(8U(s3t12vp10H
TOUGH LOVE
The story of Ruth
Barnett
by Charles Deemer
A DARK SCREEN
and we hear the opening refrain of a
classic doowop song,
perhaps "In the Still of the
Night" by the Five Satins:
DOOWOP SONG
Shoo-doot-n-shoo-be-doo . . .
shoo-doot-n-shoo-be-doo
. . .
and the music continues as:
FADE IN:
EXT. CITY STREET - NIGHT
A taxicab, vintage late 1940s, is
driving down a dark
street. It is raining.
Streetlights reflect off the wet
pavement.
INT. TAXI - NIGHT
In the back seat is a YOUNG WOMAN,
college age, who has been
crying. She clearly is very upset about something. She is
dressed expensively, clearly coming
from a wealthy family.
EXT. STREET - NIGHT
The taxi pulls into a dark
alley. It continues a bit, slows
down and stops.
INT. AUDITORIUM - STAGE - NIGHT
Behind the podium at a political
rally is JACK CORD, a
handsome ambitious man in his
forties. He stands under a
BANNER announcing his candidacy for
mayor.
Cord's hands are clasped over his
head and he is grinning,
as his supporters cheer but it still
is only the doowop we
hear on the soundtrack.
2.
EXT. ALLEY - NIGHT
The young woman gets out of the cab,
opens an umbrella and
starts to move off through the rain,
forgetting to pay her
fare. The cabby calls her back.
The young woman opens her purse and
hands the cabby a bill.
He makes change, but the woman has
gone on without waiting
for it. The cab backs up out of the alley.
The young woman takes a slip of
paper out of her purse,
fumbling to do this and hold the
umbrella at the same time.
She matches an address written down
on the paper with the
number over a dark doorway.
She moves to the door and knocks.
The door opens. A MALE DOCTOR, an older man, appears in the
doorway, looking a little unsteady,
a little intoxicated.
The young woman closes the umbrella
and starts to step
inside out of the rain but is
stopped. The doctor says
something.
The young woman takes money out of
her purse and gives it to
the doctor. Only then does he move aside so she can enter.
INT. BUILDING - HALLWAY - NIGHT
The hallway inside the building is
dark, dusty and dreary.
Light spills out from a small room
down the hallway, and the
doctor leads the way to it.
INT. BUILDING - ROOM - NIGHT
A bare light bulb hangs from the
ceiling, illuminating the
room and contributing to a feeling
of stark depression.
A NURSE, also older, is making
preparations for an operation
as she stands near a long table, the
dominating piece of
furniture in the room. The sheet spread over the table is
blood-stained.
The young woman is led to a screen
in the corner and given a
hospital gown. She is told to change her clothes.
It is still only the doowop that we
hear on the sound track.
INT. AUDITORIUM - NIGHT
Finally the doowop stops. Cord gestures for his family to
join him on stage.
3.
His wife and daughter, all grins and
teeth, hurry up on
stage beside Cord. He gets the attention of his supporters.
JACK
CORD
My wife, Carol . . .
my daughter,
Heather . . . I couldn't do it
without them, people!
CAROL is an attractive woman in her
late thirties. HEATHER
is sixteen and pretty.
Both women embrace him, wave to the
cheering crowd, then
move off again.
Cord waits for his supporters to
quiet down.
JACK
CORD
My friends . . . my friends, I
pledge to you tonight
more than
victory . . . I pledge to you that
as mayor, under my
administration,
the streets of Portland
will become
streets where our
wives and
daughters, our
mothers and sisters,
can walk safely and
securely . . .
where they will not
be accosted by
prostitutes, where
they will not be
confronted by the din
from gambling
halls . . . I pledge
to you an end
to the embarrassing
and immoral
reputation that our fine city has
acquired over the
years as being
the Sin City of the
west
coast . . . I pledge
to you a
return to decency! I pledge to you
a city based on
family values!
His supporters are cheering wildly.
EXT. RACE TRACK - NIGHT
Cheering of a different tone
continues as two thoroughbreds
race neck-and-neck, turning into the
backstretch.
INTERCUT - RACE TRACK, AUDITORIUM
racing fans cheer for their horses,
Cord's supporters cheer
for their candidate.
EXT. RACE TRACK - FINISH LINE -
NIGHT
The horses thunder across the finish line, one winning by a
nose. Suddenly:
4.
A RISING WAILING SCREAM
comes up under the cheering, and it
chills to the bone.
CLOSE ON YOUNG WOMAN
her mouth open and screaming in
pain.
EXT. RACE TRACK - WINNER'S CIRCLE -
NIGHT
RUTH BARNETT, owner of the winning
horse, accepts a huge
bouquet of flowers in the winner's
circle. She stands
beside the horse as the JOCKEY
dismounts, and she hugs him.
RUTH is an attractive woman in her
forties, dressed
fashionably and more for the
symphony or opera than for a
racetrack. She wears furs, a scarf, a hat.
Flashbulbs pop as Ruth pets the
horse, beaming, posing for
the cameras.
CLOSE ON BOTTLE OF CHAMPAGNE
as its cork pops open.
INT. RACE TRACK - CLUB HOUSE - NIGHT
In the clubhouse Ruth and her best
friend FLO STEVENS clink
champagne glasses. Flo, like Ruth, is dressed to the nines.
The women clearly are enjoying their
night out at the track.
The BARTENDER offers a toast.
BARTENDER
To Dr. Ruth Barnett,
who knows a
good horse when she
sees one!
People in the clubhouse applaud.
RUTH
Thank you, Fred. Open a few more
bottles for
everybody.
Ruth and Flo move to a table and sit
down.
INT. CLUBHOUSE - TABLE - NIGHT
Ruth lights a cigarette in her long
cigarette holder.
5.
RUTH
I can't tell you how
much I've
needed a night like this. Not
winning - just
getting away from
the clinic.
FLO
Enjoy it. We've got fifteen
scheduled for
tomorrow.
RUTH
I thought it was
eight.
FLO
That was Monday.
RUTH
Then we're staying
til they kick us
out. I want to enjoy as much of
this as I can.
They laugh and clink glasses again.
EXT. CLUBHOUSE - NIGHT
Ruth and Flo come out of the
clubhouse. The crowd is moving
for the exits after the last race.
Suddenly a MAN in the exiting crowd
accosts them.
MAN
IN CROWD
Baby killer! Murderer!
A SECURITY POLICEMAN is quickly on
the scene, dragging the
man away.
MAN
IN CROWD
You'll rot in hell,
Barnett!
Flo gives Ruth's arm a squeeze, as
if to say, Don't let it
bother you.
FLO
Creep.
They move quickly for the gate.
INT. RUTH'S CAR - PARKING LOT -
NIGHT
Ruth and Flo get into a car, Ruth
behind the steering wheel.
It's a black Cadillac, very uptown.
RUTH
The job never goes
away, does it?
6.
She starts the car.
EXT. HOTEL - STREET - NIGHT
A taxicab pulls in front of a
hotel. The back door opens
and a gorgeous woman steps out.
This is HELEN DIMARCO, a Hollywood
starlet, trying to be
incognito in dark glasses and a hat
and veil.
INT. HOTEL - BAR - NIGHT
Sitting at a small bar off the
hotel's lobby are RUSSELL
ARMSTRONG and BUD MCELROY.
Armstrong is a reporter for the
Journal, a bit disheveled,
looking a little like a misplaced
academic. His
photographer, McElroy, is prim in
comparison.
Armstrong has seen DiMarco enter and
go to the front desk.
He slides off the barstool.
ARMSTRONG
Be right back.
McElroy looks up from his drink but
lets Armstrong go
without a word. He's a
little drunk.
FOLLOWING ARMSTRONG
as he leaves the bar and goes into
the hotel lobby.
ARMSTRONG'S POV
of DiMarco registering. As soon as she registers, she is
moving off to the elevator.
INT. HOTEL - LOBBY - NIGHT
Armstrong quickly moves to the
elevator and stands beside
the woman. They exchange a glance.
Armstrong smiles, and
Helen DiMarco turns away.
The elevator door opens, and DiMarco steps in. She expects
Armstrong to follow.
ARMSTRONG
I'm going down.
The elevator door closes.
7.
ARMSTRONG
Miss DiMarco.
INT. HOTEL - BAR - NIGHT
Armstrong slips back onto the
barstool.
ARMSTRONG
You'll never guess
who just
registered.
MCELROY
Who?
ARMSTRONG
Helen DiMarco.
MCELROY
No kidding?
ARMSTRONG
I was as close to her
as I am to
you. What in the world would bring
Helen DiMarco to
Portland? I
haven't heard
anything about a
movie being shot.
MCELROY
Who says she's here
for a movie?
ARMSTRONG
Why else would she be
in town?
MCELROY
Maybe to get an abortion.
ARMSTRONG
You think so?
MCELROY
Why the hell else
does anybody with
money and fame ever
come here?
We're the capital of
the west
coast, you know that.
McElroy has said this
matter-of-factly, as common knowledge.
Armstrong considers the matter,
realizing that he may be
right. Such is Portland's reputation.
EXT. ALLEY - BUILDING - NIGHT
The young woman from the opening
scene comes out of the
building into the alley. She looks pale and weak.
8.
It is still raining, and she
realizes she has forgotten her
umbrella. She'd rather get soaked than go back inside and
moves off.
She moves down the alley, slowly,
painfully, and reaches the
sidewalk. She continues walking.
EXT. PORTLAND - CITY STREET - DAY
Traffic moves down a city street in
the morning rush hour,
past a corner building.
INT. BUILDING - RUTH'S CLINIC - DAY
In the building, Ruth's clinic
resembles a fine hotel suite.
Vases of fresh flowers are
everywhere, thick carpet
stretches across the waiting room,
prints of classical art
are on the walls, classical music
plays softly in the
background. The place is clean and immaculate.
PATIENTS sit in the waiting
room. They represent a wide
variety of ages, from teenagers to
women in their forties.
Flo sits behind a receptionist's
desk. Periodically
ASSISTANTS wander through the
waiting area or fetch a
patient, suggesting an atmosphere of
intense business and
busy work.
INT. RUTH'S CLINIC - ANOTHER AREA -
DAY
A large room is partitioned into
cubicles. Ruth moves from
one cubicle to another, making her
rounds.
INT. CUBICLE
Ruth is all smiles. The woman in bed is a college student,
who is reading a book.
RUTH
How are you feeling?
PATIENT-1
Not too bad.
RUTH
Good.
Ruth sticks a thermometer under the
woman's tongue.
RUTH
We'll schedule you
for later this
morning, how's that
sound?
(MORE)
9.
RUTH
(cont'd)
Tonight we'll put you up in our
motel. You can recuperate there
for a few days.
The woman, with the thermometer
under her tongue, tries to
ask, "How many?"
RUTH
Two or three days
should be enough.
If you want someone
to bring you
more of your school
books, we can
do that. Might as well make good
use of your time.
Ruth removes the thermometer and
reads it.
PATIENT-1
I would like
that. I have midterms
next week.
RUTH
Make a list of the
books you need,
we'll have them in
your motel room
tonight.
She puts her hand on the woman's
cheek. The woman manages
to smile.
RUTH
If you're like me,
you'll find a
trip to the dentist
is much worse
than this.
INT. ANOTHER CUBICLE
Ruth enters another cubicle. The woman in bed is
middle-aged.
PATIENT-2
You're late.
RUTH
Feisty as ever,
aren't we? That's
a good sign.
PATIENT-2
I have stomach
cramps.
RUTH
I'm scheduling you
late this
afternoon. I'd like you to relax
more. Take these with lunch.
She gives the woman two pills.
10.
PATIENT-2
I don't like to take
pills.
RUTH
I don't like to have
to give them.
In your case, I think
they will do
you good.
She takes the woman's hand.
RUTH
I know you're
scared. Do you know
how many women come
through here a
week? We've never lost a patient
yet.
PATIENT-2
Just my luck to be the first.
RUTH
Well, I'm not letting
you get away
with that. I have my reputation to
think of. Don't forget to take the
pills.
She squeezes the woman's hand.
RUTH
I'll schedule you at
the end of the
day.
EXT. PARK - DAY
The young woman from earlier is
sitting on a park bench.
She looks weak.
It's stopped raining but she looks
disheveled from the night
before.
She struggles to her feet and moves
across the park. In the
distance children are playing,
screaming happily as their
mothers watch.
EXT. STREET - DAY
The young woman reaches the sidewalk
and continues walking.
She looks as if she's ready to pass
out at any minute.
INT. NEWSPAPER BUILDING - NEWSROOM -
DAY
Armstrong wanders through the busy
and loud newsroom at the
Journal and stops behind the chair
of a woman, JANET, who is
working on a story on her
typewriter. Her desk is near a
window, looking down on the street
below.
11.
He playfully squeezes her from
behind, and she jumps.
Janet turns, looking up to him, and Armstrong steals a quick
kiss.
ARMSTRONG
How's it coming?
JANET
Slowly.
ARMSTRONG
You'll never guess
who I saw at the
Benson last night.
JANET
You're right, I
won't.
ARMSTRONG
Helen DiMarco.
JANET
You're kidding. What movie's being
shot in town?
ARMSTRONG
I think she's here
for an abortion.
INT. CLINIC - OPERATING TABLE - DAY
Ruth is doing surgery, performing an
abortion on Patient-1
from above. Her manner is very professional:
concentrated, capable,
confident. Several assistants help
her.
When the operation is over, Ruth
touches the young woman's
cheek and kisses her on the
forehead, very motherly.
INT. CLINIC - RECEPTION AREA - DAY
A middle-aged woman enters the
clinic and goes to Flo's
desk, taking a checkbook out of her
purse.
WOMAN
I have an appointment for eleven.
FLO
I'm sorry, we don't
take checks.
You can cash it at
the bank down
the street.
WOMAN
Can't you make an
exception?
12.
FLO
No, ma'am.
WOMAN
A strange way to do
business.
The woman leaves in a huff to cash
her check.
EXT. STREET - DAY
The young woman is still walking slowly
down the sidewalk.
She is looking weaker by the moment.
She falters and starts to lose her
balance. Finally she
collapses on the street.
INT. NEWSROOM - JANET'S DESK - DAY
Armstrong stands idly by the window
as Janet works on her
story.
ARMSTRONG
I'm getting very
hungry here.
JANET
Let me finish this
paragraph.
Armstrong notices something on the
street below.
ARMSTRONG'S POV
as a crowd gathers around something
on the sidewalk.
INT. NEWSROOM - JANET'S DESK - DAY
ARMSTRONG
Something's going on
down there.
He moves away.
JANET
Where are you going?
ARMSTRONG
I'll meet you
downstairs.
And he's gone, leaving Janet to
wonder what is going on.
EXT. SIDEWALK
The young woman has fainted on the
street, and a crowd has
gathered around her.
13.
Armstrong appears on the scene.
ARMSTRONG
What happened?
WOMAN IN CROWD
She fainted. Look, she's bleeding.
THE YOUNG WOMAN
lies on the sidewalk, her thighs
covered with blood.
EXT. SIDEWALK - DAY
Armstrong is scribbling notes as an
ambulance pulls up.
Janet joins him.
JANET
What's going on?
ARMSTRONG
I think the Lt.
Governor's kid just
had an abortion.
This is news, and Janet reacts with
a reporter's excitement.
INT. OPERATING AREA
Ruth finishes operating on
patient-2, the middle-aged woman
above.
RUTH
That wasn't so bad,
was it?
PATIENT-2
A trip to the dentist
is worse.
RUTH
That's my line.
PATIENT-2
I know, I heard you
tell someone
that.
RUTH
So you're stealing my
best lines
now?
She gives the woman a supportive
squeeze on her shoulder.
14.
INSERT: NEWSPAPER HEADLINE
A headline reads "Lt.
Governor's daughter collapses on
street".
Under this, a subhead asks,
"Victim of illegal abortion?"
The byline under the headlines is
Russell Armstrong.
CLOSE ON DOOR
which reads, "Jack Cord -
Sheriff - Multnomah County".
INT. CORD'S OFFICE - DAY
Cord is reading the newspaper story
in his office. Two of
his aides, MIKE and TOM, look
on. Both are young police
enforcement types.
JACK
CORD
Terrible thing.
MIKE
It might be a
blessing in disguise.
TOM
How so?
MIKE
We've been talking
about finding a
cause for the
campaign.
TOM
I thought we found
one.
MIKE
Gambling's fine. But I think
abortion is
better. Killing babies
is more emotional
than losing
money.
JACK
CORD
Go on.
MIKE
Ruth Barnett is practically an
institution.
JACK
CORD
This wasn't Barnett's
doing. She
has a reputation for
being clean as
a whistle.
15.
MIKE
But she's the most
visible
abortionist in
town. We all know
Portland's
reputation. Closing the
abortion clinics
would make more
headlines than
closing a few
gambling halls.
TOM
You may have a
point. Jack?
JACK
CORD
Let me think about
it.
But he looks a little troubled, as
if he wishes this subject
had not come up.
INT. CLINIC - RUTH'S OFFICE - DAY
Ruth is at her desk, cutting out a
photo from the newspaper.
INSERT: PHOTOGRAPH
It's the photo of Ruth in the
winner's circle last night.
INT. RUTH'S OFFICE - DAY
Flo enters with the front section of
the paper and throws it
down on Ruth's desk.
FLO
Read this: Swayze butchered
the Lt.
Governor's daughter
last night.
RUTH
My God.
Ruth picks up the paper and glances
at the headlines.
FLO
Hacks like him should
be locked up.
RUTH
That poor girl. Why didn't she
come to us?
FLO
This probably means
more pressure
from the police.
RUTH
If they think this
will frighten me
into paying them off, they don't
know who they're
dealing with.
16.
FLO
I think they know.
RUTH
We have our
connections, too.
FLO
But how long can he
protect us?
RUTH
The police will come
and throw
their weight around,
and I'll tell
them no deal, same as
before.
Ruth gets up and starts around the
desk, ready to get to
work.
FLO
I hope you're right.
RUTH
The poor girl isn't
the first
celebrity to be
butchered by
Swayze's kind.
She leaves the office. A look of concern crosses Flo's
countenance before she follows.
INT. CORD'S OFFICE - DAY
Cord's SECRETARY comes into the
office.
SECRETARY
The Lt. Governor is
on the line.
JACK
CORD
I wonder what took
him so long.
He picks up the phone as the secretary leaves.
JACK
CORD
Hello. I'm sorry to read about
your daughter.
INTERCUT PHONE CONVERSATION
MR. JANOVICH
Abortion's illegal in
this state,
what the hell's going
on?
JACK
CORD
We're looking into
that, I assure
you. Only this morning I met with
my aides to plan- . .
.
17.
MR. JANOVICH
I don't want plans, I
want action.
JACK
CORD
The abortion
syndicate is very
tightly
organized. It will take
planning and under-cover work to
root them out.
MR.
JANOVICH
Then plan, goddamn
it, and do
something about it.
JACK CORD
Exactly what we're
doing, sir. The
abortion racket will
have top
priority in my
campaign.
MR. JANOVICH
I hope so.
JACK
CORD
I'm very sorry about
your daughter.
How is she doing
today?
MR. JANOVICH
Better.
JACK
CORD
That's wonderful
news. Thank you
for calling.
MR. JANOVICH
You're not getting
rid of me that
easy. You know, I had a
considerable
contribution to make
to your
campaign. I expect to see
some action before I sign the
check.
JACK
CORD
You'll see action
very soon now.
MR.
JANOVICH
I damn well better. We'll talk
again, Cord.
He hangs up, leaving Cord with the
telephone's buzz. But he
looks relieved to be off the
phone. Cord's secretary comes
back in.
SECRETARY
Carol is here.
JACK
CORD
Send her in.
18.
Cord's wife, CAROL, already is
coming through the doorway.
She is fashionably dressed today, a
striking woman.
CAROL
Have you had lunch
already?
JACK
CORD
Nope. Let me get my coat.
He moves to a coat rack for his
jacket.
Carol sees a small box on his desk
and opens it. It's a
striking, very unusual piece of
jewelry, perhaps an
expensive broach.
Cord puts on his jacket and notices
that Carol is looking at
the broach.
JACK
CORD
That's supposed to be
a secret for
Diane on Secretary's
Day.
He takes it and quickly puts it in a
drawer.
JACK
CORD
I didn't realize it
was where she
could see it.
CAROL
You have excellent
taste, as usual.
I'm almost jealous.
JACK
CORD
You want it?
CAROL
Of course not - Diane
does a
wonderful job for
you, she'll love
it.
And they are on their way out the
door.
EXT. HOSPITAL - DAY
Armstrong approaches the entrance to
a hospital.
INT. HOSPITAL - ELEVATOR - DAY
An elevator opens and Armstrong
steps out. He goes to the
front desk of a ward.
ARMSTRONG
Which room is Miss
Janovich in,
please?
19.
The nurse checks a roster.
NURSE
I'm sorry, sir, Miss
Janovich is
not permitted to have
visitors.
ARMSTRONG
Her condition is that
critical?
NURSE
No, sir, it's a
security matter.
ARMSTRONG
I'm not sure what you
mean.
NURSE
We've been instructed
not to permit
visitors.
ARMSTRONG
By whom.
NURSE
The sheriff's
department.
ARMSTRONG
Thank you.
Armstrong, puzzled but intensely
curious, moves back to the
elevator.
A SERIES OF SHOTS
of Ruth and Flo in the clinic,
trying on different high
fashion clothes of the early
1950s. They pose and strut
before a portable mirror, as a
SALESWOMAN looks on.
Doowop music plays on the sound
track, perhaps a doowop
version of a classic, such as
"Zing Went the Strings of My
Heart." The women are having a grand old time.
As it turns out, they are in the
cubicle where Helen DiMarco
is in bed before surgery.
INT. CLINIC - DAY
Ruth has found an outfit she really
likes.
RUTH
What do you think?
HELEN DIMARCO
It's perfect on you.
20.
FLO
Ruth, I really like it.
SALESWOMAN
You'll be the envy of
every woman
at the opera.
RUTH
It's nice, isn't it?
HELEN DIMARCO
You could get
whistled at on
Hollywood Boulevard
in that.
RUTH
(playfully)
I don't like being
whistled at.
FLO
She has to say that,
you know.
Actually, she loves
it.
HELEN DIMARCO
Just buy the damn
thing - I'm here
on business,
remember?
RUTH
I will buy it.
FLO
And I'll take the
green
full-length.
The saleswoman is gathering up her
garments. Ruth and Flo
are each writing a check.
HELEN DIMARCO
(teasing)
They don't let me
shop on the set
at Columbia.
RUTH
Well, you're in the wrong
profession, aren't
you?
HELEN DIMARCO
Perhaps so. I give men what they
need; you give women
what they
need.
FLO
I like that.
The saleswoman has the checks for
the clothes.
21.
SALESWOMAN
I'll have them
pressed and
delivered tomorrow.
RUTH
Perfect.
As the saleswoman leaves, GLADYS, an assistant at the
clinic, enters the cubicle.
GLADYS
Phone call for you,
Ruth.
RUTH
I'll take it in the office.
(to Helen)
And then you're
getting what you
came here for.
HELEN DIMARCO
I can hardly wait.
RUTH
A trip to the dentist
is worse.
Ruth is gone.
HELEN DIMARCO
Is she serious?
FLO
It's one of her pet
lines.
INT. RUTH'S OFFICE - DAY
She picks up the phone.
RUTH
Hello? . . .
Ruth's entire manner changes when
she hears the voice on the
other end. Clearly it's a man with whom she has a romantic
interest.
RUTH
I was hoping it was you. I've
missed you. . . . Of
course, I'll
be there.
INT. HOTEL ROOM - BED - NIGHT
Ruth and Cord are making passionate
love. This is the first
time we've seen them together; it
should be a great
surprise.
22.
At the end of lovemaking, Cord
lights a cigarette. He finds
a small box in his coat jacket and rather matter-of-factly
hands it to Ruth in bed.
JACK
CORD
For you.
RUTH
(teasing)
You're paying me now?
JACK
CORD
Very funny. I thought it would
look good on you.
She opens the box and is genuinely
moved by the splendor of
the jewelry, which is the broach we
saw earlier.
RUTH
It's beautiful.
JACK
CORD
I thought you'd like it.
RUTH
You're a sweet man,
Jack.
She takes his hand and kisses
it. She looks at him
flirtatiously.
Instead of responding, Cord gets out
of bed and begins to
dress.
RUTH
Something's
wrong. You're
buttering me up with
this.
JACK CORD
You read about the
Janovich girl
passing out on the
street?
RUTH
You ought to lock
Swayze up. He's
a butcher.
JACK
CORD
The heat's on,
love. How do you
feel about taking an
extended
vacation?
RUTH
What's
"extended" mean?
JACK
CORD
Two, three
months. There's a lot
of pressure in the
department.
(MORE)
23.
JACK
CORD (cont'd)
Janovich is raising
hell, as you
can imagine.
RUTH
I'm booked solid for
months.
JACK
CORD
So reschedule.
RUTH
Nature doesn't wait
on
rescheduling,
Jack. If you don't
get them in the first
trimester, it
starts to get
complicated.
JACK
CORD
What I'm telling you
is, you have
no choice. Besides, you deserve a
vacation. When things cool off,
we'll meet in the San Juans for a
week.
RUTH
Too many women are
depending on me.
JACK
CORD
You don't understand.
I don't
think I can keep you
out of it
unless you close up
for a while.
Ruth is thinking.
JACK
CORD
I mean, you're not the only
abortionist in
town. They can go
somewhere else for a
while.
RUTH
To somebody like
Swayze? I'll have
to think about it.
JACK
CORD
Do that. To tell the truth, you
can use time
off. Look at you,
you're a wreck. A rest will do you
good.
RUTH
I'm not comfortable
with this.
JACK
CORD
You don't have a
monopoly, Ruth.
They can go to
another doctor.
What's the big deal?
He's ready to go now.
24.
JACK CORD
Aren't you getting
dressed? I'll
buy you a nightcap.
RUTH
You go on.
JACK CORD
You're sure?
RUTH
Of course. We'll talk soon.
JACK
CORD
I'm serious about the San Juans.
We owe ourselves
something like
that.
He starts for the door.
RUTH
Jack?
He turns to her.
RUTH
The broach is
beautiful.
JACK
CORD
I'll give you a call
soon.
And he's gone. Ruth looks disturbed, thinking about what
has just transpired.
INT. RUTH'S OFFICE - DAY
Flo enters with two cups of coffee,
setting one on Ruth's
desk. Ruth is doing paper work and looks up.
RUTH
Sit down a minute.
Flo does.
RUTH
Last night Jack asked
me to shut
down for a few
months. He's
feeling the heat.
FLO
And?
RUTH
I can't do it.
25.
FLO
I'm glad to hear you
say that. How
did he react?
RUTH
I haven't told him
yet. He assumes
I'll do what he says.
FLO
So you weren't sure
last night?
RUTH
I tried to talk to
him. Sometimes
Jack only hears what
he wants to
hear. I'm telling him after work
today.
FLO
Are you really clear
about what you
want to do?
RUTH
Absolutely. This will blow over,
just like this sort of thing always
has.
Flo gets up with her coffee.
FLO
We have a busy day.
RUTH
We're going to have
lots of busy
days.
Flo smiles: this is what she wants
to hear.
EXT. ROSE GARDENS - EVENING
Ruth and Cord are strolling through
the Rose Gardens in the
hills overlooking the city.
JACK
CORD
You're too stubborn
for your own
good.
RUTH
I'm not doing this because I'm
stubborn.
JACK
CORD
For the hundredth
time, you are not
the only abortionist
in the city.
Far from it,
unfortunately.
Ruth stops walking. Cord stops.
26.
RUTH
Unfortunately?
JACK
CORD
You know I don't
approve of it.
RUTH
No, I wasn't exactly
aware of that.
Every time I've tried to bring up
the subject, you
change it.
JACK
CORD
I don't like what you
do. Maybe
this is the time for
you to change
careers.
Cord starts walking again, and Ruth
follows.
RUTH
Your department has
always looked
the other way.
JACK
CORD
Which hasn't been
easy for me. I
love you. I'm asking you to get
out now. It's time.
RUTH
No, it's time to get
the butchers
off the street and
legalize clean
and- . . .
JACK
CORD
Abortion will never be legal. What
a ridiculous thing to
hope for.
RUTH
I'm not changing
careers, and I'm
not taking a vacation.
JACK
CORD
I feel like you're
painting me into
a corner.
RUTH
What you don't
understand, Jack, is
that the reason I'm
in business is
because I provide a
service that is
desperately needed.
JACK
CORD
So do prostitutes.
It doesn't make
it right.
RUTH
I think we tend to be
hypocrites in
both instances.
27.
JACK
CORD
You enjoy the
notoreity you get,
don't you?
RUTH
Of course not. I think abortion
should be legal. I think I should
be practicing in a
hospital.
JACK
CORD
I can't believe you said that.
RUTH
I'd have said it
months ago if
you'd have listened.
JACK
CORD
You leave me little choice, Ruth.
RUTH
So be it.
JACK
CORD
If you love me, you'd
do this for
me.
RUTH
I do love you.
JACK
CORD
You won't bend, you
won't
compromise.
RUTH
I can't. I'm sorry.
Cord stops and looks at her.
JACK
CORD
I feel like I don't
even know you.
RUTH
We have been having a
rather
"focused"
affair. I've tried to
talk to you about
this before,
Jack.
JACK
CORD
What if you set up
shop somewhere
else? Moved across the river into
Washington?
RUTH
Would that solve
anything?
28.
JACK
CORD
It would help my
situation, believe
me. I love you.
I don't want to
have to arrest you.
RUTH
I love you, too.
JACK
CORD
Then why are we doing
this to one
another?
RUTH
I suppose because we
both believe
in what we're doing.
JACK
CORD
I feel like we're
ending something
here.
RUTH
Maybe you can bend,
Jack. You're
not mayor yet - pass
the buck and
let City Hall deal
with me.
JACK
CORD
And when I'm mayor?
RUTH
We'll cross that
bridge when we get
to it.
JACK
CORD
How can I rid the
city of abortion
and not include you
in the bargain?
I made a campaign
pledge.
RUTH
Maybe you should
rethink what
you're doing.
JACK CORD
You kill babies, you-
. . .
RUTH
Is that what you
think, for God's
sake?
JACK CORD
Yes. That's what I think. I
didn't let myself
dwell on it
before.
RUTH
Didn't want to
jeopardize a good
roll in the hay, is
that it?
29.
JACK
CORD
No. You know how much I care for
you.
RUTH
No, Jack, I
don't. Eighty percent
of our time together
has been in
bed.
JACK CORD
That's
ridiculous. I have to go -
I'm running late.
RUTH
I'm not going to
change my mind.
JACK
CORD
What about moving
into Washington?
RUTH
You'd still be
sleeping with a baby
killer.
Think you can live with
that?
JACK
CORD
Don't force my hand,
Ruth.
He heads off toward the parking lot,
with Ruth following.
EXT. PARKING LOT - EVENING
They have driven up in separate
cars, Ruth's black Cadillac
parked next to Cord's Buick.
They stand by their separate cars.
RUTH
What now, Jack?
JACK
CORD
We'll talk later.
He gets in his car and starts the
engine. Ruth, standing by
her car, watches him pull away and
go.
EXT. CITY - SIDEWALK - DAY
Doowop plays on the soundtrack as a
frightened Heather Cord
walks down the sidewalk. She enters the building of Ruth's
clinic.
30.
INT. BUILDING - DAY
The teenaged Heather comes out of
the elevator and enters
the clinic.
INT. CLINIC - DAY
Flo is at the receptionist's desk as
Heather enters.
Heahter is frightened and shy.
FLO
Can I help you?
The girl tries to speak but can't.
FLO
Are you here for a
consultation?
Heather nods.
FLO
Please sit down. Dr. Barnett will
be right with you.
The girl takes a seat as Flo leaves
the area.
INT. CLINIC - RUTH'S OFFICE - DAY
Ruth is going over paper work when
Flo enters.
FLO
Heather Cord came
in. I think
she's in trouble.
Ruth looks up, suddenly concerned.
RUTH
Send her in.
INT. CLINIC - WAITING AREA - DAY
Flo returns.
FLO
Please come with me.
Heather gets to her feet.
INT. RUTH'S OFFICE - DAY
Ruth has been listening to the
girl's story. The girl has
been crying, and Ruth hands her a
tissue.
31.
RUTH
This happens to many
girls, all the
time. Who is the father?
The teenager doesn't reply.
RUTH
I know you feel you
should protect
him. But this is his
responsibility, too.
HEATHER
I promised myself not
to say.
RUTH
Well, then, write
down his name on
a piece of
paper. That's not
really
"saying," is it?
She hands the girl a pen and paper
but Heather won't take
it.
RUTH
I think I should call
your mother,
Heather.
Heather looks at her with great
surprise.
HEATHER
You know who I am?
RUTH
You do get your picture in the
paper.
HEATHER
My dad will kill me.
RUTH
He doesn't have to know, dear.
She dials a number from memory.
RUTH
(on phone)
Mrs. Cord? . . . This
is Ruth
Barnett. . . . I'm
sitting here
with Heather. I think we need to
talk.
EXT. PITTOCK MANSION - GROUNDS - DAY
The Pittock Mansion overlooks the
skyline of the city below,
surrounded by parklike grounds. Ruth and Heather are
sitting on a bench, waiting.
32.
Ruth sees Carol coming and
stands. She gives Heather a
squeeze on the shoulder, as if to say, Let me handle this.
Carol arrives.
RUTH
Mrs. Cord? Ruth Barnett.
CAROL
I know.
Carol sits down on the bench next to
Heather, who is very
frightened of her mother's possible
reaction. But Carol
quickly embraces her daughter, who
breaks into tears.
Ruth waits for the embrace to end.
CAROL
Of course, we want an
abortion.
RUTH
I know.
CAROL
How much will it
cost?
She takes a checkbook out of her
purse. Ruth starts to say
something, that she deals in cash
only, but stops herself.
CAROL
How much?
RUTH
Four hundred dollars.
Carol writes a check. She tears it out and hands it to
Ruth. She stands, taking Heather's hand, who stands as
well.
CAROL
I assume this doesn't
go beyond us.
RUTH
Of course not.
CAROL
How soon can it be
done?
RUTH
Bring her in tomorrow
afternoon at
three.
CAROL
Very well.
She starts away, still holding
Heather's hand. Heather
doesn't move yet, forcing Carol to
stop.
33.
HEATHER
Thank you.
RUTH
I know how you
feel. The same
thing happened to me
at your age.
Everything will turn
out fine.
CAROL
I'll bring her in
tomorrow.
She leads her daughter away as Ruth
watches them go.
EXT. CITY - OPERA HOUSE - NIGHT
Taxis and limousines are pulling in
front of an opera house
under a light rain. The social set, dressed to the teeth,
get out and hurry inside under
umbrellas.
Ruth and Flo get out of a cab,
wearing the formal attire
that we saw them try on earlier, and
hurry into the opera
house.
INT. OPERA HOUSE - FOYER - NIGHT
Ruth and Flo are moving to their
seats when they pass the
middle-aged woman, patient-2, who
recently had an abortion.
RUTH
Hello, Alice. I like your dress.
But Alice, patient-2, is shocked
that Ruth would address her
in public and moves off quickly,
ignoring her.
Flo gives Ruth a look of sad
amusement, and Ruth
acknowledges it.
INT. OPERA HOUSE - STAGE - NIGHT
The orchestra is playing as the
first dramatic moments of
the opera begin. Perhaps it is "Turandot."
INT. OPERA HOUSE - BOX - NIGHT
Ruth and Flo have their own
box. They exchange a glance of
anticipation.
INT. OPERA HOUSE - FOYER - NIGHT
It is intermission and the audience
mingles and waits for
service at portable bars.
34.
Ruth and Flo have just received
glasses of champagne and are
moving off when they pass Cord and
Carol in line. There is
an awkward moment, Ruth and Cord not
knowing whether or not
to acknowledge one another, when
Cord acts first.
JACK
CORD
Hello - Ruth Barnett, isn't it?
RUTH
Mr. Cord. This is my friend, Flo.
JACK
CORD
My wife, Carol.
CAROL
How do you do?
FLO
Hello.
JACK
CORD
Enjoying the opera?
RUTH
It's one of my
favorites.
Ruth is wearing the expensive broach
that Cord bought her,
which Carol has been staring
at. Ruth notices this.
RUTH
It's beautiful, isn't
it?
CAROL
Very beautiful.
Cord understands what has
happened. So does Ruth, who wants
to get away quickly.
RUTH
Nice seeing you.
She moves away with Flo.
FOLLOWING RUTH AND FLO
as they move quickly through the
crowd.
FLO
What was that about?
RUTH
The broach is from
Jack - I think
his wife knows. I hope to Christ
it doesn't belong to
her.
35.
INT. FOYER - NIGHT
Carol moves out of line but Cord
stops her.
CAROL
I'm going home.
JACK
CORD
You're doing no such
thing.
He leads her to a private area of
the foyer.
INT. FOYER - ANOTHER AREA
JACK
CORD
She must have bought
it at the same
place I did.
CAROL
Is that the best you can do?
JACK
CORD
You don't actually
think I gave it
to her?
CAROL
As a matter of fact, I do.
JACK
CORD
She performs
abortions.
CAROL
I know perfectly well
what she
does, believe me.
JACK
CORD
You think I'd become
involved with
someone like that?
CAROL
"Become involved" is an
interesting
phrase to use. I didn't say
anything about
"become involved."
Then you are sleeping
with her.
Carol slaps him. She starts to move away but he stops her
again.
JACK
CORD
Okay, I gave it to
her - but it's
not like you
think. She's trying
to blackmail me.
CAROL
I don't believe you.
36.
JACK
CORD
We had an affair
once. It was a
long time ago, when
we were
separated. Now that I'm running
for mayor, she's
throwing it back
in my face. I
thought maybe -
hell, it's such a
stupid idea - I
thought if I was nice
to her . . .
CAROL
You're faltering,
Jack. I think
you're still sleeping
with her. I
know you're not
sleeping with me.
JACK
CORD
That is not
true. She's trying to
blackmail me.
CAROL
I'm calling a cab.
JACK
CORD
You know the pressure
I'm under.
I'm sorry if I've been neglecting
you.
CAROL
Let go of me.
JACK
CORD
Don't do this.
CAROL
I don't know what I'm
doing, except
to get out of here.
JACK
CORD
Carol, I love you.
CAROL
Is that panic I
hear? It's not my
problem if divorce
hurts your
campaign.
JACK CORD
Divorce?
He grabs her.
CAROL
I want to go
home. Let go of me.
Cord does. Carol storms off to get a cabl.
Cord stands alone, wondering what to do, as the audience
moves back into the auditorium.
37.
FOLLOWING CORD
as he moves through the crowd,
looking for Ruth. He stops
at a portable bar and orders a
drink.
INT. AUDITORIUM - RUTH'S BOX - NIGHT
Ruth and Flo are seated in their box
after intermission,
watching the opera, when Cord enters
and takes Ruth's arm.
He's been drinking rather than
watching the opera.
OPERA MUSIC is on the soundtrack,
perhaps the aria, "While
Everybody Sleeps," over the
following action:
Cord and Ruth briefly argue, Cord pulls
her up and together
they move out of the box.
INT. AUDITORIUM - HALLWAY/FOYER -
NIGHT
As the OPERA MUSIC continues, very
dramatic now, Cord leads
Ruth toward an exit. She is protesting but he won't listen.
They reach the exit door and Cord
pushes it open.
EXT. AUDITORIUM - NIGHT
It is raining hard outside, as the
OPERA MUSIC continues,
and they come outside. They start arguing with great
energy, standing under the hard rain
and getting soaked.
Finally we hear what they are saying
as the music stops.
RUTH
You shouldn't have
given it to me
if you didn't want me to wear it!
JACK
CORD
Carol thinks I'm
having an affair
with you.
RUTH
How perceptive of her.
JACK
CORD
I'm not leaving her,
if that's what
you think.
RUTH
I have never asked you to leave
her.
38.
JACK
CORD
You just can't go along
with the
program, can
you? Everything has
to be done your way.
RUTH
Why are you showing
your wife
presents you buy
me? Or did you
steal it from her?
JACK
CORD
Of course I didn't
steal it from
her. It was on my desk. I told
her I bought it for my secretary.
RUTH
So don't accuse me of
being
reckless.
JACK
CORD
I want you out of the goddamn
abortion business.
RUTH
Go to hell.
She starts away but Cord grabs her.
JACK CORD
Take an extended
vacation, Ruth.
It's the last time
I'm asking you.
RUTH
And I won't even
answer that
because I already told you my mind
is made up.
JACK
CORD
Then this is it for
us.
RUTH
Yes, that appears to be true.
JACK
CORD
I'll close you
down. You'll wish
you listened to me.
RUTH
You have a wife
waiting inside for
you, Jack. Maybe you'd better join
her.
She pulls free and goes back inside.
39.
INT. OPERA HOUSE - FOYER - NIGHT
Ruth comes back in. She is being stared at by a bartender
and realizes what a sight she is,
soaked to the bone. She
hurries back to her box.
INT. RUTH'S BOX - NIGHT
Ruth rejoins Flo as the opera
continues. Flo is shocked at
Ruth's being soaked.
RUTH
Don't ask.
Flo respects this. There is unresolved tension in the air
as Ruth forces herself to watch the
opera.
EXT. HIGHWAY - DESSERT - DAY
Ruth's black Cadillac is speeding
across the desert in
eastern Oregon.
Uptempo rock-n-roll from the fifties plays on the
soundtrack.
INT. RUTH'S CAR - DAY
Ruth and Flo look like a couple of
Hollywood starlets on
vacation: dark glasses, scarves
blowing in the wind.
EXT. RANCH - DRIVEWAY - DAY
The Cadillac turns off the highway
onto a long driveway,
which leads under an archway reading
"Barnett Thoroughbred
Farms."
EXT. DRIVEWAY - ANOTHER AREA - DAY
Ruth's car approaches a ranch. Various vehicles are parked
near a barn off the ranch. A training track is nearby.
EXT. RUTH'S CAR - DAY
Ruth and Flo get out and are greeted
by STAFF, who run the
thoroughbred farm in Ruth's absence.
CLOSE ON THOROUGHBRED
coming down the backstretch on the
training track.
40.
EXT. TRAINING TRACK - DAY
Ruth and Flo are watching the workout. Ruth holds a
stopwatch and clicks it as the horse
thunders past her.
Ruth checks out the time.
FLO
That felt real good.
RUTH
It was real good.
She shouts to the jockey.
RUTH
Good workout, Freddy!
(to Flo)
We'll sure see him in
the winner's
circle soon.
INT. RANCH - NIGHT
Ruth and Flo are sipping brandy
before a roaring fire in the
ranchhouse.
FLO
A penny for your
thoughts.
RUTH
I look that bad?
FLO
Is it just Jack?
RUTH
I'm wondering how far
he's going to
go.
FLO
No one's stopped us
yet.
RUTH
We've always had
someone in power
on our side.
FLO
If we went out of
business, where
would the
politicians' wives get
their abortions?
Ruth sips, realizing this is a valid
point, but still
feeling troubled.
RUTH
Hell hath no fury
like a male ego
scorned.
41.
FLO
A male penis scorned.
Ruth laughs, then finishes her
brandy in one gulp and gets
up.
RUTH
I'm going to bed.
FLO
I'll be up shortly. Try not to
worry. What happens- . . .
RUTH
& FLO
. . . happens.
RUTH
If one man ever had
to have a baby,
everything would be
so different.
FLO
Hear, hear!
RUTH
We have a busy day
tomorrow, don't
stay up too late.
FLO
I'll be right behind
you.
RUTH
Goodnight.
She leans down and kisses Flo on the
top of the head. She
goes up to bed as Flo stares into
the fire.
EXT. SHERIFF'S DEPT - DAY
A rendevous of numerous sheriff and
police cars is being
assembled in the parking lot of the
sheriff's department.
Cord is in charge. Armstrong is there, taking notes,
accompanied by McElroy with his
camera.
Cord makes a hand gesture, indicating
that it's time to
start. Cars start pulling out of the parking lot, over a
dozen of them. Armstrong approaches Cord for a statement.
ARMSTRONG
What are your feelings
right now,
sheriff?
JACK
CORD
I think we're
beginning a process
that is long overdue.
(MORE)
42.
JACK
CORD (cont'd)
This city is going to
be clean as a
whistle as long as I
have anything
to say about it.
Armstrong scribbles down the remark
as Cord gets into his
sheriff's car.
A SERIES OF SHOTS
of RAIDS on various back alley
abortion clinics. What the
series of raids all have in common
is a large degree of
overkill, with the authorities
outnumbering the people being
raided in significant numbers.
The authorities, in fact, are
enjoying themselves, as they
bust their way in, causing patients
and nurses to scream and
scramble, and they like making a
mess of the place as well.
EXT. RANCH - DAY
Ruth and Flo are horseback riding on
the grounds of the
thoroughbred ranch.
Mountains are glorious in the
background, the morning sky is
high and blue, and the women are
enjoying themselves.
INT. RUTH'S CLINIC - DAY
Cord personally leads the way into
Ruth's clinic, followed
by far more personnel than are
necessary to do the job.
Gladys, replacing Flo behind the
front desk, gets to her
feet but quickly is put in handcuffs
as the authorities rush
into the clinic.
INTERCUTS - RIDING, RAID
of Ruth and Flo horseback riding and
the raid on Ruth's
Portland clinic, which is done with
as much overkill and
abandon as the earlier raids.
INT. CLINIC - DAY
Armstrong approaches Cord as the
last of the staff and
patients are being booked and
removed from the premises.
ARMSTRONG
How about posing over
the record
book?
43.
Cord grabs a book from the front
desk, opens it and looks
down as if he were reading a journal
from hell.
McElroy snaps the photo.
ARMSTRONG
Thanks, Jack.
EXT. RANCH - DAY
Ruth and Flo ride up toward the
ranchhouse. One of the
STAFF rushes out of the house.
STAFF
Ruth, Gladys is on
the phone from
Portland! She says it's very
urgent!
Ruth gets off her horse and heads
for the house.
INT. RANCHHOUSE - LIVING ROOM - DAY
Ruth picks up the phone.
RUTH
Hello?
EXT. EASTERN OREGON - HIGHWAY - DAY
A police car is traveling down a
highway in the same part of
the state where Ruth's ranch is
located.
EXT. RANCH - DRIVEWAY - DAY
The police car turns into the
driveway and heads for the
ranch, going under the arched sign
that identifies it.
EXT. RANCH - DAY
The police car pulls near the
ranchhouse and stops. Ruth's
black Cadillac is nowhere to be
seen. Two policeman get out
and walk to the house. One knocks on the door, and the
staff person answers.
POLICE-1
Hello, Rhonda. Beautiful morning,
isn't it?
STAFF
It sure is.
What brings you way
out here?
44.
POLICE-1
Your boss wouldn't be
home, would
she?
STAFF
You know, she and Flo
left early
this morning. They were going to
picnic on the Snake.
POLICE-1
Is that right?
STAFF
Is something the
matter?
POLICE-1
Haven't read your
paper this
morning?
STAFF
Oh my, time to read
the paper in
the morning!
POLICE-2
Where abouts on the
Snake?
STAFF
Oh, I can't tell you
that. Ruth
likes to explore.
POLICE-1
Thank you, Rhonda.