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Five Easy Pieces Movie Script

Writer(s) : Carole Eastman

Genres : Drama

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		Five Easy Pieces

		By

		Carole Eastman

		TITLE SEQUENCE:
		
		The Bach-Vivaldi A-Minor Concerto for Four Pianos
		PLAYS OVER a series of family album photographs.
		Written in careful penmanship beneath each are
		names identifying family members:
		
		1ST PHOTO: A man stands in front of the raised
		sounding board of a piano, playing the viola.
		Seated on the piano bench, accompanying him, is a
		woman in a maternity dress: 
		
		"Isabelle and Nicholas"
		
		2ND PHOTO: A boy of 11, wearing conductor's tails
		and holding a raised baton in his right hand as if
		about to gesture a downbeat:
		
		"Herbert Kreutzer Dupea"
		
		3RD PHOTO: Another boy of approximately 9, in the
		act of playing the violin:
		
		"Carl Fidelio Dupea"
		
		4TH PHOTO: The two boys are now poised behind the
		piano. Seated on its bench is a girl of 6, her
		hands resting on the keyboard. Written beneath:
		
		"Elizabeth Partita Dupea"
		
		5TH PHOTO: The above family group, seated on the
		porch of the Dupea home. All eyes but Isabelle's
		are faced toward the camera. She beams upon a 3
		year-old asleep in her arms, his head resting
		against her bosom. His figure is encircled by the
		pen's marking and preceding his name is the
		configuration of a small heart:
		
		"Robert Eroica Dupea"
		
		INT. MUSIC ROOM - DUPEA HOME - DAY
		
		BACH-VIVALDI OVER: 
		
		A 7-year-old BOBBY sits in a chair, his feet
		dangling in absent-minded rhythm to a chamber piece
		played by his father, his two brothers and his
		sister. 
		
		CLOSE ON a metronome, marking a slow etude rhythm. 
		
		The CAMERA MOVES from it to Bobby, on the piano
		bench beside his mother. As she patiently
		demonstrates the etude for him, he places a thumb
		in his mouth and leans against her arm. 
		
		ON THE METRONOME at an andante rhythm. CARL and
		TITA, now in their teens, are seated side by side
		on the piano bench, playing four-hands with
		dazzling virtuosity. 
		
		The CAMERA MOVES from them to a framed newspaper
		article on the music-room wall. Below a photograph
		of a 20-year-old young man are the words: "Herbert
		Kreutzer Dupea - Seattle's Youngest Guest
		Conductor."
		
		INT. RECITAL HALL GREEN ROOM - NIGHT
		
		BACH-VIVALDI OVER:
		
		Bobby, at 10, wearing a dress suit. His mother
		combs his hair with maternal concentration.
		
		CLOSE-UP of a program announcing a Dupea family
		recital. The CAMERA SCANS down the bill, over:
		
		Sonata in C Major for Two Violins - Bach - Played
		by Nicholas and Carl Dupea. 
		
		Like As a Lovelorn Turtle - Hendel - Sung by
		Isabelle Dupea. 
		
		Rondo Alla Turca - Mozart - Played by Elizabeth
		Dupea. 
		
		Piano Sonata, Opus 110 - Beethoven - Played by
		Herbart Dupea. 
		
		The CAMERA COMES to rest on:
		
		Five Easy Pieces - Grebner - Played by Robert
		Dupea. 
		
		INT. MORTUARY CHAPEL - DAY
		
		Five Easy Pieces, played haltingly OVER the torsos
		of a line of people moving slowly down the chapel
		aisle. 
		
		ANOTHER ANGLE 
		
		shows a solemn procession of the above, filing by
		an open casket holding Isabelle Dupea.
		
		ON THE FAMILY PEW
		
		The CAMERA PANS from NICHOLAS, seated on the aisle,
		to the four adult children seated next to him and
		COMES TO REST on Bobby. His gaze is cast down to
		his lap, as he refuses to look at:
		
		The pale profile of his mother's face resting
		within the satin folds of the casket lining, and...
		
		... as the last of the "family friends" pay their
		respect: Nicholas steps out into the aisle and,
		followed by Tita, Carl and HERBERT, moves down
		toward the casket.  
		
		Bobby rises from his seat and makes his way toward
		the aisle, where he hesitates briefly, then turns
		and walks up the aisle and out the chapel doors. 
		
		TITLES END
		
		EXT. SIGNAL HILL OIL FIELD - DAY
		
		TAMMY WYNETTE'S "STAND BY YOUR MAN" OVER:
		
		The toothed bucket of a back hoe trenches into the
		earth, then lifts up into the air, revealing Bobby
		in hard-hat and heavy gloves, operating the levers.
		As the hoe swings off to the side and deposits a
		load of earth into the rear of a truck...
		
		... a SERIES OF SHOTS begins, showing Bobby and a
		fellow hard-hat (ELTON) engaged in the dirty and
		dangerous task of working "crew" with a team of
		TOOL-PUSHERS on the derricks of Signal Hill.
		Functioning as servants of the well and its pumps,
		the PULL rods, MAKE and BREAK joints on the rig
		floor, WELD tubing, CARRY pipes, CLIMB the "tour,"
		and PLAY THE DOZENS on beer wagon breaks. 
		
		INT. BOBBY'S CAR - SIGNAL HILL - NIGHT
		
		ABOVE SONG OVER:
		
		Bobby, still in his hard hat, as he drives. Out
		through the window, the derricks of the Hill can be
		seen, their night-work lights on. 
		
		EXT. BOBBY'S CAR - NIGHT
		
		SONG OVER:
		
		FOLLOWING ON the car as it moves off the Hill into
		the seamy districts adjacent to it, passing by fast
		food joints, liquor stores, all-night porno parlors
		and neon-lighted bars. 
		
		INT. BOBBY'S CAR - NIGHT
		
		SONG OVER:
		
		ON BOBBY'S FACE:
		
		as he stares out through the windshield, his eyes
		distant, dwelling in an oblivion that blanks both
		the present and past. 
		
		EXT. BOBBY'S CAR - NIGHT
		
		SONG OVER:
		
		The car pulls onto a low-rent residential street
		and comes to a stop in front of a small bungalow.
		
		Bobby exits the car, moves up the walkway to the
		house and disappears inside. 
		
		INT. RAYETTE'S LIVING ROOM - NIGHT
		
		SONG OVER:
		
		Bobby, seated on the couch, a can of beer in hand,
		staring morosely across the room, to:
		
		A PORTABLE STEREO,
		
		playing the song:
		
					WYNETTE (V.O.)
			"And if you love him/Oh be proud of
			him/For after all, he's just a
			man..."
		
		RAYETTE DIPESTO,
		
		in a waitress's uniform with a bowl of beer nuts.
		After placing them on the coffee table in front of
		him, she leans down and kisses him. Challenged by a
		less than reciprocal response, she kisses him more
		fervently. As she moves her lips from his ear to
		his neck, he lifts the can to his mouth and drinks.  
		
					WYNETTE (V.O.)
			"Stand by your man/And show the
			world you love him/Keep giving all
			the love you can/Stand by your
			man."
		
		The song concludes, and setting aside her ardor for
		the moment:
		
					RAYETTE
				(Arky accent)
			I'm gonna play it again...
		
		As she starts for the stereo, he takes hold of her
		hand. 
		
					BOBBY
			You're not going to play it again.
		
					RAYETTE
			Well, lemme play the other side
			then.
		
					BOBBY
			No.
		
		Again, he prevents her from moving to the stereo
		and pulls her down onto the couch.
		
					RAYETTE
			Now quit, Bobby. You said you're
			goin' a help me pick a song. 
		
					BOBBY
			You said.
		
					RAYETTE
			Well, lemme sing the one I picked
			an' see what you think...
				(she sings)
			"When there's a fire in your
			heart/Break the glass/Sound the
			alarm..."
		
		He picks up one of the couch pillows and holds it
		over his ear. 
		
					RAYETTE
			Oh, you prick...
		
		She pulls it from his hand.
		
					RAYETTE
			How 'bout if I just cut off your
			damn water?
		
					BOBBY
			I'm too moved by your gentility to
			speak. 
		
		She immediately softens and tries to become more
		"refined."
		
					RAYETTE
			Sugar, you know how I feel about
			you, don't you? I'm just tryin' to
			get you to take an interest in my
			kind a things, an' what I'm tryin'
			to do with myself...
				(bringing her face close
				to his)
			You know, there id'n anything in
			the world I wouldn't do for you,
			baby. I started livin' the day I
			found you, you know that?
		
					BOBBY
			You're playing the other side.
		
		Very hurt, she sits up and looks away from him. He
		finishes the beer and holds the can out to her. 
		
					BOBBY
			Cerveza.
		
					RAYETTE
				(grabbing it from him)
			Serveza yourself!
		
					BOBBY
			Now, now.
		
					RAYETTE
				(she stands up)
			No, dammit, I would easy.
		
		And, as she turns and goes toward the kitchen:
		
					BOBBY
			But you heal fast.
		
		Through the open door to the kitchen, Rayette can
		be seen opening the refrigerator. She takes out a
		can of beer and returns to Bobby. 
		
					RAYETTE
				(over the above)
			You can play the piano, an' your
			whole damn family can play on some
			type a musical instrument. An' all
			I'm askin' is for you to listen to
			my singing for one single little
			second...
		
		She hands him the can and sits back down on the
		couch.
		
					RAYETTE
			But you think you would? No, you're
			too damn selfish...
		
		He gestures at the name tag on her dress, and, as
		we'll find he often does, speaks in the Okie-Arky
		accent he's learned from working the rigs:
		
					BOBBY
			Why'nt you take 'at sign off your
			tit, Ray, an' let's go on out.
		
					RAYETTE
			Out where?
		
		She sits down and begins removing the tag.
		
					BOBBY
			I don't know, I'll holler up Elton
			an' Stoney...
		
		She thinks about it, then moves closer to him and
		begins unbuttoning his workshirt, as:
		
					RAYETTE
			I'll go out with you, or I'll stay
			here, and do anything you'd like
			for me to do... if you'll just do
			one thing. If you'll tell me that
			you love me.
		
					BOBBY
			You can sing the song.
		
					RAYETTE
				(annoyed)
			You know what, you are never
			satisfied.
		
					BOBBY
			That's right, hand.
		
		The response makes her deeply insecure and she
		immediately lays her body against his...
		
					RAYETTE
			Oh, now, baby...
		
		... and initiates another round of kissing.
		
		INT. BOWLING ALLEY - NIGHT
		
		Bobby lifts his ball from the return rack, moves to
		the lane and bowls a perfect strike. Making a self
		congratulatory gesture of triumph, he turns back
		to:
		
		Elton, seated at the scoring table. His wife,
		STONEY, is seated beside Rayette on the horseshoe
		banquette. As he addresses Rayette, we note that
		Elton's two front teeth are missing.
		
					ELTON
				(Okie accent)
			Your ball, Ray.
		
					RAYETTE
				(reluctant)
			Is this suppose to be fun?
		
					BOBBY
			Go on, get up there...
		
		She rises and moves to the rack.
		
					BOBBY (CONT'D)
			... and stay relaxed this time.
		
		Picking up ball, she moves to the head of the lane
		and slings it down the alley, watching hopefully
		as...
		
		... it rolls off to the right and takes only one
		pin.
		
		ON BOBBY
		
		as she moves to her second ball.
		
					BOBBY
			Now don't loft it, just release it
			like I told you.
		
		ON RAYETTE
		
		as she bowls the ball down the right-hand rut and
		comes back to the banquette, apologizing:
		
					RAYETTE
			The ball's too heavy for me,
			honey...
		
		He looks past her to Stoney, about to bowl her
		ball.
		
					BOBBY
			It's not the damn ball.
		
		And as Stoney bowls a strike, Rayette hugs his arm.
		
					RAYETTE
			I'm tryin', baby, so don't start
			gettin' mad now.
		
					BOBBY
			No, I'm not mad at you, hand. It'll
			be all right. Just spot and follow
			through...
		
		And as Elton bowls a strike...
		
					BOBBY (CONT'D)
				(mumbling)
			Shit.
		
		He gets up and passes Elton on his way to the rack.
		
					BOBBY (CONT'D)
			Nice ball, El.
		
		Rayette, to Stoney as she watches Bobby prepare to
		bowl:
		
					RAYETTE
			Id'n he somethin' to see?
		
		And as he makes another strike and returns to the
		banquette, she gets up and throws her arms around
		him. He returns her embrace, smiling over her
		shoulder at:
		
		Two heavily made-up young women (TWINKY and BETTY)
		taking possession of the adjacent lane. (Note that
		Betty is of diminutive proportions, while Twinky is
		Amazonian.)
		
					RAYETTE (CONT'D)
			Is it my turn again?
		
					BOBBY
			Right. Now show me a little
			somethin' this time, okay? Give me
			some form...
		
		He remains standing, watching as she throws another
		gutter ball and then comes back toward him, alibi
		ing:
		
					RAYETTE
			I can't help it, honey, the ball
			just keeps goin' cocky wobbly on
			me...
		
					BOBBY
			Will you just do what the hell I
			tell you...
		
					RAYETTE
			I did, didn' I, El?
		
					BOBBY
			You got another ball comin'.
		
		She moves to the rack and, concentrating hard,
		advances down the lane and releases the ball. It
		rolls slowly down the center, hits at precisely the
		right spot and clears the pins.
		
					ELTON
			Atta boy, Ray!
		
		Ecstatic, she comes back to the banquette, seating
		herself beside Bobby and trying to solicit a
		response from him.
		
					RAYETTE
			That was damn good, wad'n it? I
			finally did it...
		
					BOBBY
			Yeah, great.
				(begins removing his
				bowling shoes)
			Why don't you throw Z's for 19
			frames, and then roll a strike on
			the last ball in the last frame of
			a losing game? Just wonderful.
		
		Turning to address the two young women over the
		back of the banquette.
		
					BOBBY (CONT'D)
			Wasn't it, ladies?
		
					TWINKY
				(pointing at herself)
			Are you talking to us?
		
		Rayette pulls off her rental shoes and throws them
		to the floor.
		
					RAYETTE
			I'm gonna go wait in the car.
		
		He stretches his arms out on the back of the
		banquette as though he intends to reside there
		awhile.
		
					BOBBY
			Yeah, why don't you do that.
		
		She grabs her sling-back and her purse and as she
		gets up:
		
					STONEY
			Wait an I'll I go with you,
			honey...
		
		As she picks up her belongings and follows Rayette:
		
					ELTON
				(changing his shoes)
			We gotta get on home an' relieve
			the sitter. Why'nt you an' Ray come
			on over.
		
					BOBBY
			Okay. Go ahead. I'll settle up for
			the beers...
				(hands him the bowling
				shoes)
			An' walk Rayette over with you,
			will you.
		
		Elton moves off and Bobby, now full of remorse,
		slumps into a depressed reverie. Beyond him, Betty
		and Twinky, can be seen, engaged in some discussion
		concerning him.
		
		A WAITRESS with a tray approaches and leans down to
		him.
		
					WAITRESS
			Can I get you anything else?
		
					BOBBY
			No. How much do I owe you?
		
					WAITRESS
			Five'll do it.
		
		He takes some loose bills from his pocket and lays
		them on her tray. She thanks him and moves off. As
		he reaches down and pulls on one of his boots,
		Twinky approaches behind him and leans down over
		the back of the banquette.
		
					TWINKY
			We been wantin' to ask you
			something. Are you the guy on YV?
		
					BOBBY
			Am I on TV?
		
					TWINKY
				(pointing lo Betty)
			She says you're the one that sells
			all the cars on TV.
		
					BOBBY
			Well, I don't claim to have sold
			'em all. They still have some left,
			I believe.
		
		Betty appears on the other side of the banquette.
		
					BETTY
			See, I told you it was him...
				(then to Bobby)
			Your name's Donnie something,
			right?
		
					BOBBY
			I leave it to you.
		
					BETTY
			My name is Shirley, but they call
			me Betty, and her name's Twinky.
		
					BOBBY
				(looking to Twinky)
			Twinky?
		
					BETTY
				(explaining)
			Yeah, 'cause she's so "twinky"...
		
					BOBBY
				(looking from one to the
				other)
			Well, Betty and Twinky, it sure is
			nice talking to you girls. I just
			wish I had more time...
		
					BETTY
			That's a wig you wear, isn't it?
		
					BOBBY
				(touching his hair)
			A wig?
		
					BETTY
			Yeah, I told her it was you, but
			that you're wearing a wig, 'cause
			on TV you're mostly bald in the
			front.
		
					BOBBY
				(to Twinky)
			Your little friend's real sharp
			there...
				(to Betty)
			Yeah, I don't like to wear the wig
			on TV, because with two and a half
			million people watching you, you've
			gotta be sincere. I just like to
			wear it when I'm out slippin'
			around bowling alleys an' things
			like that. I think it gives me a
			little more class, don't you?
		
					TWINKY
			Oh, definitely...
		
					BETTY
				(looking at his hairline)
			Yeah, but I can see a little bitty
			of the net up there, that's what
			give it away.
		
					TWINKY
			It's so weird to see you in person,
			but that's who she says you are.
		
					BETTY
				(to her)
			It is him, he said it's him.
				(to Bobby)
			Aren't you.
		
					BOBBY
			Yeah, you could say it's me.
		
		Twinky reaches over to the scoring table, picking
		up a pencil and a score sheet.
		
					TWINKY
			I'm gonna give you our number,
			Donnie, just in case...
				(as she writes)
			We're both professionals, if you
			didn't guess.
		
					BOBBY
			Well, you seem very professional...
		
					TWINKY
				(handing the score sheet
				to him)
			I always tell everyone the same
			thing. I got rolled and beat up
			real bad recently, and since then
			it's two for one, an' I work
			strictly in tandem with Betty...
		
		He glances at the dwarfish Betty.
		
					BOBBY
			Yeah, I can see how she'd come in
			handy.
		
		EXT. BOWLING ALLEY PARKING LOT - NIGHT
		
		Rayette sits sulking in Bobby's car. He comes up to
		the passenger window and leans down to her.
		
					BOBBY
			Come on. We're goin' over to
			Elton's.
		
					RAYETTE
			I'm not.
		
					BOBBY
			You just going to sit there?
		
					RAYETTE
			Yes.
		
					BOBBY
			Okay. Hope no one hits on you.
		
					RAYETTE
			I hope they do.
		
		He casually slaps the outside of the door.
		
					BOBBY
			See you later, then...
		
		He walks off through the lot.
		
		ON RAYETTE
		
		staring out through the windshield.
		
		ON BOBBY
		
		as he stops and comes back to the car.
		
					BOBBY
			No one would want to hit on you,
			you look too pathetic.
		
		No response.
		
					BOBBY (CONT'D)
			Come on, DiPesto. We can still have
			a good time.
		
					RAYETTE
			You're the pathetic one, not me.
		
					BOBBY
			I'm going on over there...
		
					RAYETTE
			I'm not some piece a crap.
		
					BOBBY
			I know you're not.
		
					RAYETTE
			You treat me like I was.
		
					BOBBY
			I'm sorry.
		
					RAYETTE
				(close to tears)
			You go slippin' around in front a
			my face, an' in front a Elton an'
			Stoney. What do you imagine they
			think a someone you treat that
			way...
		
					BOBBY
			Now, hand...
		
		He opens the door and gets inside, putting his arm
		around her.
		
					BOBBY (CONT'D)
			Elton and Stoney know how I feel
			about you. An' they're just goin'
			to think I'm not too nice a guy,
			which I'm not, an' that you're a
			hell of a person puttin' up with
			me, that's all.
		
					RAYETTE
			You're goin' a find me dead one
			time.
		
					BOBBY
			Sssh, come on now...
				(he kisses her)
			Be a good girl.
		
					RAYETTE
			If you really want a get up an'
			leave me, you can read about it in
			the newsprint.
		
					BOBBY
			I'm not going to get up an' leave
			you.
				(kisses her again, then:)
			Now let's go over to El's an' have
			a good time.
		
					RAYETTE
			Do you love me, Bobby?
		
		He hesitates briefly, then:
		
					BOBBY
			Well now, what do you think?
		
		Though hardly an undying declaration, it's close
		enough to fill her with forgiveness. Reaching over,
		she pulls him into her arms.
		
		EXT. SIGNAL HILL DERRICK - DAY
		
		KALEIDOSCOPIC SERIES OF SCENES, showing Elton and
		Bobby WORKING THE RIG as part of a four-man team.
		The DRILLER stands back, giving them directives,
		while the prestigious DERRICKMAN, the "star" of the
		team, lounges around in the b.g. Though he has been
		working the fields for some months, it is apparent
		that Bobby is still somewhat of a novice in the
		operations of the rig.
		
		FADE OVER ABOVE ACTIONS, to:
		
		INT. SIGNAL HILL DOGHOUSE - DAY
		
		An impromptu card game, taking place on a lunch
		break.
		
		(IMPROVISED) Bobby, in a buoyant mood, lays down a
		winning poker hand and rakes in a pile of bills and
		change lying on the table. The participants include
		Elton and THREE OTHER TOOLPUSHERS. In the b.g., as
		the game continues, other "HANDS" can be seen
		changing clothes.
		
		INT. TWINKY'S APARTMENT - NIGHT
		
		Bobby sits morosely on the couch beside Twinky. One
		of his arms is around her, the other holds a can of
		beer. Both he and Twinky are looking at...
		
		... Elton, who rides Betty on his leg as both sing
		"Ride a Cockhorse To Banbury Cross." She begins to
		laugh with the hysterical abandon of a child, and
		Elton, nearly beside himself, looks over to Bobby.
		
					ELTON
			God, id'n she the cutest damn thing
			in your life!
		
		EXT. SIGNAL HILL FIELD - DAY
		
		(ELTON SINGING A RANK DOGHOUSE SONG OVER:)
		
		REMOTE ANGLE ON BOBBY AND ELTON
		
		Having been up all night, drinking, they move
		unsteadily toward a derrick and are intercepted by
		the driller as they climb the stairs to the rig
		floor. He informs them they are unfit to work and
		"impolitely" eighty-sixes them for the day.
		
		EXT. BOBBY'S CAR - FREEWAY - DAY
		
		(ELTON SINGING OVER:)
		
		Bobby's car slows as it moves into a freeway jam.
		
		INT. BOBBY'S CAR - FREEWAY - DAY
		
		He gestures out at the traffic as Elton, strumming
		a ukelele, concludes his song.
		
					BOBBY
			Can you believe this shit?
		
		He takes a drink from a half pint of bard liquor,
		then angrily hits at the steering wheel.
		
					BOBBY (CONT'D)
			Goddamned freeway... Jesus
			Christ...
		
		THROUGH THE WINDSHIELD
		
		A few cars ahead, a truck can be seen carrying
		several furniture pieces protected by padded
		covers.
		
					ELTON
			Give 'em the horn, Bob.
		
					BOBBY
			Look at these assholes! What the
			hell are they doing?!
		
		EXT. FREEWAY JAM - DAY
		
		The assholes are going nowhere and other cars close
		up behind and to both sides of Bobby's car.
		
		INT. BOBBY'S CAR - FREEWAY - DAY
		
		He suddenly throws the car into "park"...
		
					BOBBY
			I can't take this shit anymore.
		
		... opens the door and gets out.
		
		EXT. FREEWAY - DAY
		
		ON BOBBY
		
		moving down the freeway, away from his car. Behind,
		Elton can be seen sliding over into the driver's
		seat.
		
		ANOTHER ANGLE
		
		as Bobby steps up onto the fender of a car, looking
		for the cause of the jam.
		
					DRIVER
			Hey, get off my car!
		
		INT. BOBBY'S CAR - FREEWAY - DAY
		
		ON ELTON
		
					ELTON
			Where the hell's he goin'?
		
		EXT. FREEWAY - DAY
		
		Bobby cuts in front of another car and climbs up
		into the rear of the truck. Moving to the front of
		it, he looks out over the cab.
		
		POV of the glut of cars in all four lanes.
		
					ELTON
			Hey, Bob! Come on! Quit foolin'
			around!
		
		EXT. TRUCK - FREEWAY - DAY
		
		On his way out of the truck, Bobby pauses to look
		beneath one of the padded protectors, then pulls it
		off to reveal an upright piano. He leans down to
		the keyboard and plays a few notes.
		
		INT. BOBBY'S CAR - FREEWAY - DAY
		
		Elton, amused.
		
					ELTON
			Shit, what's he doin'?
		
		EXT. TRUCK - FREEWAY - DAY
		
		Bobby has pulled the bench out from beneath the
		piano and, sitting himself, begins to play a Chopin
		prelude.
		
		EXT. BOBBY'S CAR - FREEWAY - DAY
		
		THROUGH THE WINDSHIELD
		
		Elton can be seen applauding him.
		
		EXT. TRUCK - FREEWAY - DAY
		
		ON BOBBY
		
		playing as the traffic begins to move and the truck
		with it.
		
		INT. BOBBY'S CAR - FREEWAY - DAY
		
		Again, Elton leans out the window, yelling at him:
		
					ELTON
			You better get your butt off there,
			Bob! Come on, now!!
		
		EXT. TRUCK - FREEWAY - DAY
		
		The right-turn indicator is flashing and the truck
		begins to work its way across the lanes.
		
		INT. BOBBY'S CAR - FREEWAY - DAY
		
		ELTON'S POV
		
		of Bobby playing, as the truck heads for an off
		ramp.
		
		ON ELTON
		
		honking the horn and flailing his arm out the
		window as he tries to cross lanes. The traffic
		closes on his right, preventing him from following.
		
		EXT. FREEWAY - DAY
		
		ANGLE INCLUSIVE OF ELTON
		
		hemmed into the left-hand lanes, and the truck,
		with Bobby still playing, pulling away on the off
		ramp.
		
		EXT. TRUCK - LONG BEACH STREETS - DAY
		
		(CHOPIN PRELUDE OVER:)
		
		The truck slows and comes to a stop at a signal.
		Bobby jumps out and moves to the sidewalk.
		
		FOLLOWING with him as he wanders, boozed and
		aimless, along the dispirited cheap streets of the
		city.
		
		INT. DINER - LATE NIGHT
		
		Rayette clears some plates from an empty table and,
		crossing the diner, sees...
		
		... Bobby entering. As he takes a seat at the
		counter, she goes about her tasks, ignoring him.
		
		He watches her as she moves to the only other
		customer and totals his bill.
		
		Another waitress appears with a coffee Silex. She
		gestures it at Bobby and he nods. As she pours him
		a cup, Rayette moves to the register, deposits some
		bills, then turns and exits to the kitchen.
		
		EXT. REAR OF DINER - LATE NIGHT
		
		Bobby leans against a pickup adjacent to Rayette's
		car.
		
		She comes out of the rear door of the diner,
		hesitates as she sees him, then moves past him to
		her car.
		
					BOBBY
			I was with Elton last night, Ray.
		
		Maintaining her attitude of suffered injustice, she
		reaches to the car door and opens it.
		
					BOBBY (CONT'D)
			It's the truth.
		
		He reaches behind her and pushes the door shut.
		Then gently taking hold of her arm, he turns her
		toward him, bringing his face close to hers...
		
					BOBBY (CONT'D)
			Rayette...
		
		... and as she turns away, be begins to kiss her
		neck. She lowers her gaze to the ground, quietly
		uttering:
		
					RAYETTE
			You son of a bitch.
		
		INT. ELTON AND STONEY'S MOBILE HOME - NIGHT
		
		Bobby, Elton and Stoney are seated on the couch,
		all looking toward the TV, playing an old black-and
		white.
		Rayette is seated on an adjacent chair, holding an
		infant in her lap, cooing and fawning over it
		throughout the following.
		
					ELTON
			I swore to God I'd never hire on to
			this type a work again. Christ, I
			don't know how the hell I let you
			talk me into it...
		
		Rayette reaches over to Bobby.
		
					RAYETTE
			Give me a swig, hon'.
		
		He hands her his beer and as she takes a sip and
		hands it back:
		
					ELTON
			You didn' know I was a derrickman
			once, did you?
		
		Bobby shakes his head.
		
					ELTON (CONT'D)
			Down in the southern fields, an'
			man, did I hate it. An' Stoney's
			brother was a well-puller, wad'n
			he, honey? The one with three
			fingers?
		
					STONEY
				(her eyes on the TV)
			My brother Cruser, yeah...
		
					ELTON
			I once hung suspendered 90 feet up
			on a tour, like a damn circus
			artist...
		
					RAYETTE
			Honey, took at this little bugger.
		
					ELTON
			Near broke my damn neck...
		
					RAYETTE
			Id'n he the cutest little guy?
		
					BOBBY
			Very cute... Put it down, an' let's
			go.
		
		Elton turns to him with a gap-toothed smile:
		
					ELTON
			You know, you oughta get you one
			them things, Bob.
		
		ON BOBBY
		
		as he stands up...
		
					BOBBY
				(standing up)
			Yeah...
				(stretching his arms)
			An' I oughta live in a trailer park
			with my front teeth poked out...
		
		EXT. SIGNAL HILL RIG - DAY
		
		ON ELTON
		
		seated on the rig floor opposite Bobby, who eats a
		sandwich, as:
		
					ELTON
			Well, what if she was, Bob? I can't
			see nothin' so bad in it...
		
		Bobby scowls hostilely at him.
		
					ELTON (CONT'D)
			What if I was to let you in on the
			little fact that she is.
		
		He looks away from Elton, not wanting to hear.
		
					ELTON (CONT'D)
			That's right. She told me. An'
			she's all tore up about it, which I
			hate a see.
		
		ON BOBBY
		
		as he continues:
		
					ELTON
			Hell, id'n it just somethin' to
			face up to? I'll tell you,
			somewhere along the line, you even
			get to likin' the whole idea...
		
		ON ELTON
		
					ELTON
			I recall when Stoney first give me
			the news, I could a shit...
		
		Bobby throws his sandwich onto the rig floor near
		Elton's leg. He looks down at a spatter of
		mayonnaise on his pants.
		
					ELTON
			Well, id'n that nice.
		
					BOBBY
				(attacking the messenger)
			It's ridiculous! I'm sitting here,
			listening to some asshole cracker
			compare his life to mine!
		
		He spills out the remainder of coffee from his cup
		and screws it onto the top of a thermos.
		
					BOBBY (CONT'D)
			Just keep telling me about the good
			life, Elton, if you want a see me
			puke my lunch!
		
		Elton reaches down and wipes the mayonnaise off his
		pant leg.
		
					ELTON
			If you're sayin' you're somethin'
			better'n what I am, that's one
			thing. But I can't say much a
			someone who'd run off an' leave a
			woman in a situation like this an'
			feel easy about it. An' that's all
			I gotta say.
		
					BOBBY
			I hope that's all you gotta say,
			El, 'cause I'm about as tired of
			your mouth as I am workin' this
			stinkin' hole!
		
		He grabs his jacket and his lunch bucket, jumps
		down off the rig and begins walking toward his car
		parked by the Field Office.
		
		In the b.g., Elton gets up and hurls his hard hat
		toward Bobby.
		
					ELTON
			Shit ass!!
		
		As he approaches his car, he looks toward the 
		Field Office, where...
		
		... The driller is leaning down to a car with TWO
		MEN in it.
		
		ON BOBBY
		
		calling over to him:
		
					BOBBY
			Hey, Longcipher! I'm quitting!
		
		The driller gestures a direction to the driver of
		the car, and as it pulls off, he moves toward the
		office:
		
					BOBBY (CONT'D)
			Longcipher! I'm talking to you!
		
		The driller opens the office door and looks back to
		Bobby.
		
					BOBBY (CONT'D)
			Did you hear me?! I said I'm
			quitting!
		
					DRILLER
			I don't give a shit what you do.
			You ben more trouble than you're
			worth, an' I'm damn glad to be rid
			of both a you assholes.
		
		He goes into the office and closes the door.
		
		ON BOBBY
		
		throwing his jacket and his lunch bucket into his
		car. As he starts to get in, his attention is drawn
		back to the rig.
		
		POV:
		
		The car that held the two men is parked next to it,
		and both men are on the rig platform moving toward
		Elton. He backs away from them, breaks toward the
		rig tour and starts to climb it. One of the men
		catches hold of his leg and yanks him back. Elton
		pulls loose from him, jumps to the ground and
		begins running with both men in pursuit.
		
					BOBBY
			Hey! What's goin' on?!
		
		He starts sprinting back to the rig.
		
		The first man has a hold on Elton and is struggling
		to subdue him. He is joined by the second man, and
		as they force his arms behind his back and cuff his
		wrists...
		
		... Bobby MOVES INTO FRAME, grabbing onto the first
		man and wrestling him away from Elton.
		
					ELTON
			Don't do that, Bob!! It's the Law!
		
		Bobby hurls the man onto the ground and turns
		around to go after the second man, struggling with
		Elton.
		
					ELTON (CONT'D)
			It's the Law, Bob, don't mix in!
		
		The second man pushes Elton aside and as Bobby
		throws a punch at him...
		
					ELTON (CONT'D)
			Look out behind!
		
		... the other grabs him from behind, holding him,
		while the second man jams a fist into his stomach
		and, as he doubles over, follows with a violent
		chop to the back of his neck.
		
		Bobby slumps to the ground, and as the first man
		puts a knee into his back and prepares to handcuff
		him:
		
					ELTON (CONT'D)
			Hey, don't do that. Don't you think
			you could just leave him...
		
		The second man takes hold of Elton and starts to
		move him off.
		
					ELTON
			Sure as hell he wouldn' a done that
			if he'd known who you was... Would
			you, Bob?
		
		Bobby, dazed, raises his head from the dirt,
		looking toward Elton.
		
					BOBBY
			Christ Almighty, what's happening
			here?
		
					SECOND MAN
			Okay, let him go.
		
		As he starts pushing a resistant Elton toward the
		car, Bobby sits up.
		
					BOBBY
			Tell me what in the hell's going
			on, Elton!
		
					ELTON
			I got accused a robbin' a
			fillin'station down in the Indian
			Nation, didn' I tell you...
		
					SECOND MAN
			Come on.
		
					ELTON
			I got wild an' jumped my bail...
		
					SECOND MAN
			Move it!
		
		He takes him roughly by the arm and moves off with
		the first man following.
		
					ELTON
				(over his shoulder, to
				Bobby)
			An' here they come runnin' after me
			a year later... Ain't that
			somethin'?
		
		ON BOBBY
		
		looking toward:
		
		The two men forcing Elton into the rear seat of the
		car, as he calls back to Bobby:
		
					ELTON
			Tell Stoney for me, will you?! Tell
			her to come get me...
		
		They close the door on him and get into the car. As
		it drives off...
		
		Bobby sits watching until it disappears from sight,
		then he sits back against a pump casing and drops
		his head onto his chest.
		
		INT. TWINKY'S APARTMENT - NIGHT
		
		CLOSE ON TWINKY'S FACE
		
		She opens her mouth and rends the air with a
		keening wail. Her face beads with moisture and
		journeys through expressions indistinguishable from
		grief and anguish. Presently, an ecstatic and very
		professional screech issues from her, after which
		she reaches up and pulls Bobby down onto her,
		breathing into his ear...
		
					TWINKY
			Donnie, oh Donnie...
		
		INT. RECORDING STUDIO - DAY
		
		(BACH PARTITA FAINTLY UNDER:)
		
		Bobby, dressed in a suit and tie, moves through a
		network of hallways, checking the door numbers.
		
		He arrives at a door designated as Studio A, and,
		after hesitating for a moment, opens it and steps
		inside.
		
		INT. STUDIO A RECORDING BOOTH - DAY
		
		(BACH PARTITA UNDER:)
		
		TWO RECORDING ENGINEERS glance at him without
		interest and return to their dials and needles.
		
		Bobby looks from them through the glass partition
		to the recording studio in view beyond.
		
		POV:
		
		ELIZABETH "TITA" DUPEA is at the piano, intensely
		into the Bach. She wears a monastic-looking dress,
		her unruly hair is pinned back from her face, and
		her glasses lie on the bench beside her.
		
		ON BOBBY
		
		watching her with both affection and appreciation.
		
		ON TITA
		
		She is "sounding" as she plays, in tones out-of-key
		and discordant with the Bach.
		
					FIRST ENGINEER
			There she goes again.
		
		Bobby glances over at him, then looks back to Tita.
		
		POV:
		
		She hunches over the keyboard and plays an
		arpeggio, humming a long monochromatic note.
		
					SECOND ENGINEER
			My 1-year-old can carry a tune
			better than that.
		
		Bobby is about to defend her, when the engineer
		flips a toggle switch and addresses the mike
		feeding into the studio:
		
					SECOND ENGINEER (CONT'D)
			Miss Dupea.
		
		There is no response and she continues playing.
		
					SECOND ENGINEER (CONT'D)
				(more emphatic)
			Miss Dupea.
		
					TITA
				(annoyed)
			Yes.
		
		Bobby can be seen in the b.g., having difficulty
		restraining his irritation under the following:
		
					SECOND ENGINEER
			I'd like to remind you again, this
			isn't an opera or a musical comedy.
		
					TITA
			Oh... I'm sorry. Was I singing
			again?
		
					SECOND ENGINEER
			If you want to call it that.
		
					TITA
			Well, you have to simply tell me,
			that's all.
		
					SECOND ENGINEER
			That's exactly what I am doing,
			again.
		
					TITA
			Do you have to let me get halfway
			through the movement first? This is
			tiring me.
		
					SECOND ENGINEER
			I have a suggestion. Why don't we
			take a break.
		
					TITA
			Oh, for pity's sake...
		
		She puts her elbows on top of the piano and drops
		her head into her bands.
		
					FIRST ENGINEER
			Is she going to cry again?
		
					TITA
			I don't want to take a break.
		
					SECOND ENGINEER
			What would you like in your coffee?
		
		She makes a mumbled response, her head still in her
		bands:
		
					TITA
			Tea.
		
					BOBBY
			Would you tell her Bobby's here?
		
					SECOND ENGINEER
				(to the mike)
			Miss Dupea, Bobby's here.
		
		She raises her head, squints toward the booth, then
		grabs her glasses from the bench and puts them on.
		
		INT. RECORDING STUDIO - DAY
		
		Bobby enters the studio and comes toward her,
		opening his arms. She rushes into his embrace,
		burying her face in his shoulder.
		
					TITA
				(very emotional)
			Oh my goodness... Bobby...
		
					BOBBY
			Hi, Tita.
		
		She raises her head to look at him, and verging on
		tears:
		
					TITA
			Robert Eroica...
		
					BOBBY
			Now don't...
		
					TITA
			No, I'm not...
				(taking a deep breath,
				then:)
			I'm not.
		
					BOBBY
			That's good.
		
		A NEW ANGLE
		
		Tita sits on the piano bench, crying and searching
		through her purse for a tissue. Bobby hovers behind
		her, gently patting her on the back and glancing
		with some embarrassment toward the recording booth.
		
					TITA
			I just can't look at you.
		
					BOBBY
			Don't, then.
		
		As she blows her nose into the tissue, a young man
		comes into view, hands Bobby a paper cup and
		leaves. Tita takes another tissue from her purse
		and dabs at her eyes.
		
					TITA
			You always do this to me.
		
					BOBBY
			Well, I don't mean to.
				(setting the cup down on
				the piano)
			Here's your tea, Tita.
		
					TITA
			Thank you...
				(then:)
			Oh no, don't put it on there...
		
		She quickly picks up the cup and places it on the
		floor.
		
					BOBBY
			Sorry.
		
					TITA
				(caressing the piano)
			This is a very special, very old CB
			275...
		
					BOBBY
			Oh.
		
					TITA
			You know who it once belonged to?
		
					BOBBY
			No.
		
					TITA
			Waldnit von Schnechter. Prewar.
		
					BOBBY
				(politely)
			No kidding.
		
		He sits down on the bench beside her...
		
					TITA
			It has absolutely no objectionable
			idiosyncrasies...
		
		... and tests it out with a brief flourish on the
		keys. She watches him, then:
		
					TITA (CONT'D)
			Robert...
		
					BOBBY
				(stops playing)
			Very nice.
		
					TITA
			I have to talk seriously with
			you...
		
					BOBBY
			Everybody still up on the Island?
		
					TITA
			Well, Herbert's mostly on the
			mainland because of the orchestra,
			so at the moment, there's just
			Daddy, Carl and myself... and Van
			Oost.
		
					BOBBY
			Who's Van Oost?
		
					TITA
				(not fond of the subject)
			Catherine -- she's a pianist. She's
			working with Carl.
		
					BOBBY
			Carl's a fiddler. What's he doing
			coaching piano?
		
					TITA
			Well, 11 months ago he was on his
			bicycle, on his way to the post
			office in La Roche... and he ran
			into a Jeep and sprained his
			neck...
		
		Bobby laughs.
		
					BOBBY
			Sprained his neck?
		
		Tita laughs, then:
		
					TITA
			It's not funny. He permanently
			sprained his neck, and since then
			it's been extremely difficult for
			him to tuck the violin.
		
					BOBBY
			Crashes into a Jeep and totals his
			neck.
				(shaking his head)
			That's Carl...
		
					TITA
			Robert, I have to tell you
			something...
		
					BOBBY
			What?
		
					TITA
			Daddy's very ill.
		
					BOBBY
			Oh, well, what, what's he...
		
					TITA
			He's had two strokes.
		
		He looks away from her, not wanting to hear any
		more.
		
					TITA (CONT'D)
			He's not... They feel he... maybe
			he might not recover, and that
			he'll either...
		
					BOBBY
				(standing up)
			Don't tell me about this...
		
		He moves away from the piano and Tita turns to look
		at him.
		
					TITA
			But don't you think it's right,
			though, that you should see him, at
			least once...
		
					SECOND ENGINEER'S VOICE
				(miked)
			We're ready Miss Dupea.
		
					TITA
				(to the booth)
			Just a minute, please!
				(to Bobby)
			Robert, don't you think it's right
			that you should see him?
		
		He moves aimlessly about trying to subdue his
		anguish.
		
					BOBBY
			Yeah... I guess so...
		
					TITA
			I'm going back up tonight. Will you
			go with me?
		
					BOBBY
			No...
		
		He glances at her, catching her profound
		disappointment.
		
					BOBBY (CONT'D)
			I'd rather drive up myself and...
			maybe go into Canada after... And I
			can't stay long, Tita, probably a
			week, at the most.
		
					TITA
			I know.
		
		He looks toward the booth.
		
					BOBBY
			Well...
				(then, to Tita)
			I better let you...
		
					TITA
			Wait...
		
		She gets up from the bench and goes to him, taking
		hold of his arm.
		
					TITA (CONT'D)
			I'll walk out with you...
		
		As they move to the hall door, she addresses the
		booth:
		
					TITA (CONT'D)
			I'll be back in two minutes!
		
					SECOND ENGINEER'S VOICE
			Cut that in half, will you?
		
		She smiles at Bobby as they go out into hall.
		
					TITA
			They hate me, I feel.
		
		FOLLOWING WITH THEM
		
		down the hallway.
		
					BOBBY
			Maybe you better stay, then.
		
					TITA
			No, I need to talk to you, about so
			many things...
		
					BOBBY
			Well, I'll be seeing you in a
			couple of days, won't I?
		
		They stop at the stairway.
		
					TITA
			Oh God, I'm so glad, Robert, that
			you're coming...
		
					BOBBY
			Yeah, me, too...
		
					TITA
			It'll be so good for you, and for
			Daddy, because you know, you've
			never really...
		
					BOBBY
				(cutting her off)
			Tita, I've got to go...
		
					TITA
			All right...
		
		He kisses her.
		
					TITA (CONT'D)
			Okay.
		
		Feeling herself about to break down again, she
		attempts a valiant smile and stands watching as...
		
		... Bobby turns and goes down the stairs.
		
		EXT. RAYETTE'S HOUSE - DAY
		
		(TAMMY WYNETTE'S "D-I-V-O-R-C-E" OVER:)
		
		ON BOBBY
		
		moving from his car, up the walkway and entering
		Rayette's house.
		
		INT. RAYETTE'S LIVING ROOM - DAY
		
		ON THE STEREO
		
		playing the above song.
		
		ON BOBBY
		
		looking from...
		
		... a rumpled blanket on the couch, to...
		
		... a can of beer and a lighted cigarette burning
		in an ashtray on the coffee table.
		
					BOBBY
				(calling out)
			Hello?!
		
		He crosses to a hall and moves down toward the
		bedroom.
		
					BOBBY (CONT'D)
			You have the day off?!
		
		He steps into the doorway, to see:
		
		Rayette, lying in bed, her back against the
		pillows, staring at the wall.
		
					BOBBY (CONT'D)
			Are you sick?
		
		No response.
		
					BOBBY (CONT'D)
			You heard about Elton, I guess.
		
		She turns her gaze to the window. He looks at her
		briefly, then:
		
					BOBBY (CONT'D)
			Okay, I get your point.
		
		As he moves to the closet:
		
					BOBBY (CONT'D)
			Hope you didn't strain yourself,
			getting in here and into your pose
			before I hit the door.
		
		He picks up a suitcase from the closet floor, grabs
		some of his clothes from the rack, and, moving to a
		chair, sets the suitcase on it and begins packing.
		
					BOBBY (CONT'D)
			I have to go home. My father's
			sick.
		
		Rayette turns on her side, making a snorting sound
		of disbelief.
		
					BOBBY (CONT'D)
			Yeah, it's very funny.
		
		He moves to a dresser, extracts his underwear and
		returns to the suitcase.
		
					BOBBY (CONT'D)
			I'll be gone two or three weeks.
		
					RAYETTE
				(not looking at him)
			You'll be gone, period.
		
		He closes the suitecase, secures it...
		
					BOBBY
			I'll try and call you from up
			there.
		
		... and picking it up, moves around the bed toward
		the door. He stops, setting the suitcase on the bed
		and looking down at her.
		
		She is still faced away from him, her shoulders
		trembling as she weeps soundlessly.
		
					BOBBY (CONT'D)
				(very emotional)
			Come on, DiPesto. I never told you
			it would work out to anything. Did
			I?
		
		He looks away from her, to the window.
		
					BOBBY (CONT'D)
			I'll send you some money, that's
			all I can do.
		
		Returning his gaze to her:
		
					BOBBY (CONT'D)
			And... I'll call you, like I
			said...
				(he pauses, then)
			Bye, Ray.
		
		An audible sob finally comes from her. Bobby
		quickly picks up the suitcase and moves out of the
		bedroom and down the hall.
		
		EXT. RAYETTE'S HOUSE - DAY
		
		ON BOBBY'S CAR
		
		as he moves into view. He throws the suitcase in
		through the rear window, moves around to the
		driver's side and gets in.
		
		INT. BOBBY'S CAR - DAY
		
		He starts the motor, angrily throws it into gear
		and places his hands on the wheel.
		
		INT. RAYETTE'S LIVING ROOM - DAY
		
		BOBBY'S HAND slashes at the arm of the record
		player, pulling it across the grooves and stifling
		Tammy Wynette.
		
					BOBBY
			Do you want to go with me, Ray?
		
		EXT. BOBBY'S CAR - HIGHWAY - DAY
		
		(WYNETTE'S "WHEN THERE'S A FIRE IN YOUR HEART"
		OVER:)
		
		His car moves north along the Pacific Coast
		Highway.
		
		INT. BOBBY'S CAR - HIGHWAY - DAY
		
		(WYNETTE OVER:)
		
		ON BOBBY
		
		looking over at Rayette and smiling.
		
		ON RAYETTE
		
		She returns his look with absolute devotion, then
		reaches over and caresses the back of his neck.
		
		EXT. BOBBY'S CAR - INLAND HIGHWAY - DAY
		
		(WYNETTE OVER:)
		
		OUT PAST Bobby's profile, to a Southern California
		pastoral landscape passing by.
		
		INT. BOBBY'S CAR - BIG SUR COUNTRY - DAY
		
		ON RAYETTE
		
		singing the above song.
		
					RAYETTE
			"There's been hot spells/An' cold
			spells ever since we met/I've seen
			your small fires/Your big fires/But
			I won't give up yet/Oh someday
			you'll yearn/'Cause your heart's
			gonna burn/For that old familiar
			glow/You'll be burned..."
		
		Bobby laughs and she looks over at him.
		
					RAYETTE (CONT'D)
			You like it?
		
					BOBBY
			I love it.
		
					RAYETTE
				(resumes singing)
			"You'll be burned out/Or smoked
			out/An' come back to me, I know..."
		
		Bobby's attention is taken by something on the road
		ahead.
		
					RAYETTE (CONT'D)
			"Every trail that you blaze/Makes
			me..."
		
					BOBBY
			What the hell is that?
		
		POV THROUGH WINDSHIELD
		
		of a car lying upside down on the left side of the
		highway.
		
		TWO FIGURES are standing beside it, engaged in a
		heated argument.
		
					RAYETTE
			Is it an accident?
		
		EXT. BOBBY'S CAR - HIGHWAY - DAY
		
		Bobby pulls off onto the right-hand shoulder, stops
		the car and gets out. He moves out to the center
		line, looking across the road, to:
		
		A long-haired young woman (PALM) in Levi's and
		parka, presently pushing her close-cropped, boyish
		looking friend (TERRY) against the side of the car
		and making some indecipherable accusation.
		
					BOBBY
			Hey! What's going on, what's the
			trouble?!
		
		The young woman turns and gives him the finger.
		
					PALM
			Rotate, mack!
		
		ON RAYETTE
		
		sticking her head out the driver's window.
		
					RAYETTE
			What'd she say?
		
		ON PALM
		
		gesturing angrily back at the wreck as she crosses
		toward Bobby.
		
					PALM
			Look at my car! Piece of shit! I
			just bought it brand new from a
			used-car lot, and the steering goes
			to the pot on me!
		
					BOBBY
			You're lucky no one was hurt.
		
					PALM
			Seven hundred dollars, down the
			toilet! I'd like to go back and
			punch the son of a bitch out! Can
			you give us a lift?
		
		Without waiting for a response, she moves back to
		Terry, who is retrieving some of their belongings
		from the highway.
		
					PALM (CONT'D)
			Come on, Terry, we got a ride!
		
					RAYETTE
			Jesus, what a rude person...
		
		INT. BOBBY'S CAR - ON THE ROAD - DAY
		
		Palm and Terry, still under the spell of their
		roadside tiff, sit in sulky silence in the back
		seat.
		
		Bobby glances at Palm in the rear view.
		
					BOBBY
			What's your name?
		
					PALM
			Palm Apodaca.
		
		Rayette turns around and, thinking Terry is a boy,
		asks rather flirtatiously:
		
					RAYETTE
			An' what's your name?
		
					TERRY
			Terry Grouse.
		
		Shocked at the female voice coming from "him," she
		turns back around and pokes Bobby on the leg.
		
					BOBBY
				(loudly)
			What?
		
					RAYETTE
				(low tones)
			I'll tell you...
				(spelling out)
			... l-a-t-e-r.
		
					PALM
			How far are you going to?
		
					BOBBY
			Washington.
		
					PALM
			We'll get off in Washington and
			hook another ride.
		
					BOBBY
			Where are you going?
		
					PALM
			Alaska.
		
					BOBBY
			Alaska? Are you on vacation?
		
					TERRY
				(sullenly)
			She wants to live there, because
			she thinks it's cleaner.
		
					BOBBY
			Cleaner than what?
		
					PALM
				(to Terry)
			You don't have to tell everybody
			about it. Pretty soon they'll all
			go there and it won't be so clean.
		
					BOBBY
			How do you know it's clean?
		
					PALM
			I saw a picture of it. Alaska is
			very clean. It appeared to look
			very white to me... Don't you
			think?
		
					BOBBY
			Yeah. That's before the big thaw.
		
		She leans forward, looking annoyed.
		
					PALM
			Before the what?
		
		EXT. BOBBY'S CAR - NORTHERN HIGHWAY - DAY
		
		(COUNTRY & WESTERN INSTRUMENTAL OVER:)
		
		ON THE CAR
		
		moving through the Redwood country above San
		Francisco.
		
		INT. BOBBY'S CAR - HIGHWAY - DAY
		
		ON BOBBY
		
		bored, as he drives. Beside him, Rayette primps in
		the sunvisor mirror.
		
		ON THE BACK SEAT
		
		Terry lights a cigarette while Palm, staring
		morosely out the window, goes into a soliloquy:
		
					PALM
			I had to leave this place. I got
			depressed, seeing all the crap. And
			the thing is, they're making more
			crap, you know? They've got so many
			stores and stuff and junk full of
			crap, I can't believe it.
		
					BOBBY
			Who?
		
					PALM
			Who? People, that's who! Pretty
			soon there won't be room for
			anyone.
			They're selling more crap that
			people go and buy than you can
			imagine. Oofh! Crap! I believe
			everybody should have a big hole
			where they throw in all this stuff
			and burn it.
		
		Rayette leans around to her.
		
					RAYETTE
			There'd never be a hole big enough.
			Now took at me, for instance, when
			I was just one person, before
			Bobby, I had so much garbage
			collectin' onto me every day, I was
			thinkin' about gettin a dispose
			all...
		
					PALM
			A dispose-all, what's that but more
			crap? I've never seen such crap.
			Oofh, I don't know how people get
			up in the morning.
		
					TERRY
			Mass production is what does it.
		
					PALM
			What do you mean "mass"... I have
			to come out and tell you, you're
			not that clean, either.
		
					TERRY
			Wait a minute. I'm not that neat,
			maybe, but I am clean.
		
					PALM
			Well, you're not that bad, but some
			people... I mean, people's homes,
			just filth. I've been in people's
			homes...
		
					TERRY
			In my personal observation, I think
			that more people are neat than are
			clean...
		
					PALM
			In my personal thing, I don't see
			that. I'm seeing more filth. A lot
			of filth. What they need to do
			every day, no, once in a while, is
			a cockroach thing, where they spray
			the homes. And uh...
			can you imagine, if their doors
			were painted a pretty color, and
			they had a pot outside, with...
		
					TERRY
			Yeah, it could be adorable...
		
					PALM
			And they picked up! I mean, it
			wouldn't be filthy, with Coke
			bottles and whiskey, and those
			signs everywhere...
		
		She gestures angrily out the window at the roadside
		billboards.
		
					PALM (CONT'D)
			... they oughta be erased! All
			those signs, selling crap, and more
			crap, and, I don't know, it's
			disgusting, I don't even want to
			talk about it!
		
		Bobby starts to say something:
		
					BOBBY
			Well...
		
					PALM
			It's just filthy. People are dirty.
			I think that's the biggest thing
			that's wrong with people. I think
			they wouldn't be as violent if they
			were clean, because then they
			wouldn't have anybody to pick on...
			Oofh... Dirt...
		
					RAYETTE
			Well...
		
					PALM
			Not dirt. See, dirt isn't bad. It's
			filth. Filth is bad. That's what
			starts maggots and riots...
		
		She suddenly leans over to the front seat, pointing
		to a semi ahead.
		
					PALM (CONT'D)
			Hey, follow that truck. They know
			the best places to stop.
		
					RAYETTE
			That's an old maid's tale.
		
					PALM
			Bullshit! Truck drivers know the
			best eating places on the road.
		
		Rayette turns around, asserting:
		
					RAYETTE
			Salesmen and cops are the ones. If
			you'd ever waitressed, honey, you'd
			know.
		
					PALM
			Don't call me "honey," mack.
		
					RAYETTE
			Don't call me "mack," honey.
		
					PALM
			I wouldn't be a waitress. They're
			nasty and full of crap.
		
					RAYETTE
			You better hold onto your tongue!
		
					PALM
				(giving her the finger)
			Hold onto this.
		
		Terry laughs.
		
					RAYETTE
			Just one minute, you! Don't you
			ever talk to me like that!
		
					BOBBY
			Shut up! All of you!
		
		INT. ROADSIDE CAFE - DAY
		
		All four are seated at a booth. The women have
		given their orders and a WAITRESS stands above
		Bobby, waiting for his:
		
					BOBBY
				(looking at his menu)
			I'll have an omelette, no potatoes.
			Give me tomatoes instead, and wheat
			toast instead of rolls.
		
		The waitress indicates something on the menu with
		the butt of her pencil.
		
					WAITRESS
			No substitutions.
		
					BOBBY
			What does that mean? You don't have
			any tomatoes?
		
					WAITRESS
				(annoyed)
			No. We have tomatoes.
		
					BOBBY
			But I can't have any. Is that what
			you mean?
		
					WAITRESS
			Only what's on the menu...
				(again, indicating  with
				her pencil)
			A Number Two: Plain omelette. It
			comes with cottage fries and rolls.
		
					BOBBY
			I know what it comes with, but
			that's not what I want.
		
					WAITRESS
			I'll come back when you've made up
			your mind...
		
		She starts to move away and Bobby detains her.
		
					BOBBY
			Wait, I've made up my mind. I want
			a plain omelette, forget the
			tomatoes, don't put potatoes on the
			plate, and give me a side of wheat
			toast and a cup of coffee.
		
					WAITRESS
			I'm sorry, we don't have side
			orders of toast. I can give you an
			English muffin or a coffee roll.
		
					BOBBY
			What do you mean, you don't have
			side orders of toast? You make
			sandwiches, don't you?
		
					WAITRESS
			Would you like to talk to the
			manager?
		
					PALM
			Hey, mack!
		
					BOBBY
				(to Palm)
			Shut up.
				(to the waitress)
			You have bread, don't you, and a
			toaster of some kind?
		
					WAITRESS
			I don't make the rules.
		
					BOBBY
			Okay, I'll make it as easy for you
			as I can. Give me an omelette,
			plain, and a chicken salad sandwich
			on wheat toast -- no butter, no
			mayonnaise, no lettuce -- and a cup
			of coffee.
		
		She begins writing down his order, repeating it
		sarcastically:
		
					WAITRESS
			One Number Two, and a chicken sal
			san -- hold the butter, the mayo,
			the lettuce -- and a cup of
			coffee... Anything else?
		
					BOBBY
			Now all you have to do is hold the
			chicken, bring me the toast, charge
			me for the sandwich, and you
			haven't broken any rules.
		
					WAITRESS
				(challenging him)
			You want me to hold the chicken.
		
					BOBBY
			Yeah. I want you to hold it between
			your knees.
		
		The other three laugh, and the waitress points to a
		"Right to Refuse" sign above the counter.
		
					WAITRESS
			You see that sign, sir?!
		
		Bobby glances over at it, then back to her.
		
					WAITRESS (CONT'D)
			You'll all have to leave, I'm not
			taking any more of your smartness
			and your sarcasm!
		
		He smiles politely at her, then:
		
					BOBBY
			You see this sign?
		
		He reaches his arm out and "clears" the table for
		her.
		
		INT. BOBBY'S CAR - ON THE ROAD - DAY
		
		ON PALM
		
		in the back seat.
		
					PALM
			Fantastic! That you could figure
			all that out, and lay that down on
			her, to come up with a way you
			could get your toast.
		
					BOBBY
			I didn't get it, did I?
		
					PALM
			No, but it was very clever... I
			would of just punched her out.
		
		EXT. BOBBY'S CAR - HIGHWAY - DAY
		
		(COUNTRY & WESTERN OVER:)
		
		ON THE CAR
		
		moving through the Northwest coastal region.
		
		INT. BOBBY'S CAR - HIGHWAY - DAY
		
		Palm resumes her monologue:
		
					PALM
			People... Oofh...
				(shaking her head in utter
				disgust)
			Animals are not like that...
			They're always cleaning themselves.
			Did you ever see... What are they
			called? Pigeons!
		
		She looks over at Terry, slumped in her seat,
		asleep.
		
					PALM (CONT'D)
			He's always picking on himself and
			his friends. They're always picking
			bugs out of their hair...
		
		ON RAYETTE
		
		asleep.
		
					PALM (O.S.)
			Monkeys, too.
		
		ON PALM
		
					PALM
			Except monkeys do things out in the
			open that I don't go for.
		
		ON BOBBY
		
		benumbed, his eyes glazed over as he stares out
		through the windshield.
		
		ON PALM
		
					PALM
			I was in this place once, this
			store, with snakes, monkeys,
			everything you could imagine. I
			walked in, I had to run out. It
			stunk! They didn't even have an
			incense going...
		
		Though no one listens, she goes on, working herself
		up:
		
					PALM
			And you know, I read where they
			invented this car that runs on...
			that runs on... when you boil
			water...
		
					TERRY
				(half-dead)
			Steam.
		
					PALM
			Right, steam. A car you could ride
			around in and not cause a stink.
			But do you know, they will not even
			let us have it. Can you believe it?
			Why?! Man! He likes to create a
			stink. I wrote them a note once,
			and told them to clean it... I
			mean, don't you see that? It's just
			filthy! I mean, I've seen filth you
			wouldn't believe! Oofh, what a
			stink! I don't even want to talk
			about it...
		
		EXT. BOBBY'S CAR - TWO-LANE HIGHWAY - LATE DAY
		
		(WYNETTE'S "WHEN THERE'S A FIRE" OVER:)
		
		ON PALM AND TERRY
		
		deposited at the side of the highway, with their
		luggage, duffle bags and television set lying on
		the road edge. Terry lifts a bored hand to wave
		at...
		
		... Bobby, behind the wheel. He waves back, pulls
		out onto the highway and drives off.
		
		EXT. BOBBY'S CAR - MOTEL - NIGHT
		
		(MUSIC FADES, AS:)
		
		The car pulls into a motel parking slot and stops.
		
		INT. MOTEL ROOM - NIGHT
		
		Bobby and Rayette in bed. She lies on her side,
		watching him watch TV. After a moment:
		
					RAYETTE
			Are you depressed about your daddy,
			honey?
		
					BOBBY
			No.
		
					RAYETTE
			I 'magine it's me then, id'n it?
		
					BOBBY
			Is what you?
		
					RAYETTE
			You're depressed that I come along.
		
					BOBBY
			Who said I was depressed?
		
					RAYETTE
			Well, is that a happy face I see?
		
		No response.
		
					RAYETTE (CONT'D)
			'Cause if it was me, I could just
			catch a Greyhound back.
		
					BOBBY
			Oh, you're not going to kill
			yourself this time. I wish I'd
			known...
		
		He turns off the light on the night stand and rolls
		onto his side, faced away from her.
		
		They lie silently in the dark for a moment. Then:
		
					RAYETTE
			I don't know if I'm gonna be able
			to sleep or not.
		
		No response.
		
					RAYETTE (CONT'D)
				(looking over at him)
			Hint, hint.
		
		No response.
		
					RAYETTE (CONT'D)
				(sighing; then:)
			I guess I'll just have to count the
			sheep.
				(closing her eyes)
			One-two-three-four...
		
		She opens her eyes and looks over at him.
		
					RAYETTE (CONT'D)
			Seven... eight...
				(caressing his shoulder)
			Look at this old cold shoulder,
			what am I gonna do with it?
		
		He looks around at her and with gentle good humor:
		
					BOBBY
			If you just wouldn't open your
			mouth, everything would be fine.
		
		She turns an imaginary key at her lips.
		
					RAYETTE
			Tick a lock.
		
		He rolls over to face her and, yielding to her
		request, begins to make love to ber.
		
		EXT. MOTEL ROOM - DAY
		
		Rayette following after Bobby. As he moves to his
		car, he removes some cash from his wallet.
		
					RAYETTE
			Why can't I go out to your folks'
			house? Give me one good reason.
		
					BOBBY
			I have to see how things are first.
			My father's sick, you understand?
			They wouldn't be prepared for me
			bringing anyone.
		
		He holds out a roll of bills and as she takes them:
		
					RAYETTE
			So how long am I supposed to sit
			an' twiddle my thumbs in this
			place?
		
					BOBBY
			If you can't do what I ask, Ray,
			use that money to go back home,
			then.
		
					RAYETTE
			Bobby, don't talk like that...
		
		She moves over to him and gives him a quick kiss.
		
					RAYETTE (CONT'D)
			It'll be all right, I'll get a hold
			a some magazines an' things like
			that. An' maybe find a beauty salon
			an' get my hair fixed, okay?
		
		ON BOBBY
		
		getting into the car.
		
					BOBBY
			Okay, Ray...
		
					RAYETTE
			Or maybe sit out by the pool an'
			get myself nice an' tan for you.
			Would you like that?
		
					BOBBY
				(starting the engine)
			Sure...
		
					RAYETTE
			It brings out my eyes...
		
					BOBBY
			Bye, honey, I'll call you in a
			couple of days.
		
					RAYETTE
			Okay...
		
		She watches unhappily as he backs out of the slot
		and the car pulls away.
		
					RAYETTE (CONT'D)
			Bye, baby...
		
		EXT. FERRY (CROSSING) - DAY
		
		Bobby gets out of his car and wanders the deck of
		the ferry. He stops to look out over the Sound to
		one of the islands off the Washington coast, then
		glances back to the mainland, receding in the
		distance.
		
		EXT. BOBBY'S CAR - FERRY LANDING - DAY
		
		Bobby drives off the ferry onto the island.
		
		EXT. BOBBY'S CAR - COUNTRY ROAD - DAY
		
		The car moves over a tree-lined country lane and
		presently turns off onto a private road, leading to
		a large Victorian-style house. It pulls to a stop
		behind two other cars.
		
		Bobby gets out of the car and moves up the porch
		steps to the front door.
		
		CLOSER ON him as he hesitates, listening briefly to
		the FAINT SOUND of two pianos coming from within.
		
		Then he opens the door and goes inside.
		
		INT. DUPEA HOME - DAY
		
		(TWO PIANOS OVER:)
		
		Bobby tentatively wanders the first floor of the
		house, taking in the ghosts of the past.
		
		In the living room, he pauses at a table to look at
		several framed photographs. He picks up one of his
		mother and father, looks closely at it, then gently
		returns it to its place and resumes wandering.
		
		He stops at the music room and looks in through the
		half-opened door:
		
		POV INTO MUSIC ROOM:
		
		On the far side of the room, near windows which
		give view to a verdant exterior, are two concert
		grands. His brother CARL is seated at one of the
		pianos, and a young woman (CATHERINE VAN OOST) is
		seated at the other.
		
		ON BOBBY
		
		looking from Carl, to Catherine. He watches her
		briefly, then steps out of the doorway...
		
		... and moves down a hallway to a closed door. He
		reaches down and opens it, looking inside to:
		
		TITA
		
		grooming the hair of an elderly man (NICHOLAS
		DUPEA) seated in a wheelchair with his back to
		Bobby.
		
		She looks up and, seeing Bobby, smiles happily,
		then reaches down and turns the wheelchair around.
		
		ON NICHOLAS
		
		His eyes are half-closed and are cast down to the
		floor.
		
		Bobby moves over to him, bending down and looking
		into his face. Nicholas opens his eyes slightly and
		gazes through Bobby into an absolute elsewhere.
		
		Bobby raises his eyes to Tita.
		
					BOBBY
			He doesn't even know who the hell I
			am.
		
		INT. DUPEA DINING ROOM - NIGHT
		
		Nicholas Dupea sits at the head of the table, being
		fed his dinner by a male nurse (SPICER).
		
		Bobby, at the opposite end of the table, is seated
		next to Tita. Unable to bear looking at his father,
		he glances over at Catherine, seated next to Carl
		on his right.
		
		She raises her eyes from her plate to ask him
		something, just as Tita is moved to reminisce:
		
					TITA
			Remember, Bobby, what mother used
			to say when...
		
					CATHERINE
				(to Bobby)
			How long have you been...
				(To Tita)
			Oh, excuse me...
		
					TITA
			No, it's all right, you go ahead...
		
					CATHERINE
			I was just going to ask Robert how
			long he's been away from here.
		
					BOBBY
			Four or five years.
		
					CARL
			No, the last time was three years
			ago.
		
					TITA
			Oh no, it's been much more than
			that.
		
					CARL
			Away from the piano, Tita, you have
			no sense of time at all.
		
					TITA
			I don't think that's true.
		
					CARL
			It is true.
		
					TITA
			Besides being very rude.
		
					CATHERINE
			What have you been doing since
			then?
		
					BOBBY
			What have I been doing? Different
			things, different jobs, here and
			there. Nothing that interesting.
		
					CATHERINE
			And you no longer play at all?
		
		Bobby starts to reply and is interrupted by:
		
					CARL
			You know, just after I came back
			off tour with the Betenthaller
			Quartet, Dad, myself and Herbert
			had a summit conference about
			you...
		
					TITA
			Oh, my, "a summit conference." I
			wonder where I was, polishing
			silver behind the coal bin.
		
					CARL
			I don't know where you were, penis
			envy.
		
					TITA
			I hope I didn't hear that.
		
					CARL
			At any rate, Dad wanted to hire a
			private detective to ferret you
			out, and I said, "What for?"
			Whatever the hell he's doing, even
			if it's a completely wasteful
			escapade, it's entirely his
			business. Simple as that...
		
					BOBBY
			Well, I really appreciate it, Carl.
		
					TITA
			I don't think you should infer
			Daddy was wrong in front of him...
		
		She looks at Spicer, pushing a spoon at Nicholas's
		closed mouth.
		
					TITA (CONT'D)
			Don't force him like that, Spicer.
		
		Spicer lays the spoon down and begins eating his
		own dinner.
		
					BOBBY
				(to Catherine)
			How long have you been staying
			here?
		
					TITA
			A couple of months.
		
		He starts to ask another question and is again
		overridden by:
		
					CARL
			Did you hear about my misfortune,
			Robert?
		
					BOBBY
			What?
		
					CARL
			It's still nearly impossible for me
			to turn my neck. If I wanted to
			turn toward Catherine, for
			instance, I'd first have to twist
			the whole base of my body around...
				(demonstrating)
			... like this...
		
		Tita gets up from the table and, taking her plate,
		exits to the kitchen. And as Carl readjusts himself
		in his chair and takes a sip from his wine glass,
		Bobby looks at Catherine to find her looking at
		him. She quickly alters her gaze to Carl.
		
					CATHERINE
			I wouldn't mind doing a little
			work, if you're finished, and not
			too tired...
		
					CARL
			No, I'm finished...
				(placing a hand on his
				stomach)
			Satiety is my father and mother.
		
		Finding he's amused himself and nobody else, he
		gets up and addresses Bobby.
		
					CARL (CONT'D)
			She's tremendously gifted, this
			girl.
		
					BOBBY
				(looking at her)
			Is she?
		
		Catherine stands up and, wanting to change the
		subject:
		
					CATHERINE
			Excuse me, I don't want to hear
			this...
		
		She exits and Carl, on his way out, pauses at
		Bobby's chair.
		
					CARL
			I hope you feel at home, Robert.
				(patting him on the
				shoulder)
			I'm really glad you're here.
		
					BOBBY
			Thanks, Carl...
		
		He looks down table to see Spicer stacking his
		plate onto Nicholas's and his eyes follow him as
		he, too, moves out of the dining room to the
		kitchen.
		
		CLOSE ON BOBBY
		
		in extreme discomfort at being left alone with his
		father. He looks down at his plate, poking at the
		remainder of his dinner, then braves a look down
		the table.
		
		ON NICHOLAS
		
		looking back at him, his eyes devoid of interest or
		cognition.
		
		EXT. DUPEA GROUNDS - DAY
		
		Bobby and Tita walk away from the house down toward
		the ocean. Accompanying them is a Borzoi hound
		belonging to her.
		
					TITA
			He has ways of communicating,
			Robert. I can tell when he's
			expressing approval or disapproval,
			just from his eyes...
		
					BOBBY
			Uhm hmm. Some range.
		
					TITA
			It's not that bad.
		
					BOBBY
			Yes, it is. I can't take seeing
			him, sitting there like a stone.
		
					TITA
			A week or two isn't going to ruin
			your life, for Godsakes.
		
		He doesn't respond.
		
					TITA (CONT'D)
			I mean, you think I'm that happy?
		
					BOBBY
			No, I don't.
				(a pause, then:)
			You should've left a long time ago.
		
					TITA
			We can't all get up and leave, can
			we? I mean, there are certain needs
			you have to respond to...
		
		She stops walking and moves to one of the garden
		chairs, facing out toward the bay.
		
					TITA (CONT'D)
			And anyway, I want you to stay, so
			I can spend some time with you, and
			ask you some questions...
		
		He leans his back against a tree.
		
					BOBBY
			What questions?
		
					TITA
			Well, do you -- I mean, have you
			enjoyed all these... strange things
			you've been doing?
		
					BOBBY
			Sometimes.
		
		She stares at him for a moment, and taking note of
		it:
		
					BOBBY (CONT'D)
			Why? Am I some kind of freak to you
			or something?
		
					TITA
			No, no, I don't think that, I'm
			just curious about it...
				(a pause)
			Do you think I'm a freak?
		
					BOBBY
			Sort of.
		
		She laughs.
		
					TITA
			Oh no... Why? What is it? The way I
			look?
		
					BOBBY
			No, I don't really think you're a
			freak.
		
					TITA
			I probably am, but I don't care. I
			mean, I wasn't that blessed to
			begin with, and when would I have
			had time to make any
			improvements...
		
					BOBBY
			What about Carl and Catherine? Is
			he just coaching her, or what?
		
					TITA
			Constantly. Night and day. And
			unless I get up before the birds, I
			can't get in any practice time for
			myself...
		
					BOBBY
			Uhm hmm.
		
					TITA
			Actually, it's very admirable, the
			way she works. She'll probably be
			enormously successful, because
			she's attractive as well, not that
			that's so important in music,
			but...
		
					BOBBY
			You're attractive, Tita. If you
			just did a little more with
			yourself...
		
					TITA
			Like what?
		
					BOBBY
			Well, if you just maybe did
			something with your hair, or...
		
					TITA
			Oh, let's not talk about my hair,
			it does what it wants to, and
			anyway, who cares, I want to talk
			about you...
		
					BOBBY
			There's nothing to say, Tita...
		
		He offers nothing further and looks out over the
		bay. Then, after a brief silence:
		
					TITA
			Well, you're not going to run out
			on me right away, are you?
		
					BOBBY
			I don't know.
		
		INT. DUPEA HOME - DAY
		
		Bobby strolls casually about the house - in truth,
		looking for an opportunity to run into Catherine.
		
		He moves to the music room and looks inside.
		
		THROUGH THE DOORWAY
		
		Catherine can be seen, seated at the piano. Carl
		stands above her and they engage in some exchange
		about the score resting on the piano's music stand.
		
		ON BOBBY
		
		as he moves down the hallway and sees:
		
		Spicer descending the staircase, with the brittle
		Nicholas in his arms.
		
		He ducks into the nearest room to avoid them.
		
		INT. DEN - DUPEA HOME - DAY
		
		Tita, startled in the act of appraising herself in
		a mirror above the fireplace, turns around to
		Bobby:
		
					TITA
			Oh God, don't sneak up on me like
			that!
		
		We see she wears a little make-up and has done
		something "different" with her hair.
		
					BOBBY
			Sorry.
		
		He turns and exits the den.
		
		EXT. DUPEA HOUSE - DAY
		
		Bobby stands on the front porch, looking toward...
		
		... Catherine coming up from the ocean. She wears a
		bathrobe over a wet bathing suit and carries a
		towel, and as she approaches:
		
					CATHERINE
			Hello...
		
					BOBBY
			I guess you fell in the water.
		
					CATHERINE
				(amused)
			Yes, intentionally.
		
					BOBBY
			That's dangerous, you know.
		
					CATHERINE
			Swimming?
		
					BOBBY
			Playing piano all day and then
			jumping into cold water. You could
			get a cramp.
		
		She laughs and begins drying her hair with a corner
		of the towel.
		
					CATHERINE
			I love to swim, and I don't mind
			the cold at all. It's invigorating.
		
					BOBBY
			Well, I wouldn't want to get too
			invigorated myself.
		
					CATHERINE
			Why?
		
					BOBBY
			What would I do with it? Run amok?
		
		She comes up the stairs.
		
					BOBBY (CONT'D)
			Besides piano and swimming, what
			else do you do?
		
					CATHERINE
			Well, there's fishing and boating.
			There's concerts on the mainland
			and... but I feel silly telling
			you. This is really your home. You
			probably know better than I what
			there is to do.
		
					BOBBY
			Nothing.
		
					CATHERINE
			Nothing? Then it must be very
			boring for you here.
		
					BOBBY
			That's right. Have you anything to
			suggest?
		
					CATHERINE
			I don't know. Let me give it some
			thought.
		
		She moves toward the front door, with Bobby
		following.
		
					BOBBY
			What're you doing right now...
		
		INT. DUPEA HOME - DAY
		
		Catherine comes inside and moves toward the
		stairway, with Bobby behind.
		
					CATHERINE
			Right now I'm going to run a hot
			tub and soak myself.
		
					BOBBY
			Then after that?
		
		She goes up a few steps and turns back to him.
		
					CATHERINE
			After that, I plan to read some
			music and rest for awhile.
		
					BOBBY
			Tomorrow, then.
		
					CATHERINE
			Tomorrow's a full practice day...
				(continues up the stairs)
			But the day after is kind of open.
		
		At the top of the stairs, she stops and looks down
		at him.
		
					CATHERINE (CONT'D)
			Carl has hydrotherapy on Tuesdays.
		
					BOBBY
				(as if it were a year)
			The day after tomorrow.
		
					CATHERINE
			If you're free.
		
					BOBBY
			Yeah, I'll probably be free.
		
		She turns and disappears into the second-floor
		hallway.
		
		INT. DUPEA KITCHEN - NIGHT
		
		Dinner has concluded and Tita moves around the
		table, distributing cups and saucers. Carl is
		remote and off his feed. Spicer attends Nicholas,
		and Catherine looks across the table to Bobby as he
		drinks from a bottle of beer.
		After a moment, a loud belch comes from Nicholas
		and Tita quickly requests:
		
					TITA
			Don't laugh...
		
		She attempts to stifle her own amusement, as do
		Bobby and Catherine, then changes the subject:
		
					TITA (CONT'D)
			What's wrong, Carl, you hardly ate
			anything...
		
					CARL
			I took some aspirin and it really
			upset my stomach.
		
		Catherine begins pouring the coffee.
		
					CATHERINE
			One thing that's hard to understand
			is how you could have this
			incredible background in music, and
			then just walk away from it,
			without a second thought...
		
					BOBBY
			I gave it a second thought.
		
		Tita seats herself at the table, addressing Spicer:
		
					TITA
			He looks tired to me, Spicer. I
			think you should put him to bed.
		
		He nods, and as he gets up and wheels Nicholas from
		the room:
		
					CATHERINE
			I mean, how could you not play
			anymore? That's so strange to me...
		
					BOBBY
			I have played a few times. Here and
			there. As a matter of fact, I was
			once a rehearsal pianist for a Las
			Vegas musical revue.
		
					CATHERINE
			You don't call that music, though.
		
					BOBBY
			Of course I do. It's music. You
			know...
		
		He places his hands on the table and simulates the
		playing of a rousing production-type show-stopper,
		simultaneously vocalizing as he does.
		
		Though Tita and Catherine are amused, Carl winces
		disapprovingly and breaks into Bobby's act:
		
					CARL
			Robert, do you mind?
		
					BOBBY
			What?
		
					CARL
			Nothing. Will you excuse us for a
			while?
		
		He takes hold of Catherine's hand and stands up.
		
					CATHERINE
			We really don't have to, Carl, if
			you're not feeling good...
		
					CARL
				(a bit martyred)
			Well, maybe if we put the
			Thermaphore on me for a while,
			first...
		
					CATHERINE
			Oh, all right.
		
		And as they move to the door, she glances
		apologetically back at Bobby.
		
		Deflated and embarrassed, he looks away from Tita's
		sympathetic gaze. After a brief silence, she
		reaches to a platter on the table.
		
					TITA
			Do you want some gingerbread?
		
					BOBBY
				(elsewhere)
			What?
		
					TITA
			With applesauce?
		
					BOBBY
			No, thanks...
		
		INT. DUPEA LIVING ROOM - NIGHT
		
		Bobby stands in the living room. It is dark and the
		only light comes from some burning logs in the
		fireplace. He listens briefly to the sounds of a
		Beethoven sonata coming from the music room...
		
		... then moves to a chaise near the fireplace and
		lies down, staring absently into the flames. After
		a moment, he closes his eyes.
		
		ANOTHER ANGLE
		
		on his sleeping face as the sonata begins to FADE.
		
		INT. DUPEA LIVING ROOM - MORNING
		
		ON BOBBY
		
		still asleep in the chaise. He is suddenly jolted
		awake by a loud thud and sits up, looking out the
		window to:
		
		POV OF SPICER
		
		lifting a barbell with heavy weights attached to
		it. He does a series of vigorous presses with it,
		before he again lets the bar drop heavily onto the
		porch.
		
		INT. DUPEA HOME - UPSTAIRS HALL - DAY
		
		(BACH VIOLIN OVER:)
		
		Bobby stands in the hallway, a phone to his ear,
		listening to Rayette and looking down the hall
		toward the open door to Catherine's room.
		
					BOBBY
			Yeah, well fine, you know what I
			suggest, Ray...
				(listening)
			Because I don't know how long.
			Things are not going that well
			here...
		
		He listens again, his eyes on Catberine, moving
		around in her room.
		
					BOBBY (CONT'D)
			Yeah, well I'm not having any fun,
			either, so why don't you...
				(pause)
			No, you can't, it's just not
			convenient, and I have to get
			off...
				(listening impatiently)
			Ray, I really have to go, I have to
			get off now...
				(longer pause)
			Another couple of days, maybe. I'll
			call you and let you --
				(pause)
			All right, if you're gone, you're
			gone. Now I have to get off, okay?
				(pause)
			Bye, Ray...
		
		He hangs up and, as he starts down the hall to
		Catherine's room, the VIOLIN STOPS and Carl steps
		out into the hall ahead of him. He carries his
		fiddle and detains Bobby, with:
		
					CARL
			Only 10 minutes of playing and it's
			already killing my neck...
		
		Bobby looks past him to Catherine as she glances
		out at them and then closes the door to her room.
		
		EXT. DUPEA GROUNDS - DAY
		
		Bobby and Carl, playing a game of table tennis.
		Tita stands leaning against a tree, watching them.
		In the b.g., Spicer can be seen, meticulously
		oiling and cleaning the wheelchair.
		
		As they volley the ball back and forth:
		
					BOBBY
			You sure you should be playing,
			Carl?
		
					CARL
			What do you mean? Aside from my
			neck, I'm in superb shape.
		
		Carl hits into the net, and as the ball rebounds to
		him, he tosses it to Bobby.
		
					BOBBY
				(serving)
			I don't know, there's something
			wrong with the way you move.
		
		Carl hits the net again.
		
					CARL
			I'm not aware of it. Like what?
		
					BOBBY
			Your serve. Two -- Eighteen.
		
		Carl serves and as they volley:
		
					BOBBY (CONT'D)
			I'd hate to see you walk across a
			concert stage like that.
		
		Carl tries a smash and mis-hits the ball...
		
					BOBBY (CONT'D)
			Two -- Nineteen.
		
		... and as he retrieves it:
		
					CARL
				(irritated with Bobby)
			I've walked across a stage a number
			of times, without exciting any
			particular response...
		
					BOBBY
			That's what I mean...
		
		Carl comes back to the table.
		
					CARL
			Any particular humor, I meant.
		
		He angrily serves the ball.
		
					BOBBY
				(returning)
			I think you should get someone to
			coach you how to walk. I think it's
			a substantial problem.
		
		He hits a smash and it sails past Carl into some
		shrubbery several yards away.
		
					CARL
			Dammit!
		
		As he moves after the ball, Bobby gestures at him.
		
					BOBBY
			Look at that.
		
					TITA
			Why are you being so mean?
		
					BOBBY
			I'm not. He does walk funny. Don't
			you see that?
		
		She looks at Carl, bent over and searching through
		the shrubs.
		
					TITA
			I don't think I'd notice. I'm so
			used to Carl.
		
					BOBBY
				(wanting to go on about
				it)
			Yeah, well, he's...
		
		She interrupts him, looking toward Spicer.
		
					TITA
			Bobby? Do you think Spicer is
			attractive?
		
		He looks over at Spicer, polishing the frame of the
		wheelchair.
		
					BOBBY
			I think he's got a terrific
			personality.
		
					TITA
			You know, he was formerly a sailor.
		
		Bobby gestures his paddle at Carl, on his way back
		with the ball.
		
					BOBBY
			Look, can't you see that, what I'm
			talking about?
		
					TITA
			Sailors are sadistic, I feel.
		
		Carl comes up to the table, asserting:
		
					CARL
			See? There's nothing wrong with the
			way I walk. Now where are we?
		
					BOBBY
			At game, Carl.
		
		Carl serves and they volley briefly. Then BobbY
		angles the ball sharply and puts it away.
		
					BOBBY (CONT'D)
			That's three games to none, Carl.
		
					CARL
			All right, let's have a rematch.
		
					BOBBY
			I thought you had to go to the
			mainland today. Aren't you going to
			miss the ferry?
		
		Carl takes a quick glance at his watch, then drops
		his paddle onto the table.
		
					CARL
			Too bad. Just when I was hitting my
			stride.
		
		He starts away, then turns back.
		
					CARL (CONT'D)
			Say goodbye to Catherine for me,
			will you?
		
		As he moves off in the direction of the cars, Tita
		comes up beside Bobby.
		
					TITA
			Can I play now?
		
		Carl calls over to them from his car:
		
					CARL
			Tell her I'll be back sometime
			tomorrow!
		
		Bobby turns to Tita.
		
					BOBBY
			Where is she, anyway?
		
					TITA
				(ignoring the question)
			My turn.
		
		He hands her the paddle...
		
					BOBBY
			Why don't you and Spicer play?
		
		... and moves off toward the house.
		
		INT. DUPEA HOME - UPSTAIRS HALL - DAY
		
		Bobby knocks on Catherine's door and, hearing no
		response, opens it and steps inside.
		
		INT. CATHERINE'S ROOM - DAY
		
		He wanders about, discreetly touching nothing, but
		taking in some essence of Catherine from her
		belongings and from the scent of her that lingers
		in the room.
		
		His journey brings him into proximity with the
		windows and he pauses to look out at:
		
		TITA AND SPICER BELOW
		
		playing table tennis.
		
		He starts to move from the windows, when he sees:
		
		CATHERINE'S CAR
		
		pulling into view and parking near the garage. She
		gets out, and, carrying a shopping bag and a
		wrapped bouquet of flowers, pauses on her way to
		the house to have some exchange with Tita.
		
		INT. DUPEA HOME - STAIRCASE - DAY
		
		ON BOBBY
		
		quickly descending the staircase, and FOLLOWING
		with him as he moves to the music room and goes
		inside, leaving the door open.
		
		INT. MUSIC ROOM - DAY
		
		He crosses to one of the grands, seats himself and
		rubs his hands together to warm them. Then,
		scanning his mental repertoire, he places his hands
		on the keyboard and begins to play a Chopin etude.
		
		Presently, Catherine appears in the doorway. She
		stands listening for a moment, then places the
		shopping bag and flowers on a settee near the
		doorway and crosses to a chair near the pianos and
		sits down.
		
		Bobby glances at her, then returns his eyes to the
		keyboard.
		
		ON CATHERINE
		
		her features intensely concentrated, as she listens
		to his playing.
		
		ON BOBBY
		
		apparently deep into the music. On the wall behind
		him are the series of photographs seen in the
		opening and the present ANGLE FAVORS an 8-year-old
		Bobby in his dress suit, playing a recital.
		
		THE CAMERA MOVES down to his hands...
		
		... then to Catherine, profoundly moved.
		
		ANGLE INCLUDING BOTH
		
		as Bobby plays the concluding chords of the etude.
		He lets his hands linger on the keys until the last
		overtones fade, then he removes them to his lap.
		
		After a brief silence:
		
					CATHERINE
			That was beautiful, Robert. I'm
			surprised...
		
					BOBBY
			Thank you.
		
					CATHERINE
			I was really very moved by the way
			you...
		
		Unable to keep up the "serious" musician pose, a
		brief, derisive laugh issues from him.
		
					CATHERINE (CONT'D)
			Is that funny?
		
					BOBBY
			It wasn't supposed to be, it just
			struck me that way.
		
					CATHERINE
			Why?
		
					BOBBY
			Nothing. It's just that... I picked
			the easiest piece I could remember.
			I think I first played it when I
			was 8 years old and I played it
			better then.
		
					CATHERINE
			It doesn't matter. It was the
			feeling I was affected by.
		
					BOBBY
			I didn't have any.
		
					CATHERINE
			You had no inner feeling?
		
					BOBBY
			None.
		
					CATHERINE
			Then I must have been supplying it.
		
		She gets up and crosses toward the settee.
		
					BOBBY
			Wait...
		
					CATHERINE
			Well, at least you're accomplished
			at something...
		
					BOBBY
			What?
		
					CATHERINE
			At being a fake.
		
		And as she picks up the flowers and the shopping
		bag:
		
					BOBBY
			Catherine...
		
					CATHERINE
			No, you're very good at it. I'm
			really impressed.
		
		She goes out the door.
		
		Bobby looks down at the keyboard. He closes the
		cover and softly utters:
		
					BOBBY
			Shit.
		
		INT. CATHERINE'S BEDROOM - DAY
		
		She stands in front of a dresser mirror, pinning up
		her hair, preparatory to taking a bath. Her
		attention is drawn to...
		
		... Bobby entering, and as he crosses to her, she
		quickly turns back to the mirror.
		
					BOBBY
			You think I'm a fake.
		
					CATHERINE
			I think it's what you think.
		
					BOBBY
			No, it isn't what I think.
		
					CATHERINE
			Look... You made a very calculated
			move, and then made me feel
			embarrassed for responding to you.
			That wasn't necessary.
		
		She moves away from him and he follows her.
		
					BOBBY
			Yes, it was. You've made it clear
			that if I can cut a little piano, I
			might get a little response.
		
					CATHERINE
				(stops and turns to him)
			I don't think that's accurate...
		
					BOBBY
			Up to now, what I've been getting
			from you are meaningful looks over
			the dinner table and a lot of vague
			suggestions about the day after
			tomorrow...
		
					CATHERINE
			I'm not conscious of having given
			you any meaningful looks. And as
			for the day after tomorrow, this is
			the day after tomorrow, and I am,
			unfortunately, seeing you... Now if
			you'll excuse me, I'd like to take
			a bath.
		
		She moves back to the dresser and as she begins
		searching through an array of bath oils on top of
		it, Bobby steps in beside her.
		
					BOBBY
			It's convenient to fake looking for
			something right now, isn't it?
		
					CATHERINE
			I'm not faking anything. I'm
			looking for some bath oil...
		
					BOBBY
			Some bath oil?
		
		He lifts up one of the bottles.
		
					BOBBY (CONT'D)
			What about this one?
				(picking up another)
			Or this one?
				(and another)
			How about some jasmine?
				(and another)
			What about some musk?
		
					CATHFRINE
			What are you doing!
		
					BOBBY
				(knocking the bottles
				over)
			What are you doing, screwing around
			with this crap?!
		
		A little intimidated by his aggressivity:
		
					CATHERINE
			I don't find your language that
			charming.
		
					BOBBY
			It's direct, anyway, which seems to
			be difficult for you.
		
					CATHERINE
			I'd like you to leave now. Is that
			direct enough?
		
		He makes no move to go.
		
					CATHERINE (CONT'D)
			You're not a serious person, by
			your own admission. And that may be
			interesting, but it doesn't
			interest me...
		
		Needing the safety of distance, she moves over to
		the windows next to the bed. Again, he follows
		after her.
		
					BOBBY
			Serious, that's what's important to
			you?
		
					CATHERINE
			Yes, that's what's important to
			me...
		
		He takes her by the shoulders...
		
					BOBBY
			Okay, let's be serious...
		
		... and forces her onto the bed.
		
					CATHERINE
			No, don't do that...
		
					BOBBY
			Shut up...
		
		He hesitates for a moment, full of things he wants
		to say and cannot. Catherine looks up at him,
		uttering a quiet challenge:
		
					CATHERINE
			No inner feeling.
		
					BOBBY
			That's right.
		
					CATHERINE
			I don't believe vou.
		
		He leans down to her, begins kissing her. Her arms
		encircle him and laying back on the bed, she pulls
		his body onto hers, fervently returning his kisses.
		And as he responds with an ardor absent of fakery
		and full of a lifetime of derelict feelings, a FADE
		OVER BEGINS, to:
		
		INT. CATHERINE'S BEDROOM - DAY
		
		Catherine and Bobby lie side by side. He watches
		her as she addresses the ceiling:
		
					CATHERINE
			I married him when I was 17. He was
			a cellist, and I thought he was the
			most brilliant man I'd ever met...
			And I'm sure he was, because at
			that age, I hadn't met that many...
			But he was insidious, you know. He
			had me convinced that I was a
			mediocrity, musically, as a woman,
			as an intellect. But in this
			completely imperceptible, pleasant
			way, so that you weren't even sure
			he was doing it. Anyway, I just
			woke up one morning and I said, you
			know something Joseph, you're full
			of beans, and I left him...
		
					BOBBY
			That's what you said?
		
					CATHERINE
			Something witty and devastating
			like that.
		
		She moves onto her side, looking over at him.
		
					CATHERINE (CONT'D)
			As a matter of fact, he's the one
			who introduced me to Carl...
				(a pause, then:)
			How are you?
		
					BOBBY
			I'm fine.
		
					CATHERINE
			Carl restored my confidence. He
			really did. He's much more
			substantial than you give him
			credit for.
		
					BOBBY
			Is he?
		
					CATHERINE
			Yes.
		
		She reaches over, tentatively caressing his face,
		then:
		
					CATHERINE (CONT'D)
			Do you think you could discreetly
			move across the hall now?
		
					BOBBY
			Yeah, I think I could.
		
		He kisses her, gets up and crosses to the door, and
		as he opens it:
		
					CATHERINE
			Robert?
		
					BOBBY
			What?
		
					CATHERINE
			I could spend some time with you
			tomorrow morning, before Carl comes
			back, I mean, if you'd like to.
		
					BOBBY
			Of course I'd like to.
		
		EXT. LA ROCHE WOODS - DAY
		
		(CHOPIN OVER:)
		
		Bobby and Catherine walk over a path through a
		thickly wooded area that presently brings them in
		sight of the Dupea house. He stops and, taking hold
		of her, leans back against a tree, kissing her.
		When they break off and resume walking, she takes
		one of his hands in both of hers and, after looking
		at the scars and callouses accumulated by his years
		of manual labor, she lays the hand against her
		cheek.
		
		The ANGLE ALTERS from them, to:
		
		EXT. DUPEA HOUSE - DAY
		
		A taxicab pulls up in front of the house. Rayette
		gets out with her suitcase and, after paying the
		driver, moves up the steps to the front door and
		reaches out to ring the bell.
		
		INT. DUPEA DINING ROOM TABLE - NIGHT
		
		ON RAYETTE
		
		looking down the table to Nicholas.
		
					RAYETTE
			You certainly do have a beautiful
			piece a real estate out here, Mr.
			Dupea.
		
		ON NICHOLAS AND SPICER
		
		the former with his chin resting on his chest.
		
					RAYETTE
				(turning to Bobby)
			Can he hear me?
		
		Bobby doesn't respond.
		
					TITA
				(politely)
			He's not hard of hearing.
		
					RAYETTE
			Well, that's a blessing, at least.
		
		She takes a bite of food, and as she chews:
		
					RAYETTE (CONT'D)
			This certainly is an improvement on
			the motel an' the coffee shop.
				(to Bobby)
			How could you have left such a
			beautiful place, Bobby?
		
					BOBBY
			I don't know.
		
		ON CARL
		
		fascinated with Rayette, while beside him,
		Catherine keeps her eyes on her plate as she eats.
		
					CARL
			You've been staying in a motel all
			this time?
		
					RAYETTE
			For two whole weeks, an' there
			wasn't hardly nobody there to talk
			to but me.
			The manager of the place told me it
			was the off season, an' it must a
			ben, because other'n me, there was
			just this 25-year-old kid, DeLyon,
			that didn't appear to be all there,
			an' this old married pair next to
			me that was always hollerin' for
			quiet. Can you imagine? All you
			could a heard there was a pin, an'
			them, hollerin' away...
		
					CARL
			I don't understand why you had to
			stay in a motel. There's more than
			enough room here.
		
					RAYETTE
			Well, I was goin' to, but Bobby
			said he hadda kind of feel things
			up here first, which I can
			understand, but then it went an'
			took so long, I ran flat outa
			money...
				(to Bobby)
			I didn't have no number to call,
			you know.
				(to Carl)
			So I hadda clear outa there an'
			come on up here, in the hopes that
			I wouldn't be intrudin' myself...
		
					CARL
			Oh, no. You're more than welcome.
		
					RAYETTE
			Well, thank you, that's a very nice
			thing for you to say.
		
					CARL
			Not at all.
		
		She goes on eating and there is a brief silence
		before she resumes, looking over at Catherine:
		
					RAYETTE
			That certainly is a beautiful head
			a hair you have.
		
					CATHERINE
			Thank you.
		
					RAYETTE
			Is it natural?
		
					BOBBY
			Rayette.
		
					RAYETTE
			What?
		
					BOBBY
			Just finish eating.
		
					RAYETTE
			Oh, am I holdin' up dessert?
		
		Carl laughs.
		
					CARL
			No, you're not. Go ahead and take
			your time.
		
					RAYETTE
			I do eat slow as a bird, whereas
			Bobby can put it away like a speed
			swing...
				(to Tita)
			Is there any ketchup around?
		
					BOBBY
			Oh, for chrissakes...
		
					CARL
			Robert, let's not be rude, okay?
		
					RAYETTE
			It's all right. He don't mean
			anything by that.
		
					BOBBY
			I don't, huh?
		
		He throws his napkin on the table, gets up and
		leaves the room. There is an awkward silence,
		followed by Rayette valiantly covering her own
		feelings:
		
					RAYETTE
			I guess Bobby's just about the
			moodiest man I ever ben with...
		
		INT. FISHERMAN'S BAR - MAINLAND - NIGHT
		
		(TAMMY WYNETTE'S "DON'T TOUCH ME" OVER:)
		
		Bobby finishes the last of several drinks. He ships
		a half pint into his jacket pocket, lays some bills
		on the bar and moves toward the door.
		
		EXT. FISHERMAN'S BAR - MAINLAND - NIGHT
		
		(WYNETTE OVER:)
		
		Thoroughly anesthetized, he wanders aimlessly
		through the harbor-front streets. As he disappears
		into the dark, the MUSIC FADES.
		
		EXT. WHARF - MAINLAND - DAWN
		
		ON BOBBY
		
		lying huddled on the boardwalk next to the boat
		slips. The crying of the gulls and the sound of
		outgoing fishing launches awaken him. Disoriented,
		he gets to his feet and, hugging himself against
		the cold, moves unsteadily down the dock.
		
		EXT. FERRY - MORNING
		
		Bobby's car pulls off the ferry and approaches a
		line of cars waiting to board. He sees Catherine at
		the wheel of the first car, and pulling abreast of
		her, stops and rolls down his window.
		
					BOBBY
			Where are you going?
		
					CATHERINE
			I'm going to pick up some friends
			of Carl's. Are you all right?
		
					BOBBY
			I have to talk to you.
		
					CATHERINE
			I'll be back later...
		
		The blocked cars behind each of them begin HONKING
		impatiently and CONTINUE TO under the following:
		
					BOBBY
			No, I want to talk to you now. I
			have to explain something about...
		
					CATHERINE
			No, you don't have to, it isn't
			necessary...
		
					BOBBY
				(overlapping her)
			Yes, it is!
		
		A DRIVER behind Bobby sticks his bead out the
		window, yelling furiously at him:
		
					DRIVER
			Come on, get moving, dammit!!
		
					BOBBY
				(turning around to him)
			Will you shut up for a minute!!
				(to Catherine)
			Pull your car out of line.
		
					CATHERINE
			No, I can't...
		
					BOBBY
			Will you let me talk to you,
			please?
		
					CATHERINE
			I can't do that. I haven't been
			being fair to Carl. I have to tell
			you that.
		
					BOBBY
				(barely audible)
			Oh. You have to tell me that.
		
					CATHERINE
			What?! I can't hear you!
		
		He looks back at her not responding.
		
					CATHERINE (CONT'D)
			I'm sorry everything's been so
			confusing, but I have to go,
			Robert...
		
					BOBBY
			Catherine...
		
					CATHERINE
			Please, I'll see you later this
			evening.
		
		She pulls ahead and moves onto the ferry.
		
		INT. DUPEA LIVING ROOM - NIGHT
		
		FAVORING SAMIA GLAVIA
		
		a friend of Carl's. (Somewhere under the following,
		the ANGLE ALTERS to include TWO OTHER FRIENDS, as
		well as Carl, Catherine, Bobby and Rayette, seated
		around the living room, variously captive to her
		monologue.)
		
					SAMIA
			But the point is, man is born into
			the world with a pre-existent
			adversary, both real and imaginary,
			so you'd have to say that
			aggression was one of his primary,
			psychic inheritances, which...
		
		JOHN FINCHER, a professorial type, attempts to
		interject:
		
					FINCHER
			If I may beg to differ...
		
					SAMIA
			Beg all you like, John, but the
			fact remains that man takes
			enormous delight in aggressive
			acts, as well as the portrayal of
			aggressive acts, and to be
			triumphant over another no matter
			how, seems fundamental to his
			having a sense of well being, as
			well as...
		
					FINCHER
			No, I don't quarrel with your
			inference, but you draw too long a
			bow in your conclusions, which seem
			unnecessarily harsh and...
		
					SAMIA
			Well, I don't make poetry. As an
			analyst, I...
		
		Rayette interrupts, calling across the room to
		Carl:
		
					RAYETTE
			Is there a TV in the house?
		
		Carl starts to answer and is pre-empted by Samia:
		
					SAMIA
			John believes in the basic goodness
			of man, and that's fine, but gaze
			into the pit like I have and that
			view seems a little soporific. And
			not unlike television, it hardly
			represents the real world...
		
					RAYETTE
			There's some good things on it,
			though.
		
					SAMIA
			Pardon me?
		
					RAYETTE
			The TV. There's some good things on
			it, sometimes.
		
					SAMIA
			I strongly doubt it, but I wasn't
			really discussing media...
		
					FINCHER
			If you really hold such bleak
			views, how can you, in good
			conscience, carry on a practice?
		
					SAMIA
			Oh, there's always hope, I think,
			for a few individuals, if they're
			courageous enough to shed their
			illusions and their...
		
					CATHERINE
				(cutting her off)
			And what about love?
		
					SAMIA
			What about it? Wouldn't you agree
			that a great deal of mischief has
			been done in the name of love?
		
					CATHERINE
			No, I wouldn't.
		
					SAMIA
			Well, you're a romantic, Catherine,
			as are most musicians, and what's
			more, about to be married...
		
		ON BOBBY
		
		and his reaction as Samia goes on:
		
					SAMIA
			... which should exclude you from
			any objective discussion. But keep
			in mind, even the arts aren't free
			of aggressive content, nor the
			institution of marriage.
		
					CATHERINE
			I think these cold, "objective"
			discussions are aggressive,
			Samia...
		
		She gets up and starts to move away.
		
					SAMIA
			But I'd like to say, so that I
			don't dampen the spirit of your
			adventure...
		
					CATHERINE
				(cutting her off)
			You haven't dampened my spirit,
			Samia... Excuse me.
		
					SAMIA
			Well, I should hope not...
		
		She leaves the room, with Bobby's eyes following
		her, and as Carl moves over to sit beside Rayette,
		Samia resumes to Fincher while the other friend
		moves in beside Bobby and tries to engage him in
		conversation.
		
					SAMIA (CONT'D)
			Because obviously there are loftier
			classes of people that do establish
			a kind of relating, that's
			relatively free of... (Etc.)
		
		ON CARL AND RAYETTE
		
		as she indicates Tita's dog, lying near the
		fireplace.
		
					RAYETTE
			What kind of doggy is that?
		
					CARL
			It's a Borzoi.
		
					RAYETTE
			Oh, uh huh. I had a little kittycat
			once, that Bobby give me...
		
		She calls across to Bobby, interrupting Samia.
		
					RAYETTE (CONT'D)
			Remember, Bobby?! The little
			pussycat you gave me?!
		
		Bobby, now feeling trapped by the other friend,
		looks across to her ass she returns her attention
		to Carl.
		
					RAYETTE (CONT'D)
			She had four little white paws, an'
			oh, was I crazy over her. We hadda
			go an' leave her one time at some
			friends, an' she went out an' got
			smashed flatter'n a tortilla right
			outside their mobile home.
		
		Samia gestures toward Rayette as if she were an
		example to prove her point.
		
					SAMIA
			There. You see what I mean?
		
		Bobby looks over at Samia.
		
					SAMIA (CONT'D)
			The choice of words, "squashed
			flat," juxtaposed against the image
			of a fluffy kitten...
		
					RAYETTE
			Well, she was.
		
					SAMIA
			Perhaps...
		
		She addresses Fincher gesturing toward Rayette
		again.
		
					SAMIA (CONT'D)
			But you see how close that is to
			what I'm trying to...
		
		Bobby stands up, cutting her off:
		
					BOBBY
			Don't sit there pointing at her.
		
					SAMIA
			I beg your pardon.
		
					BOBBY
				(advancing on her)
			I said, don't point at her like
			that! What gives you the right to
			sit there and tell anybody about
			class and who the hell's got it,
			and what she typifies! You
			shouldn't even be in the same room
			with her, you creep!
		
					SAMIA
			Carl, this is really too much...
		
					BOBBY
				(to Samia)
			You're totally full of shit!
		
					CARL
			Robert, I think you better just...
		
					BOBBY
				(cutting him off)
			You're all full of shit!
		
		He turns away and exits the room.
		
		INT. DUPEA HOME - NIGHT
		
		FOLLOWING WITH BOBBY
		
		running up the stairs and down the hall to
		Catherine's room. He goes inside and, not finding
		her, comes quickly back into the hall. As he moves
		down it, opening other doors, he begins calling her
		name.
		
		He comes back down the stairs and runs into Rayette
		at the bottom landing.
		
					RAYETTE
			Bobby...
		
					BOBBY
				(moving past her)
			I can't talk to you right now,
			leave me alone...
		
		He moves to the music room, to the den, then down
		the main hall to the kitchen, which gives off to
		two other doors. He opens one of them, to see:
		
		INT. SPICER'S ROOM - NIGHT
		
		Tita and Spicer. Though both are clothed, they are
		caught in some stage of intimacy on top of Spicer's
		bed. Tita sits up immediately, mortally
		embarrassed, as Bobby steps into the room.
		
					BOBBY
			Tita, what the hell are you doing?!
		
		Spicer stands up.
		
					SPICER
			Hey, this is my room.
		
					BOBBY
				(moving over to the bed)
			What's going on here!?
		
					TITA
			It's none of your business!
		
					BOBBY
			Where's Catherine?!
		
					TITA
			I don't know where she is!
		
		Spicer moves to Bobby, taking hold of his arm.
		
					SPICER
			Don't you believe in knocking, pal?
		
		Bobby roughly pushes him away and advances on Tita.
		
					BOBBY
			I'm talking to you, Tita!
		
					TITA
				(close to tears)
			Can't I have anything to myself, 
			dammit?!
		
					SPICER
				(grabbing hold of him
				again)
			Come on now, out!
		
					BOBBY
				(struggling with him)
			Keep your fucking hands off my
			sister, nurse!
		
		Spicer goes into sudden rage, pushing Bobby
		violently toward the door and yelling:
		
					SPICER
			Did you hear me! Move out!!
		
		Bobby leaps at him and as their struggle carries
		them into the kitchen, Tita begins yelling:
		
					TITA
			Stop it! Bobby, will just you stop!
			I mean it!
		
		Spicer gets Bobby into a painful headlock and is
		being bulled around the kitchen by him.
		
					SPICER
			Hold it, just hold it!!
		
		They crash into the kitchen table, knocking chairs
		over.
		
					TITA
			Carl! Somebody get Carl!
		
		Bobby rams Spicer into the refrigerator.
		
					SPICER
			Take it easy, dammit!
		
		He hurls him against the kitchen wall, still
		holding him in a headlock as Tita enters the
		kitchen.
		
					TITA
			Stop it! Right now! Just stop it!!
			Carl!!
		
		And as she runs from the room, Spicer begins
		violently jerking his forearm up against Bobby's
		trachea, punctuating each jerk with the repeated
		command:
		
					SPICER
			Give up! Give up! Give up! Give up!
			Give up! Give up!
		
		He feels Bobby's body slacken. He releases him and
		Bobby drops to the floor as...
		
		... Carl, Catherine and Tita run into the kitchen,
		looking to:
		
		Bobby, gasping for air, tries to get up from the
		floor, and unable to, slumps back against the
		kitchen wall.
		
					TITA
			Oh God, Bobby, look what you've
			done...
		
		He looks past her, to Catherine.
		
					BOBBY
			I just wanted to talk to you for a
			minute.
		
		EXT. BAYFRONT - DAY
		
		Catherine and Bobby sit on a low stone wall
		bordering the Dupea property. Each is staring out
		at the ocean, and after a moment:
		
					CATHERINE
			No. It's useless, Robert. It
			wouldn't work, not ever...
		
					BOBBY
			Just give me a chance, will you?
		
					CATHERINE
			I'm trying to be delicate with you,
			but you're not understanding me.
			It's not just because of Carl, or
			my music, but because of you...
				(she looks at him)
			I mean, what would it come to? If a
			person has no love for himself, no
			respect, no love for his work, his
			family, his friends, something...
			How can he ask for love in return?
			I mean, why should he ask for it?
		
		Profoundly wounded, he looks away from her.
		
					BOBBY
			And living out here, in this rest
			home asylum, that's what you want?
		
					CATHERINE
			Yes.
		
					BOBBY
				(looking back to her)
			That'll make you happy.
		
					CATHERINE
			I hope it will, yes.
				(she pauses, then:)
			I'm sorry.
		
		Needing to distance herself from witnessing his
		pain, she gets up and moves OUT OF FRAME.
		
		His eyes move from her to look out over the bay
		and, after a brief silence, he softly utters:
		
					BOBBY
			Okay.
		
		EXT. COUNTRY - DAY
		
		Bobby pushes Nicholas's wheelchair along a path
		between fields of tall grasses and wildflowers. He
		stops and moves around to the front of the chair.
		
					BOBBY
			Are you cold?
		
		He leans over to adjust the blanket covering
		Nicholas's legs and, hunkering down in front of
		him, glances around at the fields, searching for
		articulation:
		
					BOBBY (CONT'D)
			I don't know if you'd be
			particularly interested in hearing
			anything about me. My life, I
			mean... Most of it doesn't add up
			to much... that I could relate as a
			way of life that you'd approve
			of...
		
		He pauses briefly, then:
		
					BOBBY (CONT'D)
			I'd like to be able to tell you
			why, but I don't really... I mean,
			I move around a lot because things
			tend to get bad when I stay. And
			I'm looking... for auspicious
			beginnings, I guess...
		
		He breaks off again, resuming with evident
		difficulty.
		
					BOBBY (CONT'D)
			I'm trying to, you know, imagine
			your half of this conversation...
			My feeling is, that if you could
			talk, we probably wouldn't be
			talking. That's pretty much how it
			got to be before. I left...
				(another pause)
			Are you all right?
		
		He searches his father's face, entreating him for
		some kind of answer, some sign of response, and
		seeing none...
		
					BOBBY (CONT'D)
			I don't know what to say...
		
		... he breaks down, barely able to utter the
		following:
		
					BOBBY (CONT'D)
			Tita suggested that we try to... I
			don't know. I think that she...
			seems to feel we've got... some
			understanding to reach... She
			totally denies the fact that we
			were never that comfortable with
			each other to begin with...
				(pauses, trying to gain
				control)
			The best I can do, is apologize.
		
		He looks silently at his father for a moment...
		
					BOBBY (CONT'D)
			We both know I was never really
			that good at it, anyway...
		
		... then, bowing bis head:
		
					BOBBY (CONT'D)
			I'm sorry it didn't work out.
		
		EXT. DUPEA HOUSE - DAY
		
		Bobby comes out the front door. He carries his
		suitcase and, as he descends the steps and moves
		across the drive...
		
		... Tita, wearing gloves and holding a pair of
		gardening clippers, comes around the side of the
		house and calls out to him:
		
					TITA
			Bobby!
		
		He sets the suitcase down as she comes toward him.
		
					TITA (CONT'D)
			You're leaving?
		
					BOBBY
			Yeah. I said a week, and I've
			overstayed myself...
		
					TITA
			You were going without saying
			goodbye?
		
					BOBBY
			I didn't want to say goodbye to
			anyone.
		
					TITA
			But what about me?
		
					BOBBY
				(smiling at her)
			I'll say goodbye to you, Tita.
		
		She puts her arms around him and as she embraces
		him:
		
					TITA
			Just once in a while, call and tell
			me where you are, please...
		
					RAYETTE'S VOICE
			Watch the birdie!
		
		They turn to see:
		
		Rayette, standing near the open trunk of Bobby's
		car, taking a Polaroid shot of them.
		
		Bobby returns his attention to Tita, kissing her.
		
					BOBBY
			Bye, now.
		
					TITA
				(tearing up)
			Bye, Robert.
		
		He picks up his suitcase and moves to the trunk,
		where Rayette is fussing with her camera. He puts
		the suitcase inside, closes the trunk and takes
		hold of her arm.
		
					BOBBY
			Come on.
		
					RAYETTE
				(resisting him)
			Wait a sec. I want Tita to take a
			picture of you an' me in front of
			the place...
		
					BOBBY
			No, let's go...
		
		She pulls free of him and, as she moves back toward
		Tita, Bobby can be seen getting into the driver's
		seat.
		
					RAYETTE
			I never got the chance to thank you
			all for your hospitality. You tell
			Carl for me, if any of you folks
			wanta come on down to our place
			anytime, you'd be more'n welcome...
		
					TITA
			Thank you, that's very nice.
		
					RAYETTE
			Bye bye, now.
		
		She moves back to the car and gets in.
		
		ON TITA
		
		watching as Bobby's car pulls out of the drive and
		disappears onto the private road.
		
		EXT. HIGHWAY - DAY
		
		As Bobby's car moves over a highway through the
		northern forests, RAYETTE'S VOICE is heard SINGING:
		
					RAYETTE
			"Your kiss is like a drink when I'm
			thirsty/An' I'm thirsty for you
			with all my heart..."
		
		INT. BOBBY'S CAR - HIGHWAY - DAY
		
		Rayette is seated close to Bobby, looking at him as
		she sings.
		
					RAYETTE
			"But don't love me/Then act as
			though we've never kissed/Oh, don't
			touch me..."
		
		She leans closer and kisses him, then bringing her
		lips close to his ear:
		
					RAYETTE (CONT'D)
			"Don't touch me..."
		
		She kisses him again.
		
					RAYETTE (CONT'D)
			"Don't touch me..."
		
		And again.
		
					RAYETTE (CONT'D)
			"Don't touch me..."
		
		Her kisses become more fervent and insistent.
		
					RAYETTE (CONT'D)
			"Oh, don't touch..."
		
		He suddenly pushes her away.
		
					BOBBY
			Cut it out!
		
		Grievously hurt by his gesture and expressive of an
		anger she's heretofore been afraid to reveal:
		
					RAYETTE
			Son of a bitch, Bobby! You quit
			pushin' me away like that! I've had
			enough a that to last me a
			lifetime!
		
		She makes a fist of her hand as though she were
		about to hit him, then changes her mind.
		
					RAYETTE (CONT'D)
			Whyn't you just try an' be good to
			me for a change!?
		
		There is no response. She turns away from him,
		looking out through the windshield for a moment,
		then:
		
					RAYETTE (CONT'D)
			There id'n anyone gonna look after
			you an' love you better'n I do, you
			know that.
		
		She looks over at him.
		
					RAYETTE (CONT'D)
			Baby? Did you hear me?
		
		There is no response.
		
		EXT. GAS STATION - DAY
		
		ON BOBBY'S CAR
		
		as it turns off the highway and pulls up into a gas
		station next to roadside cafe.
		
		INT. BOBBY'S CAR - DAY
		
		ON RAYETTE
		
		searching through her purse.
		
					RAYETTE
			I'm gonna go in that cafe an' get
			some coffee. You want anything?
		
					BOBBY
			No.
		
					RAYETTE
			You got any change?
		
		He searches into his jacket, takes out his wallet
		and hands it to her.
		
					RAYETTE (CONT'D)
			Don't you just have 50 cents or
			somethin'?
		
		He shakes his head.
		
					RAYETTE (CONT'D)
			Okay, be right back...
		
		She reaches to the door and opens it.
		
		EXT. BOBBY'S CAR - DAY
		
		Bobby gets out of the car as the station attendant
		approaches.
		
		Rayette turns back to him as she nears the front of
		the cafe.
		
					RAYETTE
			Sure you don't want anything?
		
					BOBBY
				(to attendant)
			Fill it up.
		
		The attendant moves to the pumps, and as Bobby
		crosses toward the men's room and disappears
		inside, a Peterbilt semi can be seen pulling into
		the station.
		
		INT. GAS STATION - MEN'S ROOM - DAY
		
		Bobby removes his jacket and lays it on top of the
		waste container. He moves to the wash basin and
		stands a moment, gazing absently down at it, his
		mind searching for that inward oblivion in which
		nothing much is demanded, nothing much felt.
		
		Then, leaning over and placing his hands on the rim
		of the basin...
		
		... he lifts his gaze to the mirror and, after
		minutely perusing the features of his face, looks
		into his own eyes as he had into his fathers,
		silently beseeching them for guidance.
		
		EXT. MEN'S ROOM - GAS STATION - DAY
		
		(SOUND OF SEMI'S MOTOR OVER:)
		
		REMOTE ANGLE as Bobby comes out of the men's room.
		He has left his jacket inside and stands for a
		moment, looking at the...
		
		... DRIVER, bending down to check the undercarriage
		of the semi. As he stands up and circuits the front
		of the truck, heading for the cab:
		
					BOBBY
				(faintly audible)
			Hey, wait a minute.
		
		He moves over to him and after a brief exchange,
		the driver nods his bead and continues on to the
		cab, Bobby moves to the passenger door and climbs
		up into the pass seat.
		
		INT. SEMI CAB - GAS STATION - DAY
		
		The driver glances over at Bobby:
		
					DRIVER
			Haven't you got a jacket or
			anything with you?
		
					BOBBY
			No, I don't, I uh... it got burned
			up. Everything in the car got the
			shit burned out of it. All I got
			left is what I have on...
		
					DRIVER
			I've got an extra jacket behind the
			seat, if you want to put it on.
		
					BOBBY
			No, it's okay.
		
					DRIVER
			Suit yourself. But I'll tell you,
			where we're headed is gonna get
			colder'n hell.
		
					BOBBY
			It's all right. I'm fine.
		
		The driver puts the truck into gear and releases
		the brake.
		
					BOBBY (CONT'D)
			I'm all right.
		
		And as the truck begins to move forward:
		
					BOBBY (CONT'D)
			I'm fine.
		
		EXT. SEMI - GAS STATION - DAY
		
		REMOTE ANGLE:
		
		The semi pulls out of the station onto the highway,
		giving view to Bobby's car. The attendant is
		cleaning the windshield and Rayette can be seen
		opening the passenger door. As she gets out and
		surveys the area for some sign of Bobby, the semi
		MOVES INTO VIEW, going north on the highway.
		
		Rayette looks over the hood of the car, addressing
		the attendant. He gestures toward the men's room
		and as she moves across the station and disappears
		OFF THE SCREEN...
		
		... the semi recedes in the distance, leaving a
		black trail of smoke from its exhaust stack,
		dissipating in the air.
		
					  THE END