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