"STONE MY HEART"
Under the titles, we see LORI, a woman in her early twenties,
walking along a crowded Boston sidewalk. We watch her through
a long lens. Others move in and out of focus, but she remains
Lori turns into the doorway of a liquor store but stops short,
then continues in very slowly.
INT. LIQUOR STORE
As Lori moves forward into the store, we see why she
A teenager in sunglasses uses a gun to wave her to the rear,
where another customer, a young man, is standing captive.
A second gunman in his early twenties is cleaning out the
cash register. He keeps his weapon pointed at the middle-
aged storekeeper and his assistant.
The young gunman checks out the camera around Lori's neck --
I really need it!
The gunman slips it off her shoulder.
The second gunman comes out from behind the counter and heads
for the door. The young one follows him out, playfully
grabbing a bottle from a shelf.
The blast of a shotgun crumples him to the floor. His older
companion leaps back into the store, fires in the direction
of the counter, then dashes out into the street.
The storekeeper, clutching a shotgun, is in a state of
panicked relief. He is not hurt.
I got one! I got the bastard!
His assistant is on the telephone.
Lori and the young man are down on the floor. They get up,
The gunman by the door is dead. Liquor splashes down on him
from a broken bottle.
The young man, DAVID, kneels beside him.
Don't touch him! Wait for the cops!
He stands up, his hands and shirt spattered with blood. Lori
is badly shaken --
She turns to the storekeeper --
They were leaving! You didn't have
That was my money, lady!
(to his assistant)
'You hear that?!
That was three hun'red bucks they
took -- and it ain't the first time!
We hear sirens approaching. Lori turns and hurries out of
STREET OUTSIDE LIQUOR STORE
David leaves the store and makes his way through the crowd
that has gathered.
He looks around, then runs up the street with Lori's camera.
He catches up with her at an intersection, where she has
stopped for a light. He hands her the camera. She glances at
him. He is in his mid-twenties, with a kind, intelligent
I've got a car -- can I take you
Lori shakes her head, then changes her mind.
INT. LORI'S APARTMENT
The phone is ringing as Lori unlocks the door. She and David
We are in a large, one-room apartment with kitchen facilities
on one side. The ceiling is high and the woodwork around the
windows suggests that the place was once elegant.
Lori has just moved in. There is a pile of furniture, boxes
with books, and a foam-rubber mattress on the floor. The
walls are white, but one side is redecorated in a vivid blue.
A ladder and some paint stand where the paint stops.
You can wash up over there.
She answers the phone --
Hello -- Where are you? Speak up,
Kare, I can't hear you. You sound
weird -- is he there? Not now.
Tomorrow is okay.
She hangs up.
David has washed up as well as he can and is looking at some
canvases leaning against the wall.
D'you want some coffee?
Lori opens the kitchen cabinets, looking for the coffee.
The small ones. I can't find the
coffee. There's a place on the corner.
She turns to the door --
I don't know your name.
(with a faint smile)
Not a good way to meet, was it?
STREET IN FRONT OF LORI'S HOUSE
The camera pans with a motorcycle. It stops next to a jeep,
in which Lori and David are about to leave.
The driver of the bike raises the dark visor on his helmet.
RICK is seventeen. There is a girl on the seat behind him.
(to the girl behind
Mona -- meet my big sister.
Mona smiles at Lori. She is fifteen. Her right arm is in a
cast up to her elbow.
I tried callin' you. Can you put us
No, I'm sorry. I got just one room
and Karen's coming.
I told ya!
He guns the engine and roars down the street, but changes
his mind and returns to the jeep. He glares at his sister --
Jus' gimme some money. She hasn't
eaten since Ohio.
Lori opens her wallet and hands him a twenty-dollar bill.
(holding it up)
Rick, I'm just making it. I don't
have a job till September.
They can stay at my place.
Jesus! What's the matter with you?!
'Couple-a days, that's all. We got
That's not going to work!
Go ahead -- we'll follow.
He takes off on his bike.
It's okay. Really.
You don't know him!
NORTH SHORE ROAD
Shot from the open Jeep: we are traveling along the coastal
highway north of Boston.
Rick is ahead of us.
EXT. DAVID'S HOUSE
The motorcade comes down the driveway of a large, old summer
home on the shore of a lake.
LIVING ROOM, DAVID'S HOUSE
Like the house, the room is large but not ostentatious. The
furniture, some of it shrouded in dustcovers, is old
fashioned. Through the windows and French doors, we see the
rich green of a garden. The effect is pleasant and comforting.
Rick enters from the porch ahead of Lori, David, and Mona.
As he stalks around the room inspecting it, we get our first
close look at him. He is small and slight, with hollow cheeks
and a pale complexion. His face, like his body, is never at
rest; when he isn't talking, he tends to grimace or turn his
head suddenly, as if he were being followed.
Doin' all right, Lori!
What 'you do -- own a bank?
David isn't put off by Rick's aggression. He treats him like
a poorly adjusted teenager --
(with a grin)
I work in a hospital.
(inspecting a silver
'You a doctor?
'Ever work a bug house?
Rick goes into a series of spastic contortions that are
clearly meant to suggest insanity. His mouth opens in a
voiceless scream and his right hand turns into a claw. He
drops the act as suddenly as he began it.
My mom freaked out before she died.
He has stopped in front of Lori. She looks at him, very upset.
This is the first she has heard of her mother's death.
Why didn't you call?!
I told ya -- I tried!
He is seized by a coughing fit that turns into an asthma
attack. He turns away, wheezing and trying to breathe.
Lori touches him.
I'm okay. Jus' leave me alone!
He pulls out an inhaler and uses it. The attack subsides.
Mona has remained timidly in the background. Now she
approaches him --
(turning on her)
For Chris'sake, Mona -- don't ya get
He stalks out of the room.
Lori looks after him, her face grave.
THE LAKE (EARLY EVENING)
Lori is in a kayak on the calm water. David's house is in
the background, and a few other summer homes, some quite
grand, are visible along the shore. Lori is adrift, grateful
to be alone.
Like the grounds surrounding the house, the waterfront is
overgrown. Lori beaches the kayak. Rick is sitting in an old
row-boat, playing a Jew's harp. Mona stands beside the dock,
up to her waist in water, trying to wash without wetting her
(to Lori, subdued)
'Wouldn't have made no difference if
you'd come. 'Happened real fast.
I'm sorry you were alone.
I had her cremated. That's what she
wanted. I figured we'd have some
kind-a service. Church. Whatever.
She says she's leaving him. They're
up in New Hampshire.
Rick pushes off in the row boat.
After a moment, Lori kneels on the dock beside Mona and helps
her wash her back. Mona smiles at her --
PICNIC AREA IN BACK OF HOUSE (EVENING)
The sky is still bright, but the area is illuminated by a
string of light bulbs. Rick prowls around, tense and restless.
He has a plate with a chicken leg and some potato chips,
which he crumbles in his fingers.
Lori is in a swing-chair hung from an old tree. Mona sits at
her feet, combing her hair, and David is cooking at the
Rick stops and watches a seagull, hung high in the evening
I should-a been a bird. That would-a
made everybody happy.
Lori takes a sip from a can of beer.
He saunters away.
Where're you from, Mona?
L.A., I guess.
'Your folks there?
How long have you been with him?
'Couple-a weeks. He don't want me.
Rick comes up to them --
What 'you talkin' about?
Mona shakes her head.
Hey, I asked you something!
Okay -- let's go!
You said we're gonna sleep here.
I changed my mind.
That doesn't make sense.
Just tonight? It's so pretty.
You were talkin' about me!
It was my fault, Ricky.
'You comin' or not?!
He gets on his bike.
Mona takes Lori's hand. When she smiles, her face looks even
I can tell you really love each other.
She gives Lori a hug, and climbs onto the back of the bike.
Rick guns the engine and takes off.
'See what I mean?!
David turns on the dock light.
Lori is swimming toward him.
He puts down a full bottle of beer next to one she has
Thanks. Maybe I'll get some sleep.
She reaches up and takes a sip --
Were you born in L.A.?
Right here. In Acton.
You have a sister.
Yeah. She's not in great shape either.
She takes another sip of beer and swims away, like a bright
fish in the dark water.
HALLWAY, WITH STAIRS TO SECOND FLOOR (NIGHT)
A mechanized chair, the kind invalids use, is moving toward
Lori and David, who are at the foot of the stairs.
It's for my grandma.
The chair stops and Lori sits down on it. She is a little
unsteady from the beer.
'Bet your folks are nice and normal.
(with a smile)
He pushes a button and the chair starts up.
Lori recedes from the camera.
The room is dark. David turns on the light and walks toward
a large four-poster. He is carrying a set of sheets.
Lori walks around the bed --
Like a stage!
(she smiles at David)
Greatest show on earth. Performances
nightly -- matinees Saturday, Sunday,
and all legal holidays. Children not
admitted -- unless accompanied by an
David grins. He is making the bed.
Lori goes into the bathroom. Through the open door, we see
her at the sink, brushing her teeth with her right index
She comes back into the bedroom and takes the sheet from him --
I'll do it.
D'you have a girl?
(at the door)
No. Not now.
I dropped out of school for a year.
She found someone else.
Don't get involved with me!
She closes the door, excluding him.
BACK OF THE HOUSE (MORNING SUNSHINE)
Lori is drinking coffee at the picnic table. Behind her, a
sprinkler sends water arching across the lawn.
We hear a motorcycle approach. A moment later, Rick appears
in the driveway. He pulls up next to Lori.
Hi. Where d'you stay?
David has come out with a pot of coffee.
You dumped her?
'Want some breakfast?
I called Logan. They got the ashes.
Will ya come?
(after a moment)
She finishes her coffee and gets up.
'Bye, David. Thanks a lot!
Rick hands her a helmet.
When can I see you?
I've thought about it.
(she shakes her head,
then kisses him
Thanks for being so nice.
She climbs onto the bike. The camera is close on her face.
When the bike pulls away, our image of her rapidly transforms
into a long shot.
INT. AIR-FREIGHT SHED, LOGAN AIRPORT
A small cardboard box is riding on a motorized baggage car.
The car stops. A clerk picks up the box and puts it on the
counter in front of Lori and Rick.
(tearing off the
Lori pays. Rick stares at the package, then turns away, pulls
out the inhaler, and uses it.
Lori and Rick enter and sit down at the counter. He is
carrying the box.
The place is empty except for two truck drivers at the far
side. The counterman is talking to them while cleaning his
Rick uses a switchblade to slice into the cardboard wrapper.
Not here, Rick!
He puts his knife away, takes a plastic urn out of the box
and puts it on the counter. Lori moves it to the empty stool
She knew she didn't do right by you.
She even asked to see a priest.
Lori looks at him and puts her hand on his.
A derelict has come into the diner. He approaches, looking
for a handout.
Give him a buck -- I'll pay ya back.
Lori gets out her wallet. The counterman comes over --
(to the derelict)
I told you -- not in here!
Rick takes a dollar from Lori and hands it to the derelict,
but the counterman re-possesses it and plunks it on the
I don't want him here.
The derelict turns and heads for the door.
Rick is very upset. He jumps up, follows the man, takes him
by the arm, and leads him back to the counter.
(to the counterman)
'Order of eggs an' toast. And coffee!
He sits the derelict down on the seat next to his own.
I ain't serving him!
Make that English muffins!
(to the derelict)
Get out-a here!
You too -- get out!
'You gonna make me?!
The two teamsters have been watching from the other side.
Now the older one, a man in his fifties, speaks up --
It's his place, fella!
The derelict has started up, but Rick restrains him.
You're okay! Sit down.
(quietly but tense)
Let him be, Rick. He wants no part
The derelict stumbles toward the door.
Lori gets up and puts a dollar on the counter --
Rick ignores her and remains seated --
(to the counterman)
I'll take some of that crummy-looking
You heard me! Out!
Now the younger teamster, a heavy-set man in his thirties,
speaks up --
Hey, he told you to beat it!
Let's go, Rick.
He slaps her hand away and lays his switchblade on the
He stands up and moves toward them --
Give me that knife!
Stay out of it!
I'm gonna count to three and you
give it to her. One...
Lori picks up her shoulder bag as though she were leaving,
but makes a sudden grab for the knife. Rick shoves her into
an empty table.
The older teamster helps her up.
Stay away from him! Please! He's
Rick is panicked. He swivels back and forth on his seat --
then grabs the knife, stabs it into the counter, and flings
it across the floor.
The teamster continues toward him --
Don't touch me, shithead!
The teamster grabs him by the scruff of the neck, pulls him
off the stool, and propels him toward the door. Rick looks
like a helpless rabbit.
Get yourself a gun next time, punk!
He shoves Rick out the door and goes back to his place at
The older teamster hands Lori her shoulder bag --
Dump your boyfriend, miss!
Lori picks up the box with the ashes. She looks utterly
PARKING LOT, DINER
Rick roars toward us on his bike, his face hidden behind the
visor of his helmet. He stops for Lori.
(shaking her head)
He grabs the box of ashes from her, revs up the engine, and
LORI'S PLACE (LATER AFTERNOON)
The house door is unlocked and Lori enters.
David is sitting on the floor with a book --
How d'you get in?
You don't quit, do you.
Through the half-open bathroom door, we see a girl drying
herself after a shower. Lori closes the door.
I'm glad you came.
The phone rings. Before Lori can get to it, her sister KAREN
comes out of the bathroom in a terry cloth robe --
It's for me.
(she picks up the
Hello -- No, Roy, it's your baby
daughter. I'm thinking about school --
that's why I called. I'm broke. Will
you get me into U-Mass?
Thanks a whole lot, Daddy!
She hangs up. Karen is a year younger than Lori. She has a
striking face and a beautiful figure, but there is something
unstable and vulnerable about her.
He says he's got no money.
His wife does! He paid for you, didn't
he?! At least he could get me in.
He's part-time. He's got no pull.
Karen looks a bit unsteady on her feet --
All right, Kare -- what're you on?
Downs. Just a couple.
Did you leave him?
I like your friend.
(she turns to David)
We had a nice talk.
The belt of Karen's robe has dropped and Lori picks it up
I'm a lot better-looking, but you
get all the decent guys.
Don't you think I'm better-looking?
(with a grin)
It's a toss up.
She leans on the table to steady herself --
That's more than a couple of downs!
Look, you can stay here -- But no
drugs and no men!
It's been rough, Lori. Rick called.
He told me about Mom.
She looks at Lori, close to tears, and buries her face against
her. Lori comforts her.
INT. LAUNDROMAT (LATE AFTERNOON)
Lori and Karen are doing their laundry.
A man enters. VINCE is in his early twenties, heavy-set, but
not tall, with a round, expressionless face.
Lori glances at him and looks at Karen --
'Guy at her place told me where to
find you. I brought your stuff. You
left half of it.
We gotta talk.
There's no point, Vinnie.
You don't just walk out! Come on!
You heard her!
Yeah, and you stay out of it!
We don't have to live at that motel.
That isn't it, Vinnie.
He takes her arm --
Take your hands off her!
Hey, what ('d) I tell you??!
I'll be right back.
She leaves with Vince.
Karen is picking up her things and putting them into a bag.
There is a knock at the door and David opens it. Lori comes
in, her arms piled high with laundry.
What're you doing?!
Karen looks at her and shrugs --
You're staying here!
I don't know, Lori. He wants me back.
So what?! You don't want him!
At least he wants me.
So do I.
No, you don't. You'll throw me out
in three days, like last time.
Give it a chance, will you?!
There is a knock and Karen heads for the door --
But Karen opens the door for Vince --
Where's your stuff?
Vince, she's sick!
No, I'm not.
Look at you! Nine months ago you
were clean! That's true, Kare. You're
Vince has picked up Karen's bag and is on his way to the
Okay -- it's your life.
If anything happens to her --
Vince walks out.
Lori approaches Karen for one last try --
For Chris' sake, Karen --
I want to have it.
The phone is ringing.
Thanks for caring.
(she hugs Lori)
'By, David. Good luck, you guys.
Lori picks up the receiver --
There's no one here!
She bangs it down. There is a pause. She looks utterly
'Mind if we go to your place?
She starts collecting her things, but stops --
You know I'm just using you.
(with a smile)
'Doesn't feel too bad.
THE LAKE AT DAVID'S HOUSE (TWILIGHT)
David is rowing. Lori is at the stern, lost in thought.
She sees him looking at her.
David is securing the boat. He holds out his hand to Lori
and she comes ashore. They stand opposite each other for a
moment. He caresses her arm --
She shakes her head.
David is washing the supper dishes and Lori dries them.
You're the first rich guy I like.
We're not rich.
In my book you are.
She takes a sip from a tall glass of beer and looks at him --
Don't expect too much. I've been off
men for a year.
She smiles at him.
DAVID'S BEDROOM (NIGHT)
Lori and David are in bed. She is listening to the soft night
sounds of the countryside.
I'm not moving in.
NORTH SHORE YACHT BASIN (AFTERNOON SUN)
Rick rides into the dock area, past an array of yachts.
Lori is sitting on the deck of a sailboat, sunning herself.
David and CHRIS, a boy of fifteen, are getting ready to cast
Rick pulls up in front of Lori --
I'm on my way. 'See ya.
Lori looks at him.
You look real upset!
What about money?
Rick ignores her. He uses his feet to propel himself alongside
the boat and stops opposite David --
David smiles and points to Chris --
Chris doesn't know what to make of Rick's aggression --
Rick gets off his bike and takes the urn out of the saddlebag.
'Mind if I come?
(glancing at Lori)
Rick jumps aboard and Chris hands him a life vest.
Rick's mood has lightened considerably --
Hey, Uncle David -- how come I don't
(with a grin)
Nah. You're the first guy my sister's
hooked up with who doesn't make me
We are running before the wind. Chris is at the bow, adjusting
the jib. David is at the rudder.
Lori knows how to sail and is handling the boom. Rick sits
on the floor below her, with the urn in his lap. He opens
it, and fishes out a blackened wedding ring --
She never took it off.
(handing her the urn)
Do it, will ya?
Lori scatters the ashes into the sea, flecking the white
foam of the wake with gray.
Rick watches for a moment, polishing the ring on his shirt
front. Then he puts it on his finger --
Don't. It's bad luck.
He moves away.
Lori empties the urn and drops it into the water. It recedes
rapidly, bobbing on the wake. Some of the ashes have stuck
to her hand. She leans over the gunwale and washes them off.
Rick returns with an expensive-looking naval telescope. He
trains it on the distant urn -- then turns it on David.
(with a grin)
When I was nine, I put a firecracker
in a Coke bottle. 'Got vision in
just one eye.
He sits down beside Lori, suddenly subdued.
This shrink in L.A. says I ought-a
see my father. 'You got his address?
The sailboat docks. Rick jumps ashore and heads for his bike.
Lori watches from the deck. He looks small and forlorn.
'See you guys.
Lori comes ashore --
Take care, Rick -- I wish I could
He turns to David, who is securing the boat --
'See ya around, Uncle David.
David approaches him --
What 'you gonna do -- shake hands?
He and Rick shake hands.
'Wanna adopt me?
I don't think so.
Well, take care'a her. She's okay,
even if she's my sister.
He climbs on his bike.
(reading from a scrap
420 Charles -- where's that?
(he turns to Lori)
Will ya come?
Lori shakes her head.
You're the one he likes!
I don't want to see him.
Yeah. Me neither!
After a moment's hesitation, she joins him on the bike --
'No trouble, okay!?
I'll call you.
Rick and Lori are on a balcony overlooking a gallery and the
lobby. Lori is looking at a painting. Rick is watching a
small group of men and women. ROY McIVER, a man in his
forties, is lecturing to them.
Rick takes the telescope from the boat out of his jacket and
trains it on the lobby.
Through the telescopic lens we see Roy dismiss his class and
walk over to the side of the lobby. A woman rises from a
bench to meet him.
Is that Number Three?
Lori turns to him and sees the telescope --
Jesus, Rick! Give me that!
He hands her the telescope --
She ain't his wife, is she?
Lori shakes her head.
Same old story!
'Might be a friend.
'Wanna bet!? Fuck him! Let's go.
A brightly colored sports car pulls up in front of the
building, and Roy gets in. The woman from the lobby is
As the car pulls away, it passes Lori and Rick, who are
getting onto his bike.
Rick takes off after it.
Rick's bike is weaving through traffic, tailing the sports
We see Lori shouting into Rick's ear. He slows down and heads
for the curb to let her off, but changes his mind and
continues in pursuit of the car.
Rick is still following the sports car. When it pulls off
the highway onto an exit ramp, he turns off as well. He stops
at the top of the ramp, above a large motel.
Lori has jumped off the bike.
'Be right back!
He lifts the camera off her shoulder and rides down the ramp.
Lori is left behind -- furious but helpless. She walks to
the edge of the highway and looks for a ride. A pick up stops
almost immediately and the door is thrown open. Lori doesn't
like the face of the driver and turns away.
She sits down on the grass. After a moment, she raises the
telescope to her eye and trains it on the motel.
Telescopic lens: Roy and the woman are walking along the
second-floor landing. He unlocks one of the rooms and they
enter. The woman appears in the picture-frame window. She
looks out briefly, then draws the curtain.
The lens shifts to the far end of the landing: Rick has come
up the stairs. He sees something off screen and ducks behind
a Coke machine.
Roy has left the room with an ice bucket and goes down the
Rick emerges out of hiding and approaches Roy's room. He
seems to know that Lori is watching and waves in her
direction. Then he knocks at the door.
The woman opens. She is in her slip. When she sees Rick, she
tries to close the door, but he forces his way in. They both
disappear inside for a moment -- then she reappears, moving
backwards and clutching her dress. She looks terrified.
Rick follows her out and closes the door, locking her out.
He rips the dress from her hands and tosses it down over the
railing. Then he raises the camera and takes some pictures
When he is done, he moves rapidly along the landing and down
The woman sits down in front of the locked door and hides
her face on her knees.
HIGHWAY AND RAMP
Rick roars up the one-way ramp toward Lori, swerving around
an on-coming car that honks at him furiously. He stops in
front of her.
I'll mail 'em to his wife!
Lori is utterly disgusted --
How sick can you get!?
With no viable alternative, she gets on the bike.
GAS STATION ON HIGHWAY (SUNSET)
Rick is filling air into his tires.
Something off screen catches his attention.
Quick pan to the highway: the sports car passes in traffic.
Rick jumps onto his bike and shoots over to a phone booth,
where Lori is completing a call. He waves to her impatiently.
She hangs up and comes out -- unaware of why he is rushing
Just drop me in town.
COASTAL HIGHWAY (THE SUN IS LOW IN THE SKY)
We are traveling behind Rick's bike, moving very fast.
When the sports car comes into view, Lori realizes what Rick
is up to. She leans forward and shouts into his ear, but he
ignores her and pulls down his visor. Short of causing a
wreck, Lori is helpless. She lowers her own visor and turns
Roy is driving the sports car, with the woman beside him.
Rick pulls up on the passenger side, coming close enough to
touch it. The woman glances at him. Though his face is hidden
behind the dark plastic, she seems to sense who he is and
turns to Roy, panicked.
Rick accelerates and shoots ahead. The sports car follows in
pursuit of him. Both vehicles weave in and out of traffic at
high speed, but the bike is far more maneuverable and pulls
Rick glances back. The sports car is nowhere in sight. He
slows down, makes a U-turn through a break in the center
mall, and heads back. He is driving more slowly, watching
the other side of the road. Lori raises the visor on her
Up ahead, a strange spectacle presents itself. A Catholic
priest is running across the highway, holding up the skirts
of his cassock. A moment later, we see that several cars
have stopped on the other side. There has been an accident.
Rick pulls over. Lori gets off the bike and runs across the
ACCIDENT SITE (SUNSET)
We are at the foot of a concrete bridge that takes the road
over a tidal inlet.
The sports car has gone out of control. We can see one wheel
sticking out of the water, some fifteen yards off shore.
A few of the cars have directed their headlights onto the
scene to help in the rescue operation.
Lori arrives as two men wade ashore out of the shallow water.
They are carrying the woman's body. They put her down and
one of them tries mouth-to-mouth resuscitation. Her dress is
up on her thigh. She looks dead.
Lori strips off her shoes and plunges into the water. Several
other men are wading back from the wreck.
(calling to her)
'Nobody else out there!
Yes, there is!
She swims out. Although it is too dark to see anything, she
starts diving. One of the men joins her.
Rick has arrived on his bike and stops next to the woman's
body. Someone covers it with a coat.
Rick looks devastated. He keeps shaking his head, unable to
take in what has happened. Dazed, he walks down to the water's
edge and wades in.
(calling to him)
Stay where you are!
Rick continues in, but Lori comes over and pushes him back.
Get out! I don't want to start looking
He goes ashore and Lori wades back into the water. The man
has given up --
'Gotta wait for lights.
Lori continues in and dives a couple of times. Then she,
too, comes ashore, utterly exhausted.
At the top of the embankment, a rescue truck from the fire
department has arrived. Several firemen come down to the
water with a stretcher. They pass Lori and Rick, who are on
their way up.
TOP OF EMBANKMENT (SUNSET)
Lori is ahead of Rick. She sees that he has trouble pushing
his bike up the slope and turns to help him.
He stops at the top, winded. Lori looks at him. We see him
against the bustle of the rescue effort below.
We gotta do somethin' --
Lori sits down, shaking with cold. He takes off his jacket
and puts it around her shoulders.
Lori looks at him --
Okay, Rick -- just go! Leave right
Don't argue! Just go.
It was my fault.
You didn't plan it! Let me handle
What 'you gonna do?
I don't know. I guess see Helen --
Lori doesn't answer --
Jesus! I ain't leavin'!
Lori stands up. She can't take anymore --
Okay, Rick, you go and see her!
She turns to leave.
He looks at her, a frightened, helpless kid. She sees that
he is incapable of any action and picks up the bike for him --
There's nothing you can do. You didn't
mean for it to happen. Go on!
He gets on his bike --
He starts the engine. She kisses him very quickly --
Call me tomorrow, wherever you are --
She steps back and he takes off, hunched over and forlorn.
She stays a moment longer, then walks away from the accident
LOBBY OF APARTMENT HOUSE (NIGHT)
Lori enters in the background and walks to the elevator. She
is wearing a dress. She presses the button. A moment later,
to the sound of a musical bell, the doors slide open.
Roy is standing inside the car, facing her. He, too, has
changed his clothes.
Lori is stunned. She stares at him, her eyes turning cold.
He, too, is startled.
She says nothing.
He tries to appear calm, but the tension shows clearly --
D'you have a boyfriend in my building?
He steps out of the elevator, but has waited too long, and
the closing doors hit him.
Lori turns sharply and walks to the door. Just then, Rick
enters the lobby. He sees Roy and stops.
Hello, Rick -- I didn't know you
were in town.
'Good thing I didn' leave!
The shock of seeing Roy alive has snapped him out of his
depression. He circles around his father --
How's your mother?
You don't want to know.
Roy looks uncertainly from Lori to Rick --
I guess you want to see me.
Call me in the morning, will you? I
have to pick up Helen in Rockport.
Helen -- she's who we wanna see.
That's not going to work.
It's gonna work jus' fine!
You don't have to go. I'll take care'a
Lori walks out of the lobby. Roy follows her --
We hear the sound of Rick's Jew's harp.
EXT. APARTMENT HOUSE DRIVEWAY (NIGHT)
Lori is walking rapidly. Roy catches up with her --
What's the matter with him? He gets
worse every time.
Lori stares at him --
I wonder why!
Rick joins them as Roy unlocks his car --
Like I said, Lori, go on home. Get
married -- have kids!
I'll be right behind you.
Roy looks confused --
I've had a couple of drinks -- Could
Lori wants badly to get away, but sees the potential for
more violence and takes the keys.
Just shut up! Don't talk to me!
INT. ROY'S CAR (NIGHT)
Lori is driving, keeping her eyes rigidly on the road.
Roy has withdrawn into a shell, but when Lori takes a ramp
onto a highway, he comes to with a start --
Not this way!
You said Rockport.
I know -- I just...
He stops and lights a cigarette.
From a shot through the windshield, we see we are on the
same coastal road we traveled in the afternoon.
There is a tense silence.
This is crazy!
(she slows down the
Don't you know we know!?
Just then, Rick appears in the open window beside Roy --
effectively blocking Lori from pulling over and stopping.
The visor on his helmet is down but he faces Roy.
Oh God, it was him!
Rick points ahead.
Through the windshield we see a series of yellow blinker-
lights along the road.
Rick pulls ahead and stops on the shoulder. Lori pulls up
ACCIDENT SITE (NIGHT)
We are on the embankment above the tidal inlet. Below, the
sports car has been hauled out of the water. It is illuminated
by flickering smudge pots. The bright paint is streaked with
mud, but the car is otherwise undamaged.
Lori gets out. Roy remains in his seat, devastated. The
blinker lights give his face a yellow cast.
Finally, he gets out and follows Lori down the embankment.
He hits some gravel and slides. Lori stops and helps him up.
I panicked, Lori -- It happened too
Lori can't stand to be near him and moves away.
Down below, Rick has been looking through the car. He comes
up with a picture postcard --
"Dear Mom, Dad, and Sissie -- Camp
She was dead. She was.
How d'you know?
(snapping at him)
I was there!
Yeah! I bet you took her pulse!
I tried pulling her out!
(barely in command of
You're going to the cops!
Right. We'll take you. Come on!
He heads up the embankment.
Lori turns away and he follows her up the slope.
INT. ROY'S CAR (NIGHT)
Lori is driving. Silence.
I have to call Helen. Could you stop?
EXT. GAS STATION (NIGHT)
Roy is in the phone booth.
Lori is leaning against the car, looking at the ground.
Rick is on his bike, using his inhaler.
Roy comes out of the booth. He seems more in command of
I talked to my lawyer. He says to do
nothing without him.
This new evasion is too much for Rick. He jumps off his bike
and moves toward Roy --
Screw that! You're turning yourself
Don't talk to me like that!
It's such a mess!
Her husband and I teach in the same
department -- we know their kids --
Lori has made a decision --
Come on, Rick.
What're you trying to do?!
I want us out!
No way! He did it to her jus' like
he did to Mom --
(turning to Roy)
You're going to the cops!
What d'you want, Rick?! If you weren't
such a maniac, the whole thing
wouldn't have happened!
Now it's my fault, right?!
That thing at the motel -- doing
that to a woman -- it's sick -- it's
Rick moves toward his father --
Maybe, you creep! But I didn't let
Lori has moved between them and puts her hands on Rick --
Let's go, Rick -- Come on -- you
gotta let it go!
Rick is in tears. Lori puts her arms around him.
He's out of his mind --
(turning to Roy,
Get in your car!
Roy gets into his car.
Rick starts coughing. He shakes off Lori --
He'll get away with it! I know he
will! Wait a minute -- I got those
I got pi'tures of you -- I got some
of her --
He is holding up Lori's camera --
What's he talking about?
I'll send'm to Helen -- I'll stick'em
up all over U-Mass!
Roy is ashen-faced.
Just go, will you?!
Roy takes off.
Rick thrusts Lori's camera into the air like a trophy.
MTA TROLLEY SHED (NIGHT)
A large hulking shed, which serves as a terminal for trackless
trolleys. It is open to the street at both ends.
Rick comes in on his bike and Lori gets off.
I need my camera.
Keep the film -- just give me the
Rick tries to open the camera but can't find the release.
She holds out her hand and he gives it to her.
Lori springs it open. Then, with a quick motion, she pulls
the exposed film out of the cartridge into the light.
Rick cries out as though he had been hit. He grabs the camera
with the useless film hanging out of it and smashes it to
the cement floor.
What's the matter with you?! 'You
Lori, too, is very upset --
It's the only way --
You're on his side! Ya always were!
I'm on no side! There aren't any
sides! I just want out!
Sure, Lori. 'See ya in hell!
He starts his bike and roars out of the shed.
Lori picks up her camera, but is so distressed that when she
is down, she stays on her knees for a moment.
INT. LORI'S PLACE (NIGHT)
David is waiting for her. He nods Hello, but signals something
with his eyes. The camera follows his glance. Roy is at the
stove, lighting a cigarette on one of the burners. He turns
off the gas and faces Lori nervously --
We have to talk, Lori.
Just get out!
David is about to leave --
Don't! Please stay.
You've got to hear me.
She snaps on the radio to drown out his voice.
I know there's no excuse. But I didn't
get her killed! That wasn't my fault --
It's never your fault!
I know there's no excuse. But don't
let him use the pictures! They'll
hurt a lot of innocent people!
Lori hides her face in her hands.
Did you hear me?
Lori looks up and stares at him.
He won't be using them.
Are you sure?
What you do about that woman or her
family, that's between you and
yourself. But if you ever try to
call or see me again --
She stops, goes into the bathroom and closes the door.
Roy glances at David, his face ravaged by shame. He turns to
David is driving. Lori is next to him, with her hair blowing
wildly over her face.
DAVID'S LIVING ROOM (NIGHT)
Lori is sitting on the sofa. David approaches from behind
and puts his hand on her shoulder --
If they weren't my family, I could
You can walk away.
They won't let me.
You don't let yourself.
You know nothing about it! You don't
have any problems! You just have
Yeah. It's easy to talk.
She touches his hand.
THE LAKE (DAWN)
Lori is sitting at the water's edge. The tranquil lake
reflects the early light. Birds have begun to sing.
DAVID'S BEDROOM (DAWN)
Lori approaches the bed. David is sleeping.
She touches his bare back. He opens his eyes and turns to
Gravely and in silence she starts making love to him.
FRONT LAWN (BRIGHT MORNING SUNSHINE)
We are looking down from the bedroom window. A middle-aged
man is cutting the lawn with a power mower.
David enters the frame, pushing an old lady in a wheel chair.
A nurse in a white uniform walks a few steps behind them.
Lori is at the window. She has just woken up.
A well-dressed, kindly looking woman in her fifties is at
the sink, rinsing an accumulation of dishes.
Hi. I'm Betsy, David's stepmother --
(with a smile)
-- to be.
(indicating the dishes)
I'll do that.
Lori helps herself to orange juice from the refrigerator.
I'm sorry we didn't call. We're taking
Grandma up to Maine, so we stopped
She joins Lori at the table --
I'm glad to meet you. David looks
Well, it isn't me.
He's been through a lot. It's good
to see him smile.
He hasn't told me.
He doesn't talk about it. His mom
died last fall. He took care of her.
Oh. Well, he's taking care of me
(with a smile)
It's not the same thing, is it?
INT. NEW ENGLAND TEA ROOM (SUNLIGHT)
Mr. Coolidge and Betsy are having breakfast with Lori and
(pouring Lori's coffee)
David says you teach art.
I'm just starting.
She is a bit uncomfortable. Mr. Coolidge, like Betsy, is a
warm and kindly person -- a warmth and kindness clearly rooted
It must be very satisfying. David's
mother loved art. She used to do
We hope you'll come in and have dinner
She is finding it hard to maintain her composure.
Suddenly she puts down her fork and gets up --
Excuse me. It was nice to meet you --
She leaves the table. Betsy and Mr. Coolidge look bewildered.
'Be right back.
He follows Lori and catches up with her in the entrance hall.
She is putting on her jacket --
If they knew me, they'd freak out!
No, they wouldn't.
Come on, David -- they'd disown you.
That's crap! They said how much they
She is crying openly now. He embraces her --
Lori, you're great. You're so
EXT. DAVID'S HOUSE (AFTERNOON LIGHT)
Lori and Chris are clearing the overgrown garden. Chris is
raking leaves and Lori piles dead branches onto a fire.
Rick comes down the driveway on his bike, pursued by a large
barking dog. Scared and furious, he drives around the lawn
trying to shake it. Chris calls the dog by name and collars
Rick gets off his bike in a rage --
'Ought-a kick your ass!
He doesn't bite!
The dog continues barking at Rick --
Get him out-a here!
(she can see what's
Go home, Chris -- okay?
I don't want you here.
Chris whistles to his dog and heads down the driveway.
Rick turns to Lori. She sees him through the distorting haze
above the fire. He has stuck a set of plastic vampire fangs
into his mouth.
'Think ya got away with it, don't
He mounts his bike and rides it around the fire, then shoots
off into the trees and disappears. There is a loud crash.
Lori runs into the woods.
The bike has hit a tree and Rick is lying several yards away,
face down and motionless.
Lori stops, terrified.
Rick opens his eyes and grins at her.
Lori is on the phone, but keeps an eye on the door to the
Betsy? It's Lori. Is David there?
Rick appears in the doorway --
Did he say where? Thanks, no.
She hangs up.
Rick circles around the kitchen and stops in front of her --
Tell ya what I'll do --
He pulls a small gun out of his windbreaker and puts it under
his chin, with the muzzle pointing up --
All ya gotta do now is wink -- like
...an' I'll never bug you again!
He sticks the gun into his mouth, but continues talking --
Here's your chance, Lori. Don't blow
Lori doesn't know whether he is crazy or just pretending to
(as calmly as she can)
Put it down. Please!
He pockets it.
That guy is dead!
He walks out.
THE FRONT OF DAVID'S HOUSE
David is coming down the driveway in his Jeep. He meets Rick,
who is walking away from the house. David stops for him but
Rick walks past him.
Lori has come out. She joins David --
He's got a gun.
I'll call the cops.
No, he'll get himself killed. Talk
to him. Maybe he'll listen to you.
David starts the Jeep. Lori climbs in.
STREET BEYOND DRIVEWAY
The Jeep catches up with Rick and stops.
(to David, with a
'She got ya workin' for her!
A small plane passes overhead and Rick aims his gun at it.
(pocketing the gun)
It ain't loaded.
Where 're you headed?
He's got a class at two. 'Gonna scare
him, that's all.
He climbs over the side of the Jeep into the rear seat.
(after a moment)
Are we going, or what?!
David starts the engine --
What're you doing?
Relax -- he's got a plan. Right,
MUSEUM PARKING LOT
The Jeep stops and Rick jumps over the side.
Now look -- if one-a you yells or
...like that bit with the pi'tures --
I start shooting and I don't care
who I hit!
Rick is leading Lori and David rapidly through a gallery.
His right hand is inside his windbreaker. He knows that David,
who is staying very close, is just waiting for a chance to
jump him. With a grin, he opens his jacket and shows him the
pistol, pointed at his own heart.
He stops at the top of the marble stairway that leads into
the lobby, leans over the balustrade, and nods at a cluster
of men and women --
They're waiting for him! You guys
Lori has had a very hard time staying under control. She
can't tell whether Rick is actually planning to shoot Roy,
or just wants to torture her. She has had it and starts down
the stairs --
Not that way! Get back!
Tell her to get back!
He aims his gun down into the lobby --
Come back, Lori!
She stops on the stairs --
Up here, Mommy!
Lori heads back up the stairs.
Down below, a guard is talking to the group, which begins to
He's not coming!
You called him!
I called him?! When?! How could I?!
I've been running after you, scared
out of my skull! Give me that gun,
Rick's sense of confidence has crumbled. He turns away.
Lori and David are walking a short distance behind Rick. He
goes into a men's room. David is about to follow him --
Keep him in there as long as you
She heads for a pay phone.
Rick is washing his hands. He looks listless and defeated.
David stops next to him --
Rick holds up the gun --
Okay, Uncle David -- I'll sell it to
you. What d'you say? My sister 'll
love ya half to death! Hell -- here
(handing him the gun)
Taken by surprise, David pockets the gun.
(with a grin)
If I need it, will ya give it back?
Don't try an' shit me, Uncle David --
You don't give a damn about me.
Rick's mood shifts again -- darkening perceptibly.
'Hope you guys make it.
He turns and walks to the door.
Lori drives the Jeep up to David and Rick. She and David
exchange a look --
I've got to see Karen. She's at my
Rick is preoccupied and pays no attention. He climbs into
INT. LORI'S PLACE
Rick is moving around the room restlessly, playing a few
notes on his Jew's harp.
How long 'we gonna wait? You know
her -- she'll get here on Judgement
Lori is sitting on the window sill, sketching and keeping an
eye on the street, one floor below.
Rick, I'm taking you to a doctor.
He picks up the phone and dials the operator --
(into the receiver)
Hey, operator -- gimme the nut house!
'Course it's a sick joke -- I'm sick!
He hangs up and walks to the window, passing his fingers
over his lips to make a babbling sound. When he stops next
to Lori, something outside catches his attention.
Down below, on the far side of the street, a city ambulance
has pulled up and two attendants climb out.
Lori looks at him gravely and puts her hand on his arm --
I called a hospital, Ricky.
You what?! You gotta be kidding!
I ain't goin' nowhere!
He bounds away, then returns to the window, frantic.
Rick, it's the only way.
If you think you're lockin' me up,
you're the one who's crazy!
On the street below, a squad car has pulled up --
You called the cops!
David has joined them --
They always send them.
(like a trapped animal)
I ain't goin' no place -- no place.
Gimme my gun!
It's in the Jeep.
Fuck you, David! I trusted you!
Rick, you need help. You really do!
He moves toward Rick --
Stay away from me!
You'll be okay.
He tackles David, but after a short struggle, David subdues
him, and holds him in a kind of embrace --
You'll be okay. I know you will.
Rick tears himself free --
He picks up his windbreaker and pulls out another gun --
Okay -- now stay where you are --
Don't try nothin'!
Lori and David are stunned --
Rick -- give me that.
Get out-a here -- both-a you! An'
tell those shitheads -- first one
through the door gets his head blown
(yelling out of the
Hey, you mothers! Don' try comin up!
The attendants are taking some gear out of the ambulance.
They spot Rick with the gun and take cover. So does the
officer who has left the squad car.
Don't shoot, Rick!
'Ya think I'm bluffing?!
Before she can answer, he takes a shot at the ambulance.
Lori is moving toward him. She tries to keep her voice level --
That's it, Rick!
I warn you -- stay where you are!
(backing away from
You asked for it, Lori!
David tries to hold Lori back, but she pulls away from him.
Don't push me!
He fires into the room, but away from Lori and David.
Ricky, please! It's not too late!
Sirens approach from several directions. Rick moves back to
the window, taking care not to present a target.
Below, several patrol cars are pulling up.
You must-a called a lot-a hospitals!
He takes a shot at one of the cars and ducks.
They'll kill you, Rick!
That's okay -- Say hello to Kare for
He puts the pistol down on the table, opens a can of paint,
dips his finger into it, and marks his forehead with a blue
Both David and Lori see the opening --
(moving toward the
Rick, if you stop right now -- You
haven't hurt anyone.
She makes a break for the table while David moves to head
off Rick. But Rick has been waiting for exactly this moment.
He leaps forward with a yell, evades David, and gets to the
pistol ahead of her.
Lori cries out in rage and despair --
He wants to get killed! Ricky --
please! -- whatever I did -- I'm
sorry -- I'm truly sorry! I'll make
it up to you! Please!
His response is to take another pointless shot out the window.
Lori stops. He isn't listening. She knows it's hopeless --
(a forced calm)
Okay, Rick -- go ahead. Go on.
(she walks to the
Just wait till I'm gone. I don't
want to see it.
She pushes David toward the door.
Get out! Go on -- get her out!
(throwing and kicking
things after her and
He slams the door shut behind them.
HALLWAY AND STAIRS
Lori is going down the stairs, with David behind her.
Up on the landing, Rick tears open the apartment door --
(yelling after them)
I wan'a get burned, like Mom! 'Ya
Lori neither stops nor turns.
STREET IN FRONT OF LORI'S HOUSE
The building is in a state of siege. Both ends of the street
have been blocked off by patrol cars, and a small army of
men is using them for cover.
An officer addresses Rick through a battery-powered bullhorn --
I repeat: You will not be harmed!
We're not here to harm you!
Lori and David come out of the house. An ambulance arrives.
Lori starts across the no-man's land between the building
and the police cars.
The commanding officer speaks to her through a PA system on
the roof of his cruiser --
Stay where you are! I'm talking to
you, miss. Please stay where you
Lori continues walking toward his car. David catches up with
Hello, Mother -- are you there?
He fires into the air.
(opening the door for
(to the Captain)
Please don't shoot -- he's sick,
he's completely crazy --
She and David get into the back. The Captain is talking on
Up on the roof of the building, several men are deploying.
Two of them enter the wooden shed housing the stairway.
You know him?
Lori is in tears. She nods --
'Want to talk to him?
He offers her the microphone.
(but she takes it and
speaks into it)
Her voice breaks and she stops.
The captain leaves the car. A moment later, a shrill whistle
blows and tear-gas canisters are fired into the apartment.
We see Rick toss one of them back, but a thick fog of gas
forces him out onto the ledge. He is coughing.
Lori hides her face against the back of the seat. David puts
his arm around her.
There is a brief lull outside. Then Rick suddenly starts
firing into the room. The men from the roof are evidently
breaking down the door.
There is a single sharp rifle report from the street. Rick
topples down from the first floor. His body disappears behind
a car, so we don't see it strike the pavement.
Is that it?
(her eyes closed)
She gets out of the car.
The street emerges from the frozen tension of the siege into
bustling activity. There are policemen everywhere.
Lori walks away, past the sharpshooter who brought Rick down.
He is disassembling his telescopic rifle on the roof of a
A city ambulance moves toward the spot where Rick lies.
Someone has covered him with newspapers.
David is driving. Lori is staring at the sun. It is large
and red in the afternoon haze. As we approach a hill, the
sun seems to drop out of the sky in a steep arc and disappears
behind the ascending slope as though it were setting rapidly.
Once we have passed the hill and the horizon levels off, the
sun reappears and rises into the sky.
DAVID'S KITCHEN (EARLY EVENING)
David is scrambling eggs. Through the window, we see Lori on
the lawn. She is standing in the twilight, her back turned
to us. The glass through which we see her is covered with
fluttering moths, drawn by the light.
David puts the frying pan on the table. Lori enters, but
stops at the door --
It's easy to make it. You just feel
She sits down at the table.
Will you call about the body?
David nods. He serves her the eggs and sits down.
(after a moment)
You know it wasn't your fault.
I know it. But I don't believe it.
David enters the dark room from the bathroom. Lori is lying
on the bed. He sits down beside her.
She takes his hand and puts it on her breast, then suddenly
squeezes his hand with her own.
(her teeth clenched)
I don't want to turn to stone.
EXT. DAVID'S HOUSE (EARLY MORNING)
We are looking at a large tree from an upstairs window. The
sun is out and dozens of birds sit in the branches.
We hear the sound of a car. Down in the driveway, a taxi has
stopped and Karen gets out. She is carrying a bag.
David is at the window, buttoning his shirt. Lori joins him
in her nightgown --
Who is it?
She looks out, but steps back quickly when she sees Karen --
Get rid of her. Tell her I went to
When David comes down the stairs, Karen is already in the
house. She looks shaky.
I don't know.
You mean, she left you?
(not much of a liar)
Why? You're so nice.
She drifts around the room --
I saw it in the paper. Were you there?
I need to see her! She wasn't at her
Lori has appeared on the stairs behind Karen --
Who needs another nut?!
She hugs Lori --
Don't worry -- I'm not staying. He
called on Monday. He seemed okay. He
told me about my daddy.
The coffin is on a platform up front. Piped-in organ music.
Lori, Karen, and David are alone in the chapel.
(to Lori, in a whisper)
I won't make it if I don't take
She takes a pill. Tears are running down her cheeks.
Under all that crap, he was real
She leans against Lori. Lori holds her.
David is backing his Jeep out of a parking space. Karen is
next to him. Lori is in the rear, holding the urn in her
He said if something happened, I
should take him where you took Mom.
I would have called you, but I didn't
know what he meant.
'Wouldn't have made any difference.
(she sees something
A cab has stopped at the entrance to the parking lot, and
Roy gets out.
I called him. Daddies ought to be
there when their kids get buried.
David puts the Jeep into forward --
I want to talk to him!
Roy is walking up the middle of the driveway. He doesn't
seem to be aware of them. David swings around him and out of
the parking lot.
WATERFRONT, DAVID'S HOUSE (LATE AFTERNOON)
Lori and David are sitting at the end of the dock.
They stop talking when Karen comes out to join them.
'Talking about me?
Karen sits down beside Lori.
How long can I stay?
You need to see a doctor, Kare. You're
on drugs and pregnant.
(shaking her head)
I'm not pregnant. I just said that.
Lori gives her a look.
I'll be good. I promise.
David is in the rowboat, accompanying the women on a swim.
They are off the stern, swimming side by side.
All around them, the sunset sky is reflected in the calm
water, turning it red.
EXT. DAVID'S HOUSE (TWILIGHT)
Karen comes out of the house. David is cleaning the barbecue,
and Lori is sketching with acrylic paint under an outdoor
(none too steady on
I wish I was seven and you guys were
(she looks at Lori's
That's real nice. Could we get a
She steadies herself against the picnic table --
Where 're those pills?!
All right, Kare -- tomorrow morning,
bright and early, you're going back
to Fern Hill.
They can't do anything.
They had you clean till you met that
Karen is so drowsy, she can't keep her head off the table.
Let's get her to bed.
It isn't fair. You've got a friend
and you don't even need him.
A BEDROOM (NIGHT)
Lori turns on the light and David carries in Karen. She has
her arms around his neck and imitates the sound of a diesel.
He puts her down --
That was so nice --
Lori starts undressing her --
I'm jealous -- Bad, bad jealous --
It isn't sex -- I don't even like
Lori sits her down on the bed and slips off her shoes.
Will you be my doctor?
Okay -- lie down.
Stop acting like you're my mommy.
She starts taking off her shirt. Lori helps her --
I can do it.
She removes her shirt. There is a large, ugly bruise across
Karen looks at the bruise --
Don't tell me he hit you!
I had it coming.
Shit! Lie down.
Karen pulls the pillow off the bed and lies down on the floor --
'Gonna sleep right here.
No, you're not! Get up!
She drags Karen up onto the bed --
I've had it, Kare!
Lori turns off the light.
Leave it on!
Lori turns the light back on.
Karen is sitting up --
Come here -- please!
Reluctantly, Lori returns to the bed --
What is it?
Don't be mad at me.
You have to sit on the bed.
Lori sits down on the bed. Karen looks at her like a lost
It's like a curse.
Lori caresses her face --
You'll be okay.
David is asleep, Lori awake. He lies behind her and holds
her in a close embrace. Her hair partly covers his face.
Lori retrieves her hair without waking him. She hears an off-
screen sound and bolts upright --
Karen is standing just a few feet away.
What're you doing?!
'Just wanted to see what you look
She walks out.
LIVING ROOM (MORNING)
Lori comes down the stairs.
Karen is shaving her legs with a single-edged razor blade.
She looks up at Lori --
You don't have to say it -- I'm gone.
She puts the razor blade into her pocketbook next to her
I called Vinnie.
You're not going back!
David has come down the stairs.
(turning to him)
How do I get a cab?
When he doesn't answer, she heads for the phone and dials
the operator. Lori disconnects her --
You're going to Fern Hill. It's all
set. We called them.
You can't make me.
Lori looks at her grimly --
Okay, Karen -- if that's what you
Call a cab. Shit, no! I'll do it.
She's my sister.
She opens the phone book and looks for a cab company.
Lori's change in attitude has had a strong effect on Karen --
Rehab won't help me.
Right! What you need is for that guy
to beat you up! I tell you, Kare --
if you walk out of here, that'll be
the last time you see me. Ever!
She has found a number and starts dialing --
Okay, Lori -- I'll go with you.
No, you won't. You don't want to get
Yes, I do!
Lori looks at her, then hangs up --
Okay. But this is it! If you pull
anything else -- anything! -- I'll
cut you loose.
EXT. GAS STATION
David pulls in at the self-service pumps. Karen climbs out
of the Jeep and heads for the office.
GAS STATION OFFICE
Karen has bought an ice-cream sandwich at the vending machine.
Licking it, she stops in front of the teenage boy behind the
'Got a ladies room?
The boy hands her a key. She keeps staring at him, and he
becomes confused. Karen smiles at him.
Lori has come in --
I have to call Vinnie. He's waiting
She heads out.
EXT. GAS STATION
David has finished pumping gas and drives the Jeep over to
the telephone booth. Karen is talking inside.
She steps out, but without hanging up --
He wants to talk to you.
Hang up, Karen!
Hang up and get in the car!
Karen goes back into the booth without closing the door --
Sorry, Roy -- she doesn't like you
He says they're moving to St. Louis.
(into the receiver)
'Get away from it all -- right?
She hangs up, walks to the edge of the road that skirts the
station, and tosses her ice cream under the wheels of a
passing truck. Then she takes her pocketbook out of the Jeep --
I gotta pee.
She heads for the ladies room around the corner.
Lori sits frozen for a moment. She is at the end of her rope.
Let's just pick her up and take her!
She gets out of the Jeep and heads for the ladies room.
Lori knocks at the door --
Kare -- it's me.
There is no response and she knocks again --
She's got a razor blade.
She tries the door again and it swings open. The room is
They look around the area but Karen is nowhere in sight.
Heavy traffic in back of the station.
Home! You've done what you can.
Lori looks lost.
David puts his arm around her and takes her to the Jeep. She
lets herself be led, but stops before getting in and pushes
his hand away.
EXT. BLUE DORY MOTEL, NEW HAMPSHIRE
The buildings face a spectacular view of New Hampshire
scenery, but they are cheap-looking and set in the midst of
a tourist strip. It is raining.
Vince is using a power saw on the patio in front of the
office. He turns it off when he sees David and Lori drive
up. If he is surprised, he doesn't show it.
Did Karen call?
Like five times! She said she was
comin'. I told her forget it!
He turns the saw back on.
Park out of sight.
She heads for the motel office.
Lori is in the lounge area, watching David, who is on the
phone at the reception desk --
White dress. No -- sandals. Thanks.
We're at the Blue Dory, Route 6.
He hangs up.
Lori is going through Karen's bag. She takes out a bathing
suit, a half-empty bottle of wine, and her own acrylic paints.
Vince has come in from outside.
Lori finds a bottle with some pills. She looks at him and
slams it on the counter --
I know where she gets the stuff!
The phone is ringing and Vince's brother, a heavy-set man in
his thirties, emerges from the back room.
(answering the phone)
Blue Dory -- I can't hear ya!
Lori has crossed to the desk and picks up the receiver before
Vince can. But she changes her mind and hands it to him --
(in a tense whisper)
Tell her to come here!
Vince is reluctant to talk to Karen, but intimidated by Lori.
'lo. Where are you? Jus' tell me
where you are, I'll pick you up.
Yeah, she's here --
Lori is emphatically shaking her head NO, but it's too late.
He shrugs and hands her the receiver --
Hi, Kare. Cool it, will you?! No!
You won't be locked up! You don't
have to see anyone you don't want
to. Karen, don't hang up!
But Karen has hung up. Lori puts down the receiver, very
'She say where she is?
Bus depot. Portsmouth, I guess.
Get yourself down there, and don't
come back without her!
I don't wan' her here!
(with barely contained
Just go, will you!?
Vince glances at his brother and leaves.
I want a room.
Vince's brother takes a moment before he places the
registration pad in front of her.
Through the picture window, we see a view of the mountains.
The rain has stopped.
Lori enters the frame. She is using her acrylics to trace an
outline of the landscape onto the glass.
Off screen, David is on the phone --
Thanks a lot. We appreciate it.
He hangs up.
David enters the frame, shaking his head.
I wish I could pray.
Her brush strokes on the glass become angry, jagged.
David touches her hand, but she pulls away --
If you think you're helping, you're
fucking me up.
(she looks at him)
I'm sorry. If it weren't for you, I
don't know where I'd be.
She turns to the window and paints a large red sun into the
MOTEL POOL (TWILIGHT)
David is sitting at the pool's edge, watching Lori swim. She
wears Karen's bathing suit.
Vince drives past in the motel pick up. He stops in front of
the office and gets out.
David goes over to speak to him. Lori watches from the pool.
Vince shakes his head.
MOTEL ROOM (NIGHT)
Lori enters ahead of David. She is wearing a shirt over the
(unbuttoning her shirt)
Let's go to bed.
She pours herself some wine from Karen's bottle --
Don't look at me like that!
Like you're bleeding.
How am I supposed to feel?! You're
going through hell!
She approaches him --
You like helpless people, don't you?
Come on, Lori -- cut it out!
Whatever they had, it's catching.
(she looks at him)
If there were such a thing as
eternity, I'd spend it with you. I
She turns away.
EXT. MOTEL BALCONY (MORNING)
The door to the room is ajar and Lori comes out.
Below, she sees David and Vince talking to a state trooper
in a patrol car.
She starts down. David meets her at the foot of the stairs --
No. They got her at the hospital.
He doesn't know.
Lori walks over to Vince --
Let's go, Vince. Vinnie!
Vince shakes his head --
What's the matter -- can't take it?!
She heads for the motel van. David joins her.
HOSPITAL PARKING LOT
The van pulls up. Vince is driving.
Lori and David are in the rear seat --
Let me go, okay?
You don't have to put yourself through
She tears free --
It can't be as bad as I imagine.
Lori enters ahead of Vince. She stops --
Karen is the only patient in a room with four beds. She is
sitting in a chair near the window, with her back to us.
Lori is enormously relieved to see her sitting up --
Hello, Kare --
Karen neither turns nor moves.
Lori approaches and puts her hand on Karen's shoulder --
Karen's arm is bandaged and one side of her face is scraped,
but otherwise she seems unhurt.
Lori kisses her, crying with relief --
Kare, you had me so scared!
Karen doesn't respond. Her eyes are vacant and her face is
Kare, it's me.
David has come in and stops beside Vince.
(turning to him)
What's the matter with her?
David joins her --
Feel her skin! Tell them to put up
the heat. She's cold. What did they
'Could be shock.
Will she get better?
How long? Days, or what?!
They don't know.
Lori is caressing Karen's face --
Poor Kare -- poor kid --
She turns away to steady herself.
Give me a minute.
David leaves. Vince is already gone.
HOSPITAL PARKING LOT
Lori comes out of the building. David joins her. She seems
She's alive. That's something, isn't
She turns to Vince, who is seated in the van --
'Like her this way?
Vince looks at her sullenly, but says nothing.
She can't talk or move, but you can
still fuck her.
(taking her arm)
Let's go --
I know what I can do --
She gets into the van.
INT. CATHOLIC CHURCH
Lori is in front of the altar. After a long moment on her
knees, she stands up and turns to David --
(shaking her head)
She stops in front of a large crucifix --
What's wrong with us?
She looks at the crucifix, then turns back to David with
sudden vehemence --
I'd rather pray to you! 'Makes more
Before he can stop her, she is on her knees in front of him.
David picks her up. She starts kissing him and putting his
hands on her body --
Stop it, Lori!
Why!? It's holy!
If there's someone up there, I'm
glad they crucified him!
(she stops, frightened)
Listen to me!
(pushing him away)
I'm radioactive. Get out before I
(trying to calm her)
You're not tied to me. You're not my
She looks at him. She knows he won't leave her, and turns
EXT. MOTEL (LATE AFTERNOON)
Vince lets David and Lori out of the van, and parks in front
of the office.
Could you get me some Midol? There's
a convenience store down the road.
David looks at her. She seems calm.
I'll be in the room.
She heads for the office.
David gets into his Jeep, but doesn't start it right away.
The office is empty. Music from the back.
Lori walks up to the desk and Vince appears --
He hands it to her.
She glances through the window to the parking lot, and sees
David take off in the Jeep.
Lori puts down the key --
Take me to the bus.
Get your friend to take you.
Vince hesitates a moment, then calls to the rear --
'Be right back.
We are driving into the sun. There is a blinding glare on
the windshield and the van is filled with yellow-orange light.
The radio is on.
Lori is sitting up front, but away from Vince.
He glances at her --
'You know why I hit her?
You were helping her, right?!
Yeah. I'm dumb -- like you 'been
tellin' her from the start! I found
her in bed with a fourteen-year-old
Lori says nothing.
INT. LORI'S PLACE (EARLY MORNING)
The front door, newly installed, is unlocked from outside.
The super is out in the hall and hands Lori a set of keys.
She enters and closes the door. The place is a shambles.
After a moment, she crosses to the kitchen and turns on one
of the burners. She watches the gas ignite, shuts it off,
and blows out the pilot light. Then she opens all four burners
wide. The escaping gas makes an audible hiss.
The answering machine is blinking and Lori turns it on --
Lori, if you're there, please pick
(the machine beeps
and David's voice
comes on again)
I'm at my house now. If you're there,
please pick up!
She turns off the machine and dials the phone. She doesn't
like the smell of the gas and wrinkles her nose.
While waiting for someone to answer, she opens the can of
paints and writes "David, Love, and Thanks" on the tabletop.
Helen, it's me. Is Roy there? It's
She hangs up and stands motionless for a moment. Then she
walks over to the foam-rubber mattress and lies down. She
looks up at the ceiling and waits for the gas to take over.
A long silence.
There is a knock at the door --
She sits up with a start and rubs her face.
The super said you're there!
Lori tries to collect herself. She knows he will soon smell
the gas --
Just a minute. I'm in the bathroom.
Quickly and efficiently she undoes her preparations for dying.
She turns off the gas, opens the window, and steps into the
bathroom to flush the toilet.
She sniffs. The smell of the gas is so strong that she returns
to the stove, turns on one burner, and places a kettle over
the escaping gas. Then she opens the door for David.
He looks haggard and angry --
That was shitty!
He smells the gas --
(pushing past her)
What're you doing?!
Lori pretends to sniff the gas for the first time -- putting
on a good performance.
I put the kettle on -- maybe the
pilot is out.
David has spotted the open burner and shuts it off. The pilot
is out and her alibi is perfect, but he looks at her with
She remembers the message she left for him, and walks to the
table to smudge it. Then she looks at him, smiles, and shrugs.
I called. Where were you?
In the coffee shop. I didn't want to
stay here in the dark.
(she stops in front
I'm glad you came. I am.
She means it. He looks at her with relief and tenderness.
(moved by his feelings
You know -- you're the one who's
The phone rings.
Let it ring.
She changes her mind and picks up the receiver --
Nothing. I changed my mind. Yeah,
Karen told me. She's sick, Roy. Yes,
very! What d'you expect!? No way!
There's nothing to say.
She has become very agitated, though she manages to keep her
voice under control --
Okay -- where? Okay.
She hangs up.
Should you be seeing him?
They're moving to Missouri. I'll be
okay if you come.
Lori and David drive up.
Roy has been waiting for them. He comes down the steps.
Thank you for coming.
Lori avoids looking at him.
Could we go somewhere?
Here's good enough.
To give them privacy, David gets out of the Jeep and moves a
short distance away.
'Mind if I sit down?
Lori lets him into the back of the Jeep by moving her seat
forward. As he gets in, his foot kicks against something and
he stoops to pick up the urn with Rick's ashes.
Give it to me.
He hands her the urn.
Say what you have to say!
I want to pay for Karen. School or
(taking a check out
of his shirt pocket)
I'll send the same every month.
He passes the check to Lori, but she doesn't take it. She
honks to get David's attention and he returns to the Jeep.
Lori holds up the urn for David to see --
'Got to take care of Rick. It's been
banging around your car.
(she turns to Roy)
She looks at him for a moment and shrugs.
David glances from father to daughter. He gets into the
NORTH SHORE YACHT BASIN (LATE AFTERNOON; GREY SKY)
David stops the Jeep at the end of the dock. Lori climbs out
with the urn.
Call him, will you?
She walks down the dock.
David heads for the office shed.
Chris is docking his boat.
Lori approaches, surprised to see him.
Hi -- David just went to call you.
We need to go out.
Chris has seen the urn --
She fastens the bow line for him --
Tell him, will you? He's at the
Roy has joined her. She moves away from him and jumps aboard.
If you're coming, let's go.
What about your friend?
I can handle it.
She loosens the bow line.
Roy comes aboard. He isn't agile and almost slips.
We are heading out to sea before a steady breeze.
Roy is at the rudder. Lori trims the main sail.
Once the boat moves smoothly, she picks up the urn and sits
down at the stern.
Roy is watching her. She opens the box, but suddenly thrusts
it at him --
You do it! Go ahead!
Roy takes it, anxious to do anything that will lessen his
guilt in her eyes, and scatters the ashes into the water.
He finds the ring --
I didn't know he was married.
Lori takes the ring from him and drops it into the sea.
Roy looks at her. The wind is tossing her hair. Her face has
a harsh beauty.
Another boat has left the dock and is following in our wake.
We recognize David and Chris.
I know you blame me for a lot of it.
Lori, he was sick. So's Karen --
She gets up to move away --
(reaching for her)
Stay where you are!
Unable to bear his presence, she steps onto the seat and
dives into the sea --
She is swimming away from the boat toward open water.
David and Chris have seen what happened. David is shouting
to Roy, but his words are lost in the waves and wind.
Roy tries to shift the boat in Lori's direction, but can't
handle it. The boat veers and begins to list.
Lori reaches a clanging bell buoy. She hangs onto it and
In a water-level shot from her point of view, we see the
Roy emerges unhurt. He swims toward Lori and the buoy.
The crest of a wave hides him from view. When it subsides,
he has disappeared. He resurfaces, struggling to stay afloat,
but goes down a second time when the next wave crests.
Lori is watching. The sea washes over her. She makes no move
When the wave subsides, Roy is back on the surface, fighting
for his life.
Lori stares at him for a moment. Then she pushes off from
the buoy and reaches him just as he is about to go under.
She supports him until David and Chris arrive in the boat.
Chris lowers the sail, and David jumps in to help get Roy
aboard. Chris pulls him up onto the deck while David helps
I'm okay --
Get him warm, will you?
Chris takes Roy down into the cabin.
Lori has slumped onto a seat, exhausted and shivering. David
puts a blanket around her --
Did you see?
I almost let him die.
David puts his arm around her shoulder --
You didn't, though. Chris has come
up from below --
Is he okay?
What about your boat?
We'll get it later.
Chris raises the sail.
Low on the horizon, the setting sun drops out of a curtain
David is watching Lori. Her face is tinged red by the sun.
It has a strange, transfigured look.
I'm glad to be alive. I am!
A bell buoy rings. The wind slaps the sail.
The boat tacks, turning David and Lori into a silhouette.
His arm is still around her, fusing them into a single shape
against the sky.
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