember you. You turned into
the motel without
helping me.
MOLLY
Pardon me?
ROGER
You wouldn't help me
last night.
See there? What goes around, comes
around.
Molly has recognized him, too, but
doesn't want to admit it.
MOLLY
You must have me
confused with
someone else. I have a flat
and-- . . . .
ROGER
You're lucky I don't
hold grudges.
He moves to the trunk. Molly joins him, and they both stare
into the dark compartment, which is
only moderately lighted
by the headlights behind them.
ROGER
I don't see a jack.
MOLLY
Don't you have one?
20.
ROGER
I loaned mine to a
friend in
Chicago. I can give you a ride til
we find a gas station
that's open.
MOLLY
You're driving
without a jack?
Isn't that a tiny bit
reckless?
ROGER
Well, I don't have the flat, do I?
He starts back to his own car.
MOLLY
Wait a minute!
She isn't sure what to do.
MOLLY
I don't feel right
leaving my bags
here.
ROGER
I got lots of
room. You coming?
MOLLY
Yes, I'm coming. I'll get my bags.
She moves off as Roger follows to
help.
INT. ROGER'S CAR - NIGHT
Molly's bags are piled in the back
seat. They've been
silent for a while.
MOLLY
You're coming from
Chicago?
ROGER
That's my home.
MOLLY
Where you headed?
ROGER
Vancouver,
Washington.
21.
He reaches under the seat and gets the bottle. He takes a
nip. Then he offers the bottle to Molly.
MOLLY
No thanks. You always drink when
you drive?
ROGER
I always drink,
period. That's why
I'm going to
Vancouver. The VA has
a treatment center
there. And it's
very far away from Chicago.
MOLLY
You're going into
treatment?
ROGER
This stuff is killing
me.
Having said so, he takes another
nip.
Molly looks out the window,
wondering what kind of nut she
has hooked up with. She snuggles against the door and
closes her eyes.
EXT. SMALL TOWN - NIGHT
Roger's car pulls to the curb in a
small town. Down the
street, a gas station is open under
bright lights.
INT. CAR
Molly has fallen asleep, and Roger
gently wakes her.
MOLLY
Mmm . . .?
ROGER
We're here. Your gas station is
open.
MOLLY
Oh . . .
ROGER
I'd like to make you
an offer.
22.
Molly is suddenly awake, thinking
the worst.
ROGER
That didn't sound
right. Listen,
I'm really tired and
need some
sleep. But I need to make time,
too. If you'll come with me to
Vancouver, I've
figured everything
out - how you can
come back and get
your car and
everything.
MOLLY
I rented it.
ROGER
That's even
better. Then you can
turn it in and save
some money.
Drive with me as far as Vancouver
and I'll give you my
car. You
know, like for wages.
MOLLY
That's crazy.
ROGER
I won't need it for
seven months,
maybe longer. I'm serious here.
EXT. HIGHWAY - NIGHT
The car is parked along the road, as
the discussion
continues.
Then Molly and Roger get out of the
car, exchanging seats.
With Molly behind the wheel, they
are back on the road
again.
EXT. HIGHWAY - LATER - DAWN
The car continues along the highway
near sunrise.
INT. CAR
Molly is still driving, looking very
tired.
23.
Roger, asleep in the seat beside
her, stirs. He coughs and
sits up. He reaches under her seat, looking for the bottle,
still coughing.
MOLLY
You all right?
He finds the bottle.
MOLLY
Do you always wake up
like this?
ROGER
(coughing)
I'll be fine in a
minute.
He takes a swig. He clears his throat and takes a second
swig. Then he returns the bottle.
ROGER
You tired?
Molly hesitates, uncertain about his
driving and drinking.
ROGER
I'm a safer driver
with a little
booze in me than with
the shakes,
if that's what you're
worried
about.
MOLLY
I am tired.
EXT. HIGHWAY - SUNRISE
The car pulls to the side of the
road, and they get out and
exchange places.
And the car is back on the road
again.
INT. CAR - DAY
Roger is still driving when Molly
wakes up on the seat
beside him. He looks better than we've seen him, more
awake
and sober-looking and relaxed.
24.
ROGER
Good afternoon.
MOLLY
Hi. How long did I sleep?
ROGER
As long as you
needed, I guess.
MOLLY
Where are we?
ROGER
Almost out of
Montana, almost into
Idaho. God's country.
EXT. HIGHWAY - DAY
And God's country it is, as the car
travels a highway cut
between canyons in the Rocky
Mountains.
INT. CAFE - DAY
They are finishing up a meal in a
small cafe. Roger is
drinking a beer, Molly coffee.
ROGER
So I figure the third
time's the
charm. The VA program has the
reputation of being
one of the
toughest in the
country.
MOLLY
I'm not sure what that means.
ROGER
In terms of not
putting up with
your shit. Alcoholics drink to
avoid dealing with
their feelings.
MOLLY
Really? I thought that described
men in general.
25.
ROGER
Touche. Anyway, I do 28-days as an
in-patient, then
transfer to six
months in the
Domiciliary. I
figure if I'm not dry
in seven
months, I'll never be
dry.
MOLLY
It must be costing
you a small
fortune.
ROGER
It's not costing me a
cent. I'm a
veteran. That's one advantage of
being male, I guess.
MOLLY
Believe it or not, I'm a vet
myself. Four years in the Air
Force.
ROGER
Really? You don't look the type.
MOLLY
I joined right after
high school,
thinking I'd make a
career of it.
ROGER
What happened?
MOLLY
I met my
husband. Ex-husband.
ROGER
He didn't approve of
women in the
military?
MOLLY
He didn't approve of
anyone in the
military. He was an activist
against the Vietnam
War. Among
other things.
Roger looks at her but lets this pass without comment.
EXT. HIGHWAY - DAY
The car continues west, now out of
the Rockies and into
rolling hills, the Palousse farmland
of northern Idaho.
26.
INT. CAR
Molly is driving now. They are entering a small town.
MOLLY
I need to stop at a
phone booth.
ROGER
You ready to eat?
MOLLY
Sure.
EXT. TOWN - MAIN STREET - DAY
They park along Main Street and
enter a cafe.
INT. CAFE
Roger gets a booth while Molly goes
to the pay phone.
INTERCUT PHONE CONVERSATION
Ann is taking the phone call from
her office at a community
college.
ANN
He's married! So what are you
going to do? Where are you going
to stay?
MOLLY
I'm taking a guy to
the VA in
Vancouver,
Washington. He's giving
me his car for wages.
ANN
What are you talking
about?
MOLLY
It's a long story, I
only have
change for three
minutes. I just
wanted you to know
I'm fine. What
about you? Has
Bruce shown up
again?
ANN
No sign of him.
27.
MOLLY
Good. Maybe it's over.
ANN
More reason to come
right home.
MOLLY
I think I'm having a
good time - I
really do! Sort of like an
adventure.
ANN
Molly, I-- . . .
MOLLY
I can't talk
now. I'll call soon,
bye.
She hangs up.
EXT. HIGHWAY - NIGHT
Roger is driving. Molly, napping, stirs and sits up,
looking out the window.
ROGER
"It's a big
river!" We picked up
the Columbia
River. We're only a
few hours away. I can't check in
until tomorrow
morning. We can
spend the night in
Portland.
MOLLY
This is really
something, what
you're doing, isn't it?
ROGER
I hope so. I mean, it's come down
to a matter of life
or death.
MOLLY
I've noticed you're
not drinking as
much.
ROGER
Good company. We'll get two rooms
at a motel, how's
that? On me.
28.
MOLLY
You don't have to pay
for my room.
ROGER
I don't think I
would've made it
without you. I'm serious. I
really needed
company.
MOLLY
I feel like I've
slept most of the
way.
ROGER
Do it as a favor to
me. It would
mean a lot.
MOLLY
Then thank you.
EXT. MOTEL - NIGHT
They are carrying bags into
adjoining rooms.
ROGER
I'd invite you over
for coffee but
I'm bushed.
MOLLY
See you in the
morning.
ROGER
Sleep tight.
INT. MOTEL - NIGHT
Molly is dialing a number on the
motel's phone.
INTERCUT PHONE CONVERSATION
Ann answers from her apartment, with
Bruce standing beside
her, listening in.
ANN
Hello?
29.
MOLLY
I'm in Portland.
ANN
Molly, I-- . . .
Bruce takes the phone.
BRUCE
Hello there,
"Molly." Molly
McGuire, couldn't you
do any better
than that? You're not even Irish.
Molly is stunned to hear the voice
of her husband.
BRUCE
I get the idea you're
avoiding me.
Why would you want to do that?
MOLLY
Bruce, if you hurt
her again, I'm
going to-- . . .
BRUCE
I lost my temper, and I'm sorry,
okay? I need to talk to you.
MOLLY
Then talk.
BRUCE
In person. But
I'm here, and
you're in Portland.
Molly doesn't reply.
BRUCE
I could fly there
tonight.
MOLLY
We have nothing to
talk about. And
you have no right to
terrorize my
friends and-- . . .
BRUCE
We have unfinished business,
"Angela
X." Heather, Molly,
whoever the hell you
are.
(MORE)
30.
BRUCE (cont'd)
I guess I don't know
you at all,
married or not.
We're still
married, aren't we?
MOLLY
I have nothing more
to say to you.
Let me talk to Ann.
BRUCE
(sudden anger)
I come out of the bank, and you're
gone! You disappear! I didn't
fire a shot but I'm
the only one
left alive to take
the rap!
MOLLY
(softly,
painfully)
I'm truly sorry for
what happened.
BRUCE
If you'd just been
waiting in the
car, like you were supposed to be .
. . .
She doesn't reply.
BRUCE
It's all I've thought
about for the
last twenty
years. I want to know
why you weren't there
with the car.
I want to know why
you disappeared
and let me take the
rap for
everybody.
MOLLY
Please give me Ann.
He hangs up.
INT. MOTEL - NIGHT
Molly is panic-stricken. She dials the operator.
MOLLY
Yes, I need the
number of the
police in
Minneapolis.
31.
INT. ANN'S APARTMENT - NIGHT
Bruce hangs up.
BRUCE
Relax. I'm out of here. When she
calls again, remind
her that I'm
right behind her.
He starts for the door.
ANN
Why are you doing
this?
BRUCE
Because she sent me
to prison.
That's what it
amounts to.
ANN
You were guilty.
BRUCE
Not of half of what
they pinned on
me. And she was guilty herself.
ANN
She never went along
with the
violence part. She told me she was
going to leave all of
you.
BRUCE
Bullshit. She could've left
whenever she wanted.
ANN
She has a new life, a
good life.
BRUCE
Her new life is at my
expense,
Annie. At my expense.
He walks out the door. Ann is relieved but also disturbed,
she knows how obsessive and
vindictive he can be.
INT. MOTEL ROOM - DAY
Molly has called Ann first thing in
the morning.
MOLLY
Thank God, you're all
right.
32.
INTERCUT PHONE CONVERSATION
ANN
Take the first plane
home.
MOLLY
I feel safer moving. I'll be in
touch.
ANN
When does it end?
MOLLY
I don't know what else to do right
now. I really don't.
EXT. VA MEDICAL CENTER - VANCOUVER -
DAY
The car pulls into the VA Medical
Center in Vancouver,
Washington. It stops at a front gate, where a GATE GUARD
comes out, bending to talk to the
driver.
The guard waves the car in.
INT. CAR - DAY
Roger is driving. He's following signs to the intake
building.
MOLLY
I really can't take
your car.
ROGER
Of course, you
can. It's not doing
anyone any good
sitting in the
parking lot for seven
months.
MOLLY
Why don't you sell
it?
ROGER
No time. Why don't you sell it?
If you have a guilty
conscience,
send me half the
money.
MOLLY
All the money.
33.
ROGER
What do I have to do
to convince
you that you probably
saved my
life?
He has pulled into a parking space in front of the intake
building.
ROGER
I mean that. Let me express my
thanks.
He gets out.
EXT. INTAKE BUILDING - CAR - DAY
Roger unlocks the trunk to get his
bags. Molly gets out and
joins him.
MOLLY
I'll help you carry
these inside.
ROGER
Appreciate it. For you.
He hands her the keys. They head for
the entrance.
INT. INTAKE BUILDING - DAY
They come into the intake area.
A scruffy assortment of veterans is sitting and standing
around the area, some in line at the
intake counter. Some
wear portions of military garb. A good many have facial
hair, quite a few wear their long
hair in pony tails.
Roger gets in line, with Molly
beside him.
ROGER
I can manage from
here. Thanks
again for everything.
Molly sets down the bags. After an awkward moment of
hesitation, she gives him a hug.
34.
MOLLY
Good luck to
you. I think this
takes a lot of
courage.
ROGER
You can write me if
you like.
MOLLY
I will. I'll need your address
anyway to send money
after I sell
the car.
ROGER
I think they have a
brochure with
the address on it.
He looks around and finds an
information rack.
ROGER
Over there.
MOLLY
Great. Well - be good to yourself.
ROGER
Better late than
never.
Molly smiles and moves away, still
feeling out of place.
INT. BROCHURE RACK - DAY
She finds a brochure about the
treatment center, another
about the Domiciliary, and takes
both.
Leaving, she turns and waves to
Roger one more time. He
waves back.
So do some of the other vets.
EXT. INTAKE BUILDING - DAY
Molly gets into the car.
35.
INT. CAR - DAY
The impact of what has just happened
is getting to her. She
has no idea what her next move is.
She starts up the engine.
INT./EXT. PORTLAND - A SERIES OF
SHOTS - DAY
Molly spends the day sightseeing in
Portland, trying to
figure out what to do next.
She window shops in the downtown area.
She walks along waterfront
park. She goes out on the dock
at a marina.
She has a glass of white wine at a
sidewalk cafe. Finally,
she checks into a downtown hotel
with a view of the river.
INT./EXT. HOTEL ROOM - DECK - DAY
Molly is sitting at a small table on
her deck, sipping a
glass of wine. A bottle is in an ice bucket on the table.
She's reading through the brochures
she picked up at the VA.
INT. HOTEL ROOM - NIGHT
Molly is stretched out on the bed,
thinking. She picks up
and again reads the brochure about
the treatment center at
the VA.
INT. ANN'S APT - NIGHT
Ann is on the phone with Barbara
listening in, her ear
pressed close to Ann's.
ANN
A center for
alcoholics! Are you
out of your mind?
INTERCUT PHONE CONVERSATION
Molly is stretched out on the hotel
bed.
36.
MOLLY
It's thirty days in a
very secure
institution. After that, I have
the option to
continue for up to
six months at a
domiciliary.
ANN
(to Barbara)
She wants to enter a
booze farm.
(to Molly)
You've been drinking,
that's the
problem.
Molly, in fact, is still sipping
wine.
MOLLY
Think of it as an
adventure. Very
few women go through
the program.
ANN
Oh, great!
(to Barbara)
She'll be the only
woman there,
living with a hundred
winos.
(to Molly)
Call me tomorrow when
you're sober.
MOLLY
It's not a prison,
Ann. I can
leave any time I
want. In the
meantime, it's a place where Bruce
can't reach me.
ANN
I'm flying out of
here tomorrow.
Don't you do a thing
til I get
there.
MOLLY
You're wasting your
time. It's
free for vets, it's
here, it's
perfect.
ANN
I'm on my way!
EXT. AIRPORT - DAY
A jet plane is landing at the
airport.
37.
INT. AIRPORT - TERMINAL - DAY
Passengers are coming in.
Molly and Ann spot each other about
the same time. They
exchange a quick embrace.
MOLLY
If you came here to
change my mind,
you're wasting your
time.
ANN
I need a drink.
INT. AIRPORT - LOUNGE - DAY
The WAITRESS is bringing them fresh
drinks, taking away the
old glasses. They've been there a while.
ANN
I finally figured
this out. You're
just doing this cause
it's a VA
benefit.
You're still sorry you
weren't a lifer.
MOLLY
I can't think of any
reason not to
do it under the
circumstances.
ANN
Because you're not an
alcoholic,
how's that?
MOLLY
Well, I can pretend I
am.
As a matter of fact, both women are
tipsy, drinking through
the afternoon at the airport.
INT. VA MEDICAL CENTER - INTAKE
BUILDING - DAY
Ann is accompanying Molly through
the intake line, much as
Molly accompanied Roger earlier.
Once again the waiting area again is
filled with a scruffy
collection of vets.
Most are paying attention to the
unusual sight of two women
in the intake line.
38.
Ann, especially, is quite a sight in
her usual bright and
flamboyant attire.
ANN
(quietly)
This place gives me
the creeps.
MOLLY
(quietly)
There's another woman
checking in.
We'll share a room.
They move ahead in line.
ANN
You know that jade
ring of mine you
like? It's yours if you walk out
with me right now.
MOLLY
If this is a mistake,
I can leave
at any time.
ANN
(quietly)
Molly, think about it: you're going
to be living with
these animals.
MOLLY
Oh. Here.
You can have the car.
She gives Ann the keys to the car.
ANN
What am I supposed to
do with
these?
MOLLY
Sell it. Drive it home. I don't
care. I'm just continuing a
tradition.
Ann stares at the keys, not knowing
what to do with them.
EXT. INTAKE BUILDING - DAY
About a dozen new intake vets are
lined up in a sloppy
approximation of ranks.
39.
One vet stands off to the side,
carrying a pile of folders.
Obviously he's in charge.
Across the street, Ann sits in the
car, watching. She still
can't believe Molly is going through
with this.
The vet in charge is TOM, a short
stocky man in his forties.
TOM
Okay, listen up! The first place
we go is to the
lab. Everybody
gets a UA. Everybody know what
that is? You pee in a little jar
so they know how ripped you are.
Follow me.
There's some grumbling and joking
and wise-assing as the
vets move off.
Molly is one of two women in the
ragged formation, the other
being TRIXIE, a bleached blonde who
looks like she could eat
nails, who wears black leather
motorcycle gang attire.
From the car, Ann waves her
goodbyes.
ANN
I'll write you!
Molly waves back.
Ann watches them until they
disappear around a building.
INT. VA MEDICAL CENTER - BUILDING -
WOMEN'S BATHROOM - DAY
Molly and Trixie are in the ladies
room with jars and small
funnels, getting ready to give their
urine samples.
Without an ounce of shyness, Trixie
is already lowering her
black leather pants.
TRIXIE
I ain't pissed in one of these
since I was in jail.
Molly self-consciously moves into
the stall for privacy.
40.
INT. TREATMENT CENTER - SUPPLY ROOM
- DAY
The new intake vets are lined up for
bedding.
A tall handsome man with a trim
moustache passes by. He
stops and smiles at Molly.
WALTER
I'm Walter.
MOLLY
I'm Molly.
WALTER
What do you do?
MOLLY
I'm a nurse.
WALTER
What drugs, I mean.
MOLLY
Drugs? Oh no, I just, you know,
drink too much.
WALTER
I do booze. And heroin, cocaine,
especially crack,
pot, LSD, you
name it. You must've been Air
Force.
MOLLY
Yes. How did you know?
WALTER
I was Army. Air Force got all the
beautiful women.
He's grinning at her so lecherously
that she has to turn
away. Which is just the reaction he wanted. Pleased with
himself, he moves on.
INT. TREATMENT CENTER - DINING ROOM
- EVENING
Molly is taking her full tray into
the dining area, looking
for a spare seat at a table.
Roger appears beside her.
41.
ROGER
What are you doing
here?
Molly is so startled she almost
spills her tray.
ROGER
Follow me.
He leads the way to a table for two
in a corner of the
dining room.
INT. DINING ROOM - TABLE
They settle in.
ROGER
You're the last person in the world
I expected to see.
MOLLY
I started the
program. I'm only a
few days behind you.
ROGER
But why? You seem so normal. What
are you addicted to?
Molly sips her milk, thinking.
She decides to go for it: she's here
on a charade, she might
as well start acting like it.
MOLLY
Roger, I'm an
alcoholic, too. I
mean, you don't know
how hard it
was for me to turn
down a drink in
the car. I went on a two-day binge
the minute I left
you. God, you
won't believe what I
managed to do
in only two days in a
strange city.
Anyway, fortunately I
had those
brochures, so I
figured, maybe our
paths crossed for a
reason, maybe
you were sent to me
as inspiration
to get my act together. So here I
am.
Roger is smiling, buying it hook,
line and sinker.
42.
ROGER
It's our Higher
Power. He sent you
to me, and I guess
maybe he sent me
to you, too, didn't
he?
Molly isn't sure what he's getting
at - he almost looks as
if they've just became engaged. She gives him a quick smile
and looks away.
Her glance finds Walter at the
adjacent table, lecherously
leering at her. Molly chokes on her food.
INT. TREATMENT CENTER - BEDROOM -
NIGHT
Molly and Trixie are rooming
together and making their
single beds, located on opposite
ends of the small room.
TRIXIE
You ever been in treatment before?
MOLLY
No. You?
TRIXIE
Shit, I'm a treatment
junkie and a
welfare drone!
This about my tenth
time. Something like that. I come
in whenever I got a
boyfriend or
bills or the law to
hide from.
This time I got two
out of three.
Meaning, I ain't in
no trouble with
the law for a change.
This gets Molly's interest.
MOLLY
You're hiding from your boyfriend?
TRIXIE
Course, K-Man will be
visiting
Sundays soon as they
allow that,
but at least they'll
be counselors
and people
everywhere, he can't get
to me too bad.
43.
MOLLY
I thought he had to
be on a
visitors' list to be
able to see
you.
TRIXIE
Oh, I put him on the
list alright.
We always get along
good after not
seeing each other for
a while. You
hiding from a
boyfriend, husband,
anything like that?
MOLLY
Oh, no. Just trying, you know, to
get sober.
Trixie looks at her and laughs,
which baffles Molly. She
lets it pass and goes back to making
her bed.
INT. TREATMENT CENTER - CLASSROOM -
DAY
TEX, a counselor, is teaching a
class. He is a tall slender
man with a gray moustache, wearing
cowboy boots and tight
jeans. His belt sports a large silver buckle. A cowboy hat
rests on the desk, on the edge of
which he sits informally.
At the front of the class, a black
vet, JEWELS, is reading
the program's Opening
Statement. As he does, the vets in
the class listen with a variety of
reactions, from
inattentive boredom to attentive
fear.
JEWELS
(reading)
"YOU have come
to US. You've said
you've decided to change your life.
"Changing your
life is not
something that is
done to you. It
is something you do
to yourself.
We will not force you
to do
anything. Change is only valid if
it comes from within.
"You will be
very uncomfortable
here. You may find this program
hard, irritating, stupid and
unsatisfactory.
(MORE)
44.
JEWELS (cont'd)
You might become
disgusted and want
to quit.
"You will not
always understand
what is going on, or
why. But you
will always be expected to tell the
truth and to listen
to the
truth. "Our concept of a
meaningful life is
not merely to
stop drinking or
using drugs. It
is to replace that
part of yourself
that caused
self-destructive
behavior in the first
place.
"But before it
can be replaced, it
must be recognized and examined.
'The unexamined life
is not worth
living,' said
Socrates. We believe
this is true.
"If you're not
ready to examine
yourself with
ruthless
self-scrutiny, then
you may want to
reconsider your
reasons for
entering this
treatment program.
"You may want to leave before we
kick you out."
He finishes and sits down.
TEX
Thank you.
Tex looks over the class. His presence commands attention.
TEX
You addicts and
drunks and crazies
better believe that,
every damn
word in there is
true. This ain't
no country club. You don't want to
play hard ball with
yourself, get
the hell out and come
back when
you're ready.
He looks over the class.
45.
TEX
How many here want a
drink right
now? Or a fix?
Drag a weed, snort
a coke, shot a Wild
Turkey?
No one in the class of about forty
raises a hand.
TEX
You lying sacks a
shit. You
scumbag assholes.
You'd kill your
mother for a
drink. You'd sell
your little sister to
a known
carrier of AIDS to
buy some crack,
you'd take money off
your grandma's
night stand to buy
your weed.
Don't tell me you
wouldn't. You
there - you gonna
tell me you
wouldn't?
He's pointing a finger at Roger.
TEX
What the hell's your
name?
ROGER
I'm Roger, and I'm an
alcoholic.
A few people snicker at this
response.
TEX
What's so goddamn
funny about that?
Even though you're
lying through
your booze-rotted
teeth, Roger, you
no more believe
you're an alcoholic
than I'm
Madonna. You think you're
gonna step out of
here and be a
sensible drinker, be
a controlled
drinker like everybody out there
who's normal, you
think this here
little mini-course is
gonna turn
you loose so you can
be like
everybody else. Tell me I'm wrong.
ROGER
You're wrong.
There's a stunned silence at this
response. Tex grins.
46.
TEX
If I'm so goddamn
wrong, how come
you already tried
treatment twice,
already came out and
started
drinking again, wrecked all those
cars all over again,
declared
personal bankruptcy,
had another
woman divorce you,
who knows what
other shit you
pulled, all after
twice in goddamn
treatment where
you told them the
same piss-ant
lying excuses you're
telling me
this very
minute. If I'm so damn
wrong, how come you
ain't sober,
mister? How come?
You answer me
that, Roger. I bet you're sweating
in your butt crack
for a quick nip
right now, huh? What's your
favorite? Vodka?
Bourbon? Cold
beer, swallow that
baby down in a
couple gulps? Bet you'd like that
real fine. Tell me I'm wrong.
MOLLY
That's not fair!
This just came out. Tex, still grinning, moves toward
Molly's chair.
TEX
What's your
name? Trixie?
MOLLY
Molly. It's my nickname.
TEX
I know who you are,
Heather-Molly.
Trixie was here last
year. And two
years before
that. She's a lying
sack a shit, just
like Roger.
What's so goddamn
unfair about the
truth, Miss
Molly? You want to
tell us that?
MOLLY
No. I'm sorry.
There's a tense silence while Tex
stares at her. Molly is
close to losing control and breaking
into tears.
47.
Finally Tex steps away, a gesture
that she's off the hook.
The whole class is relieved.
TEX
Denial, my
friends! The first
hurdle alcoholics and
addicts must
overcome is the
hurdle of denial.
You must face one basic truth in
the very pit of your
gut: We're
all goddamn addicts
here!
INT. DINING ROOM - DAY
Roger brings his tray to join Molly
and others at a long
table.
ROGER
I should have warned
you about Tex.
Not all the
counselors are
confrontive like
that. You all
right?
TRIXIE
Shit, Tex ain't so
hot. I had a
counselor once, makes
him look like
a pussy.
MOLLY
This is all so new to
me - I best
keep quiet and watch,
huh?
JEWELS
You better not keep
quiet around
here, you be accused
of stuffin'
your feelings. Better to talk up
and make a fool of
yourself than
shut up.
ROGER
The secret is to be
honest,
especially about how
you feel.
WALTER
I feel like I'm
falling in love.
The remark, of course, is meant for
Molly, even though
Walter is sitting several vets down
the way.
48.
ROGER
(quietly, for Molly's
ears only)
He does that to every
woman who
comes through here.
Trixie has overheard this.
TRIXIE
Not to me, he
ain't. I think I
scare him.
INT. TREATMENT CENTER - HALLWAY -
DAY
Molly is slowly moving down a
hallway, looking for an
office. She has an appointment slip in her hand.
She finds it and stands by an open
doorway.
INT. OFFICE
Sitting at her desk is HEATHER, one
of the counselors.
She's a strikingly pretty woman,
about thirty-five, younger
than Molly.
MOLLY
Miss Bradshaw?
Heather looks up.
HEATHER
We all go by first
names here, and
I'm another
Heather. But I
understand you prefer
Molly.
MOLLY
Yes, it's a nickname.
HEATHER
Come in. Have a seat.
Molly does. Heather picks up a folder she's been looking
through.
HEATHER
We don't have very
much on you.
49.
MOLLY
I've never been in
treatment
before.
HEATHER
Or used the VA much
either. Have
you?
MOLLY
No, not really.
HEATHER
I'm going to be your
primary
counselor. I think we'd better
start with some
standard tests and
a good physical.
MOLLY
Great.
HEATHER
What's so great about
it?
MOLLY
Pardon me?
HEATHER
You said it was
great.
MOLLY
Well, we have to
start somewhere,
don't we?
HEATHER
What are you feeling
right now?
MOLLY
Pardon me?
HEATHER
What are you feeling
right now?
Don't think about it,
just tell me.
What are you feeling?
Molly thinks about it.
MOLLY
I'm feeling really
confused.
50.
HEATHER
Why?
MOLLY
Everybody's always
attacking
everybody around
here.
Heather ignores this and starts
writing on a form.
MOLLY
It's like it's taken for granted
that everybody is
lying or
something.
HEATHER
(without looking
up)
Are you lying?
MOLLY
No. I'm confused. And a little
scared, I guess.
Heather hands her the form.
HEATHER
Good. Tell the truth, and we'll
get along fine. Take this to the
lab. They'll tell you where to go
from there.
A SERIES OF SHOTS
as Molly gives blood, has a
physical, takes a number of
tests at a computer.
EXT. AIRPORT - TERMINAL - DAY
Coming off a plane at the Portland
airport are Bruce and a
new woman friend, HAZEL, who is
older than he is and carries
an aura of money, a good deal of
money.
HAZEL
I think I'm
nervous. Isn't that
silly?
BRUCE
About what?
51.
HAZEL
Meeting your sister.
BRUCE
She's nothing to
worry about.
They head into the terminal.
INT. HOTEL - DESK - DAY
Bruce is waiting while Hazel
registers them into the most
expensive hotel in the city. Clearly she's paying for
everything on one of her credit
cards.
A nearby BELLBOY, waiting to take
their bags, smiles at
Bruce knowingly, as if he's a gigolo
with "an older woman."
Bruce stares him down.
INT. HOTEL ROOM - DAY
Hazel tips the bellboy, and he
leaves.
HAZEL
Are you going to call
your sister?
BRUCE
Later.
HAZEL
You seemed so anxious
to see her, I
thought you'd want to
call right
away.
BRUCE
Not yet, okay? Do you mind?
HAZEL
Honey, I was just
asking. Let's
not fight.
BRUCE
I'm sorry. I'm - upset . . . I
forgot to bring her
new address.
I'll have to track
her down.
52.
HAZEL
Calling information
is a start.
BRUCE
She usually has an unlisted number,
is the thing. I'll have to check
with some of her
friends. I'll
worry about it
tomorrow.
He goes to her, becoming romantic to
change the subject.
BRUCE
I have more important
things to do
right now.
HAZEL
You sure don't waste
time, mister.
BRUCE
I don't hear you
complaining.
HAZEL
No, you don't.
They embrace and kiss.
INT. TREATMENT CENTER - GYM - DAY
Vets are playing an informal
basketball game, Molly and
Trixie playing right along with the
men.
Most of the vets are terribly out of
shape and winded,
playing at much less than full speed. A couple of jock vets
carry the load.
Heather, the counselor, blows a
whistle to end the exercise
period. The vets head out of the gym.
TRIXIE
This exercise shit is
new to the
program. I don't like it.
MOLLY
I know what you mean.
TRIXIE
You got any visitors
coming Sunday?
53.
MOLLY
No. Is your boyfriend coming?
TRIXIE
I ain't heard but
I'll be surprised
for damn sure if
K-Man ain't first
in line. His dick'll be pointin'
the way, too. He expect me to give
him some head in the
bushes or some
damn thing.
She laughs, and Molly can't help but
laugh along with her.
Trixie is growing on her.
INT. TREATMENT CENTER - CORE GROUP
ROOM - DAY
A half-dozen vets sit in chairs
arranged in a circle. With
them is Tex, the counselor. A core group is meeting. This
is one of the more intensive and
self-reflective parts of
the treatment program.
SKEETER, a man in his forties, is
softly crying. You can
cut the tension in the room with a
knife.
ROGER
Can I say something?
TEX
Don't rescue him.
Roger shuts up. Finally Skeeter starts to speak again, his
speech halting and difficult between
sobs.
SKEETER
I just . . . blew her
away . . .
just like that . .
. didn't give
it a thought . . . it
was like
target practice . . . like I'm not
up there in the tower
at all . . .
I'm at a carnival,
some damn
thing . . . you know the little
figurines that move
for you to
shoot at? . . . she
was just a
figurine at a
carnival . . .
something to shoot
at, break the
boredom . . .
(MORE)
54.
SKEETER (cont'd)
hey, look at that
old gook broad
carrying that shit on her
head . . . wonder if
I can hit her
from here . . . pop!,
she's
gone . . . she's out
of there . . .
nothing to it . . .
laughed about
it at chow . . .
pop!, that gook
old lady's outta
there! . . . pop!,
she's history . . .
He is softly weeping again. No one moves.
Tex looks at his watch. When he speaks, it's a gentle side
of him we haven't seen before.
TEX
That's all the time
we have. Thank
you for sharing that,
Skeeter.
All the vets but Molly get up and
slowly leave the room.
Tex, passing Molly's chair, stops
and touches her on the
shoulder.
TEX
You okay?
MOLLY
(holding back
tears)
I feel so bad for him
. . .
TEX
Want to come to my
office and talk
about it?
Molly nods and gets up.
INT. TEX'S OFFICE - DAY
The office door is closed. Tex sits at his desk, Molly in a
nearby chair.
TEX
The Vietnam vets have
it worse than
anybody here. You weren't in
country, were you?
55.
MOLLY
I never went
overseas.
TEX
You're lucky. Nurses over there,
they come through
here as bad as
the combat vets. The damage of
that war is still
coming down. You
see it in a place
like this all the
time.
MOLLY
I had no idea.
TEX
You're not stuffing
Vietnam - what
are you stuffing?
MOLLY
Oh - nothing I know
of.
TEX
I never met an
alcoholic yet who
isn't stuffing
negative feelings
about some damn thing or other,
something they don't
want to face
up to and deal with.
MOLLY
You know
something? I'm really not
sure I'm an alcoholic.
TEX
There's a word for
that attitude.
MOLLY
Denial, I know. But what if it's
true? I mean, there must be
someone who came
through here at
one time or another
who actually
was not an alcoholic
- so when that
person said, "No, I'm not an
alcoholic," it
wasn't denial at all
but the truth.
TEX
You always that good
at
rationalizing?
56.
MOLLY
Isn't it a
possibility that I'm
not?
TEX
Sure. It's also a possibility
you're bullshitting
yourself
because you haven't
hit bottom yet.
So check out of here and go get a
drink. See you next year, and
we'll go from there.
MOLLY
No, I'm not checking
out.
TEX
Then stop
bullshitting me. You're
wasting both our
time. So what the
hell are you
stuffing, Molly? Why
are you really here?
Molly is suddenly feeling very
vulnerable. Her instinct is
to run, and she stands up.
MOLLY
I don't think I'm
ready for this.
TEX
You only got 28 days
here, Molly,
and a week is already
gone. So are
you going to piss or
get off the
pot?
She turns and leaves without
replying. Tex isn't phased,
he's seen this many times.
EXT. TREATMENT CENTER - PATIO - DAY
It's the first Sunday afternoon when
visitors are allowed.
Family and friends sit with vets at
tables across the patio.
Molly and Trixie sit at a table
alone, playing cards.
MOLLY
He may still show up.
57.
TRIXIE
He ain't first in
line, he ain't
comin'.
Trixie is clearly disappointed.
Walter appears at the end of their
table with an older
woman, his MOTHER.
WALTER
I'd like you to meet
my mother.
Mom, this is
Molly. She's the
woman I plan to
marry.
MOLLY
Hello. Cute, Walter.
Walter winks at her and leads his
mother along.
TRIXIE
He expose himself to you yet?
MOLLY
Are you serious?
TRIXIE
Just wait.
MOLLY
He did to you?
TRIXIE
I'd be ashamed, I was
him, little
bitty thing like
that.
MOLLY
Why didn't you report
it?
TRIXIE
And put the man back
on the street?
Everybody better off
he's in here.
INT. TREATMENT CENTER - CORE GROUP -
DAY
Molly's core group is meeting
again. This time, Molly
herself is the focus of
attention. All the vets look
sternly at her, unhappy with what
she's been talking about.
58.
TOM
(thinly hidden
aggression)
When you say the war
sucked, how do
you mean?
MOLLY
What was right about
it? It was
unConstitutional, for
starters. It
was-- . . .
SKEETER
Time out. If you're gonna get into
some kind of
liberal bullshit
about how we didn't
belong in
there-- . . .
MOLLY
Of course, we didn't
belong in
there. Look what happened to you.
SKEETER
That's not what I was talking about
last week! I wish we'd've dropped
a nuke on the
bastards!
MOLLY
Then I don't understand.
TOM
You got that
right. Let me guess:
you were one of those
protesters,
weren't you?
Molly is hesitant to reply.
ROGER
You don't have to
answer if you're
uncomfortable.
TOM
Quit rescuing her.
ROGER
I'm just saying
that-- . . .
TEX
Tom's right, you were
rescuing her.
59.
TOM
So did you protest
the war or not?
MOLLY
Well, yes, I did -
because it was a
rotten
unConstitutional-- . . .
SKEETER
Tex, I got enough
shit coming down
without having to
deal with a
protester. You
said that was off
limits.
TOM
He's right, you
did. It was before
she came into
group. We didn't
have to deal with how we feel about
those assholes until
we got a
handle on some of the
more
immediate stuff.
TEX
True enough, I did
say that.
MOLLY
I don't understand
what's going on.
TEX
Whether the war was
right or wrong
is not the issue
here. We want to
deal with the here
and now, in
particular deal with
our feelings.
How are you feeling
right now?
MOLLY
I feel like a flood
of old memories
are coming back that
I'd rather not
have to think about.
TEX
And how does THAT
make you feel?
MOLLY
Really shitty. Really scared.
Everyone stares at her. A long pause.
MOLLY
I don't want to do
this any more.
Everyone is silent.
60.
INT. TREATMENT CENTER - CONFERENCE
ROOM - DAY
Staff are meeting to go over the
progress of the patients.
Tex is chairing.
RAY, a counselor, has been reviewing
Jewels. He is
prematurely gray and wears his hair
in a pony tail.
RAY
What it all adds up
to is, I think
Jewels would benefit
from three
months' additional
intensive
treatment.
TEX
Anybody have a
problem with that?
No one does.
TEX
Then it's a done
deal.
He picks up another folder.
TEX
Next up is Heather -
or Molly, as
she prefers.
HEATHER
She's still in total
denial. I see
no progress at all.
TEX
I can second
that. Do you think
she'd benefit from
additional
intensive treatment?
HEATHER
I don't think so, to
be honest. I
think she has a long
way to go
before she's ready to
deal with
reality. She
has to get to first
base before she tries
to go to
second.
RAY
We could put her in
Stage One
Intervention, put some pressure on
her and maybe pop the
bubble before
she's out of here.
61.
TEX
I'm not sure it would
work.
Heather?
HEATHER
Maybe it won't, but
we have nothing
to lose.
TEX
Anybody object to
putting her on
Stage One?
No one does. Tex picks up another file.
TEX
What about Roger . .
.?
INT. HEATHER'S OFFICE - DAY
Heather has just given Molly the
news that her status has
changed, she's now under Stage One
Intervention.
MOLLY
I still don't
understand what I've
been doing wrong.
HEATHER
You're not getting
inside yourself.
You're not telling us
the truth
about how you really
feel.
MOLLY
Maybe I'm really not
an alcoholic.
HEATHER
That attitude doesn't
cut it,
Molly. It's your life. You start
the work now - or in
two or five or
ten years from now,
when you're
back in here, or a
place just like
it. It's up to you. That's all.
Molly leaves.
INT. TREATMENT CENTER - CLASSROOM -
DAY
Tex is teaching the class.
62.
TEX
In the Johari Window
exercise,
we're looking at
three things: the
Facade Window - how does the person
want to be seen or
perceived?; the
Blind Window - how do
I see the
person?; and the Open
Window - what
could the person do to improve? I
need a volunteer to
be first.
A number of hands go up.
TEX
Molly.
Her hand was not up.
MOLLY
My hand wasn't up.
TEX
(ignoring this)
It shows you're
really interested
in recovery to volunteer like that.
I appreciate it.
Molly reluctantly comes forward and
sits in a chair, facing
the class. Tex is passing out forms to the rest of the
patients, explaining as he does.
TEX
You don't have to put
your name on
the sheet, so there's
no excuse not
to be honest.
The exercise begins. Patients study Molly and begin writing
on the form. Molly also begins writing.
INT. CLASSROOM - LATER - DAY
Tex, who has been gone, comes back
into the room.
TEX
Are we done?
No one needs more time.
63.
TEX
Let's go around the
room and read
what we have. Starting with Roger.
ROGER
The Facade Window:
Molly wants to
be seen as really
together and in
control of her
life. The Blind
Window: I see her as
talking the
talk but not walking
the walk,
she's afraid to
really get deep
inside herself. The Open Window:
she can improve by
opening up more
and telling us how
she really truly
feels.
SKEETER
Molly wants to come off as being
educated and special
but I see her
as a snob. I think she hates being
here and is scared
shitless to be
honest about herself, which is what
she needs to do to
improve.
TOM
Facade Window: she
takes advantage
of being good
looking, wants to be
admired. Blind Window: selfish and
stuck up, she'd knife
you in the
back in a
minute. Open Window: get
real.
WALTER
Molly wants to be
seen as beautiful
and sexy, and I think
she is. She
needs to learn how to
accept
admiration.
TRIXIE
Facade: Miss
Has-It-All-Together.
Blind: this gal is
confused big
time! She needs to realize where
she is and why and
start the
program.
64.
MOLLY
I want to project the
image of
someone who takes life seriously,
who can be a good
friend, who
listens well. Who has high moral
values. I think I come off more
shy and less
confident than this.
I need to learn to
stand up for
myself more.
Tex moves around the classroom,
letting the exercise sink
in.
Suddenly:
TEX
We wear masks,
people! We're
afraid to let people
know who we
really are. Which makes sense,
since all of us have
mostly been
drunkass addicted lying nogood
conniving
sonsabitches who'd do
anything at any cost
to anybody,
long as we get our
little fix of
weed or crack or Wild
Turkey or
spendyass white wine
or that
thirst-quenching beer
after mowing
the lawn, don't make
no difference,
people - it's all
drugs, you hear?
It's all drugs, and
you and I are
addicted to drugs,
and we got two
choices, quit or
die! Do I make
myself clear? Quit or die! The
choice is yours and yours alone,
people.
(softly)
Quit . . . or die . .
.
INT. TREATMENT CENTER - HALLWAY -
NIGHT
Molly is in line, waiting to use a
pay phone. Roger is in
line behind her.
ROGER
Don't let that Johari
stuff get to
you. Everybody thought I was a
phony, too.
(MORE)
65.
ROGER (cont'd)
I think it's SOP for
addicts to
think everybody else
is a phony.
Saves looking in the
mirror. It's
called doing
everybody's program
except our own.
MOLLY
It didn't bother me.
ROGER
I think it did,
Molly.
Molly turns away, not wanting to
deal with it.
INT. ANN'S APARTMENT - NIGHT
Ann's in bed with a guy, JOHN, a
heavyset man as large as
herself, when the phone rings. The ringing distracts Ann
from foreplay.
JOHN
Let it ring.
ANN
I really should
answer it.
JOHN
You have an answering
machine,
don't you?
The phone is still ringing. John starts kissing her, and
Ann gives in.
INT. TREATMENT CENTER - HALLWAY -
NIGHT
Molly gives up and hangs up.
Roger comes forward to use the phone
next.
ROGER
Not at home?
MOLLY
Not at home.
She moves off, looking depressed.
66.
INT. VA MEDICAL CENTER - GYM - DAY
Another exercise period, another
game on the court.
A rebound comes off the rim into
Molly's hands. She starts
to dribble but is tied up by Skeeter
and Tom, who get very
physical with her, knocking her to
the floor.
Roger, seeing this, hurries over.
ROGER
Hey, this isn't the NBA, for
Christ's sake.
SKEETER
Fuck you.
Roger looks around, making sure no
counselor is around.
ROGER
You know you could
get kicked out
for being
aggressive. Cool it.
(to Molly)
You all right?
MOLLY
I'm okay.
TOM
Why are you standing
up for a
goddamn peacenik?
ROGER
We're all in here
together, Tom.
TOM
Doesn't mean I have
to like her or
what she stands for.
ROGER
The war's been over
for twenty
years.
SKEETER
Man, it never
ends. Never.
Tom and Skeeter move away.
ROGER
They're having a bad
day.
67.
MOLLY
I can fight my own battles, Roger.
She moves off, too. The game has broken up for lack of
interest now.
INT. TREATMENT CENTER - BEDROOM -
NIGHT
Molly is in bed, reading. Trixie is getting into bed.
Suddenly there's a knock on the
window, which startles both
of them.
TRIXIE
What the hell is
that?
She moves to the window and peeks
through the drawn blinds.
TRIXIE
Oh my God!
She draws up the blinds and opens
the window.
MOLLY
Who is it?
TRIXIE
It's my honey!
K-MAN climbs in through the
window. He's a big man in
motorcycle garb. He's carrying a paper sack.
K-MAN
Hey, Trixie, how we
doin'? Who's
your roomie?
TRIXIE
That's Molly.
K-MAN
Nice to meet you. Here, I brought
you something.
He takes a bottle of whiskey out of
the paper sack.
TRIXIE
How'd you get in here
with nobody
seeing you?
68.
K-MAN
Piece a cake. You got any glasses
in here?
Molly is out of bed, putting on her
robe.
MOLLY
Trixie, this is
asking for trouble.
TRIXIE
I got my UA
yesterday, I'm not due
again til this shit
is pissed out
of my system. K-Man, you're
lookin' damn good.
They embrace. Molly leaves the room.
INT. HALLWAY - NIGHT
Molly comes out and moves down the
hallway.
INT. TREATMENT CENTER - FRONT DESK -
NIGHT
Tex has duty tonight and is playing
solitaire on a computer
when Molly comes out.
TEX
You having trouble
sleeping?
MOLLY
A little bit.
TEX
Come on in and sit
down.
Molly goes around the counter and
joins him.
MOLLY
Go ahead and finish
your game.
Tex turns his attention back to the
computer screen.
INT. FRONT DESK - LATER - NIGHT
Molly has fallen asleep in the
chair. Tex gently wakes her.
69.
TEX
Time for bed.
Molly gets up to go.
TEX
Some day you're gonna
have to talk
about what's
bothering you. I know
something's eating
you up inside.
She leaves without responding.
INT. HALLWAY - NIGHT
Molly moves to the door of her
room. She carefully opens
it.
INT. BEDROOM
as Molly steps in. Trixie and K-Man are asleep, K-Man
stretched out on Molly's bed. Molly doesn't know what to
do.
She sits down on the floor in the
corner by the door,
drawing her robe around her, trying to get comfortable
enough to sleep.
INT. HALLWAY - MORNING
Tex is coming down the hallway,
knocking on doors, then
opening them, calling "Rise and
shine!" into each room.
INT. BEDROOM - MORNING
The doorway opens, almost jarring
Molly in the corner. Tex
steps in, disbelieving his eyes.
TEX
Trixie! What the hell kind of a
side business you
running in here?
Trixie and K-Man struggle awake,
both very hungover.
Molly tries to sneak out behind Tex
without his noticing
her. But he turns in time to find her.
70.
TEX
Molly! You know anything about
this?
Trixie is up and moving to her wall
locker.
TRIXIE
She had nothing to do
with it, fact
is she tried to stop
it. Don't
worry, Tex, I'll be out
of this
hellhole soon as I
can get packed.
TEX
You got that right.
INT. HEATHER'S OFFICE - DAY
Molly is in conference with her primary
counselor.
HEATHER
Your UA came out
clean, so I'm
inclined to believe
you. You still
should have reported
it.
MOLLY
I know.
HEATHER
Molly, as near as I
can tell,
you're getting
nothing at all out
of being here.
You're not sharing
anything about
yourself. You are
in complete denial
about your
disease.
She pauses for a reaction. There is none.
HEATHER
How are you feeling
right now?
MOLLY
I feel . . .
Molly suddenly starts to lose it;
she begins to cry,
struggling to gain control of
herself.
71.
MOLLY
I don't know what's
wrong with me .
. . . I'm sorry . . .
HEATHER
Let it come, Molly.
And these words are effective, Molly
loses control and
begins to weep openly.
EXT. TREATMENT CENTER - FRONT GATE -
DAY
A new model white convertible stops
at the guard shack at
the treatment center's front
security gate. Bruce is behind
the wheel, Hazel beside him.
BRUCE
We're here to visit
one of your
patients in
treatment.
GATE
GUARD
Treatment patients
only get
visitors on Sundays, sir.
BRUCE
Is that a fact? Well, we'll see
you Sunday, then.
GATE
GUARD
You have to be on the approved
guest list, sir. I could check for
you.
BRUCE
Well, I wanted to
surprise my
sister, is the thing.
GATE
GUARD
I can't let you in if
you're not on
the list.
BRUCE
Well, I guess the surprise will be
on the phone
then. I'll make sure
she puts me on the
list before
Sunday.
He backs up and does a U-turn, heading
away.
72.
INT. CAR
HAZEL
You didn't call her
already?
Bruce ignores her.
INT. TREATMENT CENTER - CORE GROUP -
DAY
Molly has the floor, opening up for
the first time.
MOLLY
I met these people
while I was
still in the Air
Force. They were
passing out leaflets
outside the
base. Well, I went to one of the
coffee houses in
town, to a rally,
and later there was a
teach-in at
the small college in
town. That's
when I first started
paying
attention to
politics.
SKEETER
Tex, I thought this was off limits.
TEX
We're dealing with
her feelings
here, Skeeter. She's entitled to
them. Sorry, Molly - please
continue. Just keep it real
personal.
MOLLY
I got out of the Air
Force and went
to college myself. When a guy I'd
known in class got
drafted and went
over there and got
killed, that was
like the last straw
for me.
TOM
You can't fight a war with one arm
tied behind your
back.
TEX
Gentlemen, let's not
interrupt,
please?
After a pause, Molly goes on.
73.
MOLLY
I was outraged when
he died. That
was the
beginning. I ended up
marrying one of the
guys passing
out leaflets that
first time, that
was part of it,
too. He was what
you'd call a radical.
She stops.
MOLLY
I don't think I can
talk about
this.
There's a silence.
MOLLY
In a way I wish none of it had ever
happened. Bruce, my husband . . .
When she doesn't go on, Tex speaks.
TEX
Are you still married?
MOLLY
What? Oh, no, all that ended years
ago. I haven't seen him in years.
Another silence.
MOLLY
I guess that's all I
have to say.
TEX
How do you feel about
being around
so many Vietnam
veterans?
MOLLY
Sad.
SKEETER
Shit.
TEX
Skeeter.
74.
MOLLY
There's been so much
suffering. I
mean, still. Like it keeps coming
back to haunt us, doesn't it?
TEX
Is it haunting you
now?
MOLLY
Yes, I guess it is.
TEX
Would you elaborate
on that?
MOLLY
I can't right
now. I don't want to
talk any more.
She is struggling hard to fight back
her tears.
TEX
What's all this
really about,
Molly? What are you really trying
to say?
Suddenly she gets up and runs out of
the room.
EXT. HALLWAY - DAY
Molly runs past the front desk,
heading down the hallway to
her room.
Heather, working on the computer
behind the desk, gets up to
follow her. She comes around the front counter at about
the
same time Tex comes by. Both follow Molly.
INT. BEDROOM - DAY
Molly is hurriedly packing when Tex
and Heather enter the
room.
HEATHER
Molly, it could be
really important
for you not to run
from this now.
Molly keeps packing.
75.
TEX
You're safe
here. You're gonna
have to deal with
this shit
eventually.
HEATHER
Why don't you take
the rest of the
afternoon off and
think about it?
I'd really like you
to stay. I
think we can really
begin to get
somewhere now.
TEX
Your life is worth
saving, Molly.
HEATHER
I'll be in my office
if you want to
talk.
They leave.
Molly stops packing. She throws herself down on the empty
bed beside her own and starts to
cry.
EXT. TREATMENT CENTER - BUILDING -
NIGHT
Lights go out in the building.
INT. TREATMENT CENTER - FRONT DESK /
HALLWAY - NIGHT
Ray, on duty, is turning out the
lights at bedcheck.
INT. BEDROOM - NIGHT
Molly is sound asleep.
INT. ANOTHER BEDROOM - NIGHT
Walter is awake, staring at the
ceiling. His roommate, Tom,
is asleep.
Walter gets up to use the bathroom.
76.
INT. HALLWAY
Walter comes out of his room and
moves down the dark
hallway.
At Molly's door, he stops. He looks around.
Far down the hallway, Ray sits
behind the computer, playing
a game, not paying attention to
anything else.
Walter carefully opens the door to
Molly's bedroom.
INT. BEDROOM
Molly is still sleeping as Walter
comes in. He moves to her
bed.
He kneels down and watches her
sleep. There is something
sadly pathetic, as well as
disturbing, about his presence
and manner.
Molly stirs, opens her eyes and sees
him. She begins to
scream but his hand is quickly on
her mouth.
Molly is struggling, and the more
she struggles, the more
Walter is forceful. She is no match for his strength.
The contest is exciting Walter; on
the bed and on top of
Molly now, the struggle changes from
his trying to keep her
still to his desiring her, close to
raping her. They
continue wrestling. Molly squirms away enough to fall on
the floor, with Walter immediately
on her again.
As he comes down on top of her, she
manages to bring one
knee up, getting him in the
groin. Walter reacts with great
pain.
This is enough for Molly to break
free. She runs out of the
room as Walter squirms on the floor
in pain.
EXT. HALLWAY / FRONT DESK
Molly comes out, running toward the
front desk.
Ray sees her and rises from the
computer. He quickly comes
around the counter.
Molly races into Ray's arms. He is startled, not knowing
what the hell is going on.
77.
Down the hallway, Walter comes out
of Molly's room, bent
forward, still in pain. Ray sees him.
RAY
Walter! Wait right there!
Ray gently sets Molly down in a
chair. Then he trots down
the hallway to Walter, who is
waiting for him like a guilty
little boy with his hand in the
cookie jar.
INT. ANN'S APARTMENT - NIGHT
Ann is sitting on the divan,
drinking a coke and watching an
exercise video. when the doorbell
rings. She gets up to
answer it.
A MAN and WOMAN are at the
door. The man flashes a badge.
FBI
MAN
FBI. We'd like to ask you a few
questions.
ANN
Come in.
They come inside.
FBI
WOMAN
We'll get right to
the point.
You've been visited
recently by a
man named Bruce
Jarrett.
FBI
MAN
At least twice.
FBI
WOMAN
What is your
relationship to Mr.
Jarrett?
ANN
I'm not related at
all.
FBI
MAN
Does the name Angela
X mean
anything to you?
ANN
What was that name
again?
78.
FBI MAN
Angela X.
FBI
WOMAN
Alias Mrs. Jarrett.
FBI
MAN
She and her husband
are both
members of Last
Chapter. Perhaps
you've heard of it.
ANN
The radical
group? I didn't know
they even existed any more.
FBI
WOMAN
Would you happen to
be Mrs. Jarrett
yourself, ma'am?
ANN
Well, no, I'm not her, don't be
ridiculous.
FBI
WOMAN
Let's get back to
your relationship
to Mr. Jarrett.
ANN
There is none -
except he knocked
out one of my
teeth. If you don't
believe me, check the
police
reports.
The man and woman look at one
another: this is news to them.
ANN
I filed my report
with a Detective
Palmer. I have his phone number.
FBI MAN
We'll check that out.
ANN
Please do.
FBI
WOMAN
Thank you for your
time. We may
have more questions
later.
They leave. As soon as they're gone, Ann looks worried
for
the first time.
79.
EXT. TREATMENT CENTER - PATIO - DAY
It is visitors' Sunday again. The usual family and friends
of patients crowd the patio.
Heather, the counselor, is talking
to Bruce's mother.
MOTHER
No one told me he
left.
HEATHER
You can visit him at
ward 5C in
Portland.
Heather is escorting her off the
patio.
MOTHER
Why wasn't I told her
left?
EXT. PATIO - TABLE - DAY
Molly and Roger share a small table,
playing cards.
MOLLY
How long will he be
in the psych
ward?
ROGER
For as long as it
takes, I guess.
EXT. TREATMENT CENTER - FENCE IN
ISOLATED AREA - DAY
The convertible pulls to the side of
the road. Bruce is
driving and is alone.
He gets out. He looks up and down a stretch of
fence. He
decides this will do as well as any
place.
He climbs the fence.
EXT. FENCE
In the distance are the buildings of
the treatment center,
and once over the fence, Bruce
starts toward them.
80.
EXT. PATIO
Molly and Roger are still playing
cards.
ROGER
Did I tell you I got
a letter from
my ex-wife? She's threatening to
visit me.
MOLLY
How do you feel about
that?
Roger starts laughing.
MOLLY
God, we all start
sounding like
counselors, don't we?
ROGER
"Keep coming
back . . ."
They both start laughing.
EXT. TREATMENT CENTER - NEAR PATIO -
DAY
Bruce has located the patio, filled
with patients and
guests. His task is to get there without being noticed.
To this end, he decides to go into a
wing of the building
and approach the patio from inside.
INT. WING OF BUILDING
Bruce comes in. The coast is clear.
He starts moving down the hallway
toward the patio.
INT. HALLWAY
As Bruce approaches the patio area,
Heather, the counselor,
rounds a corner and approaches
him. He doesn't miss a
stride, continuing on.
They are about to pass.
BRUCE
I was told there was a rest room
down this way.
81.
HEATHER
No. It's right there.
She points one out just ahead of
him.
BRUCE
"If it was a
snake, it'd've bitten
me." Thanks.
Smiling, Bruce moves past her and
forward without a problem.
He goes into the bathroom. A beat.
He comes out of the
bathroom.
EXT. PATIO
Bruce comes out onto the patio.
Molly's back is to him.
Bruce approaches the table, stopping
behind Molly.
ROGER
Can I help you?
Molly turns and sees Bruce. She freezes.
BRUCE
Is there somewhere we can talk?
Molly isn't sure what to do. Thinking quickly, she rises.
MOLLY
Bruce, this is Roger.
(to Roger)
Bruce. He and I go way back.
(to Bruce)
This way.
Molly heads for the door, with Bruce
behind her. Roger
doesn't know what is going on.
INT. TREATMENT CENTER - HALLWAY - DAY
They come inside. Molly is moving quickly, Bruce coming up
beside her.
82.
BRUCE
No damn funny
business.
MOLLY
I want this as much
as you do.
Maybe more.
Bruce is taken aback by this.
Molly leads the way into a
conference room. When Bruce
enters, she closes the door.
INT. CONFERENCE ROOM
Molly moves to sit down at the end
of the long conference
table. Bruce waits near the door.
Then Bruce moves forward cautiously
without sitting.
BRUCE
What the hell is
this?
MOLLY
You're the
guest. You tell me.
BRUCE
You look
different. I don't mean
the short hair and
dye job. Or
being older. Something about you
is different. Like you've got
something up your
sleeve.
MOLLY
I'm not kissing your
ass any more,
Bruce. Maybe that's it.
Bruce laughs.
BRUCE
That sounds like
something Angela X
always wanted to say
but never had
the balls to. I got to read a lot
in prison. I understand all you
feminists think the
movement used
you. All you did was spread your
legs and make
coffee. That what
you think?
83.
MOLLY
No. I FEEL I was terrified of you.
And therefore terrified to do what
I really wanted to
do, which was to
get away from all of
you and try to
make sense out of my
life again.
BRUCE
Too bad you didn't
split before I
was looking for you
in the car.
Would've saved me a
couple decades,
know what I mean?
MOLLY
I don't feel good
about what I did.
Any of it.
Bruce leans forward and slams his
fist against the table.
BRUCE
I just spent the best
years of my
life in prison,
lady! That didn't
have to happen!
Heather opens the door and comes
into the room.
HEATHER
Molly, you know this
room is off
limits.
Molly gets up.
MOLLY
This is Bruce, my husband. He's
not on the guest list
but managed
to join us
anyway. He has a talent
for things like that.
HEATHER
I'm going to have to ask you to
leave.
BRUCE
No problem.
(to Molly)
We got lots more to
talk about.
Lots more.
84.
He leaves, with Heather following to
make sure he really
goes.
HEATHER
(on her way out)
Wait for me in my
office.
Alone in the conference room, Molly
takes a deep breath.
INT. HEATHER'S OFFICE - DAY
Molly is thumbing through a book
when Heather enters.
HEATHER
You want to tell me
what that was
about?
MOLLY
Yes, I do. How
long do we have?
HEATHER
As long as it takes.
Molly sits down.
MOLLY
Okay, here goes.
I've been living
underground under
the name Molly
McGuire. For two
years I was a member
of Last
Chapter, a spinoff of
the
Weathermen. I was
known as Angela
X. Once when we-- . . .
HEATHER
I'm a Federal
employee, Molly. I'm
going to have to report
whatever
violations of the law
you plan to
tell me.
Molly thinks about this.
HEATHER
Why don't you give it
some thought
first?
85.
MOLLY
The thing is, I
actually never
directly broke a law.
I didn't
approve of violence.
HEATHER
If you lived with
people breaking
the law and didn't
report them,
then you may be
guilty of
conspiracy.
MOLLY
Now I don't know what
to do.
HEATHER
Maybe you should think about it
some more.
MOLLY
Okay.
She gets up and moves to the door,
where she turns.
MOLLY
Thanks a lot.
Heather smiles and nods.
EXT. AIRPORT - DAY
Ann comes down the ramp from a
jetliner.
INT. AIRPORT - TERMINAL - CAR RENTAL
DESK - DAY
Ann has just rented a car.
ANN
How do I get to the
VA Hospital in
Vancouver?
CAR
RENTAL CLERK
Well, Vancouver's just across the
river. I'm not sure where the
hospital is.
ANN
Thanks anyway.
86.
EXT. COLUMBIA RIVER BRIDGE - DAY
Ann's car is crossing the bridge
from Portland to Vancouver.
INT. CAR
Ann is munching on a candy bar. Loud rock music plays on
the radio.
EXT. TREATMENT CENTER - DAY
Ann's car enters the treatment
center and stops at the front
gate. The gate guard gives her directions.
EXT. TREATMENT CENTER - PATIO - DAY
Molly and Roger are playing cards
when Ann comes out onto
the patio.
Seeing her, Molly screams for joy,
gets up and rushes into
her arms.
MOLLY
Why didn't you tell
me you were
coming?
ANN
A sudden
inspiration. We need to
talk, like
privately. It's
important.
MOLLY
We can't here. There's an AA
meeting tonight. You could come to
it.
ANN
That'll work.
MOLLY
Ann, Bruce is here.
ANN
What?
MOLLY
I'll tell you all
about it tonight.
87.
EXT. CITY STREET - BUILDING - NIGHT
A van pulls up, letting out a dozen
patients from the
treatment center, including Molly.
They enter a door leading to a
basement.
INT. BUILDING - BASEMENT - NIGHT
The patients are coming down to an
AA meeting. Folding
chairs are set up in front of a
table, where two people, a
MAN and a WOMAN, wait to chair the
meeting. Most patients
head directly for the coffee
pot. Molly finds Ann sitting
in the back and joins her. They talk, then get up and go to
the ladies room together.
INT. WOMEN'S ROOM
They enter. A YOUNG WOMAN is fixing her face at the
mirror.
Molly and Ann wait until she
finishes. Finally the young
woman leaves.
MOLLY
Now what the hell's
going on?
ANN
The FBI came by. They're looking
for Angela X.
MOLLY
They must've had a
tail on Bruce.
ANN
I got the impression
they don't
know much about you, though. For a
minute they even
thought I was
Angela X.
MOLLY
There was never a
reason for them
to have my prints or anything. A
couple bad photos of
me is all they
should have. And tapes of whatever
they were bugging.
ANN
I wanted to make sure
I got to you
before the FBI
did. So what about
Bruce?
88.
MOLLY
He visited, before he
was kicked
out for not being on
the list.
ANN
What are you going to
do?
MOLLY
I'm still safe as
long as I'm in
treatment. We'd better get out
before the meeting
starts.
INT. BASEMENT
as they come out and take two chairs
near the back of the
room. The woman at the table bangs a gavel.
AA
CHAIR
Will the meeting
please come to
order? . . . This is the regular
Tuesday night meeting
of the Born
Again group.
EXT. BUILDING - NIGHT
Bruce approaches on foot. He enters the door to go down to
the basement.
INT. BASEMENT
The meeting is continuing as Bruce
enters.
Molly and Ann are seated
conveniently at the rear, their
backs to him. He moves to them and leans down, whispering
with his head close to theirs.
BRUCE
I'm going to be right
behind you.
After the meeting,
when we get
outside, you're coming
with me.
I'm armed, and I have
nothing to
lose, if you know
what I mean.
He quickly gets up and moves away,
leaning on the back wall
to watch the meeting.
Molly and Ann join hands and
squeeze.
89.
AA MEETING - A SERIES OF SHOTS
(A) The chair has the floor. She's concluding her remarks.
AA CHAIR
So I can say from
experience that
this will work if you
let it work.
And that means doing
your program -
coming to meetings,
doing your
steps, calling your
sponsor. It's
kept me sober for
seven years now.
(B) A young man is very nervous to
be there:
AA
MAN #1
My name's Sam, and I'm an
alcoholic.
A chorus of "Hi, Sam,
welcome," greets him.
AA
MAN #1
I don't know,
man. Like I've been
sober 5 days, and for
me it's like
being in the Guinness
Book of
Records. I feel like a Guinness
right now, as a
matter of fact.
Scattered laughter.
AA
MAN #1
I don't know. I'm just taking it
one day at a
time. I hope I'm here
next week. Thanks.
"Keep coming back" echoes
around the room.
(C) The next speaker is a
distinguished-looking retired man.
AA
MAN #2
I can remember when I
was like that
scared young fellow
who just
talked.
In the back of the room, Bruce is
bored. He had his fill of
AA meetings in prison.
Molly and Ann sit very still. They are terrified and unsure
what to do.
(D) A woman has the floor:
90.
AA
WOMAN #1
My name's Cindy, and
I'm a grateful
recovering
alcoholic-addict. . . .
Me and my Higher
Power took a hike
in the mountains
yesterday, and let
me tell you, I should
do that sort
of thing more often.
(E) The chair has the floor:
AA
CHAIR
The gentleman in the
back of the
room. Would you like to share
tonight?
She's referring to Bruce, who looks
around hoping it's not
him. Now everyone waits for him to speak.
BRUCE
My name's Bruce, and
I just feel
like listening
tonight.
EXT. BUILDING - NIGHT
The meeting is over, and people are
coming back up onto the
street.
Molly and Ann come up, with Bruce
behind them. Jewels has
come out ahead of them and is
smoking a quick cigarette on
the street. As Bruce directs Molly and Ann to turn down
the
street, away from the van, Jewels
wonders what's going on.
JEWELS
Hey, Molly, you got
to go back in
the van.
Bruce moves close to Molly.
BRUCE
Ignore him. Keep going.
It's the
white convertible.
Jewels watches the threesome get
into the car.
Roger and Skeeter have come up from the meeting.
SKEETER
I think she's already
on Stage One.
91.
JEWELS
She don't watch out,
she'll be
history.
ROGER
That guy was kicked
out of the area
one Sunday. I think she's in
trouble.
They watch the car pull away.
Suddenly Roger makes a decision,
running to the treatment
center van. He gets in beside the driver.
As much from curiosity as anything,
Jewels and Skeeter
follow and also get into the van.
INT. THE VAN - NIGHT
The VAN DRIVER is not staff but a
volunteer among the
patients.
ROGER
We need to follow
that convertible.
VAN DRIVER
You know better than
that.
Roger physically shoves the driver
out of the van. In the
back, Jewels and Skeeter don't know
whether to cheer him on
or stop him.
JEWELS
You got big balls,
doing that, my
friend. They throw you out on your
ear.
Roger gets behind the wheel and
starts the engine.
ROGER
If you're not with
me, get the hell
out!
JEWELS
Man, what you think?
SKEETER
You think she's in
trouble?
92.
ROGER
I know she doesn't want to see the
guy.
EXT. BUILDING - STREET - NIGHT
The van peels out, taking after the
convertible, as patients
watch in wonder.
INT. CAR - NIGHT
Bruce is driving, with Molly and Ann beside him. He has
taken out the pistol and holds it in
his left hand.
MOLLY
Where are we going?
BRUCE
You'll find out soon
enough.
EXT. VARIOUS STREETS - VAN FOLLOWING
CONVERTIBLE - NIGHT
Bruce heads for the bridge across
the river to Portland.
The van follows.
Bruce picks up the freeway.
The skyline of the city can be
seen ahead.
The van is keeping a comfortable
distance back.
INT. THE CAR
Bruce still has hold of the pistol.
BRUCE
Heather, you're so
full of shit.
You could've left any
time you
wanted.
MOLLY
You'd've beat the
shit out of me if
I did that.
BRUCE
Bullshit.
93.
MOLLY
You beat the shit out
of me for a
hell of a lot
less. But dumb
goddamn me, I kept
hanging around
for more. Well, you're going to
have to kill me this
time around,
Bruce. I'm tired of running from
you.
Bruce's expression reveals that this
is a very different
Molly than he's used to. Maybe he's bitten off more than he
can chew.
EXT. FREEWAY - NIGHT
The convertible and van continue to
approach the city.
INT. CAR - NIGHT
Jewels has taken the seat beside Roger,
who drives.
JEWELS
Maybe they haven't
spotted us yet.
He ain't trying to
lose us.
ROGER
I think we're fine.
EXT. PORTLAND DOWNTOWN - STREET -
NIGHT
The convertible is downtown, with
the van in traffic about
half a block behind.
The convertible pulls into an
underground parking garage.
The van does the same.
EXT. PARKING GARAGE - NIGHT
Bruce parks, and everybody gets out.
Bruce directs Molly and Ann to the
elevator. They step into
it.
94.
The elevator door closes as the van
comes by. It stops
without parking, and the three
veterans get out and hurry to
the elevator.
ROGER
Shit.
SKEETER
We can see which
floor they stop
at.
ROGER
But then what?
It'll take forever
to check out every
room.
JEWELS
We'd better find
their asses.
Nobody's ever gonna
believe this if
we don't.
They watch the numbers changing, as
the elevator goes up.
INT. HALLWAY - NIGHT
Molly, Ann and Bruce come out of the
elevator and, at
Bruce's direction, move down the
hallway.
EXT. PARKING GARAGE - NIGHT
The elevator comes back down, and
the three veterans get on.
INT. HALLWAY
Bruce stops at a door. He takes out a key.
BRUCE
In here.
INT. HOTEL SUITE
As Bruce, Molly and Ann come into
the suite of rooms, Hazel
is stretched out on a large divan,
watching TV and sipping a
drink. She's wearing only a flimsy nightgown, quickly aware
of how exposed she is.
95.
HAZEL
Darling, you could've
phoned to
tell me you were
bringing back
company! Excuse me, everyone.
She hurries off to the bedroom to
dress.
BRUCE
Make yourself comfortable. Anybody
want a drink?
ANN
If it's not poisoned,
yes.
MOLLY
Not I.
BRUCE
Oh? Since when?
MOLLY
I've been dry almost
a month. It
feels good.
BRUCE
Right.
There's a bar area, and he moves
toward it.
BRUCE
Ann, name your
poison. I got vodka
and bourbon.
ANN
Do you have ice?
BRUCE
Of course I have ice.
ANN
Bourbon on the rocks.
BRUCE
You sure you don't
want anything,
Heather?
"Molly" doesn't
reply. Her thoughts are adrift.
96.
BRUCE
Heather? "Molly"?
MOLLY
Oh - I'm sorry. Nothing for me.
Bruce starts making the drinks.
ANN
Don't do something
that puts you
back in prison.
BRUCE
I don't plan to.
ANN
Could've fooled me.
BRUCE
I'm sorry about your teeth. I just
exploded, it just
happened. It
won't happen
again. This damn
thing isn't even
real.
He tosses the pistol across the
room, where it lands on a
chair.
ANN
Then what's stopping
us from
leaving?
BRUCE
I think Heather wants to talk.
MOLLY
Yes, I do.
(to Ann)
Give us some time
alone.
ANN
You're sure about
this?
MOLLY
Positive. I'll be fine.
BRUCE
Take Hazel with you.
ANN
Hazel? The, ah - the one paying
for all this, right?
97.
INT. HALLWAY - NIGHT
The elevator stops, and the door
opens. Roger, Jewels and
Skeeter get out.
SKEETER
Now what?
ROGER
Let's split up and
listen at doors.
Maybe we'll hear
something.
Anybody got a better
idea?
No one does. Roger points out directions, and they move
off
to cover different areas.
INT. HALLWAY - FOLLOWING ROGER
as he moves from door to door,
listening for something,
anything.
Suddenly, ahead of him, a door
opens, and Ann and Hazel come
out, heading his way.
Roger moves toward them. He, of course, recognizes Ann, and
she him. But they pass in the hallway without speaking,
exchanging only a quick knowing
glance.
Roger moves past the door until they
are out of sight. Then
he hurries back to the door of the
room they came out of.
He puts his ear to the door,
listening.
INT. HOTEL ROOM
Molly sits, Bruce paces. He goes over and mixes another
drink.
MOLLY
Too bad you had to
start drinking
again.
BRUCE
Again? You can get booze or any
drug you want in
prison.
MOLLY
Oh.
98.
BRUCE
Miss Goody
Two-Shoes. You a reborn
Christian, too?
MOLLY
Let's get to the
point, Bruce. I
told you I'm sorry. As sorry as I
can be, anyway. I never should
have been waiting
outside the bank
in the first
place. I should have
left Last Chapter long before then.
BRUCE
So why didn't you?
MOLLY
I already told
you. I was
terrified to.
Bruce moves to her.
BRUCE
I loved you. How could you be
terrified of me?
MOLLY
Because you'd get
drunk and hit me.
Jesus, Bruce. You knew how you
were.
BRUCE
I never meant to hit
you, you know
that. We always made up.
MOLLY
I hope they taught
you something
about anger
management in prison.
BRUCE
They did. I'm not like that any
more. What happened with Ann, I
can't explain it, I
felt bad as
soon as it happened.
MOLLY
I don't think you
felt bad.
BRUCE
I'm a changed man.
99.
INT. HALLWAY
Roger tries the door. It's locked. How to open it?
He gets an idea and moves off.
INT. HALLWAY - ANOTHER AREA
Roger finds a bellboy moving down
the hallway.
ROGER
Sir!
He quickly catches up with him.
ROGER
I seem to have locked
myself out of
my room.
BELLBOY
No problem.
They move back toward the room
together.
INT. HOTEL ROOM
The discussion between Molly and
Bruce continues.
MOLLY
I stayed because I
loved you and
because I was afraid
to leave. But
when I heard the gun
fire, I
couldn't go along any more, my gut
reaction said run,
and that's what
I did. I've been running ever
since.
Bruce just looks at her.
MOLLY
What do you want from
me?
BRUCE
I don't know. When I got out, I
wanted to - I wanted
to hurt you.
MOLLY
And now?
100.
BRUCE
What's the
point? When I hit Annie
- it just
happened. Like I said, I
didn't feel good
about it
afterwards.
MOLLY
I'm glad.
Maybe that's a start.
Bruce grins at her. Then, suddenly, without warning, he
hits her hard. She goes sprawling.
BRUCE
You stupid bitch,
you're gullible
as ever.
He jumps at her just as she moves
away. He chases her
around the room.
INT. HALLWAY
The bellboy unlocks the door, and
Roger steps inside.
ROGER
Appreciate it.
BELLBOY
No problem.
INT. SUITE
as Roger comes in.
Bruce is still chasing Molly. Roger hurries to Bruce,
grabbing him, and the two fight.
As they do, Molly tries to position
herself to help Roger.
Bruce is getting the best of the
deal when Tom and Skeeter
come in through the open door.
At least, all three of the men are
able to overwhelm Bruce.
As Skeeter and Tom hold Bruce, Roger
goes to Molly, and they
embrace.
101.
INT. VA MEDICAL CENTER - CLASSROOM -
DAY
Molly, Ann, Roger, Skeeter and
Jewels sit silently in a
classroom, waiting.
Tex, Heather and Ray enter the room.
TEX
We're putting you all on a Stage
Two Intervention but
letting you
stay.
Molly and the others exchange
relieved glances, getting the
news they've been hoping for.
EXT. TREATMENT CENTER - PATIO - DAY
Ann is saying goodbye to Molly.
ANN
I wish I could change
your mind.
MOLLY
I need to be here,
Ann. I truly
do.
ANN
I don't see you as
being an
alcoholic.
MOLLY
I've been drinking to
hide my
feelings for years.
ANN
I guess you know what
you need.
MOLLY
I need this. I really do.
ANN
You're serious here.
MOLLY
I've never been more serious in my
life. You know what's really
crazy?
ANN
Jesus, what isn't
crazy lately?
102.
MOLLY
My name is Molly, and
I'm an
alcoholic. Isn't that
mind-boggling?
They embrace.
INT. CLASSROOM - DAY
It's Molly's turn to read the
Opening Statement in front of
everyone. She stands at the head of the class.
She reads the statement with great
feeling.
As she reads, we see a MONTAGE of
earlier scenes from the
movie, understood in a somewhat
different light now.
MOLLY
"YOU have come
to US. You've said
you've decided to change your life.
"Changing your
life is not
something that is
done to you. It
is something you do
to yourself.
We will not force you to do
anything. Change is only valid if
it comes from within.
"You will be
very uncomfortable
here. You may find this program
hard, irritating,
stupid and
unsatisfactory. You might become
disgusted and want to
quit.
"You will not
always understand
what is going on, or why. But you
will always be
expected to tell the
truth and to listen
to the truth.
"Our concept of
a meaningful life
is not merely to stop
drinking or
using drugs. It is to replace that
part of yourself that
caused
destructive
self-behavior in the
first place.
(MORE)
103.
MOLLY (cont'd)
"But before it
can be replaced, it
must be recognized and examined.
'The unexamined life
is not worth
living,' said
Socrates. We believe
that is true.
"If you're not ready
to examine
yourself with
ruthless
self-scrutiny, then
you may want to
reconsider your
reasons for
entering this
treatment program.
"You may want to leave before we
kick you out."
Molly is now ready to begin
recovery.
FADE
OUT.