"STONE MY HEART" Written by Michael Roemer 2001 UNPRODUCED TITLES Under the titles, we see LORI, a woman in her early twenties, walking along a crowded Boston sidewalk. We watch her through a long lens. Others move in and out of focus, but she remains sharp. Lori turns into the doorway of a liquor store but stops short, then continues in very slowly. INT. LIQUOR STORE As Lori moves forward into the store, we see why she hesitated. A teenager in sunglasses uses a gun to wave her to the rear, where another customer, a young man, is standing captive. A second gunman in his early twenties is cleaning out the cash register. He keeps his weapon pointed at the middle- aged storekeeper and his assistant. The young gunman checks out the camera around Lori's neck -- LORI I really need it! The gunman slips it off her shoulder. The second gunman comes out from behind the counter and heads for the door. The young one follows him out, playfully grabbing a bottle from a shelf. The blast of a shotgun crumples him to the floor. His older companion leaps back into the store, fires in the direction of the counter, then dashes out into the street. The storekeeper, clutching a shotgun, is in a state of panicked relief. He is not hurt. STOREKEEPER I got one! I got the bastard! His assistant is on the telephone. Lori and the young man are down on the floor. They get up, stunned. The gunman by the door is dead. Liquor splashes down on him from a broken bottle. The young man, DAVID, kneels beside him. STOREKEEPER Don't touch him! Wait for the cops! DAVID He's gone. He stands up, his hands and shirt spattered with blood. Lori is badly shaken -- LORI Oh Jesus! She turns to the storekeeper -- LORI They were leaving! You didn't have to shoot! STOREKEEPER (furious) That was my money, lady! (to his assistant) 'You hear that?! (to Lori) That was three hun'red bucks they took -- and it ain't the first time! We hear sirens approaching. Lori turns and hurries out of the store. STREET OUTSIDE LIQUOR STORE David leaves the store and makes his way through the crowd that has gathered. He looks around, then runs up the street with Lori's camera. He catches up with her at an intersection, where she has stopped for a light. He hands her the camera. She glances at him. He is in his mid-twenties, with a kind, intelligent face. LORI Thanks. DAVID I've got a car -- can I take you some place? Lori shakes her head, then changes her mind. LORI Yeah, thanks. INT. LORI'S APARTMENT The phone is ringing as Lori unlocks the door. She and David enter. We are in a large, one-room apartment with kitchen facilities on one side. The ceiling is high and the woodwork around the windows suggests that the place was once elegant. Lori has just moved in. There is a pile of furniture, boxes with books, and a foam-rubber mattress on the floor. The walls are white, but one side is redecorated in a vivid blue. A ladder and some paint stand where the paint stops. LORI You can wash up over there. She answers the phone -- LORI Hello -- Where are you? Speak up, Kare, I can't hear you. You sound weird -- is he there? Not now. Tomorrow is okay. She hangs up. David has washed up as well as he can and is looking at some canvases leaning against the wall. LORI D'you want some coffee? DAVID Sure. Lori opens the kitchen cabinets, looking for the coffee. DAVID (indicating the paintings) Yours? LORI The small ones. I can't find the coffee. There's a place on the corner. She turns to the door -- LORI I don't know your name. DAVID David. Coolidge. LORI I'm Lori. (with a faint smile) Not a good way to meet, was it? STREET IN FRONT OF LORI'S HOUSE The camera pans with a motorcycle. It stops next to a jeep, in which Lori and David are about to leave. The driver of the bike raises the dark visor on his helmet. RICK is seventeen. There is a girl on the seat behind him. RICK 'lo, Lori. LORI (startled) Hello, Rick. RICK (to the girl behind him) Mona -- meet my big sister. Mona smiles at Lori. She is fifteen. Her right arm is in a cast up to her elbow. RICK I tried callin' you. Can you put us up? LORI No, I'm sorry. I got just one room and Karen's coming. RICK (to Mona) I told ya! He guns the engine and roars down the street, but changes his mind and returns to the jeep. He glares at his sister -- RICK Jus' gimme some money. She hasn't eaten since Ohio. Lori opens her wallet and hands him a twenty-dollar bill. RICK (holding it up) What's that?! LORI Rick, I'm just making it. I don't have a job till September. DAVID (to Lori) They can stay at my place. LORI No way! RICK (to Lori) Jesus! What's the matter with you?! (to David) 'Couple-a days, that's all. We got sleeping bags. LORI That's not going to work! RICK (to David) Go ahead -- we'll follow. He takes off on his bike. DAVID It's okay. Really. LORI You don't know him! NORTH SHORE ROAD Shot from the open Jeep: we are traveling along the coastal highway north of Boston. Rick is ahead of us. EXT. DAVID'S HOUSE The motorcade comes down the driveway of a large, old summer home on the shore of a lake. LIVING ROOM, DAVID'S HOUSE Like the house, the room is large but not ostentatious. The furniture, some of it shrouded in dustcovers, is old fashioned. Through the windows and French doors, we see the rich green of a garden. The effect is pleasant and comforting. Rick enters from the porch ahead of Lori, David, and Mona. As he stalks around the room inspecting it, we get our first close look at him. He is small and slight, with hollow cheeks and a pale complexion. His face, like his body, is never at rest; when he isn't talking, he tends to grimace or turn his head suddenly, as if he were being followed. RICK Doin' all right, Lori! (to David) What 'you do -- own a bank? David isn't put off by Rick's aggression. He treats him like a poorly adjusted teenager -- DAVID (with a grin) I work in a hospital. RICK (inspecting a silver cigar box) 'You a doctor? DAVID Med school. RICK 'Ever work a bug house? DAVID No. Rick goes into a series of spastic contortions that are clearly meant to suggest insanity. His mouth opens in a voiceless scream and his right hand turns into a claw. He drops the act as suddenly as he began it. RICK My mom freaked out before she died. He has stopped in front of Lori. She looks at him, very upset. This is the first she has heard of her mother's death. LORI Why didn't you call?! RICK I told ya -- I tried! He is seized by a coughing fit that turns into an asthma attack. He turns away, wheezing and trying to breathe. Lori touches him. RICK I'm okay. Jus' leave me alone! He pulls out an inhaler and uses it. The attack subsides. Mona has remained timidly in the background. Now she approaches him -- RICK (turning on her) For Chris'sake, Mona -- don't ya get nothin' right?! He stalks out of the room. Lori looks after him, her face grave. THE LAKE (EARLY EVENING) Lori is in a kayak on the calm water. David's house is in the background, and a few other summer homes, some quite grand, are visible along the shore. Lori is adrift, grateful to be alone. THE DOCK Like the grounds surrounding the house, the waterfront is overgrown. Lori beaches the kayak. Rick is sitting in an old row-boat, playing a Jew's harp. Mona stands beside the dock, up to her waist in water, trying to wash without wetting her cast. RICK (to Lori, subdued) 'Wouldn't have made no difference if you'd come. 'Happened real fast. LORI I'm sorry you were alone. He shrugs. RICK I had her cremated. That's what she wanted. I figured we'd have some kind-a service. Church. Whatever. Lori nods. RICK 'Karen okay? LORI She says she's leaving him. They're up in New Hampshire. Rick pushes off in the row boat. After a moment, Lori kneels on the dock beside Mona and helps her wash her back. Mona smiles at her -- MONA Thanks. PICNIC AREA IN BACK OF HOUSE (EVENING) The sky is still bright, but the area is illuminated by a string of light bulbs. Rick prowls around, tense and restless. He has a plate with a chicken leg and some potato chips, which he crumbles in his fingers. Lori is in a swing-chair hung from an old tree. Mona sits at her feet, combing her hair, and David is cooking at the charcoal broiler. Rick stops and watches a seagull, hung high in the evening sky. RICK (to Lori) I should-a been a bird. That would-a made everybody happy. Lori takes a sip from a can of beer. He saunters away. LORI Where're you from, Mona? MONA L.A., I guess. LORI 'Your folks there? MONA Utah. LORI How long have you been with him? MONA 'Couple-a weeks. He don't want me. Lori nods. Rick comes up to them -- RICK (to Mona) What 'you talkin' about? Mona shakes her head. RICK Hey, I asked you something! MONA Nothin'. RICK Okay -- let's go! MONA You said we're gonna sleep here. RICK I changed my mind. LORI That doesn't make sense. RICK (to Mona) Let's go! MONA Just tonight? It's so pretty. RICK You were talkin' about me! LORI It was my fault, Ricky. RICK (to Mona) 'You comin' or not?! He gets on his bike. Mona takes Lori's hand. When she smiles, her face looks even sadder. MONA 'Bye. (to David) I can tell you really love each other. She gives Lori a hug, and climbs onto the back of the bike. Rick guns the engine and takes off. LORI (to David) 'See what I mean?! WATERFRONT (NIGHT) David turns on the dock light. Lori is swimming toward him. He puts down a full bottle of beer next to one she has emptied. LORI Thanks. Maybe I'll get some sleep. She reaches up and takes a sip -- DAVID Were you born in L.A.? LORI Right here. In Acton. DAVID You have a sister. LORI Yeah. She's not in great shape either. She takes another sip of beer and swims away, like a bright fish in the dark water. HALLWAY, WITH STAIRS TO SECOND FLOOR (NIGHT) A mechanized chair, the kind invalids use, is moving toward Lori and David, who are at the foot of the stairs. DAVID It's for my grandma. The chair stops and Lori sits down on it. She is a little unsteady from the beer. LORI 'Bet your folks are nice and normal. DAVID (with a smile) Yeah. He pushes a button and the chair starts up. Lori recedes from the camera. A BEDROOM The room is dark. David turns on the light and walks toward a large four-poster. He is carrying a set of sheets. Lori walks around the bed -- LORI Like a stage! (she smiles at David) Greatest show on earth. Performances nightly -- matinees Saturday, Sunday, and all legal holidays. Children not admitted -- unless accompanied by an adult. David grins. He is making the bed. Lori goes into the bathroom. Through the open door, we see her at the sink, brushing her teeth with her right index finger. She comes back into the bedroom and takes the sheet from him -- LORI I'll do it. DAVID Sleep well. LORI D'you have a girl? DAVID (at the door) No. Not now. LORI How come? DAVID I dropped out of school for a year. She found someone else. LORI Don't get involved with me! She closes the door, excluding him. BACK OF THE HOUSE (MORNING SUNSHINE) Lori is drinking coffee at the picnic table. Behind her, a sprinkler sends water arching across the lawn. We hear a motorcycle approach. A moment later, Rick appears in the driveway. He pulls up next to Lori. LORI Hi. Where d'you stay? RICK Bus depot. David has come out with a pot of coffee. LORI You dumped her? RICK Yeah. LORI Great! DAVID 'Want some breakfast? RICK Nah. (to Lori) I called Logan. They got the ashes. Will ya come? LORI (after a moment) Okay. She finishes her coffee and gets up. LORI 'Bye, David. Thanks a lot! Rick hands her a helmet. DAVID When can I see you? LORI I've thought about it. (she shakes her head, then kisses him quickly) Thanks for being so nice. She climbs onto the bike. The camera is close on her face. When the bike pulls away, our image of her rapidly transforms into a long shot. INT. AIR-FREIGHT SHED, LOGAN AIRPORT A small cardboard box is riding on a motorized baggage car. The car stops. A clerk picks up the box and puts it on the counter in front of Lori and Rick. CLERK (tearing off the packing slip) That's eighteen-fifty. Lori pays. Rick stares at the package, then turns away, pulls out the inhaler, and uses it. INT. DINER Lori and Rick enter and sit down at the counter. He is carrying the box. The place is empty except for two truck drivers at the far side. The counterman is talking to them while cleaning his grill. Rick uses a switchblade to slice into the cardboard wrapper. LORI Not here, Rick! He puts his knife away, takes a plastic urn out of the box and puts it on the counter. Lori moves it to the empty stool beside her. RICK She knew she didn't do right by you. She even asked to see a priest. Lori looks at him and puts her hand on his. A derelict has come into the diner. He approaches, looking for a handout. RICK Give him a buck -- I'll pay ya back. Lori gets out her wallet. The counterman comes over -- COUNTERMAN (to the derelict) I told you -- not in here! Rick takes a dollar from Lori and hands it to the derelict, but the counterman re-possesses it and plunks it on the counter. COUNTERMAN I don't want him here. The derelict turns and heads for the door. Rick is very upset. He jumps up, follows the man, takes him by the arm, and leads him back to the counter. RICK (to the counterman) 'Order of eggs an' toast. And coffee! He sits the derelict down on the seat next to his own. COUNTERMAN I ain't serving him! RICK Make that English muffins! COUNTERMAN (to the derelict) Get out-a here! (to Rick) You too -- get out! RICK 'You gonna make me?! The two teamsters have been watching from the other side. Now the older one, a man in his fifties, speaks up -- TEAMSTER It's his place, fella! The derelict has started up, but Rick restrains him. RICK You're okay! Sit down. LORI (quietly but tense) Let him be, Rick. He wants no part of it. The derelict stumbles toward the door. Lori gets up and puts a dollar on the counter -- LORI (to Rick) Let's go! Rick ignores her and remains seated -- RICK (to the counterman) I'll take some of that crummy-looking pie! COUNTERMAN You heard me! Out! RICK Like hell! Now the younger teamster, a heavy-set man in his thirties, speaks up -- YOUNGER TEAMSTER Hey, he told you to beat it! LORI Let's go, Rick. He slaps her hand away and lays his switchblade on the counter. YOUNGER TEAMSTER Jesus! He stands up and moves toward them -- LORI (very tense) Give me that knife! RICK Stay out of it! YOUNGER TEAMSTER I'm gonna count to three and you give it to her. One... Lori picks up her shoulder bag as though she were leaving, but makes a sudden grab for the knife. Rick shoves her into an empty table. The older teamster helps her up. YOUNGER TEAMSTER Two... LORI Stay away from him! Please! He's sick. Rick is panicked. He swivels back and forth on his seat -- then grabs the knife, stabs it into the counter, and flings it across the floor. The teamster continues toward him -- RICK (frightened) Don't touch me, shithead! The teamster grabs him by the scruff of the neck, pulls him off the stool, and propels him toward the door. Rick looks like a helpless rabbit. YOUNGER TEAMSTER Get yourself a gun next time, punk! He shoves Rick out the door and goes back to his place at the counter. The older teamster hands Lori her shoulder bag -- TEAMSTER Dump your boyfriend, miss! Lori picks up the box with the ashes. She looks utterly defeated. PARKING LOT, DINER Rick roars toward us on his bike, his face hidden behind the visor of his helmet. He stops for Lori. LORI (shaking her head) No way! RICK Gimme that! He grabs the box of ashes from her, revs up the engine, and takes off. LORI'S PLACE (LATER AFTERNOON) The house door is unlocked and Lori enters. David is sitting on the floor with a book -- DAVID Hi. LORI How d'you get in? DAVID Your sister. LORI You don't quit, do you. He smiles. Through the half-open bathroom door, we see a girl drying herself after a shower. Lori closes the door. LORI (to David) I'm glad you came. The phone rings. Before Lori can get to it, her sister KAREN comes out of the bathroom in a terry cloth robe -- KAREN It's for me. (she picks up the receiver) Hello -- No, Roy, it's your baby daughter. I'm thinking about school -- that's why I called. I'm broke. Will you get me into U-Mass? (sarcastically) Thanks a whole lot, Daddy! She hangs up. Karen is a year younger than Lori. She has a striking face and a beautiful figure, but there is something unstable and vulnerable about her. KAREN (to Lori) He says he's got no money. LORI That's true. KAREN His wife does! He paid for you, didn't he?! At least he could get me in. LORI He's part-time. He's got no pull. Karen looks a bit unsteady on her feet -- LORI All right, Kare -- what're you on? KAREN Downs. Just a couple. LORI Did you leave him? Karen nods. KAREN I like your friend. (she turns to David) We had a nice talk. The belt of Karen's robe has dropped and Lori picks it up for her. KAREN (to Lori) I'm a lot better-looking, but you get all the decent guys. (to David) Don't you think I'm better-looking? DAVID (with a grin) It's a toss up. KAREN Smart, too! She leans on the table to steady herself -- LORI That's more than a couple of downs! Look, you can stay here -- But no drugs and no men! KAREN It's been rough, Lori. Rick called. He told me about Mom. She looks at Lori, close to tears, and buries her face against her. Lori comforts her. INT. LAUNDROMAT (LATE AFTERNOON) Lori and Karen are doing their laundry. A man enters. VINCE is in his early twenties, heavy-set, but not tall, with a round, expressionless face. Lori glances at him and looks at Karen -- KAREN 'lo, Vince. VINCE (to Karen) 'Guy at her place told me where to find you. I brought your stuff. You left half of it. KAREN Thanks. VINCE We gotta talk. KAREN There's no point, Vinnie. VINCE You don't just walk out! Come on! LORI You heard her! VINCE (to Lori) Yeah, and you stay out of it! (to Karen) We don't have to live at that motel. KAREN That isn't it, Vinnie. He takes her arm -- VINCE Let's go! LORI Take your hands off her! VINCE (to Lori) Hey, what ('d) I tell you??! KAREN (to Lori) I'll be right back. She leaves with Vince. LORI'S PLACE Karen is picking up her things and putting them into a bag. There is a knock at the door and David opens it. Lori comes in, her arms piled high with laundry. LORI (to Karen) What're you doing?! Karen looks at her and shrugs -- LORI You're staying here! KAREN I don't know, Lori. He wants me back. LORI So what?! You don't want him! KAREN At least he wants me. LORI So do I. KAREN No, you don't. You'll throw me out in three days, like last time. LORI Give it a chance, will you?! There is a knock and Karen heads for the door -- LORI Karen, don't! But Karen opens the door for Vince -- VINCE Where's your stuff? LORI Vince, she's sick! KAREN No, I'm not. LORI Look at you! Nine months ago you were clean! That's true, Kare. You're killing yourself. Vince has picked up Karen's bag and is on his way to the door. LORI (to Karen) Okay -- it's your life. (to Vince) If anything happens to her -- (she stops) Vince walks out. Lori approaches Karen for one last try -- LORI For Chris' sake, Karen -- KAREN I'm pregnant. LORI Jesus! KAREN I want to have it. LORI You're crazy!! The phone is ringing. KAREN Thanks for caring. (she hugs Lori) 'By, David. Good luck, you guys. She leaves. Lori picks up the receiver -- LORI There's no one here! She bangs it down. There is a pause. She looks utterly discouraged. LORI 'Mind if we go to your place? DAVID Sure. She starts collecting her things, but stops -- LORI You know I'm just using you. DAVID (with a smile) 'Doesn't feel too bad. THE LAKE AT DAVID'S HOUSE (TWILIGHT) David is rowing. Lori is at the stern, lost in thought. She sees him looking at her. LORI You're crazy. DOCK (TWILIGHT) David is securing the boat. He holds out his hand to Lori and she comes ashore. They stand opposite each other for a moment. He caresses her arm -- DAVID 'Mind? She shakes her head. KITCHEN (NIGHT) David is washing the supper dishes and Lori dries them. LORI You're the first rich guy I like. DAVID We're not rich. LORI In my book you are. She takes a sip from a tall glass of beer and looks at him -- LORI Don't expect too much. I've been off men for a year. She smiles at him. DAVID'S BEDROOM (NIGHT) Lori and David are in bed. She is listening to the soft night sounds of the countryside. LORI I'm not moving in. NORTH SHORE YACHT BASIN (AFTERNOON SUN) Rick rides into the dock area, past an array of yachts. Lori is sitting on the deck of a sailboat, sunning herself. David and CHRIS, a boy of fifteen, are getting ready to cast off. Rick pulls up in front of Lori -- RICK I'm on my way. 'See ya. Lori looks at him. RICK You look real upset! LORI What about money? Rick ignores her. He uses his feet to propel himself alongside the boat and stops opposite David -- RICK Nice toy! David smiles and points to Chris -- DAVID It's his. RICK (to Chris) Who're you?! Chris doesn't know what to make of Rick's aggression -- CHRIS Chris. Rick gets off his bike and takes the urn out of the saddlebag. RICK (to David) 'Mind if I come? DAVID (glancing at Lori) No. Rick jumps aboard and Chris hands him a life vest. Rick's mood has lightened considerably -- RICK Hey, Uncle David -- how come I don't bug you?! DAVID (with a grin) Disappointed? RICK Nah. You're the first guy my sister's hooked up with who doesn't make me puke. BOAT We are running before the wind. Chris is at the bow, adjusting the jib. David is at the rudder. Lori knows how to sail and is handling the boom. Rick sits on the floor below her, with the urn in his lap. He opens it, and fishes out a blackened wedding ring -- RICK She never took it off. (handing her the urn) Do it, will ya? Lori scatters the ashes into the sea, flecking the white foam of the wake with gray. Rick watches for a moment, polishing the ring on his shirt front. Then he puts it on his finger -- LORI Don't. It's bad luck. He moves away. Lori empties the urn and drops it into the water. It recedes rapidly, bobbing on the wake. Some of the ashes have stuck to her hand. She leans over the gunwale and washes them off. Rick returns with an expensive-looking naval telescope. He trains it on the distant urn -- then turns it on David. RICK (with a grin) When I was nine, I put a firecracker in a Coke bottle. 'Got vision in just one eye. He sits down beside Lori, suddenly subdued. RICK This shrink in L.A. says I ought-a see my father. 'You got his address? Lori nods. YACHT BASIN The sailboat docks. Rick jumps ashore and heads for his bike. Lori watches from the deck. He looks small and forlorn. RICK 'See you guys. Lori comes ashore -- LORI Take care, Rick -- I wish I could help. RICK Yeah. He turns to David, who is securing the boat -- RICK (lightly) 'See ya around, Uncle David. David approaches him -- RICK What 'you gonna do -- shake hands? DAVID Why not? He and Rick shake hands. RICK 'Wanna adopt me? DAVID I don't think so. RICK Well, take care'a her. She's okay, even if she's my sister. He climbs on his bike. RICK (reading from a scrap of paper) 420 Charles -- where's that? (he turns to Lori) Will ya come? Lori shakes her head. RICK You're the one he likes! LORI I don't want to see him. RICK Yeah. Me neither! After a moment's hesitation, she joins him on the bike -- LORI 'No trouble, okay!? (to David) I'll call you. INT. MUSEUM Rick and Lori are on a balcony overlooking a gallery and the lobby. Lori is looking at a painting. Rick is watching a small group of men and women. ROY McIVER, a man in his forties, is lecturing to them. Rick takes the telescope from the boat out of his jacket and trains it on the lobby. Through the telescopic lens we see Roy dismiss his class and walk over to the side of the lobby. A woman rises from a bench to meet him. RICK Is that Number Three? Lori turns to him and sees the telescope -- LORI (angrily) Jesus, Rick! Give me that! He hands her the telescope -- RICK She ain't his wife, is she? Lori shakes her head. RICK Same old story! LORI 'Might be a friend. RICK (scornfully) 'Wanna bet!? Fuck him! Let's go. They leave. EXT. MUSEUM A brightly colored sports car pulls up in front of the building, and Roy gets in. The woman from the lobby is driving. As the car pulls away, it passes Lori and Rick, who are getting onto his bike. Rick takes off after it. CITY STREET Rick's bike is weaving through traffic, tailing the sports car. We see Lori shouting into Rick's ear. He slows down and heads for the curb to let her off, but changes his mind and continues in pursuit of the car. HIGHWAY Rick is still following the sports car. When it pulls off the highway onto an exit ramp, he turns off as well. He stops at the top of the ramp, above a large motel. Lori has jumped off the bike. RICK 'Be right back! He lifts the camera off her shoulder and rides down the ramp. Lori is left behind -- furious but helpless. She walks to the edge of the highway and looks for a ride. A pick up stops almost immediately and the door is thrown open. Lori doesn't like the face of the driver and turns away. She sits down on the grass. After a moment, she raises the telescope to her eye and trains it on the motel. EXT. MOTEL Telescopic lens: Roy and the woman are walking along the second-floor landing. He unlocks one of the rooms and they enter. The woman appears in the picture-frame window. She looks out briefly, then draws the curtain. The lens shifts to the far end of the landing: Rick has come up the stairs. He sees something off screen and ducks behind a Coke machine. Roy has left the room with an ice bucket and goes down the nearest stairway. Rick emerges out of hiding and approaches Roy's room. He seems to know that Lori is watching and waves in her direction. Then he knocks at the door. The woman opens. She is in her slip. When she sees Rick, she tries to close the door, but he forces his way in. They both disappear inside for a moment -- then she reappears, moving backwards and clutching her dress. She looks terrified. Rick follows her out and closes the door, locking her out. He rips the dress from her hands and tosses it down over the railing. Then he raises the camera and takes some pictures of her. When he is done, he moves rapidly along the landing and down the stairs. The woman sits down in front of the locked door and hides her face on her knees. HIGHWAY AND RAMP Rick roars up the one-way ramp toward Lori, swerving around an on-coming car that honks at him furiously. He stops in front of her. RICK I'll mail 'em to his wife! Lori is utterly disgusted -- LORI How sick can you get!? RICK Let's go. With no viable alternative, she gets on the bike. GAS STATION ON HIGHWAY (SUNSET) Rick is filling air into his tires. Something off screen catches his attention. Quick pan to the highway: the sports car passes in traffic. Rick jumps onto his bike and shoots over to a phone booth, where Lori is completing a call. He waves to her impatiently. She hangs up and comes out -- unaware of why he is rushing her. LORI Just drop me in town. COASTAL HIGHWAY (THE SUN IS LOW IN THE SKY) We are traveling behind Rick's bike, moving very fast. When the sports car comes into view, Lori realizes what Rick is up to. She leans forward and shouts into his ear, but he ignores her and pulls down his visor. Short of causing a wreck, Lori is helpless. She lowers her own visor and turns away. Roy is driving the sports car, with the woman beside him. Rick pulls up on the passenger side, coming close enough to touch it. The woman glances at him. Though his face is hidden behind the dark plastic, she seems to sense who he is and turns to Roy, panicked. Rick accelerates and shoots ahead. The sports car follows in pursuit of him. Both vehicles weave in and out of traffic at high speed, but the bike is far more maneuverable and pulls away. Rick glances back. The sports car is nowhere in sight. He slows down, makes a U-turn through a break in the center mall, and heads back. He is driving more slowly, watching the other side of the road. Lori raises the visor on her helmet. Up ahead, a strange spectacle presents itself. A Catholic priest is running across the highway, holding up the skirts of his cassock. A moment later, we see that several cars have stopped on the other side. There has been an accident. Rick pulls over. Lori gets off the bike and runs across the center mall. ACCIDENT SITE (SUNSET) We are at the foot of a concrete bridge that takes the road over a tidal inlet. The sports car has gone out of control. We can see one wheel sticking out of the water, some fifteen yards off shore. A few of the cars have directed their headlights onto the scene to help in the rescue operation. Lori arrives as two men wade ashore out of the shallow water. They are carrying the woman's body. They put her down and one of them tries mouth-to-mouth resuscitation. Her dress is up on her thigh. She looks dead. Lori strips off her shoes and plunges into the water. Several other men are wading back from the wreck. MAN (calling to her) 'Nobody else out there! LORI Yes, there is! She swims out. Although it is too dark to see anything, she starts diving. One of the men joins her. Rick has arrived on his bike and stops next to the woman's body. Someone covers it with a coat. Rick looks devastated. He keeps shaking his head, unable to take in what has happened. Dazed, he walks down to the water's edge and wades in. LORI (calling to him) Stay where you are! Rick continues in, but Lori comes over and pushes him back. LORI (fiercely) Get out! I don't want to start looking for you. He goes ashore and Lori wades back into the water. The man has given up -- MAN (to Lori) 'Gotta wait for lights. Lori continues in and dives a couple of times. Then she, too, comes ashore, utterly exhausted. At the top of the embankment, a rescue truck from the fire department has arrived. Several firemen come down to the water with a stretcher. They pass Lori and Rick, who are on their way up. TOP OF EMBANKMENT (SUNSET) Lori is ahead of Rick. She sees that he has trouble pushing his bike up the slope and turns to help him. He stops at the top, winded. Lori looks at him. We see him against the bustle of the rescue effort below. RICK We gotta do somethin' -- LORI What?! Lori sits down, shaking with cold. He takes off his jacket and puts it around her shoulders. Lori looks at him -- LORI Okay, Rick -- just go! Leave right now! RICK No way! LORI Don't argue! Just go. RICK It was my fault. LORI You didn't plan it! Let me handle it. RICK What 'you gonna do? LORI I don't know. I guess see Helen -- RICK His wife? Lori doesn't answer -- RICK Jesus! I ain't leavin'! Lori stands up. She can't take anymore -- LORI Okay, Rick, you go and see her! She turns to leave. RICK Don't, Lori! He looks at her, a frightened, helpless kid. She sees that he is incapable of any action and picks up the bike for him -- LORI There's nothing you can do. You didn't mean for it to happen. Go on! He gets on his bike -- LORI Go! He starts the engine. She kisses him very quickly -- LORI Call me tomorrow, wherever you are -- okay? She steps back and he takes off, hunched over and forlorn. She stays a moment longer, then walks away from the accident site. LOBBY OF APARTMENT HOUSE (NIGHT) Lori enters in the background and walks to the elevator. She is wearing a dress. She presses the button. A moment later, to the sound of a musical bell, the doors slide open. Roy is standing inside the car, facing her. He, too, has changed his clothes. Lori is stunned. She stares at him, her eyes turning cold. He, too, is startled. ROY Hi, Lori. She says nothing. He tries to appear calm, but the tension shows clearly -- ROY D'you have a boyfriend in my building? He steps out of the elevator, but has waited too long, and the closing doors hit him. Lori turns sharply and walks to the door. Just then, Rick enters the lobby. He sees Roy and stops. ROY (surprised again, nervously) Hello, Rick -- I didn't know you were in town. RICK (to Lori) 'Good thing I didn' leave! The shock of seeing Roy alive has snapped him out of his depression. He circles around his father -- ROY (uncomfortable) How's your mother? RICK You don't want to know. Roy looks uncertainly from Lori to Rick -- ROY I guess you want to see me. (to Lori) Call me in the morning, will you? I have to pick up Helen in Rockport. RICK Helen -- she's who we wanna see. We're coming! ROY That's not going to work. RICK It's gonna work jus' fine! (to Lori) You don't have to go. I'll take care'a this! Lori walks out of the lobby. Roy follows her -- ROY Lori! We hear the sound of Rick's Jew's harp. EXT. APARTMENT HOUSE DRIVEWAY (NIGHT) Lori is walking rapidly. Roy catches up with her -- ROY What's the matter with him? He gets worse every time. Lori stares at him -- LORI I wonder why! Rick joins them as Roy unlocks his car -- RICK Like I said, Lori, go on home. Get married -- have kids! (to Roy) I'll be right behind you. Roy looks confused -- ROY (to Lori) I've had a couple of drinks -- Could you drive? Lori wants badly to get away, but sees the potential for more violence and takes the keys. ROY Thank you. LORI (sharply) Just shut up! Don't talk to me! INT. ROY'S CAR (NIGHT) Lori is driving, keeping her eyes rigidly on the road. Roy has withdrawn into a shell, but when Lori takes a ramp onto a highway, he comes to with a start -- ROY Not this way! LORI You said Rockport. ROY I know -- I just... He stops and lights a cigarette. From a shot through the windshield, we see we are on the same coastal road we traveled in the afternoon. There is a tense silence. LORI This is crazy! (she slows down the car) Don't you know we know!? Just then, Rick appears in the open window beside Roy -- effectively blocking Lori from pulling over and stopping. The visor on his helmet is down but he faces Roy. ROY Oh God, it was him! Rick points ahead. Through the windshield we see a series of yellow blinker- lights along the road. Rick pulls ahead and stops on the shoulder. Lori pulls up behind him. ACCIDENT SITE (NIGHT) We are on the embankment above the tidal inlet. Below, the sports car has been hauled out of the water. It is illuminated by flickering smudge pots. The bright paint is streaked with mud, but the car is otherwise undamaged. Lori gets out. Roy remains in his seat, devastated. The blinker lights give his face a yellow cast. Finally, he gets out and follows Lori down the embankment. He hits some gravel and slides. Lori stops and helps him up. ROY I panicked, Lori -- It happened too fast. Lori can't stand to be near him and moves away. Down below, Rick has been looking through the car. He comes up with a picture postcard -- RICK (reading) "Dear Mom, Dad, and Sissie -- Camp is great!" ROY (to Lori) She was dead. She was. RICK How d'you know? ROY (snapping at him) I was there! RICK Yeah! I bet you took her pulse! Underwater! ROY (to Lori) I tried pulling her out! LORI (barely in command of her voice) You're going to the cops! RICK Right. We'll take you. Come on! He heads up the embankment. ROY I panicked. Lori turns away and he follows her up the slope. INT. ROY'S CAR (NIGHT) Lori is driving. Silence. ROY I have to call Helen. Could you stop? EXT. GAS STATION (NIGHT) Roy is in the phone booth. Lori is leaning against the car, looking at the ground. Rick is on his bike, using his inhaler. Roy comes out of the booth. He seems more in command of himself. ROY I talked to my lawyer. He says to do nothing without him. This new evasion is too much for Rick. He jumps off his bike and moves toward Roy -- RICK Screw that! You're turning yourself in! ROY Don't talk to me like that! (to Lori) It's such a mess! (overcome by hopelessness) Her husband and I teach in the same department -- we know their kids -- Lori has made a decision -- LORI Come on, Rick. RICK Like hell! LORI Let's go! RICK What're you trying to do?! LORI I want us out! RICK No way! He did it to her jus' like he did to Mom -- (turning to Roy) You're going to the cops! ROY What d'you want, Rick?! If you weren't such a maniac, the whole thing wouldn't have happened! RICK (to Lori) Now it's my fault, right?! ROY That thing at the motel -- doing that to a woman -- it's sick -- it's crazy! Rick moves toward his father -- RICK Maybe, you creep! But I didn't let her drown! Lori has moved between them and puts her hands on Rick -- LORI Let's go, Rick -- Come on -- you gotta let it go! Rick is in tears. Lori puts her arms around him. ROY He's out of his mind -- LORI (turning to Roy, fiercely) Get in your car! Roy gets into his car. Rick starts coughing. He shakes off Lori -- RICK He'll get away with it! I know he will! Wait a minute -- I got those pi'tures! (to Roy) I got pi'tures of you -- I got some of her -- He is holding up Lori's camera -- ROY (to Lori) What's he talking about? RICK I'll send'm to Helen -- I'll stick'em up all over U-Mass! Roy is ashen-faced. LORI (to Roy) Just go, will you?! Roy takes off. Rick thrusts Lori's camera into the air like a trophy. MTA TROLLEY SHED (NIGHT) A large hulking shed, which serves as a terminal for trackless trolleys. It is open to the street at both ends. Rick comes in on his bike and Lori gets off. LORI I need my camera. RICK 'You kidding?! LORI Keep the film -- just give me the camera. Rick tries to open the camera but can't find the release. She holds out her hand and he gives it to her. Lori springs it open. Then, with a quick motion, she pulls the exposed film out of the cartridge into the light. Rick cries out as though he had been hit. He grabs the camera with the useless film hanging out of it and smashes it to the cement floor. RICK What's the matter with you?! 'You crazy?! Lori, too, is very upset -- LORI It's the only way -- RICK You're on his side! Ya always were! LORI I'm on no side! There aren't any sides! I just want out! RICK (strangely quiet) Sure, Lori. 'See ya in hell! He starts his bike and roars out of the shed. Lori picks up her camera, but is so distressed that when she is down, she stays on her knees for a moment. INT. LORI'S PLACE (NIGHT) Lori enters. David is waiting for her. He nods Hello, but signals something with his eyes. The camera follows his glance. Roy is at the stove, lighting a cigarette on one of the burners. He turns off the gas and faces Lori nervously -- LORI (very tense) Get out! ROY We have to talk, Lori. LORI Just get out! David is about to leave -- LORI (to David) Don't! Please stay. ROY You've got to hear me. She snaps on the radio to drown out his voice. ROY I know there's no excuse. But I didn't get her killed! That wasn't my fault -- LORI It's never your fault! ROY I know there's no excuse. But don't let him use the pictures! They'll hurt a lot of innocent people! Lori hides her face in her hands. ROY Did you hear me? Lori looks up and stares at him. LORI (flatly) He won't be using them. ROY Are you sure? LORI What you do about that woman or her family, that's between you and yourself. But if you ever try to call or see me again -- She stops, goes into the bathroom and closes the door. Roy glances at David, his face ravaged by shame. He turns to leave. JEEP (NIGHT) David is driving. Lori is next to him, with her hair blowing wildly over her face. DAVID'S LIVING ROOM (NIGHT) Lori is sitting on the sofa. David approaches from behind and puts his hand on her shoulder -- LORI If they weren't my family, I could walk away. DAVID You can walk away. LORI They won't let me. DAVID (gently) You don't let yourself. LORI (flaring up) You know nothing about it! You don't have any problems! You just have answers! DAVID Yeah. It's easy to talk. She touches his hand. THE LAKE (DAWN) Lori is sitting at the water's edge. The tranquil lake reflects the early light. Birds have begun to sing. DAVID'S BEDROOM (DAWN) Lori approaches the bed. David is sleeping. She touches his bare back. He opens his eyes and turns to her. Gravely and in silence she starts making love to him. FRONT LAWN (BRIGHT MORNING SUNSHINE) We are looking down from the bedroom window. A middle-aged man is cutting the lawn with a power mower. David enters the frame, pushing an old lady in a wheel chair. A nurse in a white uniform walks a few steps behind them. Lori is at the window. She has just woken up. KITCHEN A well-dressed, kindly looking woman in her fifties is at the sink, rinsing an accumulation of dishes. Lori enters. THE WOMAN Hi. I'm Betsy, David's stepmother -- (with a smile) -- to be. LORI (indicating the dishes) I'll do that. BETSY All done. Lori helps herself to orange juice from the refrigerator. BETSY I'm sorry we didn't call. We're taking Grandma up to Maine, so we stopped by. She joins Lori at the table -- BETSY I'm glad to meet you. David looks happy. LORI Well, it isn't me. BETSY He's been through a lot. It's good to see him smile. LORI He hasn't told me. BETSY He doesn't talk about it. His mom died last fall. He took care of her. LORI Oh. Well, he's taking care of me now. BETSY (with a smile) It's not the same thing, is it? INT. NEW ENGLAND TEA ROOM (SUNLIGHT) Mr. Coolidge and Betsy are having breakfast with Lori and David. MR. COOLIDGE (pouring Lori's coffee) David says you teach art. LORI I'm just starting. She is a bit uncomfortable. Mr. Coolidge, like Betsy, is a warm and kindly person -- a warmth and kindness clearly rooted in privilege. MR. COOLIDGE It must be very satisfying. David's mother loved art. She used to do watercolors. BETSY We hope you'll come in and have dinner with us. LORI Thank you. She is finding it hard to maintain her composure. Suddenly she puts down her fork and gets up -- LORI (getting up) Excuse me. It was nice to meet you -- Good-bye. She leaves the table. Betsy and Mr. Coolidge look bewildered. DAVID 'Be right back. He follows Lori and catches up with her in the entrance hall. She is putting on her jacket -- DAVID What happened? LORI If they knew me, they'd freak out! DAVID No, they wouldn't. LORI Come on, David -- they'd disown you. DAVID That's crap! They said how much they like you. She is crying openly now. He embraces her -- DAVID Lori, you're great. You're so terrific. She leaves. EXT. DAVID'S HOUSE (AFTERNOON LIGHT) Lori and Chris are clearing the overgrown garden. Chris is raking leaves and Lori piles dead branches onto a fire. Rick comes down the driveway on his bike, pursued by a large barking dog. Scared and furious, he drives around the lawn trying to shake it. Chris calls the dog by name and collars it. Rick gets off his bike in a rage -- RICK Lousy mutt! (to Chris) 'Ought-a kick your ass! CHRIS He doesn't bite! The dog continues barking at Rick -- RICK Get him out-a here! LORI (she can see what's coming) Go home, Chris -- okay? (to Rick) I don't want you here. Chris whistles to his dog and heads down the driveway. Rick turns to Lori. She sees him through the distorting haze above the fire. He has stuck a set of plastic vampire fangs into his mouth. RICK 'Think ya got away with it, don't ya?! He mounts his bike and rides it around the fire, then shoots off into the trees and disappears. There is a loud crash. Lori runs into the woods. WOODS The bike has hit a tree and Rick is lying several yards away, face down and motionless. Lori stops, terrified. Rick opens his eyes and grins at her. KITCHEN Lori is on the phone, but keeps an eye on the door to the yard -- LORI Betsy? It's Lori. Is David there? Rick appears in the doorway -- LORI Did he say where? Thanks, no. She hangs up. Rick circles around the kitchen and stops in front of her -- RICK Tell ya what I'll do -- He pulls a small gun out of his windbreaker and puts it under his chin, with the muzzle pointing up -- RICK All ya gotta do now is wink -- like so... (he winks) ...an' I'll never bug you again! He sticks the gun into his mouth, but continues talking -- RICK Here's your chance, Lori. Don't blow it! Lori doesn't know whether he is crazy or just pretending to be. LORI (as calmly as she can) Put it down. Please! He pockets it. RICK That guy is dead! He walks out. THE FRONT OF DAVID'S HOUSE David is coming down the driveway in his Jeep. He meets Rick, who is walking away from the house. David stops for him but Rick walks past him. Lori has come out. She joins David -- LORI He's got a gun. DAVID I'll call the cops. LORI No, he'll get himself killed. Talk to him. Maybe he'll listen to you. David starts the Jeep. Lori climbs in. STREET BEYOND DRIVEWAY The Jeep catches up with Rick and stops. RICK (to David, with a grin) 'She got ya workin' for her! A small plane passes overhead and Rick aims his gun at it. RICK (pocketing the gun) It ain't loaded. DAVID Where 're you headed? RICK (to Lori) He's got a class at two. 'Gonna scare him, that's all. He climbs over the side of the Jeep into the rear seat. RICK (after a moment) Are we going, or what?! David starts the engine -- LORI (to David) What're you doing? RICK Relax -- he's got a plan. Right, Uncle David?! MUSEUM PARKING LOT The Jeep stops and Rick jumps over the side. RICK Now look -- if one-a you yells or tries anything... (to Lori) ...like that bit with the pi'tures -- I start shooting and I don't care who I hit! INT. MUSEUM Rick is leading Lori and David rapidly through a gallery. His right hand is inside his windbreaker. He knows that David, who is staying very close, is just waiting for a chance to jump him. With a grin, he opens his jacket and shows him the pistol, pointed at his own heart. He stops at the top of the marble stairway that leads into the lobby, leans over the balustrade, and nods at a cluster of men and women -- RICK They're waiting for him! You guys can go. Lori has had a very hard time staying under control. She can't tell whether Rick is actually planning to shoot Roy, or just wants to torture her. She has had it and starts down the stairs -- RICK Not that way! Get back! (to David) Tell her to get back! He aims his gun down into the lobby -- DAVID Come back, Lori! She stops on the stairs -- RICK Up here, Mommy! Lori heads back up the stairs. Down below, a guard is talking to the group, which begins to disperse. RICK He's not coming! (yelling down) What happened? (to Lori) You called him! LORI (exploding) I called him?! When?! How could I?! I've been running after you, scared out of my skull! Give me that gun, you jerk! Rick's sense of confidence has crumbled. He turns away. MUSEUM CORRIDOR Lori and David are walking a short distance behind Rick. He goes into a men's room. David is about to follow him -- LORI Keep him in there as long as you can. She heads for a pay phone. MEN'S ROOM Rick is washing his hands. He looks listless and defeated. David stops next to him -- Rick holds up the gun -- RICK Okay, Uncle David -- I'll sell it to you. What d'you say? My sister 'll love ya half to death! Hell -- here you are! (handing him the gun) 'Wedding present. Taken by surprise, David pockets the gun. RICK (with a grin) Happy now? DAVID Yup. RICK If I need it, will ya give it back? DAVID No. RICK (lightly) Don't try an' shit me, Uncle David -- You don't give a damn about me. Rick's mood shifts again -- darkening perceptibly. RICK 'Hope you guys make it. He turns and walks to the door. EXT. MUSEUM Lori drives the Jeep up to David and Rick. She and David exchange a look -- LORI I've got to see Karen. She's at my place. Rick is preoccupied and pays no attention. He climbs into the rear. INT. LORI'S PLACE Rick is moving around the room restlessly, playing a few notes on his Jew's harp. RICK (to Lori) How long 'we gonna wait? You know her -- she'll get here on Judgement Day! Lori is sitting on the window sill, sketching and keeping an eye on the street, one floor below. LORI Rick, I'm taking you to a doctor. RICK Oh yeah? He picks up the phone and dials the operator -- RICK (into the receiver) Hey, operator -- gimme the nut house! 'Course it's a sick joke -- I'm sick! He hangs up and walks to the window, passing his fingers over his lips to make a babbling sound. When he stops next to Lori, something outside catches his attention. Down below, on the far side of the street, a city ambulance has pulled up and two attendants climb out. RICK What's that?! Lori looks at him gravely and puts her hand on his arm -- LORI I called a hospital, Ricky. RICK You what?! You gotta be kidding! (totally panicked) I ain't goin' nowhere! He bounds away, then returns to the window, frantic. LORI Rick, it's the only way. RICK If you think you're lockin' me up, you're the one who's crazy! On the street below, a squad car has pulled up -- RICK You called the cops! David has joined them -- DAVID (quietly) They always send them. RICK (like a trapped animal) I ain't goin' no place -- no place. (to David) Gimme my gun! DAVID It's in the Jeep. RICK Fuck you, David! I trusted you! DAVID Rick, you need help. You really do! He moves toward Rick -- RICK Stay away from me! DAVID You'll be okay. RICK Like hell! He tackles David, but after a short struggle, David subdues him, and holds him in a kind of embrace -- DAVID You'll be okay. I know you will. Rick tears himself free -- RICK Fuck you! He picks up his windbreaker and pulls out another gun -- RICK (backing away) Okay -- now stay where you are -- Don't try nothin'! Lori and David are stunned -- DAVID Rick -- give me that. RICK Get out-a here -- both-a you! An' tell those shitheads -- first one through the door gets his head blown off! (yelling out of the window) Hey, you mothers! Don' try comin up! The attendants are taking some gear out of the ambulance. They spot Rick with the gun and take cover. So does the officer who has left the squad car. LORI (very tense) Don't shoot, Rick! RICK 'Ya think I'm bluffing?! Before she can answer, he takes a shot at the ambulance. Lori is moving toward him. She tries to keep her voice level -- LORI That's it, Rick! RICK (panicked) I warn you -- stay where you are! (backing away from her) You asked for it, Lori! David tries to hold Lori back, but she pulls away from him. RICK (backing away, hysterical) Don't push me! LORI Go ahead. He fires into the room, but away from Lori and David. LORI (frantic) Ricky, please! It's not too late! Sirens approach from several directions. Rick moves back to the window, taking care not to present a target. Below, several patrol cars are pulling up. RICK You must-a called a lot-a hospitals! He takes a shot at one of the cars and ducks. LORI They'll kill you, Rick! RICK That's okay -- Say hello to Kare for me. He puts the pistol down on the table, opens a can of paint, dips his finger into it, and marks his forehead with a blue X. Both David and Lori see the opening -- LORI (moving toward the table) Rick, if you stop right now -- You haven't hurt anyone. She makes a break for the table while David moves to head off Rick. But Rick has been waiting for exactly this moment. He leaps forward with a yell, evades David, and gets to the pistol ahead of her. Lori cries out in rage and despair -- LORI He wants to get killed! Ricky -- please! -- whatever I did -- I'm sorry -- I'm truly sorry! I'll make it up to you! Please! His response is to take another pointless shot out the window. Lori stops. He isn't listening. She knows it's hopeless -- LORI (a forced calm) Okay, Rick -- go ahead. Go on. (she walks to the door) Just wait till I'm gone. I don't want to see it. She pushes David toward the door. RICK Get out! Go on -- get her out! (throwing and kicking things after her and David) Get out! He slams the door shut behind them. HALLWAY AND STAIRS Lori is going down the stairs, with David behind her. Up on the landing, Rick tears open the apartment door -- RICK (yelling after them) I wan'a get burned, like Mom! 'Ya hear me?! Lori neither stops nor turns. STREET IN FRONT OF LORI'S HOUSE The building is in a state of siege. Both ends of the street have been blocked off by patrol cars, and a small army of men is using them for cover. An officer addresses Rick through a battery-powered bullhorn -- OFFICER I repeat: You will not be harmed! We're not here to harm you! Lori and David come out of the house. An ambulance arrives. Lori starts across the no-man's land between the building and the police cars. The commanding officer speaks to her through a PA system on the roof of his cruiser -- CAPTAIN Stay where you are! I'm talking to you, miss. Please stay where you are! Lori continues walking toward his car. David catches up with her. RICK (yelling down) Hello, Mother -- are you there? He fires into the air. CAPTAIN (opening the door for them angrily) Get in! LORI (to the Captain) Please don't shoot -- he's sick, he's completely crazy -- She and David get into the back. The Captain is talking on his intercom. Up on the roof of the building, several men are deploying. Two of them enter the wooden shed housing the stairway. CAPTAIN You know him? Lori is in tears. She nods -- CAPTAIN (to Lori) 'Want to talk to him? He offers her the microphone. LORI It's useless! (but she takes it and speaks into it) Rick -- Her voice breaks and she stops. The captain leaves the car. A moment later, a shrill whistle blows and tear-gas canisters are fired into the apartment. We see Rick toss one of them back, but a thick fog of gas forces him out onto the ledge. He is coughing. Lori hides her face against the back of the seat. David puts his arm around her. There is a brief lull outside. Then Rick suddenly starts firing into the room. The men from the roof are evidently breaking down the door. There is a single sharp rifle report from the street. Rick topples down from the first floor. His body disappears behind a car, so we don't see it strike the pavement. LORI (unnaturally controlled) Is that it? David nods. LORI (her eyes closed) Is it? DAVID Yes. She gets out of the car. The street emerges from the frozen tension of the siege into bustling activity. There are policemen everywhere. Lori walks away, past the sharpshooter who brought Rick down. He is disassembling his telescopic rifle on the roof of a cruiser. A city ambulance moves toward the spot where Rick lies. Someone has covered him with newspapers. COASTAL HIGHWAY David is driving. Lori is staring at the sun. It is large and red in the afternoon haze. As we approach a hill, the sun seems to drop out of the sky in a steep arc and disappears behind the ascending slope as though it were setting rapidly. Once we have passed the hill and the horizon levels off, the sun reappears and rises into the sky. DAVID'S KITCHEN (EARLY EVENING) David is scrambling eggs. Through the window, we see Lori on the lawn. She is standing in the twilight, her back turned to us. The glass through which we see her is covered with fluttering moths, drawn by the light. David puts the frying pan on the table. Lori enters, but stops at the door -- LORI It's easy to make it. You just feel nothing. She sits down at the table. LORI Will you call about the body? David nods. He serves her the eggs and sits down. DAVID (after a moment) You know it wasn't your fault. LORI I know it. But I don't believe it. DAVID'S BEDROOM David enters the dark room from the bathroom. Lori is lying on the bed. He sits down beside her. She takes his hand and puts it on her breast, then suddenly squeezes his hand with her own. DAVID (gently) Don't. LORI (her teeth clenched) I don't want to turn to stone. EXT. DAVID'S HOUSE (EARLY MORNING) We are looking at a large tree from an upstairs window. The sun is out and dozens of birds sit in the branches. We hear the sound of a car. Down in the driveway, a taxi has stopped and Karen gets out. She is carrying a bag. DAVID'S BEDROOM David is at the window, buttoning his shirt. Lori joins him in her nightgown -- LORI Who is it? She looks out, but steps back quickly when she sees Karen -- LORI Get rid of her. Tell her I went to L.A. LIVING ROOM When David comes down the stairs, Karen is already in the house. She looks shaky. KAREN Where's Lori? DAVID I don't know. KAREN You mean, she left you? DAVID (not much of a liar) Uh-huh. KAREN Why? You're so nice. She drifts around the room -- KAREN I saw it in the paper. Were you there? David nods. KAREN I need to see her! She wasn't at her place. Lori has appeared on the stairs behind Karen -- LORI Hello, Kare. KAREN Hiding, huh?! Lori nods. KAREN Who needs another nut?! She hugs Lori -- KAREN Don't worry -- I'm not staying. He called on Monday. He seemed okay. He told me about my daddy. INT. CREMATORIUM The coffin is on a platform up front. Piped-in organ music. Lori, Karen, and David are alone in the chapel. KAREN (to Lori, in a whisper) I won't make it if I don't take something. She takes a pill. Tears are running down her cheeks. KAREN Under all that crap, he was real sweet. She leans against Lori. Lori holds her. EXT. CREMATORIUM David is backing his Jeep out of a parking space. Karen is next to him. Lori is in the rear, holding the urn in her lap. KAREN He said if something happened, I should take him where you took Mom. I would have called you, but I didn't know what he meant. LORI 'Wouldn't have made any difference. (she sees something off screen) Shit, no! A cab has stopped at the entrance to the parking lot, and Roy gets out. KAREN I called him. Daddies ought to be there when their kids get buried. LORI (to David) Let's go. David puts the Jeep into forward -- KAREN I want to talk to him! LORI (to David) Keep going. Roy is walking up the middle of the driveway. He doesn't seem to be aware of them. David swings around him and out of the parking lot. WATERFRONT, DAVID'S HOUSE (LATE AFTERNOON) Lori and David are sitting at the end of the dock. They stop talking when Karen comes out to join them. KAREN (lightly) 'Talking about me? DAVID No. Karen sits down beside Lori. KAREN How long can I stay? LORI You need to see a doctor, Kare. You're on drugs and pregnant. KAREN (shaking her head) I'm not pregnant. I just said that. Lori gives her a look. KAREN I'll be good. I promise. LAKE David is in the rowboat, accompanying the women on a swim. They are off the stern, swimming side by side. All around them, the sunset sky is reflected in the calm water, turning it red. EXT. DAVID'S HOUSE (TWILIGHT) Karen comes out of the house. David is cleaning the barbecue, and Lori is sketching with acrylic paint under an outdoor lamp. KAREN (none too steady on her feet) I wish I was seven and you guys were my parents. (she looks at Lori's drawing) That's real nice. Could we get a video? She steadies herself against the picnic table -- LORI Where 're those pills?! KAREN Gone. LORI All right, Kare -- tomorrow morning, bright and early, you're going back to Fern Hill. KAREN (sitting down) They can't do anything. LORI They had you clean till you met that scumbag! Karen is so drowsy, she can't keep her head off the table. LORI (to David) Let's get her to bed. KAREN It isn't fair. You've got a friend and you don't even need him. A BEDROOM (NIGHT) Lori turns on the light and David carries in Karen. She has her arms around his neck and imitates the sound of a diesel. He puts her down -- KAREN That was so nice -- Lori starts undressing her -- KAREN I'm jealous -- Bad, bad jealous -- It isn't sex -- I don't even like sex. Lori sits her down on the bed and slips off her shoes. KAREN (to David) Will you be my doctor? LORI Okay -- lie down. KAREN Stop acting like you're my mommy. She starts taking off her shirt. Lori helps her -- KAREN I can do it. She removes her shirt. There is a large, ugly bruise across her mid-section. LORI What's that?! Karen looks at the bruise -- KAREN I fell. LORI (very upset) Don't tell me he hit you! KAREN I had it coming. LORI Shit! Lie down. Karen pulls the pillow off the bed and lies down on the floor -- KAREN 'Gonna sleep right here. LORI No, you're not! Get up! She drags Karen up onto the bed -- LORI I've had it, Kare! KAREN (panicked) Don't go! Lori turns off the light. KAREN Leave it on! Lori turns the light back on. Karen is sitting up -- KAREN Come here -- please! Reluctantly, Lori returns to the bed -- LORI What is it? KAREN Don't be mad at me. LORI (covering her) I'm not. KAREN You have to sit on the bed. Lori sits down on the bed. Karen looks at her like a lost child -- KAREN It's like a curse. Lori caresses her face -- LORI (without much confidence) You'll be okay. DAVID'S BEDROOM David is asleep, Lori awake. He lies behind her and holds her in a close embrace. Her hair partly covers his face. Lori retrieves her hair without waking him. She hears an off- screen sound and bolts upright -- Karen is standing just a few feet away. LORI What're you doing?! KAREN 'Just wanted to see what you look like together. She walks out. LIVING ROOM (MORNING) Lori comes down the stairs. Karen is shaving her legs with a single-edged razor blade. She looks up at Lori -- KAREN You don't have to say it -- I'm gone. She puts the razor blade into her pocketbook next to her packed bag. KAREN I called Vinnie. LORI You're not going back! David has come down the stairs. KAREN (turning to him) How do I get a cab? When he doesn't answer, she heads for the phone and dials the operator. Lori disconnects her -- LORI You're going to Fern Hill. It's all set. We called them. KAREN You can't make me. Lori looks at her grimly -- LORI Okay, Karen -- if that's what you want, fine! (to David) Call a cab. Shit, no! I'll do it. She's my sister. She opens the phone book and looks for a cab company. Lori's change in attitude has had a strong effect on Karen -- KAREN Rehab won't help me. LORI Right! What you need is for that guy to beat you up! I tell you, Kare -- if you walk out of here, that'll be the last time you see me. Ever! She has found a number and starts dialing -- KAREN Okay, Lori -- I'll go with you. LORI No, you won't. You don't want to get well. KAREN Yes, I do! Lori looks at her, then hangs up -- LORI Okay. But this is it! If you pull anything else -- anything! -- I'll cut you loose. Karen nods. LORI (to David) Let's go. EXT. GAS STATION David pulls in at the self-service pumps. Karen climbs out of the Jeep and heads for the office. GAS STATION OFFICE Karen has bought an ice-cream sandwich at the vending machine. Licking it, she stops in front of the teenage boy behind the counter -- KAREN 'Got a ladies room? The boy hands her a key. She keeps staring at him, and he becomes confused. Karen smiles at him. Lori has come in -- KAREN I have to call Vinnie. He's waiting for me. She heads out. EXT. GAS STATION David has finished pumping gas and drives the Jeep over to the telephone booth. Karen is talking inside. She steps out, but without hanging up -- KAREN (to Lori) He wants to talk to you. LORI Hang up, Karen! KAREN It's Daddy! LORI (sharply) Hang up and get in the car! Karen goes back into the booth without closing the door -- KAREN Sorry, Roy -- she doesn't like you anymore. (to Lori) He says they're moving to St. Louis. (into the receiver) 'Get away from it all -- right? She hangs up, walks to the edge of the road that skirts the station, and tosses her ice cream under the wheels of a passing truck. Then she takes her pocketbook out of the Jeep -- KAREN I gotta pee. She heads for the ladies room around the corner. Lori sits frozen for a moment. She is at the end of her rope. LORI Let's just pick her up and take her! She gets out of the Jeep and heads for the ladies room. Lori knocks at the door -- LORI Kare -- it's me. There is no response and she knocks again -- LORI Open up! (to David) She's got a razor blade. She tries the door again and it swings open. The room is empty. LORI Oh Jesus! They look around the area but Karen is nowhere in sight. Heavy traffic in back of the station. LORI What now?! DAVID (firmly) Home! You've done what you can. Lori looks lost. David puts his arm around her and takes her to the Jeep. She lets herself be led, but stops before getting in and pushes his hand away. EXT. BLUE DORY MOTEL, NEW HAMPSHIRE The buildings face a spectacular view of New Hampshire scenery, but they are cheap-looking and set in the midst of a tourist strip. It is raining. Vince is using a power saw on the patio in front of the office. He turns it off when he sees David and Lori drive up. If he is surprised, he doesn't show it. LORI Did Karen call? VINCE Like five times! She said she was comin'. I told her forget it! He turns the saw back on. LORI (to David) Park out of sight. She heads for the motel office. MOTEL OFFICE Lori is in the lounge area, watching David, who is on the phone at the reception desk -- DAVID White dress. No -- sandals. Thanks. We're at the Blue Dory, Route 6. Right. He hangs up. Lori is going through Karen's bag. She takes out a bathing suit, a half-empty bottle of wine, and her own acrylic paints. Vince has come in from outside. Lori finds a bottle with some pills. She looks at him and slams it on the counter -- LORI I know where she gets the stuff! Vince shrugs. The phone is ringing and Vince's brother, a heavy-set man in his thirties, emerges from the back room. BROTHER (answering the phone) Blue Dory -- I can't hear ya! (to Vince) Her again! Lori has crossed to the desk and picks up the receiver before Vince can. But she changes her mind and hands it to him -- LORI (in a tense whisper) Tell her to come here! Vince is reluctant to talk to Karen, but intimidated by Lori. VINCE 'lo. Where are you? Jus' tell me where you are, I'll pick you up. Yeah, she's here -- Lori is emphatically shaking her head NO, but it's too late. He shrugs and hands her the receiver -- LORI Hi, Kare. Cool it, will you?! No! You won't be locked up! You don't have to see anyone you don't want to. Karen, don't hang up! But Karen has hung up. Lori puts down the receiver, very upset -- LORI (to Vince) 'She say where she is? VINCE Bus depot. Portsmouth, I guess. LORI Get yourself down there, and don't come back without her! VINCE I don't wan' her here! LORI (with barely contained rage) Just go, will you!? Vince glances at his brother and leaves. LORI I want a room. Vince's brother takes a moment before he places the registration pad in front of her. MOTEL ROOM Through the picture window, we see a view of the mountains. The rain has stopped. Lori enters the frame. She is using her acrylics to trace an outline of the landscape onto the glass. Off screen, David is on the phone -- DAVID Thanks a lot. We appreciate it. He hangs up. LORI Nothing, huh? David enters the frame, shaking his head. LORI I wish I could pray. Her brush strokes on the glass become angry, jagged. David touches her hand, but she pulls away -- LORI If you think you're helping, you're fucking me up. (she looks at him) I'm sorry. If it weren't for you, I don't know where I'd be. She turns to the window and paints a large red sun into the sky. MOTEL POOL (TWILIGHT) David is sitting at the pool's edge, watching Lori swim. She wears Karen's bathing suit. Vince drives past in the motel pick up. He stops in front of the office and gets out. David goes over to speak to him. Lori watches from the pool. Vince shakes his head. MOTEL ROOM (NIGHT) Lori enters ahead of David. She is wearing a shirt over the bathing suit. LORI (unbuttoning her shirt) Let's go to bed. She pours herself some wine from Karen's bottle -- LORI Don't look at me like that! DAVID Like what? LORI Like you're bleeding. DAVID How am I supposed to feel?! You're going through hell! She approaches him -- LORI You like helpless people, don't you? DAVID Come on, Lori -- cut it out! LORI Whatever they had, it's catching. (she looks at him) If there were such a thing as eternity, I'd spend it with you. I would! She turns away. EXT. MOTEL BALCONY (MORNING) The door to the room is ajar and Lori comes out. Below, she sees David and Vince talking to a state trooper in a patrol car. She starts down. David meets her at the foot of the stairs -- LORI (unnaturally calm) 'Dead? DAVID No. They got her at the hospital. LORI (flatly) How bad? DAVID He doesn't know. Lori walks over to Vince -- LORI (tensely) Let's go, Vince. Vinnie! Vince shakes his head -- LORI What's the matter -- can't take it?! She heads for the motel van. David joins her. HOSPITAL PARKING LOT The van pulls up. Vince is driving. INT. VAN Lori and David are in the rear seat -- DAVID Let me go, okay? LORI I'm coming! DAVID (restraining her) You don't have to put yourself through that! She tears free -- LORI It can't be as bad as I imagine. HOSPITAL ROOM Lori enters ahead of Vince. She stops -- Karen is the only patient in a room with four beds. She is sitting in a chair near the window, with her back to us. Lori is enormously relieved to see her sitting up -- LORI Hello, Kare -- Karen neither turns nor moves. Lori approaches and puts her hand on Karen's shoulder -- LORI (gently) Hi. Karen's arm is bandaged and one side of her face is scraped, but otherwise she seems unhurt. Lori kisses her, crying with relief -- LORI Kare, you had me so scared! Karen doesn't respond. Her eyes are vacant and her face is without expression. LORI (touching her) Kare, it's me. David has come in and stops beside Vince. LORI (turning to him) What's the matter with her? David joins her -- LORI Feel her skin! Tell them to put up the heat. She's cold. What did they say? DAVID 'Could be shock. LORI Will she get better? DAVID Sure. LORI How long? Days, or what?! DAVID They don't know. Lori is caressing Karen's face -- LORI Poor Kare -- poor kid -- She turns away to steady herself. LORI (to David) Give me a minute. David leaves. Vince is already gone. HOSPITAL PARKING LOT Lori comes out of the building. David joins her. She seems calmer. LORI She's alive. That's something, isn't it? She turns to Vince, who is seated in the van -- LORI 'Like her this way? Vince looks at her sullenly, but says nothing. LORI She can't talk or move, but you can still fuck her. DAVID (taking her arm) Let's go -- LORI I know what I can do -- She gets into the van. INT. CATHOLIC CHURCH Lori is in front of the altar. After a long moment on her knees, she stands up and turns to David -- LORI (shaking her head) I can't! She stops in front of a large crucifix -- LORI What's wrong with us? She looks at the crucifix, then turns back to David with sudden vehemence -- LORI I'd rather pray to you! 'Makes more sense -- Before he can stop her, she is on her knees in front of him. David picks her up. She starts kissing him and putting his hands on her body -- DAVID Stop it, Lori! LORI (fiercely) Why!? It's holy! (desperately) If there's someone up there, I'm glad they crucified him! (she stops, frightened) Listen to me! (pushing him away) I'm radioactive. Get out before I hurt you! DAVID (trying to calm her) You won't. LORI You're not tied to me. You're not my family. She looks at him. She knows he won't leave her, and turns away. EXT. MOTEL (LATE AFTERNOON) Vince lets David and Lori out of the van, and parks in front of the office. LORI Could you get me some Midol? There's a convenience store down the road. David looks at her. She seems calm. LORI I'll be in the room. She heads for the office. David gets into his Jeep, but doesn't start it right away. MOTEL OFFICE The office is empty. Music from the back. Lori walks up to the desk and Vince appears -- LORI My key. He hands it to her. She glances through the window to the parking lot, and sees David take off in the Jeep. Lori puts down the key -- LORI Take me to the bus. VINCE Get your friend to take you. LORI He's gone. Vince hesitates a moment, then calls to the rear -- VINCE 'Be right back. INT. VAN We are driving into the sun. There is a blinding glare on the windshield and the van is filled with yellow-orange light. The radio is on. Lori is sitting up front, but away from Vince. He glances at her -- VINCE 'You know why I hit her? LORI You were helping her, right?! VINCE Yeah. I'm dumb -- like you 'been tellin' her from the start! I found her in bed with a fourteen-year-old kid. Lori says nothing. INT. LORI'S PLACE (EARLY MORNING) The front door, newly installed, is unlocked from outside. The super is out in the hall and hands Lori a set of keys. LORI Thanks. She enters and closes the door. The place is a shambles. After a moment, she crosses to the kitchen and turns on one of the burners. She watches the gas ignite, shuts it off, and blows out the pilot light. Then she opens all four burners wide. The escaping gas makes an audible hiss. The answering machine is blinking and Lori turns it on -- DAVID'S VOICE Lori, if you're there, please pick up! (the machine beeps and David's voice comes on again) I'm at my house now. If you're there, please pick up! She turns off the machine and dials the phone. She doesn't like the smell of the gas and wrinkles her nose. While waiting for someone to answer, she opens the can of paints and writes "David, Love, and Thanks" on the tabletop. LORI Helen, it's me. Is Roy there? It's not important. She hangs up and stands motionless for a moment. Then she walks over to the foam-rubber mattress and lies down. She looks up at the ceiling and waits for the gas to take over. A long silence. There is a knock at the door -- DAVID'S VOICE Lori! She sits up with a start and rubs her face. DAVID'S VOICE The super said you're there! Lori tries to collect herself. She knows he will soon smell the gas -- LORI Just a minute. I'm in the bathroom. Quickly and efficiently she undoes her preparations for dying. She turns off the gas, opens the window, and steps into the bathroom to flush the toilet. She sniffs. The smell of the gas is so strong that she returns to the stove, turns on one burner, and places a kettle over the escaping gas. Then she opens the door for David. He looks haggard and angry -- DAVID That was shitty! LORI I'm sorry. He smells the gas -- DAVID (pushing past her) What're you doing?! Lori pretends to sniff the gas for the first time -- putting on a good performance. LORI I put the kettle on -- maybe the pilot is out. David has spotted the open burner and shuts it off. The pilot is out and her alibi is perfect, but he looks at her with grave doubt. She remembers the message she left for him, and walks to the table to smudge it. Then she looks at him, smiles, and shrugs. DAVID I called. Where were you? LORI In the coffee shop. I didn't want to stay here in the dark. (she stops in front of him) I'm glad you came. I am. She means it. He looks at her with relief and tenderness. LORI (moved by his feelings for her) You know -- you're the one who's crazy! The phone rings. LORI Let it ring. She changes her mind and picks up the receiver -- LORI Hello -- (flatly) Nothing. I changed my mind. Yeah, Karen told me. She's sick, Roy. Yes, very! What d'you expect!? No way! There's nothing to say. She has become very agitated, though she manages to keep her voice under control -- LORI (flatly) Okay -- where? Okay. She hangs up. DAVID Should you be seeing him? LORI They're moving to Missouri. I'll be okay if you come. EXT. MUSEUM Lori and David drive up. Roy has been waiting for them. He comes down the steps. ROY Thank you for coming. Lori avoids looking at him. ROY Could we go somewhere? LORI Here's good enough. To give them privacy, David gets out of the Jeep and moves a short distance away. ROY 'Mind if I sit down? Lori lets him into the back of the Jeep by moving her seat forward. As he gets in, his foot kicks against something and he stoops to pick up the urn with Rick's ashes. LORI (flatly) Give it to me. He hands her the urn. LORI Say what you have to say! ROY I want to pay for Karen. School or whatever. (taking a check out of his shirt pocket) I'll send the same every month. He passes the check to Lori, but she doesn't take it. She honks to get David's attention and he returns to the Jeep. Lori holds up the urn for David to see -- LORI 'Got to take care of Rick. It's been banging around your car. (she turns to Roy) Good-bye. ROY I'm coming. She looks at him for a moment and shrugs. David glances from father to daughter. He gets into the driver's seat. NORTH SHORE YACHT BASIN (LATE AFTERNOON; GREY SKY) David stops the Jeep at the end of the dock. Lori climbs out with the urn. LORI (to David) Call him, will you? She walks down the dock. David heads for the office shed. DOCK Chris is docking his boat. Lori approaches, surprised to see him. LORI Hi -- David just went to call you. We need to go out. Chris has seen the urn -- CHRIS Okay. She fastens the bow line for him -- LORI Tell him, will you? He's at the office. CHRIS (jumping ashore) Sure. LORI Thanks. Roy has joined her. She moves away from him and jumps aboard. LORI If you're coming, let's go. ROY What about your friend? LORI I can handle it. She loosens the bow line. Roy comes aboard. He isn't agile and almost slips. BOAT We are heading out to sea before a steady breeze. Roy is at the rudder. Lori trims the main sail. Once the boat moves smoothly, she picks up the urn and sits down at the stern. Roy is watching her. She opens the box, but suddenly thrusts it at him -- LORI You do it! Go ahead! Roy takes it, anxious to do anything that will lessen his guilt in her eyes, and scatters the ashes into the water. He finds the ring -- ROY I didn't know he was married. Lori takes the ring from him and drops it into the sea. Roy looks at her. The wind is tossing her hair. Her face has a harsh beauty. Another boat has left the dock and is following in our wake. We recognize David and Chris. ROY I know you blame me for a lot of it. LORI (fiercely) Don't talk! ROY Lori, he was sick. So's Karen -- She gets up to move away -- ROY (reaching for her) Lori -- LORI Stay where you are! Unable to bear his presence, she steps onto the seat and dives into the sea -- ROY (frightened) Lori! She is swimming away from the boat toward open water. ROY Lori! David and Chris have seen what happened. David is shouting to Roy, but his words are lost in the waves and wind. Roy tries to shift the boat in Lori's direction, but can't handle it. The boat veers and begins to list. Lori reaches a clanging bell buoy. She hangs onto it and looks back. In a water-level shot from her point of view, we see the boat capsize. Roy emerges unhurt. He swims toward Lori and the buoy. The crest of a wave hides him from view. When it subsides, he has disappeared. He resurfaces, struggling to stay afloat, but goes down a second time when the next wave crests. Lori is watching. The sea washes over her. She makes no move toward him. When the wave subsides, Roy is back on the surface, fighting for his life. Lori stares at him for a moment. Then she pushes off from the buoy and reaches him just as he is about to go under. She supports him until David and Chris arrive in the boat. Chris lowers the sail, and David jumps in to help get Roy aboard. Chris pulls him up onto the deck while David helps Lori. LORI I'm okay -- (to Chris) Get him warm, will you? Chris takes Roy down into the cabin. Lori has slumped onto a seat, exhausted and shivering. David puts a blanket around her -- LORI Did you see? David nods. LORI I almost let him die. David puts his arm around her shoulder -- DAVID You didn't, though. Chris has come up from below -- LORI Is he okay? CHRIS Yeah. LORI What about your boat? DAVID We'll get it later. Chris raises the sail. Low on the horizon, the setting sun drops out of a curtain of clouds. David is watching Lori. Her face is tinged red by the sun. It has a strange, transfigured look. LORI I'm glad to be alive. I am! A bell buoy rings. The wind slaps the sail. The boat tacks, turning David and Lori into a silhouette. His arm is still around her, fusing them into a single shape against the sky. THE END