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
