After Lisa
by
Simon Sobo
Based on a true story
INT. NY A UTILITY ROOM ABOVE THE CEILING OF THE PLAZA HOTEL'S
GRAND BALLROOM
His rifle fitting snugly through an opening in the ballroom's
towering ceiling, a tall fit man in his 40's, dressed in a
tuxedo, peers through the telescopic lens of his rifle.
RIFLEMAN'S POV
He searches throughout the ballroom before settling on a tan,
attractive, woman in an evening gown wearing serious jewelry.
By her side is MARTIN MACDONALD, a silver haired executive
with a jutting chin and an air of confidence. MACDONALD has
evidently told a joke which the men at the table find very
funny, the women less so. MACDONALD stands up, winks at his
wife and goes to the podium. He adjusts the mike. In the
utility room the sounds of the room are distant. But not
microphoned sound. MACDONALD grabs the microphone, taps it
with his finger a few times then begins
MARTIN MACDONALD
My thanks to the American Insurance
Association for thinking of me in
this time of need. My message is
simple... We need to stick
together. Stand as one.
The rifleman pulls his rifle back into the utility room in
order to double check that everything is as it should be. His
gloved index finger rubs over the filed off serial number. He
pulls at the ends of his thin leather gloves to tighten them.
He cocks the trigger mechanism: the sound of precision steel
snapping into place with a bit of an echo. He repeats this a
second time with military efficiency. He takes a cartridge
case from his pocket and loads. His trigger finger tightens
slowly and calmly. He is just about there.
But he stops. He pulls the rifle back into the utility room.
We get a better look at the rifleman. He is sweating. As
opposed to our first impression, he is anything but a
professional. His face is alive with emotion. He seats
himself against a giant roll of cable on the floor, deciding
whether to go forward. He is soon lost in his thoughts
DISSOLVE TO:
FLASHBACK EXT. THE BERKSHIRES- AUTUMN 10 YEARS EARLIER
Two tents have been pitched at a clearing high in the
mountains. They overlook fields and farmland below. It is a
day to worship the fall foliage, sunny, the air with a bite
to it, crisp, clear, newly cold. Assisted by DEBORAH RUSSELL,
MICHAEL RUSSELL tightens the final knot on the second tent.
He gives a thumbs up to Deborah.
(CONTINUED)
We see that Michael is the man with the rifle, but 10 years
younger and carefree, he looks like a different person. The
intensity is there but his deep set hazel eyes sparkle. At
35, Deborah's striking blonde, still thick, almost hippie
curls, first catch your attention. She's petite. She moves
like a cat. Their children, RITCHIE and LISA, are adorable.
Six year-old Ritchie is quiet and observant, seven year-old
Lisa feisty.
Michael is ten feet up in a tree. He is extending a cable
between his Nikon (taped to the tree trunk) and his family.
The cable will allow him to join his family for their
portrait.
LISA
Dad, how long do we have to stand
here?
Deborah seconds Lisa. She flashes an "enough already" look.
MICHAEL
One second.
Taking his time, he studies them through his lens. It will
be an unusual family portrait. The Russells seem to be
suspended in air, two thousand feet above a valley, regaled
in autumn glory. A serpentine creek winds through high
grasses... He is in a revery.
LISA
(exasperated)
Daddy!
MICHAEL
Okay, everyone don't move. Look up.
Ritchie breaks ranks.
LISA
Ritchie get back here.
She grabs Ritchie a little too emphatically and returns him
to his assigned place. He lets out an angry cry. She looks
up at her father. Michael winks his appreciation. Still
sitting on the limb, he positions Ritchie first to the right,
then Lisa to the left. Then he moves Ritchie left again.
MICHAEL
Remember. Everyone, look here.
LISA
Daddy, take the picture already.
Any second now. Lisa's arms are thrown around Harry, their
mutt. Ritchie could be up a little higher. Finally Deborah
glares at Michael. Now or never. He fiddles with the cable
one last time, swings down and hangs by the branch.
DEBORAH
Careful.
CONTINUED:
(CONTINUED)
2.
Dropping to the ground, he bounces up as he lands, thumps his
chest, imitates King Kong. Ritchie does the same. Michael
points to the spot where Ritchie should be standing. Lisa
pulls him back there. Michael lines up with them.
MICHAEL
Okay everyone, Look up… Cheese
EVERYONE
(happily shouting)
Carrot juice.
As soon as the flash goes off the kids are gone.
MICHAEL
Wait, one more.
LISA
No way.
RITCHIE
(imitating Lisa)
Yeah. No way.
Happy sounds: LAUGHTER and Harry BARKING. Ritchie holds a
miniature toy airplane high above his head, and imitating the
sound of an airplane engine he takes off, racing here and
there.
RITCHIE (CONT'D)
Wissssssss
Getting a kick from his engine noise, he revs and purrs the
engine as he runs and flies the plane. Lisa does her version
of an engine and forms an airplane with her arms held out
perpendicularly. Her airplane chases Ritchie's airplane.
Harry chases both of them, barking away. Then they turn
around and chase Harry. He scoots to safety.
Suddenly Ritchie trips and goes down. He has scraped his
knee. He tries not to cry but it is no use. Michael lifts
him and scolds the ground with a ditty.
MICHAEL
Oh what did you do to my Ritchie?
My Ritchie did nothing to you.
The next time you hurt my Ritchie.
I'll call the policeman on you.
(kicking at the ground with
his heels)
Boom. Boom.
His tears chased away, Ritchie is put down. He clumsily hits
the ground with his toes.
RITCHIE
Boom. Boom
Deborah puckers her lips into a kiss. Michael accepts it
with a smile as he moves on to building a fire.
CONTINUED: (2)
(CONTINUED)
3.
LATER
The campfire is dying down. The sun is low in the sky. The
children are still buzzing, but it won't be long 'til they'll
be yawning. Deborah yells for them to come over and brush
their teeth. Putting a dab of toothpaste on each toothbrush,
she hands the yellow tipped one to Lisa and the green tipped
to Ritchie. Lisa inspects hers to be sure she's been given
the right toothbrush. She squeezes toothpaste on it and
holds it up. Deborah pours water from a canteen on her
brush, then does the same for Ritchie. They get to work.
Ritchie hums as he goes. Lisa is a more competent brusher.
DEBORAH
Okay enough.
She hands Lisa the canteen for a swig of water. Lisa gargles
noisily then spits it out, aiming for the longest distance.
She smiles as she stares at the position of her spit. It's
Ritchie's turn. He gargles and spits not nearly as far as
Lisa. As compensation Ritchie sticks his toe on Lisa's wet
spot for good measure. They know perfectly well what comes
after brushing their teeth. They deliver their toothbrushes
to Deborah.
DEBORAH (CONT'D)
(a drill sergeant's voice)
Okay. March.
They march to the tent. When they get to the entrance:
DEBORAH (CONT'D)
About face.
They do so with military precision.
DEBORAH (CONT'D)
Wow. Do that again. No wait. Let
me call Daddy.
DEBORAH (CONT'D)
(shouting some distance)
Michael.
MICHAEL
(shouting back)
What?
DEBORAH
Watch this.
They repeat their about-face with absolute precision
Grinning ear to ear, he gives a thumbs up.
DEBORAH (CONT'D)
Okay get in your sleeping bags and
I'll tuck you in.
With the children gone, Deborah assumes the position of a
Flamenco dancer. She flares her skirt high up on her legs.
CONTINUED: (3)
(CONTINUED)
4.
MICHAEL
(shouting from the
distance)
Olé
She has a big smile as she enters the kids' tent.
INT. INSIDE THEIR TENT
Ritchie and Lisa are lying side by side, their sleeping bags
still open above the waist. Deborah is busy neatening up.
Lisa hands her ring to Ritchie.
LISA
Put it on tonight. It means we are
married.
RITCHIE
Can't marry your sister. Right
Mommy?
LISA
Make believe.
Lisa ceremoniously puts it on his finger. Ritchie lies back,
enchanted with the thought of being Lisa's husband.
Deborah snaps him out of it. She has him slide further into
the bag and zips him up. Next Lisa. Deborah looks into her
eyes. Her lips are parted. They smile at each other, as Lisa
brings her arms inside her bag and Deborah zippers up.
As soon as Deborah leaves the tent Ritchie and Lisa, giggling
excitedly, give each other a look of complicity. Lisa
flashes her hidden away Hershey Bar. She puts her finger in
front of her lips.
LISA (CONT'D)
Shh…
GIGGLES.
Deborah sticks her head back in the tent. They let out a
startled scream. Then more giggles. Deborah sees the
chocolate bar but pretends she hasn't. After it disappears
under the cover she points her finger at them. Gives them a
"that's enough" face. They settle down quickly
CUT TO:
THE CRACKLING FIRE
Deborah puts on a sweat shirt, warms herself by the fire. She
smokes a joint. She reenters the tent. They are asleep. She
puts an extra cover over them. Quietly she treads out.
EXT FIFTY FEET AWAY SIMULTANEOUS
Michael has climbed down to his spot, to him, the whole point
of their being here.
CONTINUED: (4)
(CONTINUED)
5.
He is seated on the edge of a cliff, the valley thousands of
meters beneath his dangling feet. Deborah calls to him.
DEBORAH O.S.
You're not where I think you are?
Michael doesn't answer
DEBORAH O.S. (CONT'D)
Michael?
MICHAEL
Yeah.
Deborah appears. She is grinning like a happy child, stoned
happy.
DEBORAH
This place is amazing.
She stumbles.
MICHAEL
Careful.
He quickly grabs her. She settles in, takes a big slow easy
breath. She finds her spot in his neck. Feeling protected,
she stares out at the sky, the sun already setting.
DEBORAH
How did you ever find this spot?
MICHAEL
Joe told me about it.
DEBORAH
Well he's good for something. Is
Joe still giving you a hard time
about your Exxon story?
MICHAEL
Not as much.
DEBORAH
Doesn't surprise me. It's a good
story.
In the distance below, yellow and green farm fields form a
checkerboard pattern. At the corner of one of the fields,
orange pumpkins are piled high. Very, very far away a
tractor, looking like a toy, moves slowly along, leaving
mounds of dirt which look like anthills. Its driver is a
tiny dot. Beyond the farms, high grasses define a creek
which leads to an inlet. Off to the right, leaves dance in
the fading orange light, which, ever so slowly, is changing
to a reddish hue. A sliver of red sun is visible at the
edge of the vast horizon before it disappears. He hands her a
plastic cup of wine.
CONTINUED:
(CONTINUED)
6.
MICHAEL
I can see why they used to worship
the sun.
DEBORAH
(teasing him)
Who is they?
MICHAEL
Ancient people. People who lived
outside, in nature. Every day ended
with a sunset. What a show.
He lifts his wine for a toast.
MICHAEL (CONT'D)
To the big guy in the sky.
Deborah holds her glass up. They tap each other's glass.
MICHAEL (CONT'D)
To the Sun God.
Far below, the wind howls, as it violently winds its way
through the canyons. Leaves swirl behind them some swept into
the vast open space before them. A sliver of the moon makes
its first appearance. Happily she greets it.
DEBORAH
(toasting the moon)
To the goddess who owns the night
THE MOON
DEBORAH O.S.( CONT'D)
(whisperin)
with a whisper.
MICHAEL O.S.
Only one god allowed.
DEBORAH O.S.
That's your religion. The sun god
rules during the day. The moon is
Goddess of the night.
MICHAEL
Little Miss Poet. You've smoked,
haven't you?
She pulls herself away from the edge of the cliff and lies
down, opening her arms.
DEBORAH
Come here.
The sound of giggles as the next scene begins.
CONTINUED: (2)
7.
INT. NY THE UTILITY ROOM ABOVE THE CEILING OF THE PLAZA
HOTEL'S GRAND BALLROOM
Michael is still lost in his memories until the voice of
MACDONALD breaks through.
MACDONALD O.S.
This is an important time. How
easy it would be not to do the
right thing but we are men of
principal.
Michael pushes the trigger, toying with it. He isn't ready
to pull the trigger, break open MacDonald's skull.
FLASHBACK INT. HOSPITAL ROOM NEW YORK- 7 YEARS EARLIER
CU
Two hands SLAP at an overturned card, a Jack.
LISA AND RITCHIE O.S.
(shouting happily)
Slapjack!
The camera pulls back. Eleven-year-old Ritchie is sitting on
his twelve-year-old sister Lisa's hospital bed. Both want to
win badly. Happy rock n' roll plays in the background. Lisa
has mastered her bubble gum, cracking it emphatically,
repeatedly blowing small bubbles then sucking them in. With
one hand behind her back, she draws the next card.
Ritchie fakes slapping the pack. Lisa, just in time, freezes
her hand. He points at it.
RITCHIE
You moved your hand.
Defiantly, she shakes her head "No"
RITCHIE (CONT'D)
(Tone escalating)
You did!
She ignores his protest. They prepare for the next draw.
Lisa sneaks a look at the covered card. Another Jack! Keeping
a poker face she uncovers it. She beats Ritchie's slap,
smiles triumphantly.
RITCHIE (CONT'D)
You cheated. You snuck a look.
LISA
I did not.
RITCHIE
You did. I saw you.
She brings the back of her hand to her chest, swallows hard
with a little too much theatre. Ritchie suspects this might
be a ploy, but by the second swallow it looks like she is
fighting nausea.
(CONTINUED)
8.
Concerned, he looks at his father waiting for his reaction.
Another tentative swallow. She gags. This is clearly not
under her control. Michael, who has been reading, comes to
life.
MICHAEL
You okay?
She smiles at him bravely, her eyes wet. He moves Lisa's
hair out of her eyes.
The discomfort passes as quickly as it came. She has a
mischievous grin. As she turns over the next card she
imitates the sound of a drum roll.
RITCHIE
Stop it.
Deborah noisily enters the room. Lisa doesn't look up. She
tries to stay with the game. Finally she gives in.
DEBORAH
How's the patient?
LISA
Food any better in the cafeteria?
What they bring me sucks.
DEBORAH
I don't like that kind of talk.
Lisa's eyes drop. Michael picks through the bag that
Deborah's brought. He throws a bag of potato chips to Lisa.
Deborah tries to intercept it.
DEBORAH (CONT'D)
Doctor said, "Only hospital food."
Lisa throws it back to her father.
LISA
I wasn't hungry anyway.
Ritchie moves off to the corner of the room. He shuffles and
reshuffles the deck of cards, watching Deborah and Lisa.
He's scared for Lisa.
RITCHIE POV
Deborah touches Lisa's brow with her chin.
DEBORAH
She has a fever.
MICHAEL
Again?
DEBORAH
I'm pretty sure. Here, feel her
brow.
CONTINUED:
(CONTINUED)
9.
Michael ignores her and plops back into his chair by the
bedside. He looks at his watch, takes the TV remote and puts
on the Mets game. Ritchie watches Lisa.
DEBORAH (CONT'D)
Lise you okay?
LISA
No different.
DEBORAH
Does anything hurt?
LISA
It's the same Mom, the same. Stop
asking me. That's the hundredth
time you've asked today.
DEBORAH
When did they bring your medicine?
Michael, check with the nurse.
Michael reluctantly starts to get out of his chair.
LISA
Mom. The Mets are playing
Philadelphia. Let Daddy watch.
Ritchie you go.
An intern and two nurses arrive at the door before Ritchie
can go anywhere. Lisa looks to Deborah for an explanation.
Deborah looks to the intern.
INTERN
Dr. Clark told you we need to do an
L.P.
DEBORAH
You want to do it now?
INTERN
Yes.
MICHAEL
How long will it take?
INTERN
An hour at the most.
Michael looks at his watch.
MICHAEL
(to Deborah)
I'm seeing Joe at 2.
MICHAEL (CONT'D)
(addressing Lisa)
Chin up.
CONTINUED: (2)
(CONTINUED)
10.
Lisa smiles gamely. He looks at his watch again. Glances at
the intern and nurses unwrapping their instruments
MICHAEL (CONT'D)
(to Deborah)
I really have to go.
DEBORAH
(irritated)
So go.
Ritchie is also disappointed by Michael's departure.
MICHAEL
(to Lisa)
I have a surprise for you. I'll
bring it tomorrow.
Same smile. Michael goes over to her.
MICHAEL (CONT'D)
You're my princess.
LISA
(as brave as she can be)
You are the king.
He gives her a peck, squeezes her shoulder, then ducks out of
the room disappearing like a jackrabbit.
Lisa is positioned by the nurse to lie on her side, back
turned to the doctor. She faces Deborah. A nurse paints
Betadyne on her back.
Deborah wags her pinky in a hello gesture. Lisa's pinky wags
back. Deborah gives her an encouraging smile. Lisa
concentrates on the next moment.
Lisa listens as the nurses continue to unwrap instruments.
Deborah rises above her to watch. The intern puts on a fresh
pair of sterile gloves.
DEBORAH
Can I be here for moral support?
NURSE
Yes, but you have to stay out of
the way.
DEBORAH
(to Ritchie)
Go to the waiting room
RITCHIE
(complainingly)
Mo-o-om
DEBORAH
We've talked about this before. No
argument.
CONTINUED: (3)
(CONTINUED)
11.
Ritchie leaves. Deborah takes Lisa's hand as the nurse
arranges the instruments.
As they are about to begin, a nurse insistently takes over
holding Lisa's hands.
The nurse and doctor are just about there. Deborah smiles
warmly at Lisa admiring her "Bring it on." spirit.
That doesn't last long. Her flimsy hospital gown has pulled
up over her underpants. She tries to cover herself, but the
nurse who has been holding her hand, now has her wrists
pinned down. The nurses grip tightens as Lisa's fingers keep
reaching for the gown. She pulls Lisa's fingers away.
We switch to a view of her back. As they stick the needle
into her spine Lisa lets out a tentative cry.
The intern keeps maneuvering the needle, but no spinal fluid
comes out. He pulls the needle out and reinserts it with no
better luck.
INTERN
We are going to have to do it
again. (to one of the nurses) Get
Dr. Murphy.
Dr Murphy, a resident, strides in confidently, puts on his
gloves and takes over for the intern. He sticks in the
needle.
Lisa's ouch is a bit louder
INT. THE WARD WAITING ROOM.
Nervously Ritchie hears her.
INT. LISA'S HOSPITAL ROOM
Dr. Murphy sticks the needle in again.
LISA
I felt that one.
DEBORAH
Maybe the local is wearing off.
Dr. Murphy, frustrated that all is not going well, gives
Deborah an irritated look.
NURSE
You are going to have to leave.
DEBORAH
I'll be quiet.
She stays. Totally focused on his task, the doctor sticks the
needle in.
CONTINUED: (4)
(CONTINUED)
12.
LISA
(tearfully)
You said it wouldn't hurt. You
promised.
DOCTOR O.S.
Hold her still. I can't do this if
she keeps moving.
INT. WAITING ROOM SIMULTANEOUS
O.S. Lisa lets out a blood curdling. "Owwwww!!!
RITCHIE CU
Ritchie's upset. He concentrates on his Game Boy.
INT. THE RUSSELLS' N.Y.C. APARTMENT- LATE AFTERNOON SAME DAY
Michael is watching a ballgame. Deborah opens a window and
looks down at a playground six stories below. Despite it
being late in the day the children's energy level is high.
From the sixth floor their screams are like birds chirping in
the countryside, each distinct. Laughter, silliness,
pleading, a little boy's voice over and over in Spanish,
"Mira! Mira!", then another and another, "Higher…" "Get
away…." "Stop that Joey..." Then a mother commandingly "Get
over here... NOW!" Camera moves in on a four year-old boy
tightly holding the ropes of his swing.
4 YEAR OLD ON THE SWING
Higher!!!
His mother obliges. He looks tentative at the top, but as he
comes speeding down his face lights up.
INT THE RUSSELLS' APARTMENT SIMULTANEOUS
DEBORAH
Remember Lisa's feistiness on the
swing.
Michael isn't listening.
Deborah steps in front of the TV. Annoyed, Michael finds the
remote control and turns it off. On second thought,
defiantly, he clicks the remote control on again.
DEBORAH (CONT'D)
I want to talk to you.
He mutes the TV sound. She waits 'til she has his attention.
DEBORAH (CONT'D)
We have to get Lisa out of the
hospital.
Tight, angry skepticism is written across his face.
CONTINUED:
(CONTINUED)
13.
DEBORAH (CONT'D)
Amy told me about this woman, her
cousin...everyone said nothing
could be done...She took shark
cartilage-something about the yin
and yang…
MICHAEL
Just because Amy now has a spa, she
doesn't know any more about health
than when she cut hair. Lisa's not
going to be treated with health
foods.
DEBORAH
I'm not gonna let them torture her.
MICHAEL
They're not torturing her.
DEBORAH
They get off on the stuff they
throw at her
He doesn't answer.
DEBORAH (CONT'D)
Admit it. You think Lisa's a cry
baby--
MICHAEL
(steels himself)
Deborah. We're talking about a
lymphoma. Dr. Clark knows what he
is doing.
DEBORAH
Yeah. She's doing great.(defiantly
lights a cigarette)They're not
going to break Lisa.
MICHAEL
Enough!
DEBORAH
Easy for you to say. You're in and
out.
MICHAEL
Joe's given me plenty of time off.
DEBORAH
That was last year.
MICHAEL
I can't keep missing work. I need
we need my job.
She softens.
CONTINUED:
(CONTINUED)
14.
DEBORAH
Fine. Still, sometimes, it's like
Earth calling Mars...You're like
my dad All he wants to talk about
is sports. You don't have a clue
about what's going on.
MICHAEL
What don't I know?
DEBORAH
A lot. Today, I was worrying about
her spinal tap all morning waiting
for the doctor to arrive. Thinking
how I was going to handle it.
You're watching a ball game.
MICHAEL
It calms me down.
DEBORAH
Me? What happened to us?
MICHAEL
(wearily)
How did the spinal tap go?
DEBORAH
(before beginning checking
on whether he is
listening. He is)
While they were doing the
procedure, Lisa's gown pulled up.
She wanted to cover up her
underpants. They wouldn't let her.
They had her hands pinned down.
DEBORAH (CONT'D)
(plaintively)
I thought nurses are supposed to
know that twelve year old girls
have to cover their underpants. I
swear. They aren't really nurses.
They're doctor wannabes.
MICHAEL
Some of the nurses are good. Lisa
loves Barbara.
DEBORAH
Barbara wasn't there. It was that
tall one with the braids. I wanted
to shout "Let go of her hand."
"Let go of her fucking hand"... I
said nothing.
MICHAEL
They were sticking a needle in her
spine. You didn't want to distract
them.
CONTINUED: (2)
(CONTINUED)
15.
DEBORAH
What time we come, what time we go,
what we feed her. They think they
own her… Who put them in charge?
How did that happen? Who are they?
Lisa's ours.
MICHAEL
Debby, Amy's health food stories
are wacko. She makes them up.
DEBORAH
Maybe--
MICHAEL
Maybe? Dr. Clark's Harvard trained.
He's not stupid.
DEBORAH
Oh Harvard. Mr. Harvard. There
are fewer sadists at Harvard.
Right? People are really nice
there, soft spoken, nice.
Where do they come up with this
stuff? She has trouble with a pill.
They made her swallow a plastic
tube. Tell me. What genius
thought that one up? (taking a
breath, then continues) Did it
ever occur to you that maybe all
that bookishness makes for better
ways to torture children? They
finally get to do something besides
read.
MICHAEL
He's trying his best.
DEBORAH
What if that doesn't matter… What
if the cancer is calling the
shots. All I ask is that he admit
it if nothing is working.
Michael nods acknowledgment.
DEBORAH (CONT'D)
If he'd slow down. If all the
doctors would slow down.
DEBORAH (CONT'D)
Dr. Clark should stop staring at
Lisa's chart and look into her
eyes…(wiping her own eyes) Just
once.
She pushes Michael's hand away as he tries to comfort her.
DEBORAH (CONT'D)
He's gotta tell me if he can't do
anything.
CONTINUED: (3)
(CONTINUED)
16.
She looks imploringly at Michael
DEBORAH (CONT'D)
Am I asking too much?
Silence
DEBORAH (CONT'D)
Am I?
MICHAEL
No.
DEBORAH
Lisa's staying because we want her
to be there. She puts up with them
for us. For us…
MICHAEL
Deborah, no more. I can't do this.
DEBORAH
She's waiting for me to say it.
"We're out of here." She's waiting-
MICHAEL
Deborah stop. We've gone over
this. Again and again.
DEBORAH
(shouting)
What do you expect? Should I have
come home and done my nails?
She sticks her hand in front of him. Her cuticles are a mess.
DEBORAH (CONT'D)
Can't. I'm chewwing on them!
She waits for his reaction but doesn't get one.
DEBORAH (CONT'D)
The Mets. That's all that matters
Still no reaction from Michael.
DEBORAH (CONT'D)
One more incident like this morning
and we're out of there.
MICHAEL
(pissed)
You're making everything worse.
She stops. She knows that particular pitch and volume.
Michael is about to blow. She goes to the window. One person
is still in the park, a fourteen year old girl on a bench,
fixing her hair, waiting for her boyfriend. He arrives. They
talk earnestly. Biting her lip, Deborah watches them, gets
lost in them.
CONTINUED: (4)
17.
INT THE RUSSELL'S DINING ROOM THAT EVENING
Deborah, Michael and Richard are at the dinner table.
Michael has a good appetite. Deborah slowly chews her
cutlet. Ritchie is not all there. He plays with his mashed
potatoes, occasionally bringing a small forkful of peas to
his lips. He takes out his Game Boy
MICHAEL
Put that Game Boy away.
Ritchie looks at him defensively
INT. THE RUSSELL'S BEDROOM THAT EVENING
The Russells are in bed. The phone rings.
DEBORAH
Mom?
She takes the phone out to the hall. Soon returns.
MICHAEL
Anything happening?
DEBORAH
(curt, snappy)
No.
She gets back in bed. Settles in. A clumsy silence.
MICHAEL
(tentatively)
That was a nice dinner.
DEBORAH
Good. Lately I've been such a
bitch. I didn't mean it about Clark
You know that, don't you?
MICHAEL
I wish I could let it out like you.
DEBORAH
But you're on the receiving end.
MICHAEL
Just doing my duty.
They are friends again. He reaches for the remote. She puts
her hand over his to stop him. He puts the remote down.
She studies a mole on his hand. She's very quiet
MICHAEL (CONT'D)
Where are you?
DEBORAH
I don't know. Going over things.
(CONTINUED)
18.
MICHAEL
Like what?
DEBORAH
That time I had a flat tire with
them in the car, remember? Lisa was
about six.
MICHAEL
Not really.
INT LISA'S HOSPITAL ROOM SIMULTANEOUSLY
Lisa is trying to sleep. She turns over a few times.
INT THE RUSSELL'S BEDROOM. SIMULTANEOUSLY
DEBORAH
AAA? I had a fight with you that
night?
MICHAEL
Right.
DEBORAH
I never told you the whole story...
Michael says nothing
DEBORAH (CONT'D)
We were in the center lane when the
tire blew. I couldn't pull over.
Cars were whizzing by on both
sides. I was screaming at Ritchie
and Lisa to stop fighting. I got
out. Opened the trunk. I couldn't
find the' jack. Meanwhile the back
door opens. The traffic is still
buzzing all around us. "Close the
door. Close the door." I screamed.
Lisa steps out anyway. "Get back
in the car. Get back in the car"
Pushing her body against the car
she slipped over near me at the
back. "Mom. Call AAA. She just
looked at me and understood
everything. I didn't have to fake
that I knew what I was doing. She
knew that I didn't. But she also
knew it was going to all turn out
okay.
Michael moves her hair out of her eyes
DEBORAH (CONT'D)
It was okay that I didn't know
what to do because she did. Or
thought she did. Either way it
didn't matter. She knew I wasn't
going to let anything bad happen.
Lisa and Ritchie knew that. That
was my job. I was good at it.
CONTINUED:
(CONTINUED)
19.
Tears. Tries to shake it off with a smile
MICHAEL
Sorry about AAA.
DEBORAH
(matter of fact)
We didn't have much money back
then.
MICHAEL
Yeah but you were pissed about it
and you were right.
She takes his hand.
MICHAEL (CONT'D)
Can I ask you to do something?
DEBORAH
What?
MICHAEL
Can you trust the doctors more?
It's making everything harder.
DEBORAH
But, Clark...
MICHAEL
Please. Debby.
DEBORAH
It's just a job to Clark.
MICHAEL
(emphatic)
He takes his job seriously. That's
enough.
DEBORAH
I won't let him torture Lisa so he
can pump up his ego. I have to
protect her.
Totally exasperated Michael throws up his hands and goes to
the bathroom, which hurtsDeborah. She gets out of bed and
goes to the bar in the dining room. She pours scotch into a
large glass, straight, sips a little, before downing it. She
pours another. She stares down Michael's disapproval as she
returns to the bedroom with her drink. He's watching TV
again.
DEBORAH (CONT'D)
I know what you're thinking. The
shiksa with her booze.
He doesn't answer.
DEBORAH (CONT'D)
I can't sleep okay?
CONTINUED:
(CONTINUED)
20.
He doesn't answer.
DEBORAH (CONT'D)
You think your praying is any
different? You think you're gonna
get a miracle here?
She downs the drink.
DEBORAH (CONT'D)
You think God listens to your
prayers, to your mumbling? He's old
Michael. He needs a hearing aid.
Because if he hears okay he's got
to be a sadist.
MICHAEL
(completely pissed)
Shut up.
INT LISA'S HOSPITAL ROOM SIMULTANEOUSLY
Lisa is still trying to sleep. Her eyes suddenly snap open.
INT. RITCHIE'S ROOM SIMULTANEOUSLY
Ritchie is playing an intense video game. Camera moves to an
action adventure game on the screen. Their fighting can be
heard in the background. Ritchie turns up the volume. The
game action gets more furious. He keeps zapping monsters,
which die noisily. Deborah shouts to him:
DEBORAH O.S.
Go to sleep.
Camera remains in the video game screen. Ritchie shoots a
mutant alien. A groan. Blood splatters as the alien dies.
The action continues seamlessly on the game screen into the
next scene.
INT. RITCHIE'S BEDROOM - 6 YEARS LATER
Another mutant is decimated on the screen.
RITCHIE has developed into a big, strong, sixteen year-old.
But he is on fire. He bangs at the controls. He hears his
parents arguing. He puts on his hoody and heads out the
door, half slamming the door behind him.
EXT. THE STREET BELOW THE FAMILY'S APARTMENT.
Ritchie, his hood on, heads for the pizza stand
INSIDE THE PIZZA STAND.
Richie's seated in a corner.
16 YEAR OLD GIRL O.S.
Hey Ritchie!
CONTINUED: (2)
(CONTINUED)
21.
Unfriendly laughter
TWO 16 YEAR OLD GIRLS O.S.
(sarcastically)
Ritchie!!! Diiick.
He ignores them.
ONE OF THE GIRLS
Dickhead. Don't you like girls?
More laughter. DAN, Ritchie's friend, joins him.
DAN
C'mon. Let's get out of here.
Ritchie and Dan leave the shop and walk the sidewalks. They
pass some girls who look them over. Dan is interested.
Ritchie hardly notices.
DAN (CONT'D)
You're bringing that shit on
yourself. Ritchie. They're just
giving it back.
RITCHIE
I'm minding my own business and
suddenly they're all over me...
DAN
But you look so pissed. When was
the last time you smiled at anyone?
RITCHIE
I don't want to hear this bullshit.
DAN
Maybe you gotta hear it anyway.
RITCHIE
Leave me alone.
DAN
Everyone already leaves you alone.
I don't see you doing so great.
RITCHIE
Fuck you man.
Dan grabs Ritchie's arm and turns him towards him.
DAN
After your sister died we wanted to
help you, all of us. Lisa was
rough. But now… It's five years
man. Five years. Get over it.
RITCHIE
That's bullshit.
CONTINUED:
(CONTINUED)
22.
DAN
That's what everyone says. Move
on. Get on with it.
Ritchie pulls his arm free.
RITCHIE
You can all fuck yourselves.
DAN
Me too?
RITCHIE
Especially you.
Ritchie puts his hands in his pocket and walks away.
RITCHIE (CONT'D)
(not turning around,
shouts)
Just stay out of my business.
INT. THE RUSSELL'S SMOKE FILLED BEDROOM. EVENING
Eric Clapton is playing softly. Deborah is in bed reading.
Michael enters quietly. He hangs up his blazer. Deborah
doesn't greet him. Michael goes to the ashtray, examines a
joint, puts it back.
INT. THE KITCHEN. FOLLOWING ABOVE
Michael opens the refrigerator. Picks up an open can of
tuna, left in a baggy. He holds it away from himself and
puts it in the garbage.
MICHAEL
(shouting to Deborah)
What are we doing for supper?
She doesn't answer. He goes to the entrance of the bedroom
INT. THE RUSSELL'S SMOKE FILLED BEDROOM. EVENING
MICHAEL
In case you haven't noticed you
still have a son left. Lately,
you're stoned more than you're
straight.
She continues to ignore him.
MICHAEL (CONT'D)
Ritchie never comes out of his
room. I can't get him to look at
me let alone talk to me. The two of
you are feeding off each other.
DEBORAH
Right. It's all my fault.
CONTINUED: (2)
(CONTINUED)
23.
MICHAEL
I remember when you kept this
family going. We counted on you.
DEBORAH
Things change.
MICHAEL
I know, but…
DEBORAH
You know but you don't care.
MICHAEL
We're back to that.
The sound of Ritchie in his room blasting his music.
MICHAEL (CONT'D)
(pissed)
It's 10:30. We have neighbors.
He gets up angrily, inadvertently knocking over a ceramic
vase on a shelf. It shatters. Michael picks up a piece of
broken ceramics and aims it for the waste basket. It goes
in.
EXT. FLASHBACK BASKETBALL COURT THE SAME YEAR
Michael drives towards the basket. He misses. He goes up
hard for the rebound. His elbow accidentally hits Ritchie in
the chin. Ritchie shoves his father.
RITCHIE
Always have to win don't you?
MICHAEL
Is that all you got? Come on.
Ritchie punches his father in the nose. Michael is more
surprised than physically hurt. He has a bit of blood at the
tip of his nose. Ritchie sees the blood and is upset. He
walks away. He punches himself in the head.
INT. THE RUSSELL'S SMOKE FILLED BEDROOM AS ABOVE
Another angry song blasts from Ritchie's room. The volume
has been raised still more.
MICHAEL
That does it.
INT. RITCHIE'S ROOM-CONTINUOUS
Michael flings open the door. With his remote control Ritchie
lowers the volume. He gets ready for what is coming next.
MICHAEL
(Trying to sound calm, but
anger on his face)
I want you to get help.
CONTINUED:
(CONTINUED)
24.
RITCHIE
What kind of help?
MICHAEL
I want you to talk to a
professional.
RITCHIE
What's that going to do?
MICHAEL
After Lisa, I went to someone. It
made a big difference.
RITCHIE
Yeah right. Lisa came right back
to be with us for Christmas.
MICHAEL
Look I don't want to talk if you're
not going to be serious.
RITCHIE
I don't want to talk period.
MICHAEL
I want you to see Dr. Stern. The
same psychiatrist I saw. You'll
like him.
RITCHIE
And what if I refuse?
MICHAEL
There isn't a choice on this one.
Ritchie pushes the button to his stereo. The music smashes
through the room. He turns on his bed so that his back faces
Michael. Michael's expression softens into concern followed
by bewilderment. He leaves. Ritchie anger also changes to
fear. He tosses around in bed. For a brief moment he sees an
image of Lisa. He looks again. She is not there. He tosses
around in bed trying to fall asleep. He can't.
INT. THE WAITING ROOM TO DR. STERN'S OFFICE- THE NEXT DAY.
Restlessly Michael thumbs through a magazine. Ritchie sits
legs spread staring at the floor. A receptionist answers her
intercom.
RECEPTIONIST
Dr. Stern's free. Mr. Russell, He
wants to see you first.
INT STERN'S OFFICE
DR. STERN is seated behind his desk. He resembles Sean
Connery, in his late sixties, calm and professional. He
stands, gives Michael a warm smile and they shake hands.
CONTINUED:
(CONTINUED)
25.
DR. STERN
Hey Michael.
MICHAEL
Thanks for fitting us in.
DR. STERN
No problem. You okay?
MICHAEL
I'm worried about Ritchie. He's
never really been the same since
Lisa died. Lately he's very
depressed. He's in his own world.
DR. STERN
What has he said about Lisa?
MICHAEL
He never brings her up
DR. STERN
Never?
MICHAEL
He won’t mention her name.
They are both reflective
Michael continues:
MICHAEL (CONT'D)
I think he’s spooked.
DR. STERN
Spooked?
MICHAEL
Possessed.
DR. STERN
You watch too many movies.
MICHAEL
No, really. Not demons floating
around like in a movie. But it’s
the same as a real ghost. Somehow
Ritchie’s managed to keep her
alive.
DR. STERN
Hallucinations?
MICHAEL
I don’t know what you call it.
Couple of times I heard him talking
to himself in his room. Heard him
mumble “Lisa.” as if she were in
the room.
CONTINUED:
(CONTINUED)
26.
DR. STERN
After you heard him talking to her,
did you ask him about it?
MICHAEL
Whatever I ask about he hears it as
criticism. Didn’t want him to
think I was spying on him.
Stern leads Michael towards the door.
DR. STERN
Did he agree to come today?
MICHAEL
He bitched, but he's here. If he
didn't want to come he wouldn't.
INT. DR. STERN'S RECEPTION ROOM
Michael signals Ritchie to enter Dr. Stern's office
MICHAEL
Remember. Give him a chance.
RITCHIE
Yeah right.
As he waits, Michael impatiently leafs through a magazine. He
tosses it back on the table, finds another and soon tosses
that one as well
INT. DR. STERN'S WAITING ROOM LATER
Ritchie returns.
RECEPTIONIST
(looking at Michael)
Dr. Stern wants to speak to you.
INT. STERN'S OFFICE
DR. STERN IS ON THE PHONE. MICHAEL WAITS UNTIL STERN HANGS
UP.
MICHAEL
How did it go?
DR. STERN
We talked a little but not very
much. It'll take a while. Which
worries me. I just got off the
phone with your insurance company.
He's only approved for follow-up
medication visits.
MICHAEL
What do you mean?
CONTINUED: (2)
(CONTINUED)
27.
DR. STERN
That's the new model. No more
figuring yourself out. They think
its worthless.
MICHAEL
Really?
DR STERN
Ritchie needs to make sense of
what's going on with him,
especially this thing with Lisa.
DR STERN (CONT'D)
They think everyone's troubles are
chemical I've put him on Prozac.
No problem with that. Chances are
it will help him feel better. But
he needs therapy and I'm not sure
they will let him get much of that
at least from me anyway.
MICHAEL
How can they do that?
DR. STERN
They just do. Let me look into
this. Don't worry. We will figure
out a way
Michael walks out with the doctor. He tosses the keys to
Ritchie.
MICHAEL
You can drive champ.
INT. INSIDE THE CAR- A FEW MINUTES LATER
MICHAEL
So how did it go?
RITCHIE.
What do you mean how did it go? I
sat opposite this old guy and he
asked all these personal questions.
Like I really want to tell him
about my crap.
MICHAEL
Do you want to see someone else?
Ritchie floors the accelerator and passes a car. They just
miss an approaching car but Ritchie is able to pull it back
to the right side of the street.
MICHAEL (CONT'D)
Hey take it easy. This isn't a
video game. It's the real thing.
You could have gotten us killed.
CONTINUED:
(CONTINUED)
28.
RITCHIE
Like I really give a shit.
MICHAEL
Meaning what?
RITCHIE
I don't care.
MICHAEL
You don't care if you get killed?
RITCHIE
I don't care but that's another
subject.
MICHAEL
No, that's exactly the subject.
RITCHIE
Look Dad. I don't care if I live.
I don't care if I die. I don't
care if I see Dr. Stern, or if I
see someone else or if I see no
one. I don't care.
INT. THE RUSSELL HOME- THAT EVENING
Michael returns from work. Deborah is stoned again. In the
dark she is watching videotapes of the family. Michael
enters, throws down his coat.
MICHAEL
(sniffing the dope)
You're smoking too much dope.
DEBORAH
Don't start Michael.
MICHAEL
I swear I don't know you any more.
I only know this stoned person.
Where are you?
She doesn't answer. His eyes go to the TV screen
MICHAEL (CONT'D)
Where's Ritchie?
DEBORAH
(conciliatory)
In his room. Wait, stay here for a
moment
Deborah moves the images around on the screen with the remote
control. We watch the home video.
DEBORAH O.S.
God you were so handsome. I wasn't
bad either… look at me.
CONTINUED:
(CONTINUED)
29.
MICHAEL O.S.
You look pretty... You still can be
when you want to.
DEBORAH
Don't start.
MICHAEL
Did Ritchie seem all right?
DEBORAH O.S.
God look at that?
In the video Michael is holding a very young Ritchie.
DEBORAH O.S. (CONT'D)
The two of you. Look at Ritchie...
He was gorgeous. A gorgeous baby…
You were so proud… Look. Lisa off
in the corner… Wait let me rewind…
Deborah rewinds.
DEBORAH O.S. (CONT'D)
She doesn't look so happy. Look at
her blonde hair, its practically
platinum. God, it darkened. She
was almost a brunette…
There is a new image on the screen. We watch a series of
shots and hear Deborah off screen
DEBORAH O.S. (CONT'D)
Oh there. Now she's smiling. I
love this part. When we put
Ritchie in her arms.
(pause)
Look at her.
(pause)
Oh Lise. (tears, slowly) You were
such a good sister…
MICHAEL
I can't take this. How can you
look at that over and over again?
DEBORAH
(betrayed, combative)
What Michael?
MICHAEL
You heard me.
DEBORAH
What do you want me to do? Just
tell me Michael. What am I
supposed to do?
MICHAEL
She's gone Deborah.
CONTINUED:
(CONTINUED)
30.
DEBORAH
On those tapes she is alive. I
need to be with her like that.
MICHAEL
She's gone.
DEBORAH
Maybe for you Michael. Maybe for
you. You didn't give a shit then.
You still don't. Wis: No more Lisa.
MICHAEL
Deborah. This isn't my problem.
It's yours. You won't let her go.
DEBORAH
Right. Okay Michael.
Deborah pushes the eject button, waits for the videotape,
then holds it up.
DEBORAH (CONT'D)
I'm gonna dig a 6 foot deep hole
and toss this in. That's what you
want? You want her completely gone?
You want her totally dead?
MICHAEL
She is dead.
DEBORAH
You don't think I know that?
MICHAEL
So then deal with it.
DEBORAH
I should have known I was going to
get this shit tonight. When you
used to go to Dr. Stern… Every time
you came home… the answers to
everyone's problems. Got some new
psychobabble for me? Come on
Michael. Come on Mr. Fix-it.
MICHAEL
You just want to fight don't you?
DEBORAH
You're the one who came home with
an attitude. I got one thing to
say. (Giving him the finger) Fuck
you!
MICHAEL
Actually I wouldn't mind that
occasionally.
There is a sudden loud noise down the hall.
CONTINUED: (2)
(CONTINUED)
31.
MICHAEL (CONT'D)
(alarmed)
Ritchie!
Michael and Deborah immediately head for the hall bathroom.
MICHAEL (CONT'D)
(screaming)
Ritchie!
DEBORAH
(screaming)
Ritchie. Ritchie.
Michael, in two tries, breaks the door down. Ritchie has
tried to hang himself by jumping off the toilet. He is semiconscious.
The copper pipe above the toilet, that he had tied
a rope to, has sheared and water is gushing out of it soaking
him and the room. Michael springs into action. He embraces
Ritchie around the waist and lifts him up to take the weight
off his neck. He struggles with the knot.
MICHAEL
Get a knife from the kitchen.
She returns with a big knife and Michael cuts him down. As
he does they both fall clumsily to the floor. In the
process, Ritchie's forehead is cut. It is bleeding.
Desperately, Michael loosens the noose.
MICHAEL (CONT'D)
Call 911.
Michael is about to start CPR but then Ritchie starts to
choke and then breathes quietly on his own. Deborah returns.
DEBORAH
They're on their way.
Deborah grabs a towel and presses it on the gash on Ritchie's
forehead. She gets down on her knees on the floor and moves
his head onto her lap. She watches him breathe and begins to
rock, holding his head to her breast. Ritchie lifts his
head.
RITCHIE
Mom
DEBORAH
(soothing)
It's okay. It's okay
Nestling in her hands, cradled in her lap, he sinks into her
comfort.
DEBORAH (CONT'D)
Oh baby. Ritchie My baby.
Out of breath, Michael quietly leans against the doorway
watching them. Camera holds on him for a moment as he catches
his breath.
CONTINUED: (3)
32.
INT. MOUNT PLEASANT HOSPITAL ER SAME NIGHT, 3AM
Noise. Just short of chaos. Off to the side is a section for
psychiatric emergencies. Michael and Deborah sit together,
taking it all in.
A very attractive stylishly dressed 20 year-old woman paces
back and forth with a young baby in her arms. She is talking
to herself. She laughs out loud, then looks suspiciously
around the room. Indifferently a policeman watches her.
Occasionally his hand radio goes on and off. Muddled
directives are issued by a dispatcher. A thin distressed
young man, knees tightly together, looks down at the floor.
Next to the Russells sits a chatterbox, who feels comfortable
talking to anyone whether welcomed or not. He nudges
Michael.
CHATTERBOX
Gotta a question? Go to the front
desk...
At the front desk Michael stands near the policeman, his hand
radio emitting loud static. There is no one behind the desk.
POLICEMAN
(speaking into his hand
radio)
I talked to the doc. He's saying I
gotta stay here until he hears from
the insurance company. There's been
cutbacks in their security.
SERGEANT O.S.
We're short nine guys. Just leave.
POLICEMAN
I can't. This woman is nuts.
She's got a baby.
SERGEANT O.S.
That's their problem.
POLICEMAN
I'll get back to you.
The policeman yells to a nurse who is within hearing range.
POLICEMAN (CONT'D)
My sergeant telling me I can't stay
here all night.
The nurse comes to the desk. She notices Michael as she
addresses the policeman.
NURSE
Nothing we can do. The insurance
company isn't approving
hospitalization. We're trying to
fight them.
(CONTINUED)
33.
POLICEMAN
Did the doctor get the part about
the device hidden in her baby's
vagina? She says she keeps looking
for it.
NURSE
Yeah. He knows about it.
POLICEMAN
And?
NURSE
They said she's not a danger to
anyone. They want us to send her to
day hospital.
POLICEMAN
This women's not going to show up
at no treatment program every day.
NURSE
Not only that. They want her to go
to Mercury General.
POLICEMAN
How the hell is she going to get
over there every day? It's an hour
and a half each way, 3 changes on
the subway. She's lucky if she can
cross a street.
NURSE
You got it. We are trying to get
people in Minnesota to understand
what's going on in New York.
POLICEMAN
And?
She looks at her watch.
NURSE
It's been eight hours. They're
hoping Dr. Geller will just go
away. Listen to this.
The nurse switches to speaker phone. Kenny G can be heard. A
very airline cheerful voice speaks above the music.
SPEAKER PHONE
Want to feel better? Try laughter.
Having a sense of humor has been
shown to increase self-esteem. It
even helps the immune system.
Michael exchanges a worried glance with Deborah
SPEAKER PHONE (CONT'D)
Want respect? Try treating your
fellow workers with respect.
CONTINUED:
(MORE)
(CONTINUED)
34.
It is the secret of every happy
workplace.
More Kenny G.
She flips the speaker phone off. She points to a bench.
NURSE
(deadpan)
Welcome to Alice in Wonderland.
Take a seat. It's going to be a
long night.
POLICEMAN
I'm out of here.
NURSE
(suddenly desperate)
You can't leave.
POLICEMAN
One more hour.
Once again Michael and Deborah exchange concerned glances at
each other. The nurse looks at Michael.
Michael is about to speak when he notices Dr. Geller has
entered the waiting area.
Dr. Geller appears to know the Russells. He approaches
Deborah. Michael joins them. .. Dr. Geller takes Debra's
hand.
DEBORAH
Aren't you Ethan? Laurie Geller's
son?
DR. GELLER
Been 10 years since I baby sat for
you.
She hugs him, starts to cry on his shoulder.
DR. GELLER (CONT'D)
Ritchie's okay. No damage done.
He's been admitted.
MICHAEL
Can we talk to him?
DR. GELLER
He's already on the ward. He'll be
okay.
DEBORAH
(regaining her composure)
Did he say anything?
DR. GELLER
Come back in the morning. You can
see him then.
CONTINUED: (2)
SPEAKER PHONE (CONT'D)
(CONTINUED)
35.
The young crazy woman's voice has gotten louder. She is
yelling at a fifty year old Hispanic man with a broken thumb,
sitting with his 14 year-old son. The man tries to ignore
her. His frightened son's eyes are frozen on the floor.
CRAZY WOMAN
You put that transmitter in my
baby, didn't you?
The nurse walks over to her.
MICHAEL
(to Dr. Geller)
Can I ask you something?
DR. Geller nods
MICHAEL (CONT'D)
What's going to happen to her?
DR. GELLER
We have situations like this
almost every night.
Noticing how the Russells are locked in on the crazy woman.
DR. GELLER (CONT'D)
Go home and get some sleep. Things
will look brighter in the morning.
Go home.
They hesitate.
DR. GELLER (CONT'D)
Come on. There's nothing to do
here. Tomorrow morning.
INT. MOUNT PLEASANT HOSPITAL PSYCHIATRIC UNIT-THE NEXT
MORNING
Ritchie walks down the hall nodding to other patients. His
neck shows scrape marks where the rope had been.
A PATIENT
Hey man.
RITCHIE
What's happening?
An aide goes to the steel main ward door and unlocks it with
a big key. Michael and Deborah enter. They see Ritchie and
wave to him. Michael is wearing a tie and sports jacket,
Deborah a dress. Smiling feebly she mouths "I love you".He
continues to watch them as they follow DR. RAHMADI, a stout
Pakistani, into his office.
INT. DR. RAHMADI'S OFFICE
DR. RAHMADI
Let's get started.
CONTINUED: (3)
(CONTINUED)
36.
He stares at a form on his desk, pen in hand.
DR RAHMADI
How long has he been on Prozac?
MICHAEL
He was supposed to begin it
yesterday morning. He…
DR. RAHMADI
Did he take one?
DEBORAH
As far as we know. You think that's
why he did it?
DR RAHMADI
No. Is he taking anything else?
MICHAEL
No.
Dr. Rahmadi stops and checks over his form. He finds the
correct place to put his check mark, then looks up again.
DR. RAHMADI
How long did he see Dr. Stern?
MICHAEL
His first visit was earlier in the
week.
Once again he focuses on his form.
DR. RAHMADI
Did Richard…
DEBORAH
Ritchie. He likes to be called
Ritchie.
DR. RAHMADI
(irritated by the
interruption)
Did Ritchie give any indications
that he was thinking about suicide?
MICHAEL
Not really.
He is about to check off the box about suicide, when he is
interrupted again.
DEBORAH
Actually, a few years ago, when he
was around eleven he talked about
dying a lot. His sister died 5
years ago from a lymphoma and he
kept asking whether Lisa was alive
in heaven.
CONTINUED:
(MORE)
(CONTINUED)
37.
Talked about how he wanted to die
so he could see her. He spoke
about that a lot. Then it stopped.
He hasn't mentioned it in years.
DR. RAHMADI
I mean actual suicide threats.
MICHAEL
What do you mean actual?
DR. RAHMADI
Threatening to do it.
MICHAEL
No nothing like that. But you know-
DR. RAHMADI
(cuts him off, becoming
more and more impatient)
Any family history of suicide?
MICHAEL
No.
DR. RAHMADI
Dr. Stern told me he saw you for
depression several years ago. He
hinted that you also are depressed
Mrs. Russell.
She shrugs. Brightened by the thought that he's discovered
something, Rahmadi delivers the next question with zip.
DR RAHMADI
There is a strong family history?
DEBORAH
I don't know. Not before Lisa's
illness.
DR. RAHMADI
Lisa?
DEBORAH
My daughter.
DR. RAHMADI
The one with the lymphoma?
DEBORAH
Yes.
Out of respect for the dead Dr. Rahmadi's voice briefly loses
its insistent quality.
DR. RAHMADI
What about his grandparents? Did
they get depressed?
CONTINUED: (2)
DEBORAH (CONT'D)
(CONTINUED)
38.
DEBORAH
They were okay.
MICHAEL
You're forgetting about your mom
during menopause? She was pretty
crabby?
Dr. Rahmadi looks up from his form. He's had just about
enough tangents.
DEBORAH
Well that was only a few months.
The phone rings. Dr. Rahmadi listens. He taps his pen on
his desk impatiently.
DEBORAH (CONT'D)
A few...
He isn't listening but she continues.
DEBORAH (CONT'D)
months ago
DR. RAHMADI
Give her Thorazine 50 milligrams
IM.
He hangs up the phone.
DR. RAHMADI (CONT'D)
Sorry. So the answer is yes?
MICHAEL
What was the question?
DR. RAHMADI
There's a strong family history?
DEBORAH
Well…
He writes on his chart. The phone rings again.
DR. RAHMADI
(now, decidedly irritated)
Sorry. One second.
He lifts the phone again, and listens.
DR. RAHMADI (CONT'D)
She's allergic to Thorazine? OK. 5
milligrams of Haldol.
He straightens up at his desk to address Deborah and Michael.
DR. RAHMADI (CONT'D)
I have a patient scheduled in a few
minutes. I got what I need.
CONTINUED: (3)
(CONTINUED)
39.
MICHAEL
That's it? What if I have
questions?
DR. RAHMADI
Sorry I'm so busy. You're supposed
to see Mrs. Franklin next. She'll
answer your questions. She's in
charge of disposition…
MICHAEL
Who are you disposing of?
DR. RAHMADI
She's in charge of discharge
planning.
MICHAEL
He just got here!
DR. RAHMADI
We no longer think hospitals are
the right place to do treatment
Patients begin to like it here a
little too much.
MICHAEL
You think that could happen to
Ritchie?
DR. RAHMADI
Maybe. His therapist will make
sure it doesn't happen.
MICHAEL
Who is his therapist?
DR. RAHMADI
I told you. Mrs. Franklin. She'll
meet with you later. Let me see
what time.
The doctor picks up his phone and dials her extension. He
mumbles something into the phone, then looks up.
DR. RAHMADI (CONT'D)
In about an hour. Why don't you
see if you can find Billy out
there.
MICHAEL
Billy?
Dr. Rahmadi sneaks a look at his chart.
DR. RAHMADI
Sorry, sorry Ritchie.
Dr. Rahmadi shows them the door. They go into the corridor.
They spot chatterbox.
CONTINUED: (4)
(CONTINUED)
40.
MICHAEL
Have you seen our son?
CHATTERBOX
Ritchie?
(pointing down the hall)
He's down there.
All of the patients are in a common room at a lecture.
Chatterbox follows them there. Mrs. Allison is in front of a
screen with her pointer demarcating bubble in the power point
image of a nerve junction.
MS. ALLISON
(With Pollyannish gusto)
This is serotonin. Depressed people
don't have enough of it. Who is on
Prozac?
Five patients raise their hand. Ritchie doesn't. Michael
signals him to do so. Ritchie ignores him.
MS. ALLISON (CONT'D)
What about Celexa, Zoloft, Paxil,
Effexor?
Most of the patients raise their hand.
MS. ALLISON (CONT'D)
Good. These drugs correct your
chemical imbalance. Soon most of
you are going to feel better. A lot
better. You have to take your
medication religiously!
Michael keeps an eye on Richard to see if he is listening.
He isn't.
A patient raises her hand.
PATIENT 1
Are you saying our problems aren't
what's bumming us out?
MS. ALLISON
Everyone has problems, some of them
not easy to fix but what counts is
how you react to them. Chances are
most of what upsets you wouldn't if
you didn't have a have a chemical
imbalance. I've seen people dying
miserably with cancer cheer right
up with medication. So you need to
take it. One other thing causes
depression. Anyone know what that
is?
No one raises their hand.
MS. ALLISON (CONT'D)
Come on Ron. You've been here
before.
CONTINUED: (5)
(CONTINUED)
41.
Ron looks at her with disgust. Ms. Allison isn't the least
discouraged.
CHATTERBOX
(sarcastically)
Negative attitudes.
Ritchie smiles appreciatively.
MS. ALLISON
Exactly Mr. Kobe. Exactly.
Negative attitudes. Too many sad
thoughts make you depressed. I want
you to study this booklet. It's
about how to think positively no
matter what happens. We're going
to work on it while you are here.
It's not hard to learn. You just
have to want to do it. If you have
wound up here you have to do it.
Like a hawk, Michael has been watching Ritchie's reactions to
Mrs. Allison. He catches Ritchie's attention.
MICHAEL
(mouthing the words)
Listen to her.
Ritchie turns to the side so that his father is out of his
field of vision.
CHRISTIAN
How about if God meant us to suffer
in this world. If the world we are
looking for is in heaven.
PATIENT 2
So we should just kill ourselves
now.
MRS. ALLISON
Any other questions?
PATIENT 3
Do we get to meet with the doctor
about our medication? I've been
here 5 days and I've only seen him
once for 15 minutes.
MS. ALLISON
Well, he makes rounds every day and
the staff reports to him. (exuding
cheerfulness) He's very, very busy.
Michael and Deborah worried looks deepen.
PATIENT 1
What about medication problems? Can
we see the doctor then?
CONTINUED: (6)
(CONTINUED)
42.
MS. ALLISON
In special situations. But bring
up medication problems in
medication group. You'll all meet
together once a day with the nurse.
And that's where you can ask about
side effects.
PATIENT 1
I'm not going to talk about no side
effects in front of every one else.
MS. ALLISON
You'll just have to find the
courage.
PATIENT 2
Are you serious? You know lady.
This serotonin thing. It sounds
like one size fits all.
MS. ALLISON
Any other questions?
Ms. Allison looks around the room. No hands are raised. She
displays the cover of the booklet. In enormous green
letters: POSITIVE THINKING WORKS! She waves the booklet like
a flag.
MS. ALLISON (CONT'D)
Those who don't have one of these
come get your copy.
Most of the patients do move forward to get the booklet.
Ritchie and a few others move in the opposite direction.
Ritchie joins his parents. He hugs his mother.
RITCHIE
(with genuine concern)
You okay mom?
DEBORAH
I'm good. I'm good.
MICHAEL
It was a pretty rough night. Are
they treating you okay?
RITCHIE
(unfriendly)
No one's coming at me with needles
like they did last night.
MICHAEL
You should get a copy of that
booklet.
RITCHIE
Are you serious? Brainwash myself?
CONTINUED: (7)
(CONTINUED)
43.
MICHAEL
I'm going to get a copy. I'll be
right back.
Michael leaves them.
RITCHIE
Is dad pissed?
DEBORAH
No! Can't you tell?
RITCHIE
Not really. He's always pissed at
me.
DEBORAH
That isn't true.
RITCHIE
It's not off by much.
DEBORAH
Ritchie. You gave us a big scare,
especially your father. (moving her
fingers through his hair) How you
feeling?
Ritchie says nothing.
Michael returns. Deborah and Ritchie greet him with false
smiles, like there is a secret between them. Michael hands
him the booklet.
MICHAEL
Look it over tonight. What have
you got to lose?
RITCHIE
(sarcastically)
Yeah right, Dad.
MICHAEL
What is it you want? Just tell me.
We aren't playing a game here.
RITCHIE
For starters, I want out of here.
MICHAEL
What about a different place?
RITCHIE
Like where?
MICHAEL
I don't know but I'm seeing Dr.
Stern. He'll know.
CONTINUED: (8)
(CONTINUED)
44.
RITCHIE
It's got to be a place where they
don't take away your shoelaces.
MICHAEL
You seem to have forgotten what got
you in here. Any place is going to
do that…
Trying to go unnoticed Ritchie touches his eye to intercept a
tear. Seeing this Michael softens. He puts his hand on
Ritchie's shoulder.
MICHAEL (CONT'D)
Look let's see what Dr. Stern has
to say.
Michael looks at his watch.
MICHAEL (CONT'D)
I have to call in to the Tribune.
Then I'm going to see Dr. Stern.
Deborah. You want to come with me?
DEBORAH
I'm okay staying here.
RITCHIE
Dad. Could you check the ER? Lisa's
ring is gone.
DEBORAH
(concerned.)
The ring?
MICHAEL
I'll check it out. See you later.
He starts off. Deborah gives Ritchie's hand a squeeze then
catches up with Michael.
DEBORAH
(softly but firmly)
You have to find that ring.
MICHAEL
I know.
DEBORAH
Ritchie ever talk to you about it?
Michael is trying to remember if he did.
DEBORAH (CONT'D)
When he touches the ring, he can
feel Lisa nearby.
MICHAEL
(alarmed)
Recently? He said that? Does he
actually see her?
CONTINUED: (9)
(CONTINUED)
45.
DEBORAH
I don't think so, but something
goes on. He gets a certain look.
MICHAEL
What kind of look?
DEBORAH
A look… Michael This is not your
thing. You're not big on
imagination.
MICHAEL
Someone has to stay grounded.
DEBORAH
Just make sure you find the ring.
Michael leaves. Deborah rejoins Ritchie. The two don't
talk. They are drawn to a chess game nearby.
DEBORAH (CONT'D)
(addressing one of the
chess players, a short
lumpy 15 year old boy.)
Nice move.
A psychiatric aide appears.
PSYCHIATRIC AIDE
Russell. You're should be at group.
RITCHIE
I'm with my Mom.
PSYCHIATRIC AIDE
(pushes his chest out)
In our house you go by house rules.
DEBORAH
On one of the boards it says they
have AA meetings at the hospital.
One is starting in about 10
minutes. Ritchie, go to your group.
I'm going to that meeting.
INT. AA MEETING IN THE HOSPITAL- 10 MINUTES LATER
Ten minutes later Deborah is in a large hospital conference
room used by AA. Several members surround a large coffee
maker. A tall angular man fusses over preparing his coffee.
He carefully pours a teaspoon of sugar, turns his spoon over,
then repeats it for another teaspoon and a half. Next comes
the powdered creamer. He studies the coffee as he stirs. He
sips carefully, smacks his gums; it is still too hot.
He studies the donuts. He picks a circular cinnamon sugared
one from the supermarket box. He tears the donut in half.
He hasn’t looked at another person in the room.
CONTINUED: (10)
(CONTINUED)
46.
By contrast several members greet each other with hugs. The
mood is loving, like before a modern church service.
Deborah takes a seat away from the others. She tries to
become invisible, which is difficult when she has brushed out
her hair. Several divorced men look her over, but when she
fails to notice them their attention moves elsewhere. The
meeting begins. The first speaker is nervous and selfconscious,
not sure what he wants to say.
AA MEMBER
You're my man.
Encouragement doesn't help. His struggles with his shyness a
continues.
DEBORAH MCU
Deborah fingers a muscle that has tightened up in the back
of her neck She squeezes hard enough to unlock it. She
feels tired from the Valium she took trying to get to sleep.
She only got four hours. She sinks into reveries coming in
waves.
We hear the sounds of the campsite. Birds, Harry barking, the
wind.
SERIES OF SHOTS
A) EXT. THE CAMPING SITE 15 YEARS EARLIER
The very first time at their mountain site. The excitement
of discovery. A sunny amazing day. Michael grabs one-yearold
Ritchie and swoops him into the air. He catches him
effortlessly, then sets himself for another toss. When
Michael played baseball, he preferred a home run swing to a
controlled bat. Michael throws Ritchie high, high into the
air. Ritchie is terrified, as is Deborah, but just as quickly
Ritchie lets out a happy squeal as Michael gently catches
him.
RITCHIE
Gaain
MICHAEL
Again?
RITCHIE
Gaain
MICHAEL
Again?
DEBORAH
Yes again.
He repeats his throw and catch. Lisa pulls at Michael's leg.
He looks down at her. She points straight up.
MICHAEL
You're sure?
CONTINUED:
(CONTINUED)
47.
Michael hands Ritchie to Deborah and picks up Lisa who is
very excited. He throws her up almost as high as he threw
Ritchie and catches her the same way. He's delighted with
himself. When he puts her down she's not satisfied.
LISA
No. As high as Ritchie!
MICHAEL
That was as high!
LISA
It wasn't. You threw Ritchie into
the sky.
MICHAEL
You want to go into the sky?
LISA
Higher than that!
MICHAEL
Okay, higher than the sky.
LISA
To God.
MICHAEL
I'm not sure what kind of catcher
he is.
LISA
The best!
DEBORAH
B)(second memory) Michael and Deborah are dancing wildly at a
college mixer, turning each other on. They go to the punch
bowl. Deborah is tipsy. Michael is entranced by her
goofiness.
DBORAH
(smiling)
L-o-o-ve that punch.
Michael's eyes open wide
INT PSYCH WARD GAME ROOM- SAME DAY
Ritchie is playing pool by himself. MELISSA, a thin,
attractive, high strung 16 year old energy package approaches
and watches him for a while. He misses several shots.
MELISSA
You got to be smooth.
RITCHIE
You think you can do better?
CONTINUED:
(CONTINUED)
48.
Melissa reaches for a pool stick, chalks it like a
professional, then knocks down several balls.
RITCHIE (CONT'D)
Where'd you learn to do that?
MELISSA
My father.
RITCHIE
Oh yeah?
MELISSA
Yeah. My dad's neat. Ever go to any
girl's basketball games?
RITCHIE
No.
MELISSA
You should. I'm the starting point
guard. My Dad taught me all my
moves.
RITCHIE
Oh yeah?
MELISSA
We went to the state semifinals
last year. This year we're going
all the way.
RITCHIE
Melissa…
MELISSA
You know my name? At school you've
walked by me a thousand times like
you didn't recognize me.
RITCHIE
We were lab partners in 7th grade
Mrs. Mor… Mrs. Moravy? No. Mrs.
Morton?(Cracking a smile) Mrs.
Moron.
MELISSA
You have a nice smile.
RITCHIE
Yeah, well um. What was her name?
MELISSA
Mrs. Motown
RITCHIE
Come on.
MELISSA
That was it. I'm telling you.
CONTINUED:
(CONTINUED)
49.
RITCHIE
No that's a record company.
MELISSA
Mrs. Morky. That was it.
Morky…like Dorky.
RITCHIE
(smiling, casual)
So how come you're here?
MELISSA
I got pissed at my mom and took a
handful of Tylenol. I told her 5
minutes later, but she made me come
to the ER anyway. Then they put me
in this stupid place. I'm out of
here tomorrow. Never going to do
that again. (looking disgusted)
Tubes in my nose…
MELISSA (CONT'D)
What about you?
RITCHIE
I'll be out soon too.
MELISSA
Oh yeah?
RITCHIE
Real soon.
MELISSA
They told you that?
RITCHIE
No, but I'm getting out of here.
Melissa looks at her watch.
MELISSA
I have an appointment with my
therapist.
RITCHIE
Which one?
MELISSA
Mrs. Taylor
RITCHIE
Is she nice?
MELISSA
I've seen her once. She acts like I
am a pain in the ass.
RITCHIE
Let's face it, we are a pain in the
ass to most of them.
CONTINUED: (2)
(MORE)
(CONTINUED)
50.
That's why they hide behind those
walls at the nursing station
ordering out. Like some time they
ought to show up here among the
patients.
MELISSA
Yeah and share their pizza. Or, at
least, let us order out.
RITCHIE
I'm supposed to go to a meeting
now. They said I'll lose my
privileges if I miss it. I don't
think I'm going.
MELISSA
You like to be difficult. Don’t
you?
RITCHIE
I just don’t like to be pushed
around.
MELISSA
You get pushed around a lot?
RITCHIE
My dad maybe. He acts real
disappointed when I don’t do what
he wants.
MELISSA
That bothers you?
RITCHIE
Yeah I get angry then I feel like a
jerk for getting angry. Because he
is a (makes quotation marks with
his fingers) "nice guy."
MELISSA
You is a fucked up dude.
RITCHIE
You’re not Jewish so you wouldn’t
understand. Jewish men have to
make believe they are gentle.
MELISSA
No I get it. He pushes you around?
...Listen. There's a chance I may
go home today. If I don't see you
again, around school sometime, how
about saying hello to me? Or are
you too stuck up for that?
RITCHIE
It has nothing to do with stuck up.
MELISSA
Right.
CONTINUED: (3)
RITCHIE (CONT'D)
(CONTINUED)
51.
RITCHIE
It doesn't. I have things on my
mind. Most of the time I'm not
looking at people in the halls.
MELISSA
Bullshit. You got this scowl. Like
you could kill anyone who
interrupts you.
RITCHIE
It's true. I don't want to be
interrupted.
MELISSA
Why interrupted? What are you
doing?
He shrugs.
She suddenly takes an adorable flapper pose
MELISSA (CONT'D)
Waddy waddy, do-do-do. (He smiles)
I'm more important then any stupid
thing you're thinking about. So
hello from now on. Right?
No answer from Ritchie
MELISSA (CONT'D)
It's not that complicated.
RITCHIE
You never get lost in your own
thoughts?
MELISSA
Not if I can help it. My head
spinnng gets me nowhere.
She walks away sliding her slippers like a little girl. She
looks back.
MELISSA (CONT'D)
You take care Ritchie Russell. And
when you get out we're going to get
together. Your coming to my game.
Horace Man. Put that on your
social calender.
No answer from Ritchie.
MELISSA (CONT'D)
The Owls-we're going to kick some
ass.
Ritchie catches a glimpse of Dan down the corridor. Shouts
to him. Dan's brought a kid's small rubber football. He
throws a strike to Ritchie who catches it on the run.
CONTINUED: (4)
(CONTINUED)
52.
Ritchie throws it back. . Still in the room, Melissa
watches. Dan throws the ball to Melissa. She hams it up.
HAPPY RAUCOUS MUSIC A couple of other patients get involved.
A psych aide joins them. They are having a grand old time.
An OLDER NURSE appears
OLDER NURSE
Knock it off.
Everyone but the psych aide ignores her. They continue to
throw the ball although the shouting is replaced by SILENCE.
Melissa shaves by her trying to get open for a pass.
OLDER NURSE (CONT'D)
I said quit it. Now!
Their pleasure increases the more aggravated the nurse
becomes. She signals two burly staff members. Melissa has
the ball.
OLDER NURSE
Throw that and it's seclusion.
From five feet away Melissa throws a perfect spiral straight
into the nurse's gut. CHEERS
CU MELISSA AND NURSE
OLDER NURSE.
Six hours seclusion.
The group watches as she is led away. Dan comes over to
Ritchie who is leaning against a wall.
DAN
Great place.
RITCHIE
Yeah, we have good times here.
DAN
What is seclusion?
RITCHIE
Remember "time out." This is a
professional version. They lock you
up in a padded cell You should see
some of the patients. They really
get into it. Bang their heads
against the wall, scream like wild
coyotes. It's great times here.
DAN
You deserve it. You were supposed
to call me if you were going to do
something. How come you didn't
call?
RITCHIE
Dunno.
CONTINUED: (5)
(CONTINUED)
53.
DAN
Ritchie, come on. Why?
RITCHIE
Why? There is no why.
DAN
Bullshit. All you do is ask why
all the time. Then when it counts
you just do that.
RITCHIE
Another one! Thinking's the problemso
I should just stop, right?
That's all we hear on the ward.
They drill it into our heads.
Happy Talk happy talk.
Dan smiles sympathetically
MICHAEL
Don't have enough I really need
that pressure. Fuck you Nurse
Ratchet
DAN
Beth's into that positive thinking.
Straight from magazines. She
corrects me all the time. Come on
"Be positive"
RITCHIE
That's all they talk about here.
They police the place. If they
hear negativity you gotta repeat
something positive 11 times.
DAN
Really?
RITCHIE
Not... But it is like a broken
record.
DAN
Truthfully, you could try it out a
little. Some happy talk couldn't
hurt you. You take bad karma to
new heights. You're the champ of
gloom and doom. You've perfected
it.
RITCHIE
What can I say? If you are going
to do something, do it right.
DAN
Can't you just stop? Or don't you
want to stop?
CONTINUED: (6)
(CONTINUED)
54.
RITCHIE
Oh, here we go.
DAN
You don't. Do you? Admit it jerk
face.
RITCHIE
Admit what?
DAN
You don't want to stop.
RITCHIE
I don't want to stop.
DAN
Sometimes I get this feeling that
what you really want is to pull me
in with you. See things like you
see them.
RITCHIE
Did it ever occur to you that I
can't stop? Even if I want to I
can't.
DAN
You don't try.
RITCHIE
I do but when I try it creeps me
out. Like I am playing make
believe. And it doesn't fool
anyone anyway. Specially me. You
can't just change your mood.
DAN
Okay you can't. But how about
faking it every once in a while.
You know "Whistle a happy tune" Why
try to make me feel miserable?
RITCHIE
Because that's what friends are
for?
DAN
Give me a break.
RITCHIE
I mean it. Sometimes I want
company where I am.
DAN
Except when I try to cheer you up…
RITCHIE
I'm not talking bout cheering me
up. I wish that worked.
CONTINUED: (7)
(MORE)
(CONTINUED)
55.
You know when people are kidding
around at school, even telling good
jokes, the best I can do is fake a
smile. It sucks, watching everyone
else kidding around, having a good
time. And I'm not part of it.
DAN
No one's keeping you out of it.
RITCHIE
I'm just not there. Nothing's
funny. You guys are enjoying
yourself
DAN
Ever talk to your father about
this?
RITCHIE
Give me a break.
DAN
I don't know what your problem is
with him. He isn't that bad.
RITCHIE
He pisses me off!
DAN
Why?
RITCHIE
I don't know, but he does.
Dan signals Ritchie to run down the corridor for a pass. He
takes off. Dan throws a perfect spiral which Ritchie catches
with a leaping grab. Pleased with his catch he brings back
the ball and flips it underhand to Dan. They are both silent
for a while. Dan fidgets with a zipper on his jacket.
DAN
Ritchie?
RITCHIE
Yeah?
DAN
You know I really would like to
help you.
RITCHIE
I know Dan, but you can't. No one
can. It's okay. I still like you.
INT. THE ER SHORTLY AFTER
The insane twenty-year old woman is still pacing in the ER.
She is now without her baby. There is a policewoman there.
She also has a hand radio that sputters on and off. Michael
approaches a nurse.
CONTINUED: (8)
RITCHIE (CONT'D)
(CONTINUED)
56.
MICHAEL
Can I speak to Dr. Geller?
NURSE
Who are you?
MICHAEL
Dr. Geller saw my son last night.
The nurse turns, walks down the hall. Michael watches the
crazy lady. She's mumbling to herself, then suddenly she
starts screaming at a helpless old man.
CRAZY WOMAN
You think because you took my baby
the machine isn't spying on me.
Well it is still in my baby and it
is still spying on me. Wise guys.
You can't trick me.
Dr. Geller approaches Michael.
DR. GELLER
Hey Mr. Russell.
MICHAEL
Hey Ethan. Listen, Ritchie is
missing a ring. It means a lot to
him. Could you ask around?
DR. GELLER
I will. You should also try
Admissions. They're in charge of
personal belongings. How's Ritchie
making out?
The crazy woman lets out a shriek. Then another. Then another
MICHAEL
(very tense)
I can't believe she is still here.
DR. GELLER
She's leaving soon.
MICHAEL
They agreed to hospitalization?
DR. GELLER
These new places are springing up.
Kind of like surgi-centers. It's
cheaper than hospitals. They're
basically boarding houses with
uniformed guards. A psychiatrist
visits once or twice a week.
MICHAEL
What do they do?
CONTINUED:
(CONTINUED)
57.
DR. GELLER
She'll walk out of there tomorrow,
but she's out of here.
Michael stares at him accusingly.
DR. GELLER (CONT'D)
Mr. Russell. You don't understand.
There's nothing I can do. She
can't stay here. This is an ER not
a psych ward. Plus(hesitating) The
insurance company called the
hospital administrator to make a
complaint about me. He wasn't too
happy with me. Enough incidents
and they could cut the hospital
off. We can't afford to be non
participating. Oxford has a lot of
patients.
MICHAEL
Oxford?
DR. GELLER
It's not just Oxford. They are all
the same.
MICHAEL
Things are that bad?
DR. GELLER
Have you seen the people wandering
around downtown talking to
themselves?
MICHAEL
She'll become one of them?
DR GELLER
There's a good chance.
MICHAEL
You can't do anything?
DR. GELLER
I could have sent her straight off
to the boarding house. Doctors who
have been around here for a whilethat's
what they do. Fill out the
papers and be done with it.
MICHAEL
So why don't you do that?
DR. GELLER
Eventually I'm sure I will. I'm
surprised a cop brought her here.
They usually know it's pointless. I
guess it was her walking around
with a baby.
d.
CONTINUED: (2)
(CONTINUED)
58.
Dr. Stern comes down the corridor. He acknowledges Michael
and Dr. Geller.
MICHAEL
I was going to stop by at your
office.
DR. STERN
I had to be here.
DR. GELLER
Gotta go.
As he leaves Michael grabs his arm.
MICHAEL
Thanks for explaining what's going
on.
DR. GELLER
No problem.
Dr. Stern summons Dr. Geller.
DR STERN
Any empty rooms?
DR. GELLER
Try the conference room.
MICHAEL
Ethan, say hello to your mother.
Dr. Stern and Michael walk down the hall, open the door to
the conference room. It is full of staff.
DR. STERN
I need a smoke. The East River's a
block from here. Let's go there
EXT. THE EAST RIVER 15 MINUTES LATER
It is an Indian summer day. Michael and Dr. Stern walk on
the path along the river.
DR. STERN
How's Ritchie doing?
MICHAEL
He wants out.
DR. STERN
Not an option. He has to be in the
hospital until he is out of danger.
MICHAEL
I don't blame him. It's like a
factory. They don't connect to the
patients. They don't even try.
CONTINUED: (3)
(CONTINUED)
59.
DR. STERN
That's how it is at most places.
MICHAEL
There has to be a good hospital.
DR STERN
Maybe Golden Hill, but even that
place has had a big change for the
worse. Had to let go a third of
their staff. Close whole wards.
MICHAEL
Dr. Geller told me things are bad?
DR. STERN
There is bad and then there is
really bad. You don't want to get
me started.
MICHAEL
Actually I would. I'd like to know
what is going on.
Stern is hesitant, but continues.
DR STERN
When I saw Ritchie I told you how
your HMO only approved med visits,
no therapy, at least not with a
psychiatrist.
MICHAEL
I went home and read my policy. It
says he can be seen as much as
necessary.
DR. STERN
They don't think talking therapy is
necessary.
MICHAEL
How can they make that decision.
DR. STERN
They can and they do.
MICHAEL
Terrific. What am I going to do?
I'm broke.
DR. STERN
You were broke when I treated you.
Don't worry. We'll work something
out. Right now the most important
issue is how to keep Ritchie in the
hospital. Insurance companies don’t
like talk therapy but that is
nothing, absolutely nothing
compared to what they think of
hospitalization.
CONTINUED:
(MORE)
(CONTINUED)
60.
They consider hospitalization
complete bullshit. It’s public
enemy number one. They're gonna try
to discharge him in a few days.
MICHAEL
Dr. Rahmadi was saying that but if
he has to stay--
DR. STERN
Trust me. He'll be out quickly.
Your insurance company will make
sure of that. They make every
penny of their profits by limiting
care. Pay out too much, they lose
money. Pay too little they're on
easy street. Guess what they do?
MICHAEL
They tell Dr. Rahmadi when to
discharge Ritchie?
DR. STERN
Basically.
MICHAEL
How can they do that? Not allow
therapy and keep people out of the
hospital.
DR. STERN
They just do it. We'll deal with
the therapy later. We've got to
find a way to keep Ritchie in the
hospital.
MICHAEL
How?
DR. STERN
I've been thinking. You're a
reporter. What if you threatened
them with a story about what's
going on
MICHAEL
Really?
DR. STERN
I've read some of your articles.
They're good… believable, totally
believable.
MICHAEL
I try to stick to the facts. Only
thing is I cover business stories.
How is that going to help Ritchie?
DR. STERN
Because this is a business story.
Noticing how upset Michael is Stern backtracks.
CONTINUED: (2)
DR. STERN (CONT'D)
(CONTINUED)
61.
DR. STERN (CONT'D)
You got a lot on your plate. Maybe
this is a bad idea. It can wait.
MICHAEL
No. It's good. Writing a story is
what I do. It'll keep me involved
DR. STERN
I know but--
MICHAEL
When Lisa was sick I was out of it.
I listened to one doctor after
another. Nodded "yes" "no."
Didn't know what any of it meant.
Right through 'til the end. I
wasn't connected.
DR. STERN
I remember.
MICHAEL
I don't want to do that again...
It's weird the things that stay
with you. Like now it bugs me how I
worried about making a good
impression on the doctors and
nurses -everyone that kept coming
into the room. We all did. Kind of
stay cheerful, show them what a
nice family we are. (Smiling to
himself) I guess a lot of people do
that.
DR STERN
They do.
MICHAEL
It's just, Lisa was dying and we're
worried about coming off as the All-
American family. Maybe that's what
made me numb...I don't know. Maybe
that's bullshit. Maybe I just
wanted to tune out.
DR. STERN
My guess is you had to tune out.
MICHAEL
Maybe.
DR. STERN
Not maybe. When she first got sick
I'm sure you thought you could be
with Lisa all the way, right up to
death's door. Only cancer goes on
and on. You couldn't. You did what
you had to do.
CONTINUED: (3)
(CONTINUED)
62.
MICHAEL
Deborah was with her all the way.
Ritchie-
DR. STERN
Look what's happened to them.
MICHAEL
I just remember this fog. Deborah
was pissed at how out of it I was.
This time I'm going to be here.
DR. STERN
It won't hurt Ritchie if you are in
the middle of things.
MICHAEL
Ritchie thinks I'm a pain in the
ass.
DR.STERN
I'm sure you are. Doesn't matter.
They are both quiet.
Dr. Stern hands Michael a thick manila envelope.
MICHAEL
(surprised)
What's this?
DR. STERN
I've written it all down. Study it.
Start asking questions. I made a
list of some people to call.
INT. COMMON ROOM ON THE WARD-THE SAME AFTERNOON
Deborah and Ritchie greet Michael's return. Michael tries to
hug Ritchie but Ritchie doesn't want the contact.
RITCHIE
Dad I gotta go. We got a meeting
soon. See you tomorrow. Okay?
MICHAEL
We're going to get through this.
You're going to be all right.
RITCHIE
Sure.
He hugs his mother, then leaves for his meeting. Michael
watches him go down the hall hurt but also irritated.
DEBORAH
Let it go Michael. It's not
personal.
CONTINUED: (4)
(CONTINUED)
63.
MICHAEL
I wish that were true.
DEBORAH
You don't look too happy. Did Dr.
Stern say something?
MICHAEL
He said the whole system has turned
to crap. Insurance companies run
things. HMO's have targeted
hospital stays. They think they're
bullshit. Therapy, anything that
costs money is bullshit.
DEBORAH
How can they do that?
MICHAEL
I asked the same question.
Apparently they've done it and no
one has stopped them.
DEBORAH
Just like that.
MICHAEL
Just like that.
Deborah is visibly upset.
MICHAEL (CONT'D)
(taking note of her
unhappiness)
Dr. Stern thinks if I let them know
I'm doing a story about what's
going on, they'll be more careful.
DEBORAH
Do you really think that will work?
MICHAEL
What do we have to lose?
DEBORAH
True. You should do one of your
stories. You never know.
They reach the main door to the ward. An attendant unlocks
the door. They walk to the elevator.
DEBORAH (CONT'D)
Listen, admissions called up to the
ward. They have Lisa's ring.
MICHAEL
I'll get it.
DEBORAH
Meet me in the cafeteria. I'm
starving.
CONTINUED:
64.
INT HOSPITAL CAFETERIA
Deborah is drinking coffee. There is hamburger with one bite
sitting in front of her. She is uninterested in the rest.
MICHAEL
I have it.
Michael hands her the ring. She fingers it before returning
it to him. He puts it in his pocket.
MICHAEL (CONT'D)
You think I should give it to him?
DEBORAH
Maybe he'll see that as you care.
MICHAEL
I do care.
DEBORAH
(a bit skeptical)
You care or you want to convince me
you care?
MICHAEL
Stern told there are better
hospitals. Golden Hills in
Westchester. They had to fire half
their staff when the HMO's started
squeezing them, but it's an
improvement.
DEBORAH
Do you have their phone number?
MICHAEL
I called. Insurance won't approve
transfers unless you meet certain
stipulations, which Ritchie
doesn't. Bottom line. He can go
private pay. That means $25,000
dollars before admission, then
$25,000 every 3 weeks.
DEBORAH
Shit.
She looks at him like it is his fault.
MICHAEL
Deborah, we had to do it. Lisa had
to have that chance.
DEBORAH
Right. $450,000 for them to torture
her. Only look how it's screwed
Ritchie.
(CONTINUED)
65.
MICHAEL
What about your aunt?
DEBORAH
I didn't tell you, but last year I
borrowed another $10,000 to pay off
some loans. We still owe her on
that, plus another $20,000
MICHAEL
That wasn't a loan. She gave us
the $20,000.
DEBORAH
No she gave us $20,000 but there
was another $20,000 which was a
loan. We will have to go to other
people.
MICHAEL
We owe everyone.
DEBORAH
I know but I can't go to my aunt
again.
MICHAEL
Unfortunately, she's the only one
with money. How come we both come
from poor families?
She puts her hand on his cheek, purses her lips and forms a
kiss from across the table. It is enough to momentarily
brighten him.
MICHAEL (CONT'D)
When I bring the ring to Ritchie
I'll tell him we're going to have
to make the best of it here. You
want to come?
DEBORAH
We still don't work as a threesome.
One way or another you and
Ritchie going at it.
MICHAEL
We're busy scoring on each other.
DEBORAH
That's because I'm a great prize.
MICHAEL
You're in a good mood.
DEBORAH
I am. The AA meeting did me good.
MICHAEL
It's been a while.
CONTINUED:
(CONTINUED)
66.
DEBORAH
It isn't only AA. I have this good
feeling. Don't know why. Maybe
Ritchie's making us rethink things.
MICHAEL
Such as what?
DEBORAH
Don't know. But somehow this is
like a reset. Take the ring. Talk
to Ritchie. Tell him things are
looking up. After that you're
going to work?
MICHAEL
Want to move the story along.
DEBORAH
It's going to be a great article.
I'll see you tonight, meet you in
your favorite spot.
MICHAEL
Is that a promise?
DEBORAH
It's a certainty.
INT. RITCHIE'S HOSPITAL ROOM CONTINUOUS
Michael enters. There are no windows. The lights are off.
MICHAEL
Ritch? You asleep?
Silence
MICHAEL (CONT'D)
Ritch?
From the darkness and silence.
RITCHIE
Yeah?
MICHAEL
How come you have the lights out?
RITCHIE
I like it that way.
MICHAEL
Did things go okay with Dan?
RITCHIE
Yeah.
MICHAEL
Did he upset you?
CONTINUED: (2)
(CONTINUED)
67.
RITCHIE
No. I'm just tired.
MICHAEL
Probably the meds. Tell Dr.
Rahmadi.
RITCHIE
I don't see Dr. Rahmadi.
MICHAEL
Well, tell the nurses.
RITCHIE
I will.
Smiling Michael offers him the ring. Ritchie eyes brighten.
He immediately begins fingering it. Michael is encouraged by
his lightened mood
MICHAEL
Been a long time since we talked.
RITCHIE
I don't like to talk.
MICHAEL
(hesitantly)
I do. Okay?
RITCHIE
About what?
MICHAEL
For starters, I want to know why
you did it.
RITCHIE
(exasperated)
Because I wanted to.
MICHAEL
That's not a good enough answer.
Ritchie says nothing.
MICHAEL (CONT'D)
And now?
RITCHIE
Nothing's changed.
MICHAEL
Meaning what?
RITCHIE
Dad. This is going to go nowhere.
It's not something you can
understand. Trust me. We're
different. Let's leave it at that.
CONTINUED:
(CONTINUED)
68.
MICHAEL
I'm not as different as you think.
RITCHIE
You're wrong.
MICHAEL
No I'm not. You jump all over ways
we're different- for instance
because I like Spyra Gyra. What is
it with you and your friends with
music? I used to hear you and Dan
putting everyone down. It's like
you'd categorize this one or that
one as a creep or cool according to
the music they like.
RITCHIE
Music says a lot about who you
really are.
MICHAEL
It's "Us" and "them" stuff. Ndon't
ever ends. Used to be religion.
Now you guys don't have that to
fight about so music does it.
RITCHIE
Oh fuck this. That's what you want
to do? Show me how fucking smart
you are? You and your theories.
MICHAEL
Sorry.
They are both quiet until Michael breaks the silence
MICHAEL (CONT'D)
It's automatic… the dad thing, I
keep wanting to teach you. Sorry.
Really.
RITCHIE
Yeah, well, that's one of the
things that turns me off. I stopped
listening years ago.
MICHAEL
I am sorry.
Ritchie doesn't react.
MICHAEL (CONT'D)
I want to know how come. I may
always be trying to show you how
smart I am but I don't understand
anything. Not the important things?
What do you mean we're different?
RITCHIE
We just are. You always have a
cause. Something you gotta do.
CONTINUED: (2)
(MORE)
(CONTINUED)
69.
Stuff at work, fixin' something at
home.
MICHAEL
So?
RITCHIE
I don't. I go through the motions.
There's no point to anything.
Lately I don't see the point in
going through the motions.
MICHAEL
Ritchie! Things change. When I was
your age I was tall and skinny, a
geek, except then they called
losers "faggot." I kept trying.
Maybe too hard, making jokes, doing
favors for people, kissing ass all
over the place. Anything
to get people to like me.
Ritchie is interested.
MICHAEL (CONT'D)
It didn't work. People were even
more unfriendly. I had no friends,
well one, but he bored me and I
bored him. We called it a
friendship, just so we could say we
had a friend. No one ever called.
And there was always someone who
couldn't resist the temptation, who
really rubbed it in, 'specially
with other people around…I was an
easy target. I thought about
dying… a lot. Thought it couldn't
be worse than what I had.
RITCHIE
Did you ever actually plan it?
MICHAEL
Thought about it. Maybe. I don't
know...Maybe I would have done
something if it continued. But it
didn't…
RITCHIE
What changed?
MICHAEL
I don't know. That's how it is.
Talk to your Uncle Dave. Talk to
Aunt Barbara. Talk to anyone who's
been around for a while. You're not
alone. Practically everyone's been
there.
CONTINUED: (3)
RITCHIE (CONT'D)
(CONTINUED)
70.
RITCHIE
Not as bad as me.
MICHAEL
Maybe. When it's happening you
can't imagine things could be
different. It's like the end of the
road. There is nowhere else to go.
Kaput. Finished… Time to wave byebye.
Ritchie is irritated by the flourish. His disgust settles
Michael down.
MICHAEL (CONT'D)
It changes. It just does. Five
years, ten years later you can
hardly remember the bad times. It's
ridiculous. You're tortured, then
you can't even remember what that
was like. Or why. It's like a toothache.
You can't remember how bad it
felt.
RITCHIE
That's you not me. I haven't been
right for a long time...I can't
remember when it was nice. Dad.
When you're sad you like to listen
to the blues. Really get into it.
I want to destroy things. Break
heads. Bang things.
Michael listens sympathetically.
MICHAEL
Then I feel guilty about how I am
this mean person. I deserve to
die. I'm not a nice person. It
happens again and again... I'm
caught in a spin cycle I don't
know why. That's how it is.
MICHAEL (CONT'D)
Everyone has a mean side. People
try to hide it. But it is there.
We're born with it. Yeah I'm not
crazy about your anger but you're
not mean. Not intentionally.
RITCHIE
You don't know me. I have these
nasty thoughts about everyone. You
always have these fancy theories.
Just believe me. I got this
meanness inside.
MICHAEL
No more than anyone else.
CONTINUED: (4)
(CONTINUED)
71.
RITCHIE
(voice raised)
Wrong. Just accept that, okay?
Nothing against you. I don't get
sad. I get angry. Angry. And
afraid all the time.
MICHAEL
Of what? What are you afraid of?
RITCHIE
I don't really know but I am. All
the time.
MICHAEL
Since when?
RITCHIE
Lisa… See that's the difference. I
remember how you cried. I didn't. I
kept thinking how she was afraid.
The day she died she was afraid.
Dad. I know. I saw. I was there
right 'til the end. She was scared.
'Til the last second. She was
scared out of her mind.
MICHAEL
You don't know that. You can't
know that.
RITCHIE
She was scared. You just had to
look in her eyes. She was freaked.
I can't get that out of my head.
MICHAEL
You have to. You just have to.
Your mom (fumbling) What about your
mom? She couldn't take losing you.
That would be it. You're all she
has left. You can't do that to
her.
RITCHIE
You don't get it, Dad. (Tears start
to stream down his face). Mom's
already gone. She wants me to end
it so she can finally be finished.
(more tears). Just look at her,
listen to her. She wants it over.
She wants to let go. I'm not doing
her no favor sticking around. She
wants it over.
MICHAEL
Ritchie. I swear. Right before I
came in here your mother was saying
things are looking up. She had this
feeling…
CONTINUED: (5)
(CONTINUED)
72.
RITCHIE
Dad. Come on! I've heard that a
hundred times. She was probably on
something.
MICHAEL
You're wrong.
RITCHIE
(still crying)
No. You are. I'll bet she's taking
my Prozac.
MICHAEL
Even if that were true, so what if
she is? That's what you need too.
RITCHIE
You think I can drug myself out of
this?
MICHAEL
It's not the same thing as taking
illegal drugs. It's from a doctor.
RITCHIE
Oh, okay. It's not the same.
Except I see some of the patients
around here and they're in la-la
land.
MICHAEL
You know that woman in the group
may be right. Your negativity…
Where do you get it? How do you
see things that way?
RITCHIE
What that life sucks? You just
have to look at the way things are.
You just have to tell it like it
is, quit bullshitting.
It is beginning to sink in. Michael sits quietly, considering
his next move.
MICHAEL
I want you to promise me that you
won't hurt yourself.
RITCHIE
Why?
MICHAEL
Because that's what I'm asking…
Because no matter how sure you are
of the way things are, there are
always surprises. Things change.
RITCHIE
What kind of surprises?
CONTINUED: (6)
(CONTINUED)
73.
MICHAEL
How do you know you won't fall in
love?
RITCHIE
You think the secret is falling in
love don't you?
MICHAEL
You want to know the truth? Yes, I
do. Except for Lisa, I haven't
really been depressed since I met
Mom.
RITCHIE
Well she has.
MICHAEL
You know you're scaring me Richard.
You're scaring me.
RITCHIE
Welcome to the club.
MICHAEL
Meaning what?
RITCHIE
Meaning just that. Welcome to the
scared out of your fuckin' mind
club.
MICHAEL
You're trying to scare me aren't
you?
RITCHIE
I am telling you just like how it
is. Your son is losing the war.
Got that? I'm a loser. Let it sink
in. I'm a loser. The son of
Michael Russell is a loser. Be
honest. That's what really bothers
you isn't it?
MICHAEL
You are so wrong. I'm way beyond
that Ritchie. This is about you…
They study each other, softening.
MICHAEL (CONT'D)
You just started this medicine.
Maybe they're right. Give Prozac
some time.
RITCHIE
Prozac is going to cause me more
problems.
CONTINUED: (7)
(CONTINUED)
74.
MICHAEL
What kind of problems?
RITCHIE
Do I really have to get into that?
MICHAEL
What?
RITCHIE
I didn't tell you the real reason I
tried to hang myself.
MICHAEL
Well tell me, Ritchie. Because I
don't really understand what's been
going on with you. Ritchie. What's
the real reason? I can't stand
trying to figure you out anymore.
Your Mom and I, we get nowhere.
Tell me okay?
RITCHIE
That day at school a couple of
girls were teasing me, calling me a
faggot.
MICHAEL
You're not gay.
RITCHIE
I'm not so sure. I'm not
interested in girls. And I ain't
exactly on the football team.
MICHAEL
Did you talk to Dr. Stern about
that?
RITCHIE
Yeah. He said it's because I'm
depressed. He said I'm not gay
because I'm not attracted to guys.
He asked me about wacking off.
It's true. My fantasies are about
girls.
MICHAEL
So then what is the problem?
RITCHIE
I don't know. Just when they were
teasing me it went right through
me. See it wasn't just teasing.
Last week -Ellen, she was one of
them. I tried to do it with Ellen
and I couldn't get it up. I felt
like shit. It was on my mind
constantly after that. Constantly.
And then when the teasing started…
I just didn't want to do it any
more.
CONTINUED: (8)
(CONTINUED)
75.
MICHAEL
You know this is going to sound
crazy. But I'm relieved. If this
is about sex I'm relieved… Because
that is going to fix itself. That
I'm sure of.
RITCHIE
You are such a fuckin' asshole.
MICHAEL
I'm not going to let you die.
RITCHIE
You didn't hear anything I said.
Did you?
Michael puts on the light. Ritchie covers his eyes.
RITCHIE (CONT'D)
Oh man.
MICHAEL
I heard every word and you are not
going anywhere. Mom and I are going
to be there at your graduation. I'm
going to dance with your wife at
your wedding. It's as simple as
that. I won't let you die.
For a very brief moment, from the expression on Ritchie's
face, it looks as if Michael might have gotten through. But
that moment quickly passes. Ritchie gets up and walks out of
the room without a word, body language saying "fuck you".
Left in the room alone, Michael's face keeps switching. One
moment he looks lost, the next moment determined.
MICHAEL (CONT'D)
(whispers)
God. Help me...Please
INT. THE OFFICE OF MARTIN MACDONALD, CEO OF LIBERTY INSURANCE
AFTERNOON
MACDONALD is sitting on the edge of his desk, on the phone.
LEONARD BIRCH CFO is standing nearby.
MARTIN MACDONALD
Get me Bob in investor relations.
Thanks.
He hangs up, signals Lenny to make him a drink, which Lenny
does. The phone rings. He thanks his secretary
MARTIN MACDONALD (CONT'D)
Sorry for the interruption. I just
want to make sure you put the
proper spin on the bottom line
numbers coming out of this round of
layoffs. The street has focused on
reduced labor costs.
CONTINUED: (9)
(MORE)
(CONTINUED)
76.
I want them to understand that the
employees leaving are part of the
old regime that was approving
unnecessary treatment. We finally
have taken total control of
Liberty. The efficiencies coming
out of our new claims processing
will be enormous. Get that
across. Also try to squelch those
stories about us taking over
Beneficial Bank. If you can get
rumors going that it is not going
to happen, the shorts might hand us
a present. Got it?
Marty gives the thumbs up sign to Lenny.
MARTIN MACDONALD (CONT'D)
That's perfect. You're my man.
Bob. Send my regards to Elaine.
LEONARD BIRCH
He's lining it all up?
MARTIN MACDONALD
It's going according to plan. I
put options for 300,000 shares in
Calvin's name. We've got it down
to a routine. This is the third
time we've done this. It'll go
through without a hitch.
LEONARD BIRCH
Gotta say, you have balls.
MARTIN MACDONALD
Some day, you'll pull off this kind
of stuff too.
LEONARD BIRCH
It's brilliant, but I'm not sure
it's my style.
MARTIN MACDONALD
When you head up Liberty you'll
see. To the victors go the spoils.
INT. MICHAEL AT THE OFFICE
Michael is at his computer working away on his story. As he
discovers new information he shakes his head in disgust.
INT. PSYCH WARD MOUNT PLEASANT. A FEW HOURS LATER
Melissa paces back and forth in the padded cell. She screams.
MELISSA
Let me out of here.
CONTINUED:
MARTIN MACDONALD (CONT'D)
(CONTINUED)
77.
The camera moves from face to face of various adolescents on
the ward as they not very successfully try to ignore her
screams and cussin'. Each outburst echoes on their faces.
MELISSA O.S.
You Fascist fucks. Where do you
think this is? Germany?
Melissa drops to the ground. Leaning against the door she
begins to loudly sob in earnest. Ritchie goes to the locked
door.
RITCHIE
(Almost whispering)
Melissa.
She continues to sob.
RITCHIE (CONT'D)
Melissa?
MELISSA
Go away.
RITCHIE
I should be in there not you.
Sorry.
MELISSA
It's not just being locked up. It's
everything.
RITCHIE
What do you mean?
MELISSA
Everything! It's all bullshit.
I'm just a big liar.
RITCHIE
Come on.
MELISSA
I lie all the time.
RITCHIE
Sometimes you have to lie.
MELISSA
I just lie. You know that stuff
about my father?
RITCHIE
Yeah?
MELISSA
All made up. I never met my
father. My mother isn't even sure
who he is.
CONTINUED:
(CONTINUED)
78.
RITCHIE
Well, the father you made up for
yourself is cool.
MELISSA
But, it's a lie.
RITCHIE
It doesn't matter. I like him. I
like him a lot.
MELISSA
Come on.
RITCHIE
Really...Lisa used to make up
stories.
MELISSA
About what?
RITCHIE
Everything. You name it. .
Shirley and Eddy the talking
cockroaches. See Lisa and me
discovered Shirley and Eddy in the
forest. I was 5. Lisa was 6. We
became famous. We went on TV with
them. Sometimes I'd keep her
company when she was stuck in bed
and she'd have us go all over the
world with Shirley and Eddy
performing. We met Queen
Elizabeth, and Barbra Streisand and
the Earl of Zebra Land.
MELISSA
Who was that?
RITCHIE
No one. It made us giggle. Only
after a while I was making up the
laughs. I had to fake it when she
got really sick. She'd tell the
stories anyway and I'd pretend to
laugh. She knew I was pretending.
But that was okay.
MELISSA
You were close.
RITCHIE
We were, (smiling) especially when
she lied and I lied. When we'd make
believe we were having a good time.
I've never been as close to anyone
as that.
MELISSA
You should give someone else a
chance.
CONTINUED: (2)
(CONTINUED)
79.
RITCHIE
I don't know. The point is it's
cool that you can lie about your
father like that. Your father is a
fine man in your head. And now
he's in my head too.
MELISSA
You're a nut.
RITCHIE
I know. I guess we are where we
belong.
INT BIRCH'S OFFICE DAYTIME
Birch is practicing his putting. He hardly looks up as
MACDONALD enters
MARTIN MACDONALD
It's done.
LEONARD BIRCH
Really?
MARTIN MACDONALD
Without a hitch. Nothing, nada- no
one batted an eyelash. 315 million
dollars is now in the plus column.
LEONARD BIRCH
Not bad.
MARTIN MACDONALD
It's only the beginning.
LEONARD BIRCH
Don't get greedy Marty.
MARTIN MACDONALD
I'm just warming up.
LEONARD BIRCH
There is no reason. You already
have 600 million in that account.
MARTIN MACDONALD
I don't want to rub it in. But
that is why you are where you are
and I am where I am. When you find
the killer in you you'll be ready.
LEONARD BIRCH
Teach me my master.
MARTIN MACDONALD
Fuck you.
LEONARD BIRCH
No really.
CONTINUED: (3)
(CONTINUED)
80.
MARTIN DEVALVO
There is nothing to teach. You just
need to let go of the brake. When
the opportunity presents you grab
it like a crazy man. Get it while
the getting is good.
LEONARD BIRCH
Well, you just got a whole lot of
good.
INT. MICHAEL AT HIS COMPUTER AT HOME
Michael is taking material out of the folder that Dr. Stern
gave him. He studies a page, reaches for the telephone,
dials a number on the sheet.
MONTAGE
MICHAEL
(on the telephone)
Dr. Peeno?...Okay I'll call back.
He looks up another number, dials.
MICHAEL (CONT'D)
Mrs. Schwatzkoph?...I'm a reporter.
Dr. Stern gave me your number. He
said you'd like to talk to me about
what happened to you with your
insurance company...Good...
MRS SCHATZKOPH
MRS SCHWATZKOPH
(over the phone)
The story is very simple. My
husband is dead because of them
They said he didn't need treatment.
MONTAGE
The sound fades out. She continues. Michael takes notes.
He dials another person.
INT. WOMAN ON PHONE SIMULTANEOUS
We don't hear her. As this mother speaks she looks at a
picture of her four year old daughter.
INT MICHAEL AT HIS COMPUTER AT HOME SIMULTANEOUS
Michael enters information into his computer
A series of further phone calls and note taking.
END MONTAGE
He's done for the night. He walks into the bedroom where
Deborah is reading a magazine
CONTINUED:
(CONTINUED)
81.
MICHAEL
You're not going to believe some of
this stuff
DEBORAH
Like what?
Michael has started to brush his teeth. He spits into the
sink, wipes his mouth with a hand towel.
MICHAEL
The whole thing. Insurance
companies decide what treatment you
get or don't get. This doctor,
Linda Peeno worked as the medical
director at three different
insurance companies. Her job was
the same each time, figuring out
what small print could get them out
of paying for care.
Brushing his teeth he is still able to talk
He leans out of the bathroom to look at her straight on
MICHAEL (CONT'D)
What they do is completely legal.
He gargles, spits into the sink.
MICHAEL (CONT'D)
Unfortunately, the doctor in her
kept breaking through. When she
spoke to actual doctors about real
patients, her heart would bleed for
them. Her bosses would find out
and read her the riot act. Not
just her bosses. One year the
secretaries on her floor blamed her
for their reduced Christmas
bonuses. They were furious. She
became a pariah. So she quit and
went to another company. The same
thing happened. After the third
insurance company she quit for
good. They were all the same. She's
written a lot about those years.
DEBORAH
Never heard of her.
MICHAEL
I know. You never hear about any
of this stuff. People's problems
with insurance companies are not
exactly hot news.
He puts in front of him 10 or so pages stapled together.
CONTINUED:
(CONTINUED)
82.
MICHAEL (CONT'D)
Stern wrote an article, apparently
never sent it anywhere. It's
pretty interesting.
DEBORAH
What's it say?
MICHAEL
Apparently, the people who run
these companies know nothing about
insurance. One of them ran a
frozen cake company, another a tire
company before they became CEOs of
insurance companies. Doesn't
matter. They are numbers people,
bottom line people. That's all
they look at. They hire people who
know how to get that right. Not
run the business right, know how to
get the numbers right.
DEBORAH
Is that true?
MICHAEL
The head of United Health Care put
1.6 billion dollars in his pocket,
in options, all legal. Where did
that money come from? Stern's
answer is simple. Insurance
premiums paid and not delivered.
It's money taken from sick people
needing care.
He moves down his computer screen, finds what he is looking
for.
MICHAEL (CONT'D)
The state of Ohio contracted with
another company to pay for mental
health care for state workers.
Gave them 18 million. Guess how
much care they authorized.
DEBORAH
I don't know. Twelve million?
Fifteen?
MICHAEL
Three. That's not efficient gate
keeping, its robbery... But legal.
DEBORAH
Amazing.
INT. PSYCHIATRIC WARD AFTERNOON
Ritchie and Melissa are at the pool table again. Ritchie
makes two consecutive shots then misses.
CONTINUED: (2)
(CONTINUED)
83.
As Melissa chalks her stick she studies the table. She
quickly calls her shots and knocks down four balls
consecutively, the last one at an extreme angle. Then she
finishes the game off with an easy shot.
MELISSA
Another round?
RITCHIE
You kidding?
He sees a child's ball. It's too soft to be used for real
sports but it can be dribbled. Ritchie grabs it and starts
dribbling. Melissa steals the ball away from him. That
makes him laugh
RITCHIE (CONT'D)
Okay get by me.
She tries twice unsuccessfully. Each time Ritchie gets the
ball away from her.
MELISSA
This doesn't count. With a real
basketball I'd get right by you.
RITCHIE
I doubt that.
He palms the ball and thrusts it towards her face. She
doesn't move a muscle. . She smiles victoriously. He smiles
but his eyes remain morose. There is a sadness that cannot be
dissipated. Melissa notices it. She takes the ball and
pushes it into his stomach.
INT. DR. RAHMADI'S OFFICE -THE SAME AFTERNOON
Michael enters drenched. As usual Dr. Rahmadi is in a hurry.
DR. RAHMADI
Hang your umbrella and raincoat on
that scale over there. It's really
coming down isn't it?
MICHAEL
How is Ritchie?
DR. RAHMADI
Much better. We're going to
discharge him on Thursday.
MICHAEL
He's only been here for 4 days.
DR. RAHMADI
We can only keep him if he's
suicidal. We don't think he is.
MICHAEL
How did you come to that
conclusion?
CONTINUED:
(CONTINUED)
84.
DR. RAHMADI
We don't think his attempt was
serious. The pipes that he used
were pretty flimsy. He had to know
they'd break.
MICHAEL
I think he meant to succeed and
miscalculated. He still has rope
burns on his neck.
DR. RAHMADI
We think he wanted to say
something. He knew you were down
the hall.
MICHAEL
It was more serious than that.
DR. RAHMADI
He scored 7 on the Hamilton Scale.
That's not serious depression.
MICHAEL
Fine. He's a happy kid. Do you
know anything about him? Do you
know why he tried to end his life?
DR RAHMADI
Mr. Russell, we cover a lot of
patients.
MICHAEL
So how can you make decisions about
them?
DR.RAHMADI
We follow protocols. We have
science to guide us, statistical
probabilities. Our protocols are
formulated by experts.
MICHAEL
Experts?
DR. RAHMADI
Yes. We give the appropriate
treatments for his diagnosis.
Proven treatments!
MICHAEL
What's his diagnosis?
DR RAHMADI
DSM IV 311 Depressive Disorder NOS
MICHAEL
NOS?
DR RAHMADI
Not otherwise specified.
CONTINUED:
(CONTINUED)
85.
Michael frustration is showing.
DR RAHMADI (CONT'D)
Our treatments are evidence based.
We have ways of determining if he
needs the hospital. Plus...
MICHAEL
Plus what?
DR. RAHMADI
He signed a contract. So he can't
stay in the hospital.
MICHAEL
A contract? What kind of contract?
DR. RAHMADI
He's contracted for safety. Here,
you can read it.
He takes the contract out from Ritchie's chart and hands it
to Michael.
MICHAEL
This says that he promises not to
kill himself.
DR. RAHMADI
Exactly. He contracted for safety.
MICHAEL
You think this means something? He
signed this so he can get out of
here and finish the job.
DR. RAHMADI
Patients who have contracted for
safety no longer meet criteria for
inpatient stay. (His voice
raises.) We have it in writing. He
is not a risk to himself or others.
Your insurance company refused
further authorization.
MICHAEL
And you just go along?
DR. RAHMADI
They wanted him discharged
tomorrow, but Dr. Stern wouldn't
see him tomorrow. So we will need
an extra day to find a different
psychiatrist.
MICHAEL
Why wouldn't Dr. Stern see him?
DR. RAHMADI
You'll have to ask Dr. Stern.
CONTINUED: (2)
(CONTINUED)
86.
MICHAEL
I'm asking you.
DR. RAHMADI
Dr. Stern's from the old school.
They used to keep people in the
hospital for weeks, sometimes
months. They went by their gut.
They didn't have protocols.
MICHAEL
You mean they got to know their
patients and based their judgments
on that.
DR RAHMADI
This is all beside the point.
MICHAEL
What is the point?
DR. RAHMADI
It's too comfortable here. Not
having to go to school. Not having
to face his classmates. Not having
to take exams. Not functioning is
comfortable.
MICHAEL
He has a better way planned…
DR. RAHMADI
Mr. Russell-
MICHAEL
I'll give you the phone number of
his best friend Dan. Dan's sure
he's going to do it. I'm sure, his
mother is sure. Doesn't that count
in making your decision.
DR. RAHMADI
(rising from his desk)
It's our decision. Not yours.
MICHAEL
You can't expect me to go along
with this.
Dr. Rahmadi looks at his watch. His eyes go to the door.
MICHAEL (CONT'D)
Give me time to get another plan
lined up. Until Monday. Please.
Give me the benefit of the doubt.
Be fair.
No answer from Dr. Rahmadi. He waits for Michael to leave.
CONTINUED: (3)
(CONTINUED)
87.
MICHAEL (CONT'D)
What if you had a gut feeling that
he was going to do it? Would you
go by that?
DR. RAHMADI
(totally irritated)
He doesn't meet our guidelines.
MICHAEL
What about professional judgment?
(shouting) You are a doctor!
Dr. Rahmadi goes to the door and opens it for Michael to exit
MICHAEL (CONT'D)
(angrily…pointing)
I'm doing a story for the Tribune.
I'm not going to let you do this.
Dr. Rahmadi is unimpressed. Michael is basically one more
unpleasant person that his job forces him to deal with.
INT HOSPITAL CORRIDOR
Determined, Michael walks down the hall.
INT WARD GROUP ROOM
He finds Ritchie in a group with Mrs. Allison. He interrupts
them.
MICHAEL
I have to talk to my son.
MRS. ALLISON
You'll have to wait 'til our
educational seminar is over.
MICHAEL
I want to talk to him now. He's my
son, God damn it.
MRS. ALLISON
If you don't go to the visitor's
area I'm going to call security.
MICHAEL
Ritchie get over here.
Ritchie looks at Melissa for guidance. Her eyes say go with
him. Michael grabs Ritchie's arm. Trying to rescue his
dignity Ritchie smiles condescendingly for the sake of the
others in the group
RITCHIE
Sure dad.
The smile continues as they move around a corner.
CONTINUED: (4)
(CONTINUED)
88.
MICHAEL
This isn't funny Ritchie. Why did
you sign that contract?
RITCHIE
I wanted out.
MICHAEL
I'm not going to let you do this.
Get it out of your head.
Dr. Rahmadi arrives with two security guards.
DR. RAHMADI
You have to leave Mr. Russell. If
you don't we'll call the police.
The guards, one on each side, take Michael by the arms. They
move him forcibly towards the door.
MICHAEL
(freeing his arms)
I'm going. I can walk myself.
The guards loosen their grip but still are each holding his
arm. While in their grasp Michael shouts back at Ritchie.
MICHAEL (CONT'D)
Ritchie. I'm telling you. It's not
going to happen.
Ritchie leans against a wall. He watches his father and the
guards. Ritchie's eyes are watery, but his sadness is soon
replaced by fear.
INT RICHIE'S ROOM
Ritchie punches the wall with his right fist. Then his left.
He takes note of the blood on his fist. He stares into the
mirror,. Pulling his appearance into a semblance of normalcy
he straightens up and walks back to his meeting.
INT. MICHAEL'S HOME OFFICE-VERY LATE THAT NIGHT
Michael is in front of a computer screen typing frantically.
He stops for a moment and rubs his eyes. Deborah comes up
behind him and drapes her hands over his chest. He takes a
deep breath, sinks into his tiredness.
DEBORAH
Come on, its 4 AM. You can't keep
going like this. You slept an hour
last night.
MICHAEL
Have to finish. It's our only
shot.
DEBORAH
I still don't know why Dr. Stern
refused to see Ritchie.
CONTINUED:
(CONTINUED)
89.
MICHAEL
He said it's too dangerous. If the
hospital thinks he has to be seen
immediately, it means they know he
is not ready to be discharged.
DEBORAH
Still. Seeing him is better than
nothing.
MICHAEL
He told me a story about another
patient… Same situation. A social
worker at the hospital called him.
Wanted the patient seen the next
day. HMO's were just starting. The
social worker was desperate. She
knew the patient belonged in the
hospital. Stern was trying to be
helpful...
DEBORAH
Go on.
MICHAEL
The patient taught second grade.
Her son was the starting shortstop
at Washington Irving, a daughter
in the fifth grade, another one in
the third.
DEBORAH
Michael. Just tell me what
happened.
MICHAEL
She came to her appointment but
wouldn't leave the waiting room. He
pleaded with her. Finally when the
next patient came she went into his
office with five minutes left in
the session. He did what he could
to comfort her, convince her that
they could make things okay. They
made an appointment for the next
day. She didn't keep it. He called
her home. Her husband told him she
had stuck a gun in her mouth and
blown out her brains.
Deborah's eyes water up.
MICHAEL (CONT'D)
Same as Ritchie. Signed a
contract. It is all cover your
ass… That's the whole game. They
can go to court and say the patient
swore she wouldn't do anything.
They have it in writing.
CONTINUED:
(CONTINUED)
90.
DEBORAH
(overwhelmed)
I'm tired. I'm going to bed
Michael.
Deborah leaves him. She is distracted with her own thoughts.
Deborah lies in bed half listening to Michael. Michael is
shouting, but it has taken on the quality of background
noise. She closes her eyes, opens them, closes them
MICHAEL O.S.
(intense, frantic)
The younger doctors see nothing
wrong with the way things are.
Deborah rolls over, readjusts her blanket.
MICHAEL O.S. (CONT'D)
(shouting)
It's amazing People adjust to
anything. The way things are is
the way things are Reality! What
is, is.
Eyes open again, Deborah continues to sadly stare off into
space.
MICHAEL O.S. (CONT'D)
At the Nuremberg Trials.
DEBORAH
Michael don't get started with the
Nazis. It'll ruin your article.
MICHAEL O.S.
I won't. Just… I don't get it. Why
are people like that?
Deborah is still lying on her side, head on the pillow.
DEBORAH
I have to go to sleep.
Deborah's eyes remain open, staring into space, thinking.
Michael rants and raves from the next room
MICHAEL O.S.
When you upset the apple cart it
makes people angry. Germans could
either hate Jews or hate the Nazis…
To keep their peace of mind
DEBORAH
Stop it Michael.
MICHAEL O.S.
For their peace of mind they hated
their victims. It went beyond any
anti-Semitism they started with.
CONTINUED: (2)
(CONTINUED)
91.
Deborah lifts her head and screams angrily, nerves completely
shot.
DEBORAH
Stop it!!! Stop!!!
Michael stops
DEBORAH (CONT'D)
(still screaming angrily)
This is about Ritchie. Ritchie!
Michael comes into the bedroom
MICHAEL
I can't help it. I can't
understand any of it. I can't.
Deborah's eyes are closed, but she isn't asleep.
MICHAEL (CONT'D)
There are dozens of cases in this
folder. Every one of them
happened. Every detail. He says he
has dozens more. And he's only one
psychiatrist. There must be
thousands and thousands of stories
all over the country…
SILENCE
MICHAEL
Deborah?
He lies down next to her in bed.
MICHAEL (CONT'D)
Deborah?
They tear at each other's bodies angrily, passionately.
INT. JOE DYER'S-OFFICE THE NEXT MORNING
Finishes reading Michael's article. Takes a few drags on his
cigarette.
JOE
Where are you getting all of this?
MICHAEL
From a lot of places. It doesn't
matter. It's all documented.
JOE
I don't doubt that. But you
already understand why this won't
catch anyone's attention. There
isn't really a villain. You say it
here; almost all of the managed
care companies are the same.
CONTINUED: (3)
(MORE)
(CONTINUED)
92.
They compete on price, beating the
other company by getting the price
down. That's why they exist.
MICHAEL
Granted.
JOE
Executives don't get a kick out of
screwing patients. They don't even
think about it. Their job is to
get costs down.
MICHAEL
Most of the HMOs are making
fortunes. They are chopping away
with a meat cleaver.
JOE
They have to. Health expenditures
have gone through the roof.
MICHAEL
The story is they are taking care
away from patients and putting the
money in their pockets. It's mind
boggling. Any time the results of
treatment are not fast and clean.
People with multiple sclerosis,
people with strokes-- after a few
weeks no more physical therapy.
Physical therapy is what gives them
a fighting chance. Psychotherapy.
Inpatient psychiatry. The problem
we are having with Ritchie is par
for the course.
JOE
I don't know.
MICHAEL
A patient with a colostomy for 20
years. Suddenly when she goes to
pick up her supplies she's told the
bags are no longer covered. The
supplies are expensive. She can't
pay for them. She's desperate.
JOE
Things like that happen. Mistakes…
MICHAEL
No. They know what they are doing.
The head of Oxford Health made 28
million dollars last year. And
that's a small local company. The
CEO of US Health Care sold it to
Aetna for 900 million dollars.
He started his company in a garage.
The fox is guarding the chicken
house, feasting on sick people.
CONTINUED:
JOE (CONT'D)
(CONTINUED)
93.
JOE
Maybe some are crooked but Michael,
it's basic stuff, economics 101.
Competition. We're talking about
two trillion dollars. Two trillion
spent on health care! There is a
lot of fat in that.
MICHAEL
Yes, but…
JOE
They have no choice. They do
what's demanded.
MICHAEL
Agreed. HMOs exist to carry out
what corporations demand. They're
not really the bad guys. Cutting
frills, cutting benefits is part of
the lean and mean, take no
prisoners way of doing business.
JOE
Hate to say this Michael but that's
what saved American business in the
80's.
MICHAEL
Oh fuck you Joe. I'm telling you
about evil and somehow it turns
into good.
JOE
No. Fuck you Michael. The 60's
are over. You want to go after
corporations? Try global warming?
MICHAEL
But this is people.
JOE
I know but this is the place that
companies have to take a stand.
They can afford going along with
the corporation haters in the
global warming movement. It's a
pain in the ass but they are
(sarcastically) saving the world.
Its peanuts compared to health
care. Health care is big money.
MICHAEL
You really don't get it. Everyone
got excited about "corporate greed"
with Enron, when they lost money in
the stock market. Then it was
bankers destroying the world's
economy. Well this has not been a
secret. Every day people get
fucked right out there in the open.
Sick people. Every day.
CONTINUED: (2)
(CONTINUED)
94.
JOE
You're not saying anything. Most
politicians lay into insurance
companies.
MICHAEL
Actually, I haven't heard very much
of it, but if they do, it is for
public consumption. In private-
JOE
Fine, You're right. Is that what
you want me to say?
MICHAEL
I don't know what I want you to
say.
JOE
Look I'm sorry. I understand about
Ritchie. I don't have answers.
Only what my dad used to tell me.
You have to look after your own.
That's the bottom line. Come here.
He reaches out to Michael like he wants to give his usual hug
goodbye. Michael doesn't come over. Joe can keep his hug.
INT. THE RUSSELL'S HOME 1 HOUR LATER
Michael comes in, throws his coat over the couch
DEBORAH O.S.
Hang it up.
Michael walks around the room noticing that everything is
spiffed up. His mood changes. Deborah enters. She looks
fantastic.
MICHAEL
Wow.
Deborah does a 180.
MICHAEL (CONT'D)
You look great.
DEBORAH
What's Stern's latest idea?
MICHAEL
He arranged for me to talk to the
new head of the department. Maybe
call the insurance company directly
and tell them about the story I'm
writing.
CONTINUED: (3)
(CONTINUED)
95.
DEBORAH
Do you think a story could scare
them enough to have an effect?
MICHAEL
Probably not at this point. I wrote
a first draft. Joe wasn't too
encouraging.
DEBORAH
He's always like that.
MICHAEL
I know.
DEBORAH
Does Dr. Rahmadi know you're a
reporter?
MICHAEL
I told him about this story. He
didn't react.
DEBORAH
Maybe you ought to actually show
the story to him.
MICHAEL
No. He's all about forms. If he's
done them, he's done his job.
Michael pours himself a drink.
MICHAEL (CONT'D)
Do you mind?
DEBORAH
No. I'm good. It's under control.
MICHAEL
You're sure?
She nods reassuringly. He loosens his tie, sips his whiskey.
MICHAEL (CONT'D)
You know it could all be so nice.
If we can get Ritchie straightened
out and you are good…(looking
around) The house looks great.
Deborah puts her hand on his cheek.
MICHAEL (CONT'D)
What?
DEBORAH
The way you've been. This is the
person I love. I know you're going
to get this fixed with Ritchie.
Maybe Golden Hills.
CONTINUED:
(MORE)
(CONTINUED)
96.
My aunt said she will loan us
another $10,000. So all you have to
do is get $15,000 from the bank and
we are in business
MICHAEL
I'll try.
DEBORAH
My aunt gave me the name of someone
at First Union.
MICHAEL
You've been busy.
DEBORAH
Also I called Jerry.
MICHAEL
The one who works for Child
Welfare?
DEBORAH
He told me that we could legally
abandon Ritchie. That would force
the hospital to keep him.
MICHAEL
Really?
DEBORAH
He thought so.
MICHAEL
We'll give it a try. You know I
think somehow, this is going to
come out okay. We have so many
angles. One's got to work.
DEBORAH
So go. Get that loan.
Michael takes a look at his watch. Says a hurried goodbye.
INT. FIRST UNION SAVINGS BANK AN HOUR LATER
The loan officer is reviewing Michael's loan application. He
puts it down on the desk.
THE LOAN OFFICER
Your application says you want to
borrow money to pay for hospital
costs for your son.
MICHAEL
We want to pay for it ourselves.
THE LOAN OFFICER
You'd be surprised how many people
are doing that.
CONTINUED: (2)
DEBORAH (CONT'D)
(MORE)
(CONTINUED)
97.
Only problem is your assets. How
did you ever get so deep in the
hole?
MICHAEL
It wasn't hard. My daughter was
ill for a couple of years. That
wiped us out. We haven't been able
to get back on our feet. Look. It's
only $15,000 dollars.
The loan officer taps his finger on his desk as he studies
the paperwork.
LOAN OFFICER
Your monthly payments on your home
practically eat up everything you
make. Why did you take three
mortgages?
MICHAEL
It wasn't a choice at the time. We
heard about a treatment at Stanford
University. Our insurance company
wouldn't cover it and that pretty
much is the whole story, $450,000
in the red.
LOAN OFFICER
Did the treatment help your
daughter?
MICHAEL
No, it did nothing.
LOAN OFFICER
And you want to do the same thing
with your son?
MICHAEL
I didn't come here for advice. You
think because we're broke that
entitles you…
LOAN OFFICER
Sorry. I didn't mean anything. Do
you have someone to co-sign?
MICHAEL
Not really.
LOAN OFFICER
Not really or no?
MICHAEL
Look, just get to the bottom line.
Yes or no. I've got to see a doctor
at the hospital…
Michael looks at a clock on the wall which says 12:35.
CONTINUED:
THE LOAN OFFICER (CONT'D)
(CONTINUED)
98.
MICHAEL (CONT'D)
Oh crap. He said he won't see me if
I'm not at his office by one.
LOAN OFFICER
Well. You can leave the application
but quite frankly…
Michael grabs the application and crumples it up as he runs
out the front of the bank.
EXT CITY GARAGE-MOMENTS LATER
Racing up a ramp to the parking space, Michael gets to his
car. The front door won't unlock. He kicks it. No luck.
He tries the other front door. It opens. He hurriedly gets
in, slides across the seat behind the driving wheel. He gets
the car started and races to the parking attendant. He rolls
down the window and hands him the ticket and money. The
attendant is slow giving him change.
PARKING ATTENDANT
I don't have quarters. Wait a
minute.
MICHAEL
Open the fucking gate. Keep the
change.
Michael takes a quick look at his watch. The attendant opens
the gate. Michael tears out on to the street nearly causing
an accident. We follow him driving wildly to get to his
appointment. He parks outside the hospital.
INT. MT PLEASANT HOSPITAL
Runs to the elevator. The camera is back a little. There is
absolute silence as he runs (possibly a heartbeat, kind of
Run Lola Run style). He asks someone in the hall for
directions. They point the way. Michael runs down a hall.
It leads at the end to the hospital library. He goes in.
Same thing. SILENCE. The librarian walks out into the hall
with Michael and points out the way. Michael goes running
off. He finds the office. On the door is written Dr.
Sturbridge, Chief of Psychiatry. Michael straightens his
hair, prepares a calm entrance, opens the door, walks in
softly. Suddenly the sound returns: ELECTRONIC SOUNDING
BEEPS. Closes the door. He opens another door.
INT. DR. STURBRIDGE'S OFFICE
DR. STURBRIDGE
You could knock.
MICHAEL
Sorry. I'm Michael Russell. My son…
DR. STURBRIDGE
Dr. Stern called me. Ritchie's
father. What do you want?
CONTINUED: (2)
(CONTINUED)
99.
MICHAEL
I'm willing to sign papers legally
abandoning my son. I was told you
can't discharge him if he has
nowhere to go.
DR. STURBRIDGE
You were told wrong. That's been
tried before. If we have to, we
will send him to a shelter. Look
Mr. Russell what do you really
want?
MICHAEL
I want to be sure my son is safe.
I want him to stay here until he's
no longer in danger.
DR. STURBRIDGE
Dr. Rahmadi feels he is not in
danger.
MICHAEL
Dr. Rahmadi doesn't know my son.
He doesn't know my son at all.
DR. STURBRIDGE
Your son signed a contract.
MICHAEL
My son is going to hurt himself if
he is let out of here.
DR. STURBRIDGE
What makes you so sure?
MICHAEL
He told me.
DR. STURBRIDGE
Patients say things they don't
mean.
MICHAEL
I'm not willing to take that
chance.
DR. STURBRIDGE
I can't overrule my staff.
MICHAEL
Well, evaluate my boy
independently. I'll pay for it.
DR. STURBRIDGE
Even if I agree with you, your
insurance company won't allow it.
I have no influence with them.
MICHAEL
Well who does have influence?
CONTINUED:
(CONTINUED)
100.
DR. STURBRIDGE
No one. They have criteria. The
contract that Ritchie signed more
or less made discharge automatic.
MICHAEL
But they've never met Ritchie.
DR. STURBRIDGE
Doesn't matter.
Michael, becomes silent, then looks up. His eyes plead with
Dr. Sturbridge. Sturbridge's expression changes. He looks at
Michael up and down. His voice is soft
DR. STURBRIDGE (CONT'D)
I'll see your son. If I agree with
you, I'll put in an appeal. But
that's it. After that it's out of
our hands.
MICHAEL
When can you see him"
DR. STURBRIDGE
Today at 4.
MICHAEL
(looking at his watch)
I'll be at Dr. Stern's office.
Call me there. And thanks. I mean
it.
INT. DR. STERN'S OFFICE -TWO HOURS LATER
DR. STERN
We're doing better than I thought
we would. Sturbridge is definitely
a plus. He's a nice guy. Most of
what you're up against is the
system.
MICHAEL
What if I simply take him home, and
between Deborah and me, we don't
let him out of our sight?
DR. STERN
You couldn't keep it up for very
long. Are you going to go into the
bathroom with him, get rid of all
the scissors and razors?
MICHAEL
That's not impossible.
DR. STERN
What will happen when you go to
sleep. And what about if he wants
to go somewhere.
CONTINUED: (2)
(MORE)
(CONTINUED)
101.
He won't stay in the house. It's
not an option. 'Specially with
hanging. Plus, from the sounds of
what's going on lately, Ritchie and
you are getting each other going.
One little skirmish and he could
get set off.
The phone rings. DR. Stern picks up.
DR. STERN (CONT'D)
(collegial)
Hey Jeff, How you've been? He's
with me now… Uh huh.. Yeah.. No I
understand.
Listening
DR. STERN (CONT'D)
That Dr. Day is a pisser isn't he?
You're right...I agree... Okay take
care. I'll talk to Mr. Russell.
Dr. Stern hangs up.
MICHAEL
Tell me straight out.
DR.STERN
Dr. Sturbridge said he agreed with
Dr. Rahmadi, but he called Dr. Day
anyway to make an appeal. It was
denied. Ritchie apparently made you
sound like an interfering parent.
MICHAEL
Do you think that?
DR.STERN
I think Ritchie is very serious
about getting out. That worries me.
MICHAEL
Who is Dr. Day?
DR.STERN
He's chief at St Joseph's. He's in
charge of your insurance company's
behavioral management.
MICHAEL
What's he like?
DR.STERN
Don't ask. He's a prick. Who else
would take a job like that?
MICHAEL
Where can I get his number? I'll
call him.
CONTINUED:
DR. STERN (CONT'D)
(CONTINUED)
102.
DR.STERN
He won't answer. Once he makes up
his mind…
MICHAEL
(flipping his car keys)
I'm going to St Joseph's.
EXT: SOUTH BRONX SLUMS 90'S STYLE- THE SAME DAY
Series of shots through Michael's car window. Scenes of 90's
devastation. Drunks on the street corners sitting on wooden
crate boxes. Kids running out in front of the cars. Broken
glass is everywhere.
Michael parks. He sits for a moment in the car, gearing up.
He leaves the car with a look of determination.
INT: ST. JOSEPH HOSPITAL PSYCHIATRIC WARD
Michael approaches a nurse. She points down the hall. He
opens a door and comes to a receptionist.
MICHAEL
I'd like to see Dr. Day.
RECEPTIONIST
Who shall I say is calling?
MICHAEL
Mr. Russell. Michael Russell.
The receptionist picks up her phone and pushes a button. She
speaks softly into it. She faces Michael
RECEPTIONIST
He won't see anyone without an
appointment.
MICHAEL
Tell him he spoke to Dr. Sturbridge
this morning about an appeal for my
son. I'm Ritchie Russell's father.
RECEPTIONIST
He won't see you.
MICHAEL
Well I'll just have to see him.
The receptionist blocks his path
RECEPTIONIST
You can't go in there.
MICHAEL
I don't really want to have to
shove a lady. But I will if I have
to.
CONTINUED: (2)
(CONTINUED)
103.
She steps out of the way. Michael enters. DR. DAY is a
tattered man in his 50's, balding on top but with long hair
along the sides. There is a big sign on his wall.
SIGN: TALK IS CHEAP
MICHAEL
Isn't that an unusual sign to have
in a psychiatrist's office?
DR. DAY
Yeah. It's the opposite. Talking
to a shrink is very expensive.
MICHAEL
If my son is discharged from the
hospital he'll be in danger.
DR. DAY
You're totally out of line coming
here.
MICHAEL
Your decision is wrong.
DR. DAY
It's non-negotiable.
MICHAEL
My son can't come home. He's
serious about hurting himself.
DR. DAY
Look Mr. Russell. You think you
can come in here from yuppy-land
and demand special treatment. Why
you and not someone else?
MICHAEL
This has nothing to do with special
treatment.
DR. DAY
The answer is no. Your son's
doctors agreed with our decision.
MICHAEL
But they have no choice.
DR. DAY
They can choose to keep anybody
they want. You know that does
happen sometimes. Why don't you
pay for uninsured care?
MICHAEL
I don't have the money.
CONTINUED:
(CONTINUED)
104.
DR. DAY
My guess is your son needs a
whippin' to get him to open his
eyes. He's spoiled. Kids like him
have been whining to their mommies
since they're two years old and the
worst they get is "a good talk".
Well we're not going to pay for
talks.
MICHAEL
This has nothing to do with my son.
DR. DAY
Your son should get a life.
MICHAEL
He's a little more than upset. He..
DR.DAY
I don't want to hear the details.
Did you take a look outside when
you were driving over here? Take a
good look going home. These kids
are watching their friends shoot up
every day. Hell their parents,
that is, when they have parents,
are smashed half the time. People
are dying of AIDs all around them.
Every night they hear gunfire. The
next morning they find out who was
killed. I don't want to hear about
your son. He's leading a
privileged life and if he can't
deal with that, than so be it.
MICHAEL
(angrily)
This story is going in the
Tribune.
Michael hands Dr. Day the article.
Dr. Day skims it He hands it back.
DR.DAY
So what else is new?
MICHAEL
That's all you've got to say?
DR. DAY
Look you think I give a damn that
this guy made 900 million? Look
around you. You want a cut of my
millions? Your article has nothing
to do with me. I probably make less
money than you.
MICHAEL
I'm going to stop this, one way or
another.
CONTINUED:
(CONTINUED)
105.
DR. DAY
Good luck.
MICHAEL
I'm not leaving until you agree to
let my son stay in the hospital.
DR.DAY
Listen hot shot. Get out of my
office.
Dr. Day pushes Michael toward the door. They wrestle and go
down together. Michael is in a rage. A close up of his
face. The police have arrived. They pull him off.
INT: BRONX JAIL A FEW HOURS LATER
Joe and Deborah greet Michael as he is given back his
possessions.
DEBORAH
How was it?
MICHAEL
It was worth it.
They go to Deborah's car. She hands him the car keys.
Deborah and Michael sit in the front, Joe in back. Michael
hands his article to Joe in the back seat.
MICHAEL (CONT'D)
Had time to write some more. Read
it.
JOE
Now?
MICHAEL
Now.
Joe looks over the article.
MICHAEL (CONT'D)
Did you visit Ritchie?
DEBORAH
This afternoon.
MICHAEL
And?
DEBORAH
You are doing the right thing. I
don't know what we are going to do.
They drive for a while. Joe finishes the article.
JOE
What did you want me to do with
this?
CONTINUED: (2)
(CONTINUED)
106.
MICHAEL
Print it. I need pressure on the
doctors and the insurance company.
JOE
Did that work with Dr. Day?
MICHAEL
No.
JOE
So what makes you think it will
work with anyone else?
MICHAEL
It will. What if you put it in the
paper tomorrow?
JOE
You've worked in this business how
long?
MICHAEL
Joe. I'm out of ideas. I mean-
JOE
You know I can't. We need a fact
check and then legal's got to check
it over.
MICHAEL
I just want to get people's
adrenaline going. Put them on
notice.
JOE
Well you definitely got Dr. Day
going. Look, I'll fax this to
Martin MacDonald. He runs your
insurance company. You can ask him
to respond to your story. Maybe
you got a shot that way. But I'll
be honest with you. He's supposed
to be a son of a bitch. Once he
reads this he could try to get your
son kicked out right on the spot.
MICHAEL
You're serious?
JOE
MACDONALD isn't a hide your head
person. On principle the bastard
could go harder on your son.
DEBORAH
Honey, you've worked hard on this
article, but I don't think its
going to work. We may have to take
him home and watch him like a hawk.
CONTINUED:
(CONTINUED)
107.
MICHAEL
Dr. Stern said that wouldn't work.
DEBORAH
What else can we do?
JOE
I'll send the fax. You never know.
A fax from the Tribune…
MICHAEL
Joe. Could you loan us $15,000?
A sudden chill. They are silent. The tension mounts.
JOE
I can't help you. Except for my
daughter's college fund I don't
have that kind of money. Maybe a
thousand or two.
MICHAEL
I have Dr. Stern's emergency
number. Maybe he has a new angle.
Joe takes out his cell phone. He hands it to Michael.
Michael dials a number.
MICHAEL (CONT'D)
Can the doctor talk?
He watches the road like a hawk, one hand on the wheel. They
stop for a red light.
MICHAEL (CONT'D)
Come on. Come on.
DEBORAH
Where are you racing to? There is
no where to rush to.
MICHAEL
You don't think I know that?
He puts his hand over the phone mouthpiece
MICHAEL (CONT'D)
Hold it
(to Dr. Stern)
Go on.
MICHAEL (CONT'D)
Right… Do you think that is good?..
Okay. Talk to you tomorrow
DEBORAH
What did he say.
MICHAEL
There is some kind of plan. They
are not discharging him tomorrow.
CONTINUED: (2)
(MORE)
(CONTINUED)
108.
I'm to meet with Dr. Rahmadi in the
morning.
EXT. PUTTING GREEN ON THE GROUNDS OF MARTIN MACDONALD'S
MANSION IN CONNECTICUT- 2 HOURS LATER
The camera wanders a bit taking in how exquisite the whole
setting is. Marty's daughter hits a beauty of a shot.
MARTIN MACDONALD
Very nice Barbara. It looks like
those lessons are paying off.
BARBARA
Thanks dad.
Lenny Birch, dressed in a suit, walks out of the mansion with
Michael's article and hands it to him. They are out of
hearing range from Barbara.
LEONARD BIRCH
It was just faxed from New York.
An article from that reporter that
Dr. Day called you about.
Marty reads it over.
LEONARD BIRCH (CONT'D)
What do you want me to do?
MARTIN MACDONALD
Nothing. Nothing at all. These
articles come out all the time. Dr.
Peeno testified to Congress in
1996. She knew everything about the
business. Nothing's happening.
Insurance bores everyone.
LEONARD BIRCH
Yeah Russell mentions Dr. Peeno.
It's funny all these expose shows.
60 minutes 20/20, 48 Hours,
Frontline. They're pumping out so
many exposes that nothing
sticks.(pause) So what should I do?
MARTIN MACDONALD
Send a copy to P.R. but tell them
to do nothing. We'll lay low for a
week and it will be over. This
Michael Russell is getting off
being a bad boy. He won't have an
audience.
LEONARD BIRCH
I'm gonna check up on him anyway.
MARTIN MACDONALD
Fine. But meanwhile I have a more
pressing problem.
CONTINUED: (3)
MICHAEL (CONT'D)
(CONTINUED)
109.
LEONARD BIRCH
What's that?
Marty lines up his putt.
MARTIN MACDONALD
Matching my daughter's shot.
INT. DR. RAHMADI'S OFFICE, THE NEXT MORNING.
DR RAHMADI
(in a lecturing tone)
Mr. Russell You are out of control.
Next time they'll give you real
jail time.
MICHAEL
What do you want to tell me?
DR. RAHMADI
We want to send Ritchie to Second
Chance. It's a drug treatment
center. His pot smoking was
certainly part of the problem.
MICHAEL
You don't believe that do you?
DR. RAHMADI
That is the best we can do. It was
Dr. Day's idea.
MICHAEL
I'm not done with Dr. Day.
His dead seriousness strikes Rahmadi
DR. RAHMADI
(smiling)
You going to put out a contract on
him?
MICHAEL
Not all Mafia ideas are bad ideas.
DR. RAHMADI
In your next life.
Michael is irritated
DR RAHMADI
I need to know now if you'll go
along with our plan. Ritchie's
accepted for tomorrow morning.
MICHAEL
I have to discuss it with my wife.
And Ritchie.
CONTINUED:
110.
INT. A DINER NEAR THE HOSPITAL- AN HOUR LATER
DEBORAH
Michael, his problem isn't drugs.
MICHAEL
It's our only choice. Stern's heard
good things about Second Chance.
DEBORAH
I wish we could have gotten that
money.
MICHAEL
In jail… for the first time I
understood those guys. Everything
is stacked against them. I mean
everything. They have no chance
from day one… The want justice, the
score evened. Rules are there to
keep them down. Makes them entitled
to do anything. If they have the
chance.
DEBORAH
That's where you are?
He shrugs.
MICHAEL
Maybe
DEBORAH
(teasing)
You're losing it.
He shrugs again.
MICHAEL
If I were in the Mafia we could do
something for Ritchie. We're no
one. No one against these people.
DEBORAH
My Phi Beta Kappa boy. You're
going to trade in your pin for a
gun. Don't you know the pen is
mightier than the sword?
MICHAEL
That was written by a writer.
Truth is I want to kill someone.
DEBORAH
Like who?
MICHAEL
All of them.
(CONTINUED)
111.
DEBORAH
You'll land up in jail with those
guys.
MICHAEL
It would be worth it.
INT. THE UTILITY ROOM ABOVE THE BALLROOM
Michael targets MACDONALD with his rifle
INT. RITCHIE'S ROOM IN THE PSYCH UNIT- AN HOUR AFTER THE
RUSSELL'S DINER MEETING
RITCHIE
I'm not going to no drug program.
(CONT'D)
MICHAEL
We're doing the best we can. This
is it.
RITCHIE
You don't have to be locked up.
Am I going to have someone checking
up on me every two seconds? Bossing
me around.
MICHAEL
I don't know.
RITCHIE
I'm not putting up with any more of
it. I'll tell you right now.
MICHAEL
You're going to have to go along
with whatever Second Chances' rules
are.
RITCHIE
And what if I don't?
MICHAEL
Don't go there Ritchie.
Dr. Rahmadi enters the room. Ritchie doesn't look up.
DR. RAHMADI
What have you decided?
MICHAEL
We're going to do it. But Ritchie
has a question.
DR. Rahmadi waits for the question
CONTINUED:
(CONTINUED)
112.
RITCHIE
Nothing. I'm good.
MICHAEL
You're sure?
Ritchie doesn't answer. Before leaving the room Rahmadi
turns to them.
DR. RAHMADI
The drive to Second Chance is nice.
Through the country. About two
hours away. It's supposed to be
nice weather tomorrow morning.
Dr. Rahmadi leaves. Ritchie picks up a vase and throws it
against the wall. It smashes into a thousand pieces. Dr.
Rahmadi returns.
DR. RAHMADI (CONT'D)
Seclusion.
Ritchie gives him the finger. Michael sits passively as the
attendants come into the room and take Ritchie away.
INT. THE DOOR OF THE PADDED CELL 3 HOUR LATER
Melissa is at the door.
MELISSA
You okay?
RITCHIE
(sounding drugged)
I'm good.
MELISSA
You sound a little too good.
Someone slip you a funny pill?
RITCHIE
No, I'm just good. I'm finally
ending this bullshit.
Ritchie keeps taking the ring off and on his pinky.
MELISSA
Ritchie you sound funny.
RITCHIE
Tomorrow's a big day.
MELISSA
What do you mean?
RITCHIE
I finally have things straight in
my head.
MELISSA
About Lise?
CONTINUED:
(CONTINUED)
113.
RITCHIE
Yes.
MELISSA
What did you figure out?
RITCHIE
I'm not going to be all right
unless I'm with her.
MELISSA
Ritchie--
RITCHIE
(mimicking Melissa)
Ritchie, Ritchie
She restrains herself for a minute but then continues.
MELISSA
Dying is no answer. You want to
die. Wait until it's your time.
Silence from Ritchie.
MELISSA (CONT'D)
There is still too much in this
world that you haven't even tried.
I mean there's Dan and there is me,
and you don't even know me, but I
get better, Ritchie, much better.
I make great lasagna...totally the
real thing. My grandmother taught
me. I mean come on.
RITCHIE
(once again mimicking her)
Ritchie, Ritchie.
MELISSA
Ritchie... I'm sorry I keep saying
that. I know it's bugging you.
But you have to taste my lasagna.
Silence.
MELISSA (CONT'D)
Lisa can wait for you. Believe me
she's not lonely. I heard she's
got a boyfriend.
Silence.
MELISSA (CONT'D)
You didn't know that did you? I've
got psychic powers. The minute you
told me about Lisa I visited her.
She told me how she misses
everybody but she's all right.
She's worried because you are
having a hard time.
CONTINUED:
(CONTINUED)
114.
RITCHIE
Is this another one of your
stories? Can you really talk to
her?
MELISSA
I just said I can. She's the one
that said she can wait. Not me.
You shouldn't do anything. That's
what she said. She said she's good
and wants to see how you will turn
out when you grow up.
Once again there is silence coming out of the room. Melissa
grows desperate.
MELISSA (CONT'D)
Ritchie you bastard. Just like my
father.
RITCHIE
I thought you never knew your
father.
MELISSA
I lied. He used to beat up on my
mother.
Ritchie is quiet as he traces a seam in the wall padding with
the ring
MELISSA (CON'T) (CONT'D)
Killed himself. What an idiot.
Ritchie don't do it. Come on.
RITCHIE
Melissa listen I'm not going to do
it. I think about it a lot. But
no. Lisa's not there so I'm not
going to do it.
MELISSA
Lisa is there. She said I should
tell you to stick around.
RITCHIE
I said I would.
MELISSA
Promise?
RITCHIE
You want me to sign a contract?
God what ass holes they are in this
place.
MELISSA
I want you to promise me.
There is a very long silence.
CONTINUED: (2)
(CONTINUED)
115.
RITCHIE
Okay I promise.
MELISSA
Really?
NO answer. They are both quiet and thoughtful
MELISSA (CONT'D)
Can I ask you something?
RITCHIE
What?
MELISSA
You think we have a chance?
RITCHIE
What do you mean we?
MELISSA
You and me.
RITCHIE
(in a very sweet voice)
You and me? Melissa I want you to
know that I appreciate your ability
to make up stories. Like Lisa and
me when we had our talking
cockroaches...
MELISSA
They’re not lies.
RITCHIE
I just want you to know that.
MELISSA
Dan called me. He’s scared. He
said you sounded like you were
saying final good-byes. Now it’s
my turn? I don’t need a final
goodbye. I want to see you at one
of my basketball games. Ritchie,
please promise me you’re not going
to do anything
Silence
MELISSA (CONT'D)
Ritchie? Ritchie?
More silence. Melissa is getting very edgy.
MELISSA (CONT'D)
Ritchie. (starts to cry) Come on
Ritchie.
Silence
CONTINUED: (3)
116.
INT. AT THE NURSES STATION- MOMENTS LATER
Melissa hits hard on the locked door.
MELISSA
Open up. I gotta talk to somebody.
Melissa hits the door again. Finally it opens. The aide
licks her finger. She has been called away from her Kentucky
Fried Chicken.
PSYCHIATRIC AIDE
Now what can be that important?
Melissa hesitates.
PSYCHIATRIC AIDE (CONT'D)
Girl. I'm talking to you.
MELISSA
You have to promise when Dr.
Rahmadi comes in. Someone's will
tell him that Richard Russell is
going to hurt himself when he gets
out.
PSYCHIATRIC AIDE
He told you that? He said he's
going to kill himself?
MELISSA
Well…
PSYCHIATRIC AIDE
What were his exact words?
MELISSA
He said he wouldn't. But I know he
will.
PSYCHIATRIC AIDE
Yeah I heard about you and how you
think you are a psychic. Let me
tell you something girl. The
sooner you get back on earth the
better. You're a pretty girl. You
don't need to be in no psychiatric
hospital.
INT. THE RUSSELL'S BEDROOM-THAT NIGHT
Michael and Deborah are lying calmly in bed. Periodically
they stroke each other
DEBORAH
I'm going to get a job.
MICHAEL
That's good. You were much better
when you got up every day and went
to work. What made you decide?
(CONTINUED)
117.
DEBORAH
First of all and second of all we
need the money.
MICHAEL
We can manage.
DEBORAH
We wouldn't be in this situation
now if we had some savings.
MICHAEL
Maybe.
DEBORAH
It's not just that. The way I've
been is stupid. I should have done
better getting over Lisa, gone
forward.
MICHAEL
You did what you had to do. You
weren't ready.
DEBORAH
I was never going to be ready. It
messed up Ritchie.
MICHAEL
Coulda, woulda, shoulda, it doesn't
matter.
DEBORAH
It's not just Ritchie. (quiet
tears) I'm glad we have something
again.
Michael keeps stroking Deborah's hair. He looks into her
eyes searchingly.
DEBORAH (CONT'D)
What is it?
MICHAEL
I don't know. It's been so long.
You've been like a stranger to me.
For years.
DEBORAH
Well now I'm not going to be a
stranger.
MICHAEL
I hope so. It's been lonely. I
thought we would never be close
again.
DEBORAH
Don't let me go back there okay?
No matter what. Just don't let me
do it.
CONTINUED:
(CONTINUED)
118.
MICHAEL
How do I do that?
DEBORAH
I don't know, but you can. I'm
sure you can.
Michael gets out of bed. Slips into a robe, goes to the
bathroom, comes back.
MICHAEL
Are you going to come with us
tomorrow?
DEBORAH
(wiping her eyes)
No, I don't think we're ready yet.
It still works better one on one.
I'll call Ritchie and explain.
I'll visit him tomorrow.
Deborah notices how down Michael is.
DEBORAH (CONT'D)
It will work out. We'll get
through this. Things are going to
be better.
The phone rings. Michael looks at the clock. It's midnight.
Deborah is frightened. She answers, listens, hangs up with a
look of resignation
DEBORAH (CONT'D)
That was Melissa.
INT. DR. RAHMADI'S OFFICE-THE NEXT MORNING
DR. RAHMADI
Mr. Russell, the answer is no.
MICHAEL
You think Melissa would make up
something like that?
DR. RAHMADI
Melissa is a patient on a psych
ward.
MICHAEL
Come on.
DR. RAHMADI
You won't let up. You keep going
and going. You've tried every
angle. Now this. The answer is no.
Ritchie's doesn't fit our criteria
for continued stay. He is being
discharged this morning.
MICHAEL
Do you have children?
CONTINUED: (2)
(CONTINUED)
119.
Dr. Rahmadi rolls his eyes.
MICHAEL (CONT'D)
Do you?
DR RAHMADI
Yes.
MICHAEL
Then how can you not understand?
DR RAHMADI
My son wouldn't be here.
That shuts Michael up. He is broken.
Dr. Rahmadi looks at his watch.
DR. RAHMADI
Your son is waiting for you. If
you are smart you'll drive him to
Second Chance this morning and get
out of the picture.
EXT. THE DOOR TO THE HOSPITAL WARD
Michael and Ritchie leave the ward.
MICHAEL
You have everything?
RITCHIE
Yeah.
MICHAEL
I've brought you your Ipod. They
let you listen to music there.
RITCHIE
Oh yeah.
Michael hands it to him. Ritchie is acting nonchalant.
Michael is scared out of his mind. He keeps trying to engage
Ritchie with his eyes. But that is going nowhere
MICHAEL
For your mother. Promise me you're
not going to do anything.
RITCHIE
Dad. Enough already. Leave me
alone.
He gets in the car and slams the door.
EXT. IN MICHAEL'S CAR SAME MORNING
They drive through beautiful country. The radio is on.
Michael and Ritchie listen quietly.
CONTINUED:
(CONTINUED)
120.
RITCHIE
Do you have that Nancy Griffith CD
you used to play?
MICHAEL
You remember that?
RITCHIE
Yeah play it.
NANCY GRIFFITH sings Across the Great Divide. Ritchie is
floaty, smiling a lot in a strangely contented way. It's a
sunny fall day New England style. They go up and down hills,
pass a meadow, then through a covered bridge. From time to
time Michael steals a glance at Ritchie and vice-versa…
Michael will go wherever Ritchie takes him.
The music continues:
The finest hour that I have seen
Is the one that comes between
The edge of night and the break of day
It's when the darkness rolls away
RITCHIE (CONT'D)
(sweetly)
God, I haven't listened to music
with you in so long. I want to play
the yodeling song.
Ritchie hits the buttons NANCY GRIFFITH'S NIGHT RIDER LAMENT.
They YODEL along with the song. Both crack up.
The drive continues as does the music.
RITCHIE (CONT'D)
We've been here before haven't we?
MICHAEL
Yeah. We used to camp out here
when the leaves were just like
this. Mom and I promised each
other, we'd do it every year. It
was my version of Rosh Hoshanah.
I'd renew my New Year vows.
RITCHIE
Why'd we stop doing that?
MICHAEL
I don't know. After Lisa… We
shouldn't have. We just stopped.
You want us to start coming here
again? It's a deal. You get your
head right and we'll come every
year…
Ritchie doesn't answer.
MICHAEL (CONT'D)
Every year. And one day you'll
bring your children, and then
they'll bring their children.
CONTINUED:
(MORE)
(CONTINUED)
121.
That's how it's supposed to be. You
keep going. You try to keep it
going forever.
RITCHIE
Do you really believe in God?
MICHAEL
Yes.
RITCHIE
And heaven. You think we are going
to see Lisa again?
MICHAEL
We are going to be together. But
Ritchie, first we have a lot of
years here. I know you think it's
bullshit, but Mom's better.
Everything is going to be better.
RITCHIE
Wait, hold it. This is the spot
isn't it? Up there… Where we used
to go camping.
Michael pulls the car over to a turnoff.
RITCHIE (CONT'D)
I want to see this place.
The two of them get out and climb up a steep rocky path.
They reach a clearing. Ahead is the vista. As before, the
wind howls through the canyons.
RITCHIE (CONT'D)
I remember every year you'd take a
picture of us right over there.
MICHAEL
You remember that?
RITCHIE
I remember everything Dad.
Everything.
MICHAEL
I'm going to start taking pictures
again.
RITCHIE
I remember Lisa hiding behind that
tree. Harry found her.
MICHAEL
Do you want another dog? You said
you didn't but maybe we should get
one.
RITCHIE
The new Russell family.
CONTINUED: (2)
MICHAEL (CONT'D)
(CONTINUED)
122.
Ritchie walks over to the edge of the cliff. Clutching Lisa's
ring he looks down fearlessly as the wind blows.
MICHAEL
Don't get too close.
RITCHIE
Don't worry dad.
Michael is about to grab him but then Ritchie sits down. His
legs dangle over the edge.
RITCHIE (CONT'D)
Come here. It's nice.
Michael does as he's told. They are quiet for a while.
MICHAEL
I love this spot.
Ritchie is in another world. They sit silently, listening to
the wind. The camera remains there for some time, catching a
bird in flight. Leaves swirl. The vastness, and their
smallness in the scheme of things, creates a kind of calm.
EXT. SECOND CHANCE BUILDING
LONG VIEW
An aide stands by quietly at Michael's car as they say their
good-byes. As they hug the camera goes in for a close up of
each. Michael's eyes are watery. Ritchie's as cold as ice,
except for a fleeting moment when Ritchie's eyes meet his
father's and are calling for help.
Michael drives away slowly, quietly. JASCHA HEIFITZ, BRAHMS
plays
He's flooded with memories, with Russell home videos.
A) Lisa and Ritchie each making clown faces for the camera.
B) Michael throwing infant Ritchie into the air and
catching him. Lisa pulls at his leg. He hands Ritchie to
Deborah. Picks up Lisa and throws her up.
Michael arrives at the spot where he got out with Ritchie
earlier that morning. The music continues. Michael walks up
the path. Goes behind the tree. Returns.
EXT. THE SAME CAMPING SITE 10 YEARS BEFORE
The sound of GIGGLES. 6-year old Ritchie, 7-year old Lisa
run around in circles (from the opening scenes). Deborah,
young, radiant offers a canteen to Michael. Michael can
almost talk to these ghosts from his past (as in Wild
Strawberries).
EXT. INSIDE THE CAR- CONTINUATION OF THE DRIVE
An almost trance like atmosphere.
CONTINUED: (3)
123.
INT THE DOOR TO THE RUSSELL'S APARTMENT
Michael puts his key into the lock. The door is opened
DEBORAH
Michael?
One look at her and he knows. She sobs. He holds her, both
desperately.
DEBORAH (CONT'D)
Ten minutes after he got there. He
found a tie. Lisa's ring was in
his hand
MICHAEL
I should have threatened Dr.
Rahmadi. I didn't contact…
(hesitating) I…
Deborah puts her finger to his lips
DEBORAH
Sh…sh.
She strokes his hair.
MICHAEL
We're going to get the sons of
bitches. Gonna get them.
CUT TO:
SERIES OF SHOTS SHOWING THE PASSING OF TIME
A haggard Deborah brushing her hair
Michael taking out the garbage
Deborah drinking coffee, reading the newspaper, Deborah
cleaning out Ritchie's room. Fingering the ring.
Michael staring vacantly at a news show in the kitchen.
Deborah cooking nearby.
MICHAEL
(Voice raised, irritated)
They are fuckin' debating this huge
moral issue. What kind of shopping
bag is the most green?
Deborah goes on with her chores, for the most part ignoring
him.
MICHAEL (CONT'D)
I can't take this shit.
DEBORAH
So turn it off.
(CONTINUED)
124.
He does. She hesitates before speaking
DEBORAH (CONT'D)
You have to be patient. People are
reading your articles. There is
some talk.
MICHAEL
That's bullshit and you know it.
He reads from the Times
"Heidi Fleis dropped plans for a
bordello she told the Las Vegas
Journal. She's now focused on
alternative energy because that's
where the money is."
Closing the newspaper
MICHAEL (CONT'D)
Nothing ever changes.
DEBORAH
Don't get cynical.
MICHAEL
I can't help it.
DEBORAH
The only way to beat it is to do
something.
INT. NY THE OPENING SCENE UTILITY ROOM ABOVE THE CEILING OF
THE PLAZA HOTEL'S GRAND BALLROOM
Applause in the ballroom. MacDonald continues his talk. The
tension is building on Michael's face.
MACDONALD
Let me tell you something. A
campaign has been mounted trying to
get me. But I will not give up
this fight. We have an obligation
to keep health costs down. For too
long doctors have been on a
spending spree. They don't care
about costs. We are doing the job
that needs to be done.
Michael can't contain himself any longer. He places the rifle
back in the opening. Takes aim.
MACDONALD O.S.
I promise you tonight, that I won't
give in. They can't bully us.
He rushes his shot and misses. There is bedlam below. We
can hear people shouting. Michael is terrified. He leaves the
gun on the floor and quickly leaves the room.
CONTINUED:
(CONTINUED)
125.
He takes off his gloves putting them in his jacket pocket.
We can hear people rushing towards the corridor. He makes it
to a stairway, goes down two flights and then another and
enters the hotel corridor. He has gone unseen. He pushes the
elevator button. It arrives and he goes in, trying to seem
calm and collected.
INT HOTEL ELEVATOR
A middle age couple are in the elevator with a nine year old
girl. The couple smiles politely but avoids eye contact. He
is sweating profusely. He takes out a handkerchief and wipes
his brow. The girl stares at him critically, like she can
sense he is a villain. They arrive at the lobby and he joins
the crowd also frantically trying to get out of the building.
INT. THE RUSSELL'S BEDROOM. NOT LONG AFTER
Deborah is watching the news on TV. Michael comes into the
room.
DEBORAH
Someone tried to shoot Martin
MacDonald
He tries to act as if nothing has happened. She studies
him, suspecting the truth. Michael undresses, puts on his
pajamas.
DEBORAH (CONT'D)
(a scolding voice)
Don't be stupid.
MICHAEL
I had to do something. I had to.
All this talk. I'm the worst.
DEBORAH
Maybe, but no craziness. I should
have seen it coming. When you
watch the news.
Michael seems to be ignoring her.
DEBORAH (CONT'D)
Your anger. I can't take it. I
know you're not angry at me, but
your hate. I start to hate you.
You've got to stop. I can't live
with it Michael. I can't.
MICHAEL
Don't worry. I'm finished sounding
off.
EXT HARLEM STREET SCENE THE NEXT DAY
Michael is carrying a satchel. He checks the address. He
enters the building, knocks at an apartment door.
CONTINUED:
(CONTINUED)
126.
MAN IN THE APARTMENT
Back for another one? What did you
do with the first rifle?
He is shown an assortment of rifles and revolvers. He
chooses one much like the one he left in the utility room.
He disassembles the parts and puts it his satchel.
INT THE RUSSELL'S APARTMENT SHORTLY AFTER
Michael is looking through a drawer in the dining room. He
lifts several objects for inspection before returning them.
Finally he has what he is looking for, his bar mitzvah
tallis. He holds it up. Then wraps the gun parts with his
tallis and puts them in the satchel. As he is finishing
Deborah enters the room and observes him.
DEBORAH
What are you doing?
MICHAEL
Nothing. Listen, I'm going to that
place in the mountains. Come with
me.
DEBORAH
It's pretty late to start for
there. We'll have to drive back in
the dark
She is trying to understand what he is up to. She is
frightened, confused.
DEBORAH (CONT'D)
Okay. I'll go for the ride, but I
don't want to climb up there
CAR SHOTS AND SHOTS OF THE MOUNTAIN TERRAIN
They talk very little. They are lost in their thoughts.
When they arrive Michael gets out.
MICHAEL
I won't be long.
Michael grabs his satchel. He looks at his watch. He gives
her a kiss as if this might be goodbye. She starts to get
out of the car.
MICHAEL (CONT'D)
I want you to wait for me here.
He sees her fear.
MICHAEL (CONT'D)
Really. I'm going to be all right.
She watches him climb the incline not knowing what to do.
It is almost time for the sunset. When he arrives at their
spot he looks out at the horizon, searching, searching.
CONTINUED:
(CONTINUED)
127.
Deborah stares out of the car window becoming more and more
frightened.
Suddenly Deborah hears a GUNSHOT. In a panic, she climbs to
reach him.
Michael has his rifle in position, aimed at the descending
sun. He shoots again.
MICHAEL (CONT'D)
(screaming like a mad man)
Fuck you God. Fuck you.
He shoots again.
Deborah can see him. She stops and watches quietly.
MICHAEL (CONT'D)
Fuck you. Fuck you
He throws the rifle over the cliff. He puts on his tallis and
rhythmically dovens.
MICHAEL (CONT'D)
(without subtitles)
Yis'ga'dal v'yis'kadash sh'may
ra'bbo, b'olmo dee'vro chir'usay
v'yamlich malchu'say, b'chayaychon
uv'yomay'chon uv'chayay d'chol bais
Yisroel, ba'agolo u'viz'man koriv;
v'imru Omein.
Y'hay shmay rabbo m'vorach l'olam
ul'olmay olmayo.
MICHAEL (CONT'D)
(Chanting rhythmically with
subtitles)
Yisborach v'yishtabach v'yispoar
v'yisromam v'yismasay, v'yishador
v'yis'aleh v'yisalal, shmay
d'kudsho, brich hu, l'aylo min kl
birchoso v'sheeroso, tush'bechoso
v'nechemoso, da,ameeran b'olmo;
vimru Omein.
Y'hay shlomo rabbo min sh'mayo,
v'chayim alaynu v'al kol Yisroel;
v'imru Omein.
Oseh sholom bimromov, hu ya'aseh
sholom olaynu, v'al kol yisroel;
vimru Omein.
(SUBTITLES)
May his great name be blessed,
forever and ever. Blessed, praised,
glorified, exalted, extolled,
honored, elevated and lauded be the
Name of the holy one, Blessed is heabove
and beyond any blessings and
hymns,
May his great name be blessed,
forever and ever.
And say Amen.
CONTINUED:
(MORE)
(CONTINUED)
128.
May there be abundant peace from
Heaven, and life, upon us and upon
all Israel; and say, Amen.
Deborah approaches him. He sees her
MICHAEL
I never said Kaddish...For either
of them.
He drops to his knees. He begins to cry. Sobs soon replace
his tears. Years of tears, centuries of tears. Emotions
gather from his fingers, his lungs, his bowels, his lips, a
flood of tears, an ocean. He begins to shake. He can't stop
himself. Deborah holds him in her arms.
DEBORAH
Shhhhhhhhhh…Shhhhhhhhh. It's over.
She strokes him slowly, deliberately, lovingly. He closes his
eyes. He's becoming calm, released. It's been a long time.
DEBORAH (CONT'D)
(whispers soothingly)
It's over.
THE END
Although the characters and situations in this movie are
completely fictional, it was inspired by true events.
Stewart Moscovitch (not a reporter but a factory worker)
filed suit against his insurance company PHS, Danbury
Hospital and Vitam Center Inc. after his 16-year-old son
committed suicide in July 1995. According to the suit, Nitai
Moscovitch was hospitalized at Danbury after twice attempting
to kill himself. His 12 year old sister had died of cancer
several years before his suicide attempt.
Eight days after admission, PHS had Nitai transferred to
Vitam, a drug treatment center in southern Connecticut. He
hung himself shortly after his arrival. Mr. Moscovitch had
begged the doctors not to discharge his son. In desperation,
he had been advised by a social worker friend to claim he
would abandon his son. He was told his son would be sent to
a shelter. Vitam was a compromise worked out with the doctors
and the insurance company.
In response to HMOs abuse of their power, several states
passed laws allowing individuals to sue them. On June 23,
2004, an end was put to that. The United States Supreme
Court unanimously decided that states could not pass laws
that allowed their residents to sue. As now written, Federal
laws governing health care exempts insurance companies.
Briefly there was talk of a Federal Health Care Bill of
Rights which would change existing law to include the right
to sue.
CONTINUED: (2)
(SUBTITLES) (CONT'D)
(CONTINUED)
129.
Tha
