I'll Take You There (1999) - full transcript

Woman:
♪ WON'T YOU COME HOME,
BILL BAILEY? ♪

♪ WON'T YOU COME HOME? ♪

♪ I MISS YOU
ALL DAY LONG... ♪

Man:
THAT'S NICE.

♪ I'LL DO THE COOKING, HONEY ♪

♪ I'LL PAY THE RENT... ♪

THE RENT'S PAID.

♪ I KNOW
I'VE DONE YOU WRONG... ♪

YOU'VE BEEN BAD.

♪ REMEMBER
THAT RAINY EVENING ♪

♪ I DROVE YOU OUT ♪



♪ WITH NOTHING BUT
A FINE-TOOTH COMB? ♪

PAINFUL.

♪ I KNOW I'M TO BLAME ♪

♪ WELL, AIN'T THAT
A SHAME? ♪

♪ BILL BAILEY
WON'T YOU PLEASE COME-- ♪

( whispers )
BILL BAILEY, WON'T YOU
PLEASE COME--

♪ BILL BAILEY, WON'T YOU
PLEASE COME HOME? ♪

( radio playing )

♪ WON'T YOU COME HOME,
BILL BAILEY? ♪

♪ WON'T YOU COME HOME? ♪

♪ I MISS YOU
ALL DAY LONG ♪

♪ I'LL DO THE COOKING,
HONEY ♪

♪ I'LL PAY THE RENT ♪

♪ I KNOW I'VE
DONE YOU WRONG ♪



♪ REMEMBER
THAT RAINY EVENING ♪

♪ I DROVE YOU OUT ♪

♪ WITH NOTHING BUT
A FINE-TOOTH COMB? ♪

♪ I KNOW I'M TO BLAME ♪

♪ WELL, AIN'T THAT
A SHAME? ♪

♪ BILL BAILEY,
WON'T YOU PLEASE COME HOME? ♪

♪ WON'T YOU COME HOME,
BILL BAILEY? ♪

♪ WON'T YOU COME HOME? ♪

♪ I MISS YOU ALL DAY LONG ♪

♪ I'LL DO THE COOKING,
HONEY ♪

♪ I'LL PAY THE RENT ♪

♪ I KNOW I'VE
DONE YOU WRONG ♪

♪ REMEMBER
THAT RAINY EVENING ♪

♪ I DROVE YOU OUT ♪

♪ WITH NOTHING BUT
A FINE-TOOTH COMB? ♪

♪ I KNOW I'M TO BLAME ♪

♪ WELL, AIN'T THAT
A SHAME? ♪

♪ BILL BAILEY,
WON'T YOU PLEASE COME HOME? ♪

OW!

( voices echoing )

Man:
I'LL DRIVE.

JUST A MINUTE,
I'M TRYING TO FIGURE THIS OUT.

YOU POINT IT
AND YOU THROW IT.

YOU POINT IT
AND YOU THROW IT.

AND A--

- I'M UP.
- NO, I'M UP.

YOU'RE GOING
TO GET US MORE BEER.

I AM? I'M JUST
ABOUT TO WIN HERE.

YEAH, EXACTLY.

( guys groan )

DOUBLE 50!
WAY TO GO, ME!

- LOOK WHO'S HERE.
- HI.

MY BEAUTIFUL WIFE.

- HI.
- HI, ROSIE.

- HI.
- HI.

( phone rings )

( rings )

( rings )

Man:
Hello.

Is anybody there?
Hello?

EXCUSE ME, BILL.

- WHAT ARE YOU DOING?
- NOTHING.

- THIS WAS A WRONG NUMBER.
- I THINK WE NEED TO TALK.

YOU'RE FALLING
APART HERE.

- NAW.
- YEAH, YOU ARE.

I JUST GOT OFF THE PHONE
WITH BEN HUNTER.

- YEAH? HOW IS HE?
- HE'S ANGRY.

YOU TOLD HIM HE COULD BUY
THAT HOUSE IN EAST HAMPTON.

YUP. HE'S PAYING
THE ASKING PRICE.

NO, HE'S NOT.
THAT HOUSE WAS
SOLD LAST WEEK.

- IT WAS?
- YOU SOLD IT.

- I DID?
- KAREN TELLS ME
THERE WAS A MINISTER

- LOOKING FOR
VACATION PROPERTY.
- YEAH, RELIGIOUS GUY.

YOU TRIED TO SELL HIM
A STRETCH OF DESERT
IN NEVADA.

- IT WAS CHEAP.
- IT WAS DESERT.

HE COULD IRRIGATE
THE SAND.

BILL, I THINK
YOU NEED TO TAKE
SOME TIME OFF.

- NO, I DON'T.
- STOP TRYING
TO BE SO BRAVE.

YOU JUST WENT THROUGH
SOMETHING AWFUL.

THAT WAS THREE MONTHS AGO.
I AM FINE.

YOU'RE MY FRIEND,
AND I CARE ABOUT YOU,

BUT I CAN'T PROTECT YOU
AGAINST HENSON MUCH LONGER.

GO AWAY.
TAKE TIME OFF.

BUT I HAVE
NOWHERE TO GO.

PLEASE, CHRIS.

I CAN'T...

SIT IN THAT APARTMENT.

I CAN'T BE THERE.

YOU'LL RELAX.

IT'LL BE GOOD.

Bill:
LISTEN TO ME.
NO, NO, RAY.

YOU'VE GOT TO LISTEN
TO ME, ALL RIGHT?

THIS PLACE, YOU'VE GOT
TO COME SEE IT.

IT'S A STEAL.

IT'S JUST WHAT
YOU'VE BEEN LOOKING FOR.

IT'S A CABIN.

IT'S MODERN, BUT IT'S
SURROUNDED BY WOODS.

THERE'S A WOOD BURNING
FIREPLACE, THERE'S A LAKE.

NO, I'M TELLING YOU
IT'S WALDEN.

YEAH. YEAH.
IT SOUNDS GREAT.
WHEN CAN I SEE IT?

( phone rings )

- ( ringing )
- ( door opens )

BILL. GO.

( muffled moaning )

YOU MOVED AGAIN.
I TOLD YOU NO MOVING,

OR YOUR NOSE
WILL WIND UP
ON YOUR CHIN.

YOU THINK I'D
SCULPT THE FACE
OF JUST ANY MAN?

NO.

JUST MY FAVORITE ONE.

THAT WOULD BE YOU.

( woman clears throat )

HOW DID YOU
GET IN HERE?

GO AWAY.

( moaning continues )

SEX.

THEY'RE HAVING SEX.

IT'S THE THIRD
TIME TODAY.

FRANKLY, BRO',
I AM WORRIED ABOUT YOU.

I'M HERE TO CLEAN
YOUR APARTMENT.

YOU DON'T EVEN
HAVE TO THANK ME.

I DON'T WANT YOU
TO CLEAN MY APARTMENT.

YES, YOU DO.

OH, AND, UH...

PUT ON A CLEAN SHIRT.
I'M GONNA MAKE YOU DINNER.

( moaning )

YOU KNOW, I NEVER
LIKED HER ANYWAY.

I KNOW THAT'S WHAT PEOPLE
ARE SUPPOSED TO SAY,
BUT IT'S TRUE.

I COULD ALWAYS SEE IT.
I KNEW THERE WAS
SOMETHING WRONG.

YOU KNOW WHAT?

SHE WAS COLD.

- LIKE A COLD FISH.
- LUCY...

PLEASE!

I KNOW YOU'RE MY SISTER
AND YOU'RE TRYING TO HELP,

- BUT PLEASE...
- SHE WASN'T WARM.

I'M SORRY.

I DON'T MEAN TO MAKE
YOU FEEL WORSE.

I JUST-- I DON'T
KNOW WHAT TO DO.

IT'S BEEN THREE MONTHS
AND YOU ARE LIKE A ZOMBIE.

THERE'S NOTHING TO DO.

WELL... I DID
A COUPLE OF THINGS.

OH NO.

FIRST, I BOUGHT YOU
THIS REALLY GREAT BOOK,

IT'S CALLED "GET UP
AND RECOVER!"

OH, LUCY!

THERE ARE ALL THESE GREAT
EXERCISES IN HERE.

NOT JUST TO...

FORGET YOUR MISERY,

BUT TO GO FORWARD,
TO FACE YOUR PAIN,

YOU KNOW,
TO STRENGTHEN
YOU SOUL--

THERE'S NOTHING WRONG
WITH MY SOUL!

THIS IS EXACTLY THE SITUATION
THAT LIFE OFFERS YOU

A REAL OPPORTUNITY
TO GROW.

I MEAN, YOU DON'T WANT TO BE
SOME BITTER ASSHOLE, RIGHT?

GOTTA LEARN TO HONOR
YOUR FEELINGS,

AND FACE YOUR PAIN,

AND GET TO KNOW
WHO YOU ARE,

AND GO INTO THOSE NASTY
CORNERS OF YOUR PSYCHE,

AND FACE SHIT.

DO YOU GET
MY MEANING ABOUT...

WHAT WAS THE OTHER THING?

WHAT OTHER THING?

YOU SAID YOU DID
A COUPLE OF THINGS.

OH! YEAH.

I SET UP A DATE FOR YOU.

- ARE YOU KIDDING?!
- WITH BERNICE,

MY FRIEND FROM COLLEGE.
SHE JUST MOVED HERE
FROM L.A.

YOU DID WHAT?

YOU TOLD ME YOU THOUGHT
SHE WAS CUTE.

THAT WAS EIGHT YEARS AGO.
I MET HER FOR FIVE MINUTES.

BILL, YOU GOTTA
MOVE FORWARD.

- YOU GOTTA MOVE FORWARD, BILL.
- I CAN'T GO ON A DATE, LUCY.

I CAN'T TIE MY SHOES.
WHAT ARE YOU TALKING ABOUT,
A DATE?

- CANCEL IT.
- I CAN'T.

- WHY NOT?
- ( doorbell buzzes )

WHO IS THAT, LUCY?

JUST ONE DRINK, BILL.

IT'LL JUST BE ONE DRINK.

OH, GOD! NOW?!

BILL, "GET UP
AND RECOVER!"

CHAPTER SIX,

"NO TIME LIKE
THE PRESENT."

NO, LUCY,

N-O, NO.

HI!

( man whistles
"Bill Bailey" )

Bernice:
IT WAS THE HARDEST THING
I'D EVER DONE.

ALL MY FRIENDS BET ME
I COULDN'T DO IT.

THEY SAID, "YOU SMOKE
MORE THAN ANYBODY
WE'VE EVER MET."

AND IT WAS TRUE.
IT WAS TRUE.

BUT IT'S BEEN
THREE SOLID MONTHS,

AND I DID IT.
AND I AM FEELING GREAT.

JUST REALLY,
REALLY GREAT.

- MARTINI?
- I SMOKED FOR 15 YEARS...

- HERE YOU GO, SIR.
- ...I STARTED WHEN I
STOPPED PLAYING THE TUBA.

I USED TO PLAY THE TUBA.
I WAS REALLY GOOD ACTUALLY.

I REGRET THAT I STOPPED,
BUT, UM...

- ( whistling )
- I'M FEELING REALLY
INCREDIBLE NOW.

MY LUNGS ARE
REALLY HAPPY.

THE ONLY BAD THING
IS, UM...

I THINK I'VE GAINED
A LITTLE BIT OF WEIGHT
IN MY FACE.

- I CAN'T TELL.
- REALLY?

IT'S WORTH IT THOUGH.

JEEZ, I'M SUCH A HIGHLY
ADDICTIVE PERSONALITY...

( Bill tunes out )

HAVE YOU EVER BEEN
ADDICTED TO ANYTHING?

HAVE-- YOU-- EVER BEEN--
ADDICTED TO ANYTHING?

- NO.
- OH, YOU'RE LUCKY.

YEAH, I'M LUCKY.

I MEAN, IT'S REALLY AWFUL
TO BE A SLAVE TO SOMETHING.

IT'S JUST-- IT'S WHAT--
IT'S ALL ABOUT, RIGHT?

LIFE?
I MEAN, FREEDOM.

BEING ABLE TO MAKE
YOUR OWN CHOICES

AND BE YOUR OWN PILOT,

AND HAVE YOUR OWN WILL.

IT'S ONE OF THE REASONS
I MOVED HERE TO NEW YORK CITY,

BECAUSE I WANTED TO FEEL
REALLY, REALLY ALIVE

AND ALSO BECAUSE
OF THE RHYTHM HERE,

WHICH I LOVE.

YOU'RE NOT FREE,
YOU HAVE NO FREEDOM.

EXCUSE ME?

LOOK AT YOU.

YOU'RE MANUFACTURED.

WITH YOUR DIET,
AND YOUR HAIRCUT.

TALKING A MILE A MINUTE
BECAUSE YOU'RE AFRAID

YOU WON'T BE
ENTERTAINING ENOUGH.

YOU'RE LIKE A MILLION WOMEN
I SEE ON THE STREET EVERY DAY

FALLING ALL OVER THEMSELVES,
TRYING ANYTHING,

SO THEY WON'T BE LONELY.

IT'S CRYSTAL CLEAR TO ME.
I SEE RIGHT THROUGH IT.

YOU HAVE NO FREEDOM.

YOU'RE TERRIFIED.

YOU'RE ORDINARY.

YOU'RE A LITTLE PATHETIC.

YOU HAD NO RIGHT
TO DO THAT TO MY FRIEND.

IF YOU'RE MISERABLE,
THAT'S YOUR FUCKING PROBLEM.

- YOU DON'T HAVE TO TAKE IT
OUT ON THE WORLD.
- YEAH.

- SHE IS A GREAT PERSON.
- SHE TALKS TOO MUCH.

SOMEBODY HAD TO
PICK UP THE SLACK.
YOU SAID TWO WORDS TO HER

THE WHOLE NIGHT.
YOU DIDN'T EVEN LOOK AT HER.

- I'M SORRY.
- DON'T TELL ME.
TELL HER.

YEAH, YOU'RE GONNA CALL HER
AND APOLOGIZE.

APOLOGIZE?

I'M SORRY.

WHAT DO YOU WANT
ME TO SAY?

I JUST CAN'T
DO IT ANYMORE.

ROSE, HONEY,
WE'VE GOT TO START PACKING

IF WE'RE
GOING TO LEAVE
IN THE MORNING.

WE DIDN'T MEAN
FOR IT TO HAPPEN, BILL,

IT JUST HAPPENED.

I KNOW.
I KNOW.

I'M REALLY SORRY.

( phone beeping )

YOU KNOW
THAT SON OF A BITCH
CALLED ME.

- YEAH?
- YEAH.

HE WANTED ME
TO COME UP AND VISIT.

- WHAT DID YOU SAY?
- WHAT DO YOU THINK I SAID?

I TOLD HIM HE SHOULD
HAVE HIS BALLS SHOT OFF

FOR WHAT HE DID TO YOU.
THAT'S WHAT I SAID.

WELL, THANKS.

I HAVE A THEORY.
I THINK YOU COULD
GET HER BACK.

- EDDIE--
- LISTEN, YOU COULD.

YOU COULD GO UP THERE,
GET HER BACK,

THEN DUMP HER ON HER ASS.
THAT'S WHAT I'D DO.

WELL, YOU'RE SPECIAL.

DID YOU EVEN TRY
TO GET HER TO STAY?

- NO.
- NO?

IT WAS
A PHONE CALL, EDDIE.

SHE CALLED ME ON THE PHONE.
THE CLOSET WAS EMPTY.

- SHE WAS GONE.
- LISTEN TO ME...

I HAVE TWO
VERY IMPORTANT
WORDS FOR YOU:

RE-BOUND.

YOU NEED TO HAVE SEX--
WITH NEW PEOPLE.

DIFFERENT PEOPLE.
LOTS OF PEOPLE.

- I CAN'T.
- YOU CAN'T?

THEN YOU'VE GOT TO GET HER BACK,
OR YOU GOT TO KILL YOURSELF.

I AM ALL OUT
OF IDEAS HERE.

WHAT DID YOU THINK
OF HER, EDDIE?

SHE WASN'T THAT GREAT,
WAS SHE?

NAH.

SHE WAS AVERAGE.

I'LL TELL YOU SOMETHING,
SHE WASN'T WORTH THIS HEARTACHE.

- YOU'RE RIGHT.
- YEAH, I'M RIGHT.

AND HE'S...

THERE'S NOT EVEN
A WORD FOR HIM.

NO, THERE ISN'T.

SON OF A BITCH.

HE'S GOT
SOME POOL UP THERE.

WHAT?

YOU WENT UP THERE?

YEAH-- NO.
NO.

HE WAS BRAGGING
ABOUT IT.

SON OF A BITCH.

Man:
IT'S GOT TO BE WORTH
AT LEAST $100.

- 50.
- 95.

- 50.
- COME ON, 75.

- 49.
- WHAT?

THE MORE YOU ANNOY ME,
THE LOWER I GO.

FINE.

CAN I HELP YOU?

YEAH.

I HAVE THIS NECKLACE.

I'M SORRY,
I'M NOT VERY GOOD
AT THIS KIND OF--

LET ME SEE IT.

NICE.
VERY NICE.

150.

I PAID
$300 FOR THAT.

DEPARTMENT STORE
PRICES.

175.
THAT'S THE BEST I CAN DO.

IT'S A REAL GRAVEYARD
AROUND HERE, RIGHT?

- YEAH.
- I HAVE A RESPECT FOR OBJECTS.

THE RIGHT ONE
CAN CHANGE YOUR LIFE.

HERE.

YOU GOT A MINUTE?

- NO.
- GOOD.

I WANT TO SHOW
YOU SOMETHING.

HAVE YOU EVER SEEN A GUN
LIKE THIS BEFORE?

- NO.
- IT'S A CLASSIC.

1873 PINKERTON DETECTIVE.

THEY DON'T MAKE
GUNS LIKE THIS ANYMORE.

BIRDSHEAD STEEL, BACKSTRAP,
TRIGGER GUARD...

WALNUT GRIPS.
( laughs )

IT'S VERY NICE.

DO YOU WANT IT?

YOU MEAN, BUY IT?

YEAH.
JUST CAME IN
THIS MORNING.

I DON'T HAVE
A PERMIT,

OR WHATEVER
IT IS YOU NEED--

LOOK WHAT I'M DOING.

I AM TURNING
THE OTHER WAY.

AHH!
( laughs )

YOU SHOULD HAVE THIS GUN.
YOU WANT THIS GUN.

THIS GUN...

HAS SPECIAL QUALITIES.

I KNEW IT THE MOMENT
I HELD IT IN MY HAND.

HERE.
HOLD IT IN YOUR HAND.

YOU SHOULD HAVE
THAT GUN.

YOU NEED
THAT GUN.

Ray:
REALLY? YOU NEVER FIGHT?

I FIND THAT HARD
TO BELIEVE.

SEEMED LIKE THERE WAS
A PROBLEM BETWEEN YOU TWO.

HEY, MAYBE I'M WRONG.

I WAS JUST CURIOUS.
I'VE NEVER HAD

A HEALTHY RELATIONSHIP,
SO I WAS WONDERING
WHAT IT WAS LIKE.

WOULD YOU SAY YOU AND ROSE
HAVE SEX VERY OFTEN?

( laughing )

BERNICE?

I SAW YOU WALK IN
TO THE STORE.

I WAS GOING
TO FOLLOW YOU IN,
BUT I WAITED HERE INSTEAD.

I TRIED
TO CALL YOU BEFORE.

WELL, I'M NOT ANSWERING
MY PHONE,

OR CHECKING MY MESSAGES
OR GOING TO WORK

OR BRUSHING MY HAIR--

NOT SINCE THAT NIGHT.

WELL, I TRIED
TO CALL YOU.

I REALIZE
I WASN'T VERY NICE,
AND I'M SORRY.

THAT'S NOT
REALLY GOOD ENOUGH.

NO?

NO.

- SOMETHING HAPPENED TO ME.
- YEAH?

- I'M NOT THE SAME ANYMORE.
- WHAT HAPPENED TO YOU?

YOU HAPPENED TO ME.

YOU DID SOMETHING.

YOU TOOK
SOMETHING AWAY.

I DIDN'T TAKE
ANYTHING.

YOU TOOK
SOMETHING AWAY.

I DON'T KNOW WHAT IT IS.
I DON'T KNOW HOW YOU DID IT.

DID YOU PUT
SOMETHING IN MY FOOD,

OR DID YOU GIVE
ME A SPELL?

I DON'T KNOW
WHAT YOU DID.

- I DIDN'T.
- YOU DID. YOU DID.

LOOK, I'M SORRY.

BUT PLEASE,
I'M BUSY RIGHT NOW.

NO, YOU'RE NOT.

YOU'RE NOT
EVEN SORRY.

( door buzzes )

WHAT ARE YOU DOING?

NOTHING.
WHAT DO YOU WANT?

CAN I COME IN?

I'M LEAVING TOWN IN THE MORNING.
I HAVE TO PACK, SO YOU CAN'T--

WHERE ARE
YOU GOING?

- TO MY SISTER'S.
- LUCY?

MY OTHER SISTER.

YOU DON'T HAVE
ANOTHER SISTER.

YOU KNOW
WHAT'S FUNNY?

IT WAS A MERCY DATE.

I DON'T EVEN REMEMBER THINKING
YOU WERE THAT ATTRACTIVE.

YEAH?

I'M GOING TO BE
SICK AGAIN.

WHERE'S
YOUR BATHROOM?

( door buzzes )

BERNICE IS MISSING.
I AM REALLY WORRIED.

NO ONE HAS SEEN
HER FOR THREE DAYS.

- SHE HASN'T CALLED.
- MAYBE SHE'S SICK.

- DID YOU TALK TO HER?
- NO.

I CALLED,
BUT SHE WASN'T THERE.

( water running )

IF YOU HEAR FROM HER,
JUST LET ME KNOW, OKAY?

- NO PROBLEM.
- OKAY.

- LUCY?
- WHAT?

DO YOU THINK...

DO YOU THINK I COULD
GET HER BACK?

- ROSE?
- SHH.

YES. I WAS
JUST WONDERING...

I MIGHT GO SEE HER.
FACE TO FACE.

TAKE A BUS UP THERE,
I DON'T KNOW.

DO YOU THINK IT COULD WORK,
IF I SAID THE RIGHT THING?

I DON'T THINK SHE KNEW
WHAT SHE WAS DOING.

I THINK SHE JUST--

BILL...

HOW FAR AWAY IS
THAT HOUSE?

IT'S ABOUT
FOUR HOURS AWAY.

LET ME MAKE SURE
I UNDERSTAND YOU.

YOU WANT TO TAKE
A FOUR HOUR BUS RIDE

TO THE MIDDLE OF NOWHERE
TO BEG A WOMAN

WHO LEFT YOU
OVER THE PHONE.

ARE YOU SERIOUS?

NO.

IT WAS JUST AN IDEA.

OH BILL,

DON'T YOU HAVE ANY PRIDE?

YES, I DO.

PROMISE ME
YOU WON'T DO IT, BILL.

I WON'T DO IT.

DO YOU WANT ME
TO COME IN?

- CAN I GET YOU--
- NO, NO.

I'LL CALL YOU TOMORROW.

GOOD. OKAY.

OH AND UH,
GOOD LUCK FINDING...

- BERNICE--
- BERNICE.

BYE.

- WHY'D YOU DO THAT?
- DO WHAT?

LIE.

SHE WANTED TO KNOW
WHERE I WAS, RIGHT?

- AND YOU DIDN'T TELL HER.
- I DON'T KNOW. YEAH.

YOU FEEL
A LITTLE GUILTY.

YOU DIDN'T WANT HER
TO SEE ME HERE LIKE THIS.

I DIDN'T WANT
TO GET INVOLVED.

YOU SHOULD CALL HER.

DON'T GET INVOLVED.

I'M NOT ASKING.

YEAH,
I'M NOT TELLING.

YOU CAN'T STAY HERE,
BERNICE.

DO YOU WANT
TO TAKE MY CAR?

- YOU HAVE A CAR?
- YEAH.

TO WHEREVER YOU'RE GOING.

NO... JUST--

DON'T BE SILLY.
YOU CAN HAVE IT.

I DON'T WANT IT ANYMORE.

YOU CAN'T STAY.
YOU-- YOU.

BILL, I NEED TO GET
SOME SLEEP RIGHT NOW, OKAY?

YOU CAN WAKE ME UP
IN THE MORNING,

AND I'LL GIVE YOU
THE CAR KEYS.

AND I'LL SAY GOODBYE.

OKAY?

YOU CAN'T JUST LEAVE ME
IN THE STREET LIKE THIS.

I'M A HOMELESS PERSON.
WHAT AM I GOING TO DO?

ROLAND. ROLAND!

I CAN'T...

OH...

CAN I HELP YOU?

SURE.

DO YOU NEED ME
TO MOVE THIS
SOMEWHERE?

MY BOYFRIEND
JUST KICKED ME OUT
OF HIS APARTMENT.

SORRY.

HIS BEST FRIEND HIT ON ME
AND I GET BLAMED.

THAT DOESN'T
SEEM FAIR.

MY FRIEND CELIA LIVES
10 BLOCKS FROM HERE.

CAN YOU HELP ME
GET THIS OVER THERE?

SURE.
HERE LET ME
TAKE THIS.

OKAY.

I'M BILL.

ROSE.
THANKS FOR HELPING ME.

SURE.

I'M SORRY.

NO, I'M SORRY.

( chuckling )

OUCH!

( neighbors moaning )

Man: ARE YOU ALMOST THERE?
Woman: UH HUH! UH HUH!

Woman:
OH MY GOD!

Rose:
♪ WON'T YOU COME HOME,
BILL BAILEY? ♪

♪ WON'T YOU COME HOME? ♪

♪ I MISS YOU
ALL DAY LONG. ♪

( floorboard creaks )

READY TO GO?

I'M GOING ALONE.

THAT'S FINE, BUT I'M
OFFERING YOU MY CAR.

THAT'S VERY NICE OF YOU,
BUT...

OH!

LOOK WHAT I FOUND.

NOW JUST--
GIVE ME THAT.

COME ON.

I LIKE IT.
IT'S PRETTY.

- IT'S A PRETTY GUN.
- BERNICE...

IT'S NOT LOADED.

YOU DON'T HAVE TO BE AFRAID
OR ANYTHING.

HEY, WAIT A MINUTE.
WHERE ARE YOU GOING?

Bernice:
HEY.

DID YOU KNOW...

THAT I WENT
TO HIGH SCHOOL
WITH ROSE?

YEAH,
WILSHIRE HIGH

IN DAYTON, OHIO.

SHE SAT NEXT TO ME
IN GEOMETRY CLASS,

AND CHEATED OFF
MY PAPER.

I HAVE
A GREAT CAR.

IT'S PURPLE.
COME HERE.

THIS IS YOUR CAR?

YEAH.
I'VE HAD IT FOREVER.

WHY?

IT'S GOOD LUCK.
CAN'T GET RID OF IT.

- DOES IT DRIVE?
- YEAH.

GET IN.

I CAN'T--
I'M NOT GONNA--

YOU LOOK GOOD
IN THAT CAR.

- I CAN'T JUST
TAKE YOUR CAR.
- YOU'RE NOT.

YOU'RE GOING TO TAKE ME
SOMEWHERE FIRST.

- I AM?
- YEAH.

DON'T WORRY,
IT'S NOT FAR.

YOU DRIVE.

GO, GO, GO.

GOOD.

I'LL JUST BE
A MINUTE.

( radio turns on )

( radio turns off )

OH SHIT.

OH SHIT!

UMM... OH, GOD.

GOD...

( whimpering )

WHAT AM I--

COME ON.

COME ON, COME ON.

( Bernice humming )

WAIT. WAIT.

WHAT?
I CAN'T BELIEVE YOU.

NO, HOLD ON.
DON'T PULL OUT--

AREN'T THE COPS GOING
TO COME AND HAUL YOU AWAY?

DON'T WORRY ABOUT IT.

I HAVE TO SEE
IF WE HAVE A MAP.

- WE?
- YEAH.

NO NO NO NO.
I'M JUST GONNA
TAKE YOU HOME.

NO, YOU'RE TAKING ME
TO UPSTATE NEW YORK,
TO WOODBARN.

- WHAT?
- MY GRANDMA LIVES
IN WOODBARN.

SHE'S VERY ILL.
SHE MIGHT DIE.

- I WANT TO GO SEE HER.
- THEN YOU'RE GOING
ALONE, LADY.

THE NAME IS BERNICE.

THIS IS MY CAR,
AND WHEN IN MY CAR
YOU WILL ADDRESS ME

BY MY NAME
WITH PLEASANT RESPECT.

I THOUGHT YOU SAID
THAT GUN WASN'T LOADED.

I DIDN'T CHECK.
DID YOU?

- YOU WOULDN'T SHOOT.
- OH YEAH?

I'M LOSING MY MIND,
AND IT'S ALL YOUR FAULT.

I HATE YOU AND I WOULD
SHOOT YOU IN A SECOND,

AND IF THERE WEREN'T
ANY BULLETS THEN I'D
KICK YOU DEAD.

SO SHUT UP AND DRIVE!

OKAY.

THANK YOU.

- ( Bill laughing )
- Ray: TALLAHASSEE.

Ray:
TALLAHASSEE.

Laurie:
YOU JUST KEEP GIVING ME E'S.

Ray:
YOU HAVE TO THINK
OF ANOTHER "E," THAT'S ALL.

Bill:
E'S ARE THE BEAUTIFUL PEOPLE.

- Laurie: AN-- AN--
- Ray: "E," "E"--

- Laura: OKAY, ELLENVILLE.
- Ray: WATCH THE CAMERA--

Ray:
ELLENVILLE, SO THAT'S
AN "E" TO ROSE NOW.

Bill:
THIS IS MY BEAUTIFUL WIFE.

AND THIS IS BILL,
I'M BILL.

I DON'T WANT TO PLAY
THIS GAME ANYMORE.

Ray:
NO, TOO BAD-- IT'S FUN.

Laurie:
OH, AND WE WERE JUST
GETTING REALLY GOOD AT THIS.

Ray:
OKAY, WE'LL CHANGE IT UP A BIT.
THIS WILL BE GREAT.

Ray:
INSTEAD WE'LL DO CITIES, STATES
AND TOWNS WE'VE HAD SEX IN.

( laughs )

- YEAH, IT'LL BE FUN!
- THEN I'LL DEFINITELY LOSE

BECAUSE I'VE BARELY HAD SEX
IN NEW YORK.

- THAT'S RIDICULOUS.
- Ray: THIS WILL BE GREAT.

I'LL START.
HMM... DENVER.

OH MAN...
THERE WAS A RODEO CHICK.

SPURS AND EVERYTHING.
EVERYTHING.

( laughing )
OKAY, ROSE.

SO, TO YOU WITH AN "R."

Laura: "R" TO YOU, ROSE.
Ray: "R"--

I'M NOT PLAYING.

Ray:
COME ON, ROSE!
ARE YOU AFRAID YOUR HUSBAND

IS GOING TO FIND OUT
ABOUT YOUR FLING...

...IN RIO?

- Bill: FUCK YOU, RAY.
- Laurie: YOU'RE SUCH
AN ASSHOLE.

YOU'RE RIGHT.
I'M AN ASSHOLE,

BUT UNDERNEATH,
I AM GOOD.

- I'M GOOD.
- DEFINE GOOD.

Laurie:
OKAY, WHAT DO WE HAVE?
"R"?

YOU EVER...

PLAY THAT GAME,
"GEOGRAPHY?"

- WHAT?
- YOU KNOW, THE GAME.

I SAY A STATE
OR CITY, OR A TOWN.

WHATEVER IT
ENDS IN--

YEAH, I KNOW IT.

- I ALWAYS WIN.
- REALLY?

ARMY BRAT.
TRAVELLED ALL OVER.

I THOUGHT YOU GREW UP
IN OHIO?

MY FATHER DIED.
WE MOVED THERE TO LIVE
WITH MY GRANDMOTHER.

- I'M SORRY.
- YOU WANNA SEE?

HOW I CAN KICK YOUR ASS
IN GEOGRAPHY?

I WAS A PRETTY
GOOD STUDENT.

GOOD FINE, GO AHEAD.
YOU START.

FINE, NEW YORK.

OH, TRICKY.
A "K" SO EARLY
IN THE GAME--

- KALAMAZOO.
- OHIO.

HOW DID YOU THINK
OF THAT ONE?

AH, OMO WENZ.

- EXCUSE ME?
- IT'S A RIVER IN ETHIOPIA.

- YOU CAN'T PLAY RIVERS.
- OH, FINE.

OKAY THEN... OMALIQ,
ENDING IN "Q."

IT'S A CITY IN UZBEKISTAN,
NORTH OF AFGHANISTAN.

- CHEW ON THAT FOR A WHILE.
- WHAT ABOUT OREGON,

- OR OKLAHOMA?
- WHAT ABOUT THEM?

OLMA... OLMA--

OLMALIQ.
I PLAY TO WIN.

- GO AHEAD. "Q."
- I CAN'T.

IT'S EASY.
COME ON. QUEENS.

OH, FINE.
THEN GIVE US A "Q."

I DON'T WANT TO.

I SEE, IT'S NOT
THAT YOU CAN'T,

IT'S THAT YOU JUST
DON'T WANT TO.

OKAY, FINE.
MAYBE WE SHOULD
READ FROM THIS BOOK

THAT I FOUND
IN YOUR LIVING ROOM--

"GET UP AND RECOVER!"

PLEASE, NO...

"WHEN A PERSON LOSES
THE ONLY THING THAT MADE
THEIR LIFE WORTH LIVING,

THEY MOST LIKELY
WILL EXPERIENCE GREAT
FEELINGS OF PAIN.

THEY MAY THINK
TO THEMSELVES,
'WHY AM I HERE?

WHY SHOULD
I REMAIN ALIVE?

WHAT IS LEFT
TO LIVE FOR?'"

PRETTY HEAVY STUFF, BILL.

GET OFF AT THIS EXIT.
WE NEED A GAS STATION.
I HAVE TO PEE.

Q, Q, Q...

DRIVE.

I'VE BEEN WEARING
THE SAME CLOTHES
FOR THREE DAYS.

WE'RE GOING TO SEE
MY GRANDMOTHER.

QUEBEC, ALL RIGHT?

I DON'T WANT
TO PLAY ANYMORE.

( radio playing )

DO YOU LIKE THIS SONG?

I DON'T KNOW.

I LIKE
THIS SONG.

HEY BILL,
LET'S DANCE.

WHAT?

DANCE.

WE'RE IN A CAR.

SO.

SO, I'M DRIVING.

DANCE OR
I'LL SHOOT YOU.

I DON'T
BELIEVE YOU.

GO AHEAD.

GOOD.

GOOD.
VERY GOOD.

NOW PULL OVER
TO THE SIDE.

IF YOU ASK ME WHY,
I'LL SHOOT YOU IN THE MOUTH.

YOU'RE CRAZY.

Bernice:
GET OUT OF THE CAR.

- WHY?
- HURRY UP.
JUST GET OUT OF THE CAR.

DANCE WITH ME.

THIS IS WEIRD.

JUST SHUT UP
AND DANCE.

I DON'T WANT TO.

I DON'T CARE.

JUST DO IT.

♪ You got me
on a roller coaster ♪

♪ I got you unaware ♪

♪ You got me
on a roller coaster ♪

♪ You're driving me insane ♪

♪ I said, you got me
on a roller coaster ♪

♪ I got you unaware ♪

♪ You got me
on a roller coaster ♪

- ♪ You're driving me insane. ♪
- THANKS.

GET BACK
IN THE CAR.

- WHERE ARE YOU?
- WHAT?

WHERE DO YOU GO
WHEN YOU GET THAT
LOOK ON YOUR FACE?

WHAT LOOK?

THAT DREAMY,
HAPPY, MISERABLE LOOK.

I DON'T KNOW.

IT'S ROSE, RIGHT?
YOU'RE EX?

GIRL VOTED MOST BEAUTIFUL
IN THE CLASS OF '84?

GIRL WHO WENT OUT WITH
MY BOYFRIEND WHO DUMPED ME
FOR HER ON A DIME?

AND YOU KNOW WHAT?
SHE DUMPED HIM.

- PAUL ELLIOTMAN.
- WHAT?

HE'S A SHOE SALESMAN NOW
IN HONOLULU.

- GET OFF AT THIS EXIT.
- NEED TO CHANGE INTO
ANOTHER DRESS?

NO, I WANT
TO FIND A STORE.

WHAT ARE YOU DOING?

FINDING SOMETHING
FOR MY GRANDMA.

WE'RE CLOSE TO HER HOUSE NOW.
I CAN'T SHOW UP EMPTY-HANDED.

- OF COURSE NOT.
- HEY...

WHAT DO YOU THINK?

I WOULDN'T BUY IT.

YOU'RE RIGHT.

- THEN WHY DID YOU ASK ME?
- TO SEE IF YOU'D BE HONEST.

WHAT ABOUT THAT?

IT'S NICE.
DOES YOUR GRANDMOTHER
LIKE SAXOPHONES?

TUBAS.
SHE TAUGHT ME HOW
TO PLAY ONE ONCE.

I WAS PRETTY GOOD.
BUT SHE'S A MUSICAL GENIUS.

- SHE CAN PLAY ANY INSTRUMENT.
- FLUTE?

YEAH, SHE CAN PLAY
THE FLUTE, THE PIANO,
THE CELLO, THE VIOLIN.

SHE WRITES HER OWN SONGS.
THE ONLY THING SHE CAN'T DO
IS SING.

- WHY NOT?
- I'M GOING TO TAKE THIS.

BUY ME A ROSE.

BUY ME A ROSE...

OR ELSE.

I'LL TAKE ONE OF THESE,
PLEASE.

THEY'RE NOT
EASY TO TRAIN.

THANKS.
LET'S GO.

TAKE THE THORNS OFF.
USE YOUR NAILS.

OKAY.
GOOD.

NOW OPEN
THE DOOR FOR ME.

I'M ONLY ASKING YOU TO BE
A GENTLEMAN FOR ONE DAY.

NOW OPEN THE DOOR FOR ME,
OR I'LL SHOOT YOU IN THE FOOT.

THANK YOU
VERY MUCH, BILL.

I LIED TO YOU.

THIS IS WHERE
I LET YOU OUT,

AND NOW I TAKE
THE CAR--

I LIED WHEN I TOLD YOU
IT WAS A MERCY DATE.

IT WASN'T A MERCY DATE.
I LIED.

I'D LIKE TO GET STARTED
SO I'M NOT DRIVING IN THE DARK.

I TOLD YOU I DIDN'T REMEMBER
YOU AS BEING VERY ATTRACTIVE.

- BUT THAT'S NOT TRUE.
- I HAVE BAD NIGHT VISION,

AND I FIND IT HARD
TO CONCENTRATE
WHEN I'M TIRED.

IT WASN'T WHAT
YOU LOOKED LIKE
THAT I REMEMBERED.

YOU KNOW WHAT
I REMEMBERED?

YOU WERE SO WARM.

AND YOU HAD THIS
SWEET LITTLE LAUGH

THAT YOU
DON'T HAVE ANYMORE.

AND YOU LOOKED
RIGHT INTO A PERSON'S EYES.

I THOUGHT YOU WERE SO--

I CAME IN FROM D.C.
TO VISIT YOUR SISTER,

AND THAT WAS BEFORE
I WENT TO L.A.

WE WENT OUT FOR PIZZA,
IT WAS MAYBE 45 MINUTES.

BUT I REMEMBER THINKING...

"WOW.

THIS PERSON
IS SO REAL,

AND HE'S SO...

PRESENT...

AND HE'S SO WARM.

I WONDER
WHERE HE'LL GO?

I WONDER WHAT
WILL HAPPEN TO HIM?

I WONDER
WHO HE'LL LOVE?"

WHO'S THAT?
YOUR GRANDFATHER?

MY GRANDFATHER
IS DEAD.

I DON'T KNOW
WHO THAT IS.

HELLO.
YOU MUST BE CICI.

- YEAH.
- YOUR GRANDMOTHER TOLD ME
ABOUT THIS CAR.

SHE CALLS IT
THE PURPLE HEART.

I'M SORRY.
WHO ARE YOU?

I'M YOUR GRANDMOTHER'S
FRIEND, MAX.

WHY DON'T YOU KIDS
COME INSIDE?

OH, SURE.
WE'D LOVE TO.

- WOULDN'T WE, BILL?
- SURE.

IT'S GREAT
TO MEET YOU, CICI.

AND YOU TOO, BILL.

I'M JUST COMING IN
TO USE THE PHONE.

RIGHT.

Woman's voice:
Hello? Hello?

- ROSE?
- Yes?

- Bill?
- I'M NEARBY.

Where are you?

I'M COMING OVER.

You can't.
Not tonight.

I HAVE TO SEE YOU.
I HAVE TO SPEAK TO YOU.

Bill...

I LOVE YOU.

( phone hangs up )

Max:
BILL, COME ON IN HERE.

- I REALLY SHOULDN'T.
- SIT DOWN.

WHERE'S YOUR GRANDMA?

TAKING A NAP.

IS SHE ON A LOT
OF PAINKILLERS,
OR MEDICATION?

NO, NO. NOT MUCH.

SHE LIKES
TO BE LUCID.

- HOW MUCH LONGER WILL SHE--
- I DON'T KNOW.

A COUPLE OF MONTHS,
MAYBE WEEKS.

NO, I MEANT,
HOW MUCH LONGER WILL SHE NAP?

I USUALLY WAKE HER UP
SO WE CAN HAVE DINNER TOGETHER.

WEEKS?

OR MONTHS.

AH, JESUS.

I CAN'T DO
THIS AGAIN.

I DON'T LIKE STELLA
TO SEE ME LIKE THIS
ALL THE TIME.

HOW LONG HAVE YOU KNOWN
MY GRANDMOTHER?

OH, I'VE KNOWN
YOUR GRANDMOTHER 68 YEARS.

SINCE GRAMMAR SCHOOL.

WE WENT TOGETHER
IN HIGH SCHOOL.

AND THEN I WAS AWAY
IN THE ARMY DURING THE WAR,

AND WHEN I CAME BACK,

SHE HAD MARRIED
YOUR GRANDFATHER, JOEL.

WHICH WAS A TRAGEDY FOR ME,
BECAUSE I LOVED HER.

SEVERAL YEARS AGO,
I LEARNED THAT JOEL HAD PASSED,

AND I SET OUT
TO WIN HER HEART.

TWO YEARS AGO,
I WON IT.

AND SHE WOULD HAVE ME,
AND HERE WE ARE.

( bells chiming )

SHE'S AWAKE.
I'M COMING, SWEETHEART.

I'M COMING!

ARE YOU LEAVING NOW?

SOON.

WILL YOU MEET
MY GRANDMA FIRST?

( knocks on door )

BERNICE.

GIVE ME A DAMN KISS,
RIGHT NOW.

( Max laughs )

WHAT'S THE MATTER
WITH YOU, CHILD?

YOU LOOK TERRIBLE.

DOESN'T SHE LOOK
TERRIBLE, MAX?

( Max laughs )

GRANDMA, LOOK,
I BROUGHT YOU THIS.

OH, CICI.

YOU REMEMBERED
TO TAKE THE THORNS OFF.

OF COURSE.
AND I BROUGHT YOU THIS.

OH, IT'S BEAUTIFUL.

IT'S WONDERFUL.
CAN I ASK YOU A QUESTION?

- WHAT, GRANDMA?
- WHO'S THAT MAN?

- YOU MEAN, THAT MAN?
- YEAH.

HI. I'M BILL.

WHO'S BILL?

BILL IS A MAN...

WHO TOOK ME
ON A DATE LAST WEEK.

AND THEN HE DROVE ME
UP HERE IN THE PURPLE CAR.

WOW, BILL.

IT MUST HAVE BEEN
SOME DATE.

YEAH, YOU COULD
SAY THAT.

I CAN'T STAY LONG.
I HAVE TO GO SOMEWHERE.

DRIVE SOMEWHERE...
ELSE.

NONSENSE.
YOU'RE STAYING
FOR DINNER.

MAX, GO MAKE DINNER
FOR ALL OF US.

SURE, HONEY.
I LOVE YOU.

I LOVE YOU TOO,
YOU BASTARD.

( Max laughs )

IF YOU'LL
EXCUSE ME,

I HAVE TO GET READY
FOR DINNER.

IN MY PRESENT
CONDITION,

THAT COULD TAKE
YEARS.

CICI, YOU GO TAKE A SHOWER
BECAUSE YOU STINK LIKE A PIG.

BILL, YOU STAY HERE
WITH ME AND BRUSH MY HAIR

AND TALK TO ME
FOR A MINUTE.

LEAVE US, CICI.
GO.

OKAY.
I LOVE YOU, GRANDMA.

YEAH, YEAH,
I LOVE YOU, TOO.

ALL RIGHT, FINE.

MY BRUSH IS
ON THE BUREAU.
IT'S SILVER.

GO GET IT.

OKAY.

ADORABLE,
ISN'T SHE?

COME OVER HERE,
SIT DOWN,

AND BRUSH
MY HAIR OUT.

OKAY.

GO AHEAD,
BRUSH MY HAIR ALREADY.

OH, YEAH.

OH, THAT'S GOOD.

KEEP GOING.
HARDER.

MAX IS TOO AFRAID
HE'LL HURT ME.

HE DOESN'T DO THIS
HARD ENOUGH.

OH, MY!

OH-HH, YES,
YES, YES!

TELL ME, BILL,

WHAT'S WRONG
WITH MY GRANDDAUGHTER?

I DON'T KNOW.

I'M AFRAID
SHE'S BROKEN.

I'VE BEEN
WAITING ALL HER LIFE
FOR THAT TO HAPPEN--

SOMEONE
TO COME ALONG,

AND PUSH HER
OVER THE EDGE.

NO, SHE'S OKAY.

REALLY.

YOU DON'T SEEM
QUITE RIGHT TO ME,
EITHER.

BUT YOU'RE
A STRANGER,

MAYBE YOU'VE ALWAYS
BEEN LIKE THIS.

NOT CICI.
SHE WAS ALWAYS FINE.

MAYBE A LITTLE
TOO FINE.

I DON'T KNOW.

IF YOU SAY
"I DON'T KNOW"
TO ME ONE MORE TIME,

I'M GONNA SMACK YOU
IN YOUR AREA,

I SWEAR TO GOD.

DID SHE TELL YOU
ABOUT HER FATHER?

THAT HE DIED?

AND HER MOTHER?

NO.

SHE SIMPLY
TOOK OFF ONE DAY...

A YEAR LATER.

CICI NEVER TALKED
ABOUT IT.

THE DOCTOR GAVE HER
SOME VALIUM.

BACK THEN, THEY DIDN'T
KNOW ANYTHING ABOUT GRIEF.

I'M NOT SURE THEY KNOW
ANYTHING ABOUT IT NOW, MA'AM.

YOU DO KNOW HOW TO SPEAK
IN FULL SENTENCES. GOOD.

NOW LISTEN TO ME, BILL.

I WANT YOU TO MAKE SURE
NOTHING HAPPENS TO HER.

I'M NOT SAYING
MARRY HER,

JUST LOOK OUT
FOR HER.

THERE ARE
A LOT OF SWINE

AND WOLVES
AND BASTARDS OUT THERE--

LET ME TELL YOU,
BILL,

CICI HAS
KNOWN THEM ALL.

GO ON BRUSHING.

AHH.

OH, NO, NO.

$500?

AY-YI!
ARE THEY NUTS?

( piano playing )
LIKE THE WINE, BILL?

HURRY UP, STEL!
DINNER'S GETTING COLD.

Stella:
FUCK YOU, I'M COMING.

COME OUT HERE AND WATCH ME
WALK DOWN THE STAIRS.

YOU TOO, BILL.

THESE SOCKS
ARE SO STUPID.

I'M SORRY,
YOU CAN'T GO BAREFOOT.

YOU'LL CATCH CANCER.

OH, HEAVENLY ANGELS.

BILL, HAVE YOU EVER
SEEN SUCH A SIGHT?

NO, I HAVEN'T.

TELL HER
HOW BEAUTIFUL SHE IS.

GRANDMA.

I HAVE NEVER SEEN
MORE BEAUTIFUL ANGELS

DESCEND A STAIRCASE
IN MY WHOLE DAMN LIFE.

- ( laughing )
- NO, YEAH, IT'S TRUE.

I DON'T BELIEVE THAT.
YOU ATE ROSES?

- YES.
- Bernice: SHE ATE THEM.

I LOVED THEM.
THEY WERE SO PRETTY.

- Bill: THE STEM AND EVERYTHING?
- THE STEM AND EVERYTHING.

Stella:
BILL, HAVE
SOME MORE WINE.

NO, I HAVE TO DRIVE
AFTER DINNER.

- I GOT TO GO OUT--
- OH, BILL.

DIDN'T ANYONE EVER TEACH YOU
JUST TO BE WHERE YOU ARE?

CICI, POUR HIM
ANOTHER GLASS.

SO THAT'S WHY,
WHEN GRANDMA WAS A CHILD,

THEY HAD TO TAKE OFF
ALL THE THORNS.

NOW IT'S A TRADITION
TO GIVE HER ROSES
WITHOUT THORNS.

I GAVE HER DOZENS
AND DOZENS, BELIEVE ME.

THAT WAS SOME
COURTSHIP.

TALK ABOUT BEGGING.

- DID YOU BEG HER?
- Max: DID I BEG HER?

I PLEADED.
I CRIED.

I WROTE HER LONG LETTERS.
I CALLED HER CONSTANTLY.

FINALLY I JUST PLANTED MYSELF
RIGHT ON HER DOORSTEP.

- HE BAKED ME COOKIES.
- I BAKED HER COOKIES.

Stella:
I LIKE COOKIES.

( laughing )

- ( coughing )
- SWEETHEART?

LOVER, LOVELY,
ARE YOU ALL RIGHT?

- I'M FINE.
- WHERE ARE YOU GOING?

- I NEED SOME WATER.
- I CAN GET IT.

SHE'S IN TERRIBLE PAIN.
I'M TELLING YOU.

NO, SHE DOESN'T
SEEM SO BAD.

SHE'S JUST TRYING
TO KEEP IT FROM YOU.

SHE'S PUTTING ON
HER BEST FRONT.

SHE DOESN'T WANT
TO UPSET YOU.

OH, JESUS, I CAN'T
CRY AGAIN TODAY.
SHE'LL KILL ME.

WHAT WERE YOU SAYING
ABOUT ME?

JUST THAT YOU ARE
THE LOVELIEST.

AW.

SO, GRANDMA,

DO YOU LIKE MY GOWN?

I LOVE IT!
I LOVE YOUR GOWN.

IT REMINDS ME
OF THAT ONE

YOU MADE YOUR FRIEND GINA
FOR THE PROM.

Bernice:
IT IS. IT'S
THE GINA PROM DRESS,

ONLY A NICER FABRIC.

YOU MADE THAT GOWN?

YEAH.

AND THOSE OTHERS...?

- AND THE OTHERS.
- THEY'RE ALL YOURS?

YEAH.

THEY WEREN'T SELLING,
AND YOU KNOW WHY?

'CAUSE THEY WERE CHARGING
WAY TOO MUCH.

THEY'RE NICE.

Stella:
NICE? THEY'RE
FUCKING BEAUTIFUL.

SHE COULD DO ANYTHING,
MY GRANDDAUGHTER.

SHE COULD MAKE
A WHOLE DRESS.

SHE COULD PLAY
THE TUBA.

SHE COULD PAINT
A LANDSCAPE.

AND SOMETIMES,
WHEN YOU FEEL
YOU WANT TO DIE,

SHE COULD
MAKE YOU LAUGH.

I'M TELLING YOU,
YOU DON'T KNOW
MY GRANDDAUGHTER.

NO, I DON'T.

Stella:
YOU MADE ME
THIS GOWN, TOO.

I REMEMBER, GRANDMA.

- I WORE IT
TO YOUR WEDDING.
- DON'T.

- YOU WERE MARRIED?
- NO, NOT EXACTLY.

SHE GOT UP TO THE ALTAR
AND CHICKENED OUT.

I DIDN'T CHICKEN OUT.
I HAD A MOMENT OF CLARITY.

HOW DID THE GROOM
TAKE IT?

HE MARRIED SOMEONE ELSE
THREE MONTHS LATER.

CONNIE ANDREWS.
QUIET GIRL.

ALMOST MADE THE BIGGEST
MISTAKE OF MY LIFE.

- WHY? WHAT DID HE...?
- MR. NARCISSISM.

FULL OF RAGE.
VERY CONTROLLING.

HE REALLY
DIDN'T LIKE...

SOUNDS.

- Bill: SOUNDS?
- YEAH.

SOUNDS ANNOYED HIM.
MUSIC AND EXCESSIVE TALKING

AND CRINKLING OF--
GOD, IF YOU LAUGHED TOO LOUD,

FORGET IT.
( laughs )

AND YOU LIKE
THOSE THINGS?

YEAH.

AND THAT'S WHEN I WROTE YOU
"THE BASTARD SONG."

HEY, I KNOW THAT SONG.

COME ON, KIDS.
LET'S GO MAKE A LITTLE NOISE.

Bernice:
GRANDMA, I CAN'T DO THIS.

Stella:
DON'T SAY THAT.
I JUST BRAGGED ABOUT YOU.

I HAVEN'T PLAYED
IN YEARS.

YOU'LL REMEMBER.

WHY DON'T YOU
PLAY THE TUBA?

WHAT, YOU WANT ME
TO DIE RIGHT HERE?

COME ON,
IT'LL BE FUN.

- RIGHT, BILL?
- YEAH.

I'D LIKE TO HEAR
YOU PLAY.

SEE?
HE'D LIKE IT, TOO.

COME ON.

( low honk )

SORRY.
SORRY.

( plays slowly )

( music stops )

- Bernice: I CAN'T REMEMBER.
- THAT WAS GREAT.

LOW SELF-ESTEEM.

COME ON, CICI,
FOLLOW ME.

( plays uptempo
"Bill Bailey" )

OH, YEAH.

NO, DON'T PLAY THIS SONG.

WHY NOT?

IT'S A GREAT SONG.

KIND OF LIKE YOUR NAME.
BILL BAILOR.

RIGHT!
♪ WON'T YOU COME HOME,
BILL BAILOR? ♪

♪ WON'T YOU COME HOME? ♪

♪ SHE MOANED
THE WHOLE NIGHT LONG ♪

- ♪ I'LL DO THE DISHES, HONEY ♪
- Bill: PLEASE!

- NO, PLEASE... DON'T.
- ♪ I'LL PAY THE RENT-- ♪

FUNNY STORY
ABOUT THAT SONG.

- WANT TO HEAR IT?
- NO.

TRUE STORY.

ONE NIGHT,
A MAN WAS LOCKED OUT

OF HIS APARTMENT
BY HIS WIFE.

HIS NAME WAS BILL BAILEY,

AND HE WAS
A VAUDEVILLE GUY.

YEAH-- VAUDEVILLE.

Stella:
HIS GOOD FRIEND HUEY

LENT HIM SOME MONEY
FOR A HOTEL ROOM,

AND TO MAKE HIM
FEEL BETTER,

HE WROTE BILL A SONG

PROMISING HIM THAT HIS WIFE
WOULD TAKE HIM BACK.

IT BECAME A HIT.

DID THE WIFE
TAKE HIM BACK?

I DON'T THINK SO...

BUT WHAT OPTIMISM.

♪ I'LL DO THE COOKING, HONEY,
I'LL PAY THE RENT ♪

♪ I KNOW I'VE
DONE YOU WRONG-- ♪

Bill:
PLEASE!

I'M SORRY.

I HATE THIS SONG.

YOU DON'T UNDERSTAND.

IT MEANT SOMETHING
TO ME ONCE.

FINE.
NEW SONG.

COME ON, CICI,
FOLLOW ME.

STELLA, COME HERE.
COME ON OVER HERE
AND SIT NEXT TO ME.

WE'RE GOING TO PLAY
YOUR SONG NOW.

Bernice:
YEAH, THIS ONE.

- Max: LEAN AGAINST ME.
- ( slow music playing )

( tempo picks up )

IT'S MY SONG.

Max:
♪ IT'S A WORLD
OF SUFFERING ♪

♪ IN A SEA OF PAIN ♪

♪ NO MATTER HOW MUCH
SUN YOU BRING ♪

♪ YOU'RE PUMMELED
BY THE RAIN ♪

Both:
♪ SO WHAT'S THE USE
IN GETTING UP? ♪

♪ AND WHAT'S THE USE
IN TRYIN' ♪

♪ AND WHAT'S THE USE
IN LISTENING ♪

♪ WHEN EVERYBODY'S LYIN'? ♪

♪ DON'T LET THE HEARTLESS
GET YOU DOWN-- ♪

YOU TELL 'EM.

♪ DON'T GREET THE HEARTLESS
AT YOUR DOOR ♪

♪ DON'T LIVE AMONG
THE HEARTLESS ♪

Max:
♪ THE LIFE YOU LEAD ♪

♪ JUST TURNS TO SHIT ♪

♪ YOUR JOY, IT FALLS
TO TREASON ♪

Max, Cici:
♪ THERE ISN'T ANY
RHYME TO IT ♪

♪ THERE ISN'T
ANY REASON ♪

♪ DON'T LET THE BASTARDS
GET YOU DOWN-- ♪

THAT'S RIGHT, BABY.

♪ DON'T GREET THE BASTARDS
AT YOUR DOOR ♪

♪ DON'T LIVE AMONG
THE BASTARDS ♪

♪ IN THIS DEAD END
UNIVERSE ♪

♪ WHERE THERE SEEMS
TO BE NO GRACE ♪

♪ THERE ARE HAVENS
ON THE MAP ♪

♪ THERE ARE HUMANS
IN THE RACE ♪

♪ THERE ARE PEOPLE
YOU CAN TRUST ♪

♪ WHEN YOU NEED
SOME DECENCY ♪

♪ YOU CAN TRUST
SOMEONE LIKE YOU ♪

♪ YOU CAN TRUST
SOMEONE LIKE ME ♪

Max:
♪ DON'T LET THE STRANGERS
GET YOU DOWN ♪

♪ DON'T GREET THE STRANGERS
AT YOUR DOOR ♪

♪ DON'T LIVE AMONG
THE STRANGERS ♪

♪ MY FRIEND ♪

♪ DON'T LIVE ♪

♪ AMONG THE STRANGERS... ♪

♪ THE HEARTLESS... ♪

♪ THE BASTARDS... ♪

♪ MY LOVE. ♪

( water running )

( spits )

( engine starts )

( rock music starts )

Man:
THREE, TWO...

♪ I AM A ROCKETMAN ♪

♪ BE BOP A LOO LA ♪

♪ I AM A ROCKETMAN ♪

♪ SHA LA LA LA LA ♪

♪ I AM A ROCKETMAN ♪

♪ BE BOP A LOO LA ♪

♪ I AM A ROCKETMAN ♪

♪ SHA LA LA LA LA... ♪

Bill:
THIS IS ONE OF THOSE TIMES
WHEN THERE'S SOMETHING WRONG

AND YOU CAN'T TELL ME
WHAT IT IS.

- NO.
- WHY ARE YOU PACING?

TALK TO ME, PLEASE.

( phone rings )

HELLO?

ARE YOU GOING
SOMEWHERE?

THAT WAS CELIA.
SHE SAYS IT'S--

SHE'S ALWAYS
DOING THIS TO YOU.

CELIA AND HER PROBLEMS.
WHAT ABOUT US?

- WHAT ABOUT OUR PROBLEMS?
- WE DON'T HAVE ANY PROBLEMS.

- WE DON'T?
- I JUST WANT YOU
TO BE HAPPY.

I AM HAPPY.
EVEN WHEN YOU
MAKE ME CRAZY,

I'M HAPPY.
IF YOU WANT TO BUILD
AN EXTRA ROOM FOR CELIA,

IF YOU WANT TO GO
TO RED CHINA--

IF YOU ARE ANGRY
WITH ME FOR ANYTHING--

IT'S THAT SIMPLE.

I KNOW.

I'LL BE BACK
IN A FEW HOURS.

OKAY.

- CHILLIWACK.
- WHAT THE FUCK?

YOU SAID, "QUEBEC,"
ENDING IN "C."

I'M SAYING CHILLIWACK,
ENDING IN "K."

IT'S A CITY IN CANADA.
BRITISH COLUMBIA, ACTUALLY.

BERNICE, WHAT ARE YOU
DOING HERE?

- IT'S MY CAR.
- YOU CAN'T COME-- JESUS.

WHERE YOU GOING?

NONE OF YOUR BUSINESS.

YOU'RE GOING
TO SEE HER, RIGHT?

YOU'RE NOT WEARING
ANYTHING.

THERE WASN'T EXACTLY
TIME TO CHANGE.

I JUST HAD TO GRAB
A DRESS AND RUN OUT.

- YOU SHOULDN'T BE HERE.
- SO WHAT HAPPENED?

I KNOW SHE RAN OFF
WITH YOUR FRIEND.
LUCY TOLD ME.

IT DOESN'T SURPRISE ME.
SHE WAS LIKE THAT IN
HIGH SCHOOL, TOO.

SHUT UP. I'M GOING TO LEAVE YOU
IN THE ROAD, I SWEAR TO GOD.

YOU SOLD THEM
THAT HOUSE UP THERE?

THAT'S AWFUL.
THAT MUST HAVE
BEEN AWFUL FOR YOU.

NO WONDER YOU WERE
SO MEAN WHEN WE WENT OUT.

WHAT WAS I THINKING?
"HERE'S AN IDEA.

I'LL GO OUT WITH A GUY
WHO'S WIFE JUST LEFT HIM
IN SKID MARKS."

- SHUT UP.
- STILL DIDN'T GIVE YOU
ANY RIGHT, THOUGH.

NOT ANY RIGHT
TO DO TO ME WHAT YOU DID.

- WHAT DID I DO?
- WHAT DID YOU DO?

- WHAT DID YOU DO?
- I SAID A FEW NASTY THINGS

AND YOU BLEW UP.
IT'S NOT LIKE I TOOK AWAY
YOUR SOUL.

- NO?
- NO.

IT WAS A CRAPPY DATE,
THAT'S ALL.

WE'RE RESPONSIBLE
FOR EACH OTHER.

- LOOK--
- NO, I MEAN ALL OF US.

WE'RE RESPONSIBLE
FOR ONE ANOTHER.

FOR WHAT WE DO
TO ONE ANOTHER.

YEAH, OF COURSE,
WE SHOULD ALL BE CAPABLE

OF LOOKING OUT
FOR OURSELVES

BUT STILL,
WE'RE RESPONSIBLE
FOR EACH OTHER.

YOU ARE
RESPONSIBLE.

YOU HAD SO MUCH
CONTEMPT FOR ME
THAT NIGHT.

IT DOES SOMETHING...
TO YOU, YOU KNOW?

TO LOOK AT SOMEONE,
TO LISTEN TO SOMEONE

WHO HAS
SO MUCH CONTEMPT.

THAT'S THE TIME TO SAY,
"GOOD NIGHT, GOODBYE,

I NEVER WANT
TO SEE YOU AGAIN, YOU CREEP."

NO, THAT LETS YOU OFF.
THAT MAKES YOU BELIEVE

IT'S FINE TO BE CRUEL.
AND IT ISN'T.

AND IT WASN'T.

WELL, I'M SORRY.

NO, YOU'RE NOT.

YOU DON'T GET IT.

- AND YOU'RE NOT SORRY.
- I'VE GOT THE GUN BACK NOW.

IF YOU DON'T SHUT UP I'M GOING
TO STICK YOU IN THE TRUNK.

I'D TURN BACK NOW,
BUT I'M ALMOST THERE.

THERE ARE NO BULLETS
IN THAT GUN, I CHECKED.

SHUT UP! I TOOK YOU
TO YOUR GRANDMOTHER'S HOUSE.

JUST BE NICE NOW.

BE NICE
AND BE QUIET.

- I GOT TO THINK.
- SHE'S NOT COMING
BACK TO YOU, BILL.

SHUT THE FUCK UP!

PLEASE.

YOU CAN HAVE THE CAR BACK
WHEN WE GET THERE.

YOU CAN HAVE THE GUN.
YOU CAN FOLLOW ME AROUND

AND LEAVE ME DEATH THREATS
FOR THE REST OF YOUR LIFE.

BUT RIGHT NOW, JUST LET ME
HAVE A LITTLE PEACE.

OKAY?

THANK YOU.

( radio turns on,
scanning stations )

Bill:
RAY, I NEED TO HAVE
A MOMENT ALONE WITH MY WIFE.

THANK YOU.

Man:
♪ BILL BAILEY,
WON'T YOU PLEASE COME ♪

♪ BABY, WON'T YOU
PLEASE COME ♪

♪ BABY, WON'T YOU
PLEASE COME HOME? ♪

HERE ARE THE KEYS.

LISTEN TO ME.
I WOULD LIKE FOR YOU
TO LEAVE NOW.

OKAY?
I'M SORRY.

I'M REALLY SORRY.

- CAN I JUST
GO IN AND USE--
- NO!

PLEASE LISTEN TO ME.
DON'T RUIN THIS.

IT MEANS
EVERYTHING TO ME.

I DON'T WANT TO BE
A MISERABLE PERSON.

I DON'T WANT TO WALK AROUND
MAKING EVERYBODY ELSE MISERABLE.

I JUST WANT MY WIFE BACK.

OKAY?

GO HOME.

( knocks )

HEY, RAY.

HOW'S IT GOING?

FINE.

- WHAT ARE YOU DOING HERE?
- JUST CAME TO VISIT, REALLY.

- WANTED TO SEE
THE HOUSE.
- OH.

CAN I COME IN?
I DROVE A LONG WAY.

- UH...
- NICE HOUSE, RAY.

THE WOODS AND EVERYTHING.
VERY ROMANTIC SETTING.

I DIDN'T STEER YOU WRONG,
NOW DID I?

- NO, YOU--
- WHERE'S ROSE?

- SHE SLEEPING?
- NO, SHE'S NOT HERE.

- NO?
- NO.

SHE WENT TO VISIT
HER MOTHER.

SHE'S GONE FOR A WEEK.

IT'S 8:30.
ROSE DOESN'T GET UP
TILL 11:00 MOST DAYS.

SHE WANTED TO BEAT
THE TRAFFIC.

- THE RUSH HOUR.
- THAT'S TOO BAD.

I REALLY WANTED
TO SEE MY WIFE.

THAT'S OKAY.

I'LL JUST VISIT WITH YOU.
WE'LL CATCH UP.
IT'LL BE GREAT.

- OKAY.
- IT'S REALLY COZY HERE.

- I LOVE WHAT YOU'VE DONE
WITH THE PLACE.
- THANK YOU.

- CAN I GET THE FULL TOUR?
- NO, I...

HAVE TO GET GOING.
TO WORK.

IT CAN BE QUICK.
I'LL JUST POKE MY HEAD

IN AND OUT OF ROOMS,
JUST TO SEE THEM.

BILL, NO.
I'M SORRY.

YOU CAN'T JUST COME IN HERE
AND DEMAND THINGS.

WHAT HAPPENED...

IT WAS REALLY AWFUL.

NOT FOR YOU.

FOR ME TOO, BILL.
FOR ALL OF US.

YOU NEVER EVEN CALLED ME.
YOU HAD NOTHING TO SAY TO ME.

I WAS WAITING
FOR THINGS TO SETTLE DOWN.

- THAT'S BULLSHIT.
- LOOK, BILL...

I CAN'T TALK ABOUT THIS NOW.
I'M GOING TO BE LATE FOR WORK.

I'LL CALL YOU, OKAY?

AND WE WILL TALK
ABOUT ALL OF THIS.

OKAY, RAY.

I'M SORRY.

I DON'T KNOW.

THIS HAS BEEN
REALLY HARD FOR ME.

DON'T APOLOGIZE.

DON'T TELL ROSE
I CAME.

NO, I WON'T.

TAKE CARE
OF YOURSELF, BUDDY.

I WILL.
YOU TOO.

I'LL CALL YOU.

OKAY.

I'LL LET MYSELF OUT.

WOW, THAT WAS FAST.
WHAT HAPPENED?

- OH, JESUS!
- WHERE IS SHE?

TELL ME
WHERE SHE IS.

( stuttering )
SHE'S-- SHE'S NOT HERE.
REALLY, SHE'S NOT--

WHERE THE FUCK IS SHE?!
COME ON!

SHE WENT
TO HER MOTHER'S.

IT'S OKAY, RAY.

HI, ROSE.

WHAT ARE YOU DOING?

JUST--
JUST MAKING A SCENE.

I SHOULD HAVE
DONE IT SOONER.

YOU CAN'T JUST COME
INTO MY HOUSE

AND WAVE
A GUN AT ME.

BILL!
WHAT DO YOU WANT?

YOU WANT
TO SHOOT RAY?

- YOU WANT TO SHOOT ME?
- NO-OO.

I JUST WANT A CHANCE
TO SPEAK TO YOU-- ALONE.

- FINE.
- THAT'S ALL I WANT.

- YOU CAN HAVE IT.
- FINE?

SURE--

- GIVE ME THE GUN.
- NO.

GIVE ME THE GUN,
I DON'T TRUST YOU.

FUCK YOU,
YOU DON'T TRUST ME.

- COME ON.
- DON'T CALL THE POLICE.

- ROSE.
- REALLY.

- IT'S OKAY.
- HI, Y'ALL.

HEY. HI.

- WHO IS THAT?
- BILL, SWEETIE.

I'M JUST WAITING
IN THE CAR,

BUT YOU TAKE YOUR TIME
IN HERE,

AND DON'T WORRY
ABOUT ME.

HI, ROSIE!
REMEMBER ME?

BERNICE CLAYBURN.
THEY USED TO CALL ME "CICI."

WE WENT TO HIGH SCHOOL
TOGETHER.

CICI-- YES.
I REMEMBER YOU.

YEAH.
OH, MY GOD, WOW.

IT'S GREAT
TO SEE YOU.

DO YOU HAVE...

A BATHROOM I COULD USE?

BE MY GUEST.
IT'S RIGHT HERE.

GREAT, THANKS.

Ray:
WHO THE HELL
WAS THAT?

WHERE CAN WE HAVE
SOME PRIVACY?

I THINK SHE WORE
THAT DRESS TO THE PROM.

SHE WAS RAISED
BY HER GRANDMOTHER,

I THINK.
IS THAT RIGHT?

HOW DO YOU KNOW HER?

I MET HER THROUGH
MY SISTER.

I DON'T WANT TO TALK
ABOUT HER RIGHT NOW.

SHE'S...

I CAME UP HERE,

I CAME UP HERE
TO SAY SOMETHING TO YOU.

I FORGIVE YOU.

I FORGIVE YOU,
AND I LOVE YOU

AND I WANT YOU
TO COME HOME.

YOU KNOW SOMETHING,
WHAT'S YOUR NAME?

- RAY.
- RAY.

- BILL.
- NO...

I WON'T LISTEN
TO ANY OBJECTIONS.

I CAME HERE
TO GET YOU BACK.

WHAT HAPPENED
DOESN'T MATTER.

WE NEVER HAVE
TO MENTION IT AGAIN.

BUT YOU ARE MY WIFE.

AND I TAKE THAT
VERY SERIOUSLY.

YOU KNOW SOMETHING, RAY?

THERE WAS A DAY
I WOULD BE SITTING HERE,

JUST TALKING
YOUR EAR OFF,

TRYING
TO IMPRESS YOU.

FLIRTING WITH YOU,
HOPING YOU DIDN'T THINK
I WAS A TOTAL LOSER.

LISTEN TO ME.

I THOUGHT A LOT
ABOUT IT,

I KNOW I WASN'T
A PERFECT HUSBAND.

I GOT ANGRY,
AND I...

DID...

THINGS...

BUT REALLY,
I'M CHANGING.

I AM.

TODAY, I DON'T CARE
WHAT YOU THINK OF ME.

NOPE.

AND YOU KNOW WHY?

WELL, FOR MANY
REASONS,

BUT THE IMPORTANT
REASON,

AS FAR AS YOU'RE CONCERNED,
IS THIS...

IT DOESN'T MATTER
THAT YOU LEFT ME OVER
THE PHONE

FOR RAY,
THAT PIECE OF SHIT.

IT DOESN'T MATTER
THAT YOU'RE LIVING

IN THE HOUSE
THAT I SOLD HIM!

IT DOESN'T MATTER
THAT YOU DUMPED ME

LIKE YESTERDAY'S
FUCKING GARBAGE.

ROSE...
SAY SOMETHING.

I THINK YOU SUCK.

YOU COULDN'T JUST DISCARD
A WHOLE HUMAN BEING, RIGHT?

- I'M A WHOLE HUMAN BEING!
- BILL...

WE'RE RESPONSIBLE
FOR EACH OTHER, ROSE.

IT MATTERS,
WHAT WE DO TO PEOPLE--

WHAT WE SAY,
OUR ACTIONS--

WE MAKE AN EFFECT
ON PEOPLE.

WE DON'T JUST LEAVE THEM
OVER THE PHONE.

DO YOU KNOW
WHAT I MEAN, ROSE?

DO YOU KNOW
WHAT I MEAN?

( Cici screaming )

SHE TRIED TO BURN DOWN
THE KITCHEN!

LET HER GO!
I SAID, LET HER GO!

GET OUT OF HERE.

TAKE THIS MANIAC
AND GET OUT OF HERE,

OR I'LL SHOOT YOU
RIGHT WHERE YOU STAND.

- I SWEAR TO GOD.
- NO, YOU GET OUT OF HERE.

I'VE GOT A GUN, TOO,
AND I'LL SHOOT.

- I MEAN IT.
- YOU'RE NOT SHOOTING.

- OH, NO?
- NO.

DON'T LOOK AT HER.
SHE'S NOT GOING TO HELP YOU.

YOU KNOW WHAT WE DO?
WE LAUGH AT YOU.

THAT'S RIGHT, HA HA.

- RAY...
- NO, NO, HONEY,
IT'S OKAY.

I'M NOT GOING TO LET HIM
BOTHER YOU AGAIN.

I MISS HIM.

NO, NO, NO.
YOU CAN'T BE
SAYING THIS.

I'M SORRY.
WHAT DO YOU WANT
ME TO SAY?

- I CAN'T DO THIS ANYMORE.
- Ray: CAN'T DO WHAT?

WE LOVE EACH OTHER.
I BOUGHT YOU THIS HOUSE.

NOW YOU'RE SAYING
YOU WANT TO GO BACK
WITH THIS LOSER?

- NO!
- IT'S YOUR TEMPER.

I CAN'T HANDLE IT.
I DIDN'T KNOW.

I'M SORRY,
I DON'T FEEL COMFORTABLE
TALKING ABOUT THIS HERE.

- I'M GONNA GO PACK--
- NO, DON'T MOVE!

YOU MOVE,
AND I'LL SHOOT HIM!

- RAY!
- SHUT UP! SHUT UP!

- I GOTTA FIGURE SOMETHING OUT.
- YOU'RE NOT SHOOTING ANYBODY!

SHUT UP.

( gun fires )
OH! OH! I...

IT'S ALL HIM, RO.
HE BROKE INTO OUR HOUSE,

AND HE MEANT TO KILL US,
DIDN'T YOU, BILL?

OR, MAYBE THE GIRL...

THE GIRL--
I MEAN, YOU LOOK AT HER,

SHE LOOKS LIKE SHE ESCAPED
FROM AN INSTITUTION.

Rose:
PUT DOWN THE GUN, RAY.
THIS IS--

NO, NO, NO, RAY.
JUST SHOOT US!

SAVE US
FROM OURSELVES.

- JUST BE QUIET.
I HAVE TO THINK.
- NO, NO, NO.

YOU TAKE ALL OF US
DOWN TO THE BASEMENT,

AND THAT WAY YOU'RE NOT
GONNA GET ANY BLOOD

OVER YOUR BRAND NEW
WOODEN KITCHEN FLOOR.

FIRST, YOU SHOOT ME,
GET THAT OUT OF THE WAY.

THEN, YOU SHOOT BILL.

THEN, UNFORTUNATELY,

YOU'RE GOING
TO HAVE TO SHOOT ROSE.

BUT, THEN AGAIN,
GIVEN HER TRACK RECORD,

ROSE WILL CHANGE
HER MIND AGAIN

AND WANT YOU BACK,
'CAUSE BILL IS DEAD.

AND THEN YOU WON'T HAVE
TO SHOOT HER AFTER ALL.

AND THERE YOU GO.
IT'S PERFECT.

STRANGERS CAME TO THE HOUSE,
YOU SHOT THEM.

- RAY, SWEETHEART--
- SHE CALLED YOU "SWEETHEART"

I'M TELLING YOU, RAY,
SHE'S COMING AROUND!

SHE'S COMING AROUND,
I CAN FEEL IT!

YOU STUPID BITCH,
I SHOULD JUST SHOOT YOU
RIGHT HERE.

OH, GO AHEAD.
POINT, AIM, FIRE.

- BOOM!
- STOP IT, CICI.

NO. I WANT HIM
TO SHOOT ME.

I DON'T THINK
HE CAN DO IT.

I DON'T THINK
HE'S ENOUGH OF A MAN.

- GOD DAMN YOU--
- RAY!

Rose:
NO! NO!

NO!

( gun clicks )

BILL.

BILL?

BILL.

CICI?

- BERNICE?
- WHAT?

- I'M SORRY.
- WHAT?

I'M SORRY TO WAKE YOU,

BUT I HAVE TO LEAVE
THE CAR FOR A MOMENT.

I'LL BE BACK.

WHERE'S ROSE?

SHE'S IN OLMALIQ.

OLMALIQ?

IT'S A CITY IN UZBEKISTAN,
NORTH OF AFGHANISTAN.

WATCH THE CAR
FOR A MINUTE.

WHERE ARE YOU GOING?

MR. PINKERTON DETECTIVE.

HEY, THERE.

HOW'S THAT BEAUTIFUL GUN
I SOLD YOU?

IT DOESN'T WORK.
IT SHOOTS A FLAG OUT.

OOPS!
I SOLD YOU
THE WRONG GUN!

I SOLD YOU
THE FLAG GUN.

TO TRADE IT IN
FOR SOMETHING ELSE.

NOT A GUN.
OH, NO, NO.

YOU BOUGHT A GUN,
YOU'LL GET A GUN.

IT'LL SHOOT REAL BULLETS
AND EVERYTHING.

- I PROMISE YOU.
- SOUNDS GREAT,

- BUT NO THANKS.
- NOW, THERE'S
A PINKERTON DETECTIVE

- AROUND HERE--
- NO, NO, REALLY.

I DON'T WANT
A PINKERTON DETECTIVE.

I WANT THAT.

THAT'S A PIECE OF JUNK.

I'LL TRADE YOU.

WOW.

HEY!

OH, YOU THINK...

YOU CAN JUST DUMP
YOUR WIFE ON THE ROAD,

BUY ME A TUBA
AND MAKE EVERYTHING FINE?

I DIDN'T DUMP MY WIFE
ON THE ROAD.

I TOOK HER
TO THE AIRPORT.

SHE HAD THE URGE TO FLEE,
AND I HAD THE CAR.

FOR ALL I KNOW,
SHE'S ON HER WAY TO RIO,

ENGAGED TO A FLAMENCO DANCER.

BUT I THOUGHT SHE WANTED--

OKAY, SO YOU THINK YOU CAN

JUST DUMP YOUR INSANE WIFE
AT THE AIRPORT,

BUY ME A TUBA, AND MAKE
EVERYTHING FINE?

NO, NOT AT ALL,
I DIDN'T...

I JUST HOPED YOU MIGHT
PLAY ME A SONG.

♪ IT'S A WORLD
OF SUFFERING... ♪

COME ON. PLAY FOR ME.

♪ ...IN A SEA OF PAIN ♪

♪ NO MATTER HOW MUCH
SUN YOU BRING ♪

♪ YOU'RE PUMMELED
BY THE RAIN ♪

♪ SO WHAT'S THE USE
IN GETTING UP ♪

♪ AND WHAT'S THE USE
IN TRYING ♪

♪ AND WHAT'S THE USE
IN LISTENING ♪

♪ WHEN EVERYBODY'S LYING ♪

♪ LYING ♪

♪ DON'T LET THE HEARTLESS
GET YOU DOWN ♪

♪ DON'T GREET THE HEARTLESS
AT YOUR DOOR ♪

♪ DON'T LIVE AMONG
THE HEARTLESS, NO NO NO ♪

♪ THE LIFE YOU LEAD
JUST TURNS TO SHIT ♪

♪ YOUR JAW,
IT FALLS TO TREASON ♪

♪ THERE ISN'T ANY RHYME TO IT,
NO NO NO ♪

♪ THERE ISN'T ANY REASON ♪

♪ DON'T LET THE BASTARDS
GET YOU DOWN ♪

♪ DON'T GREET THE BASTARDS
AT YOUR DOOR ♪

♪ DON'T LIVE
AMONG THE BASTARDS ♪

♪ NO NO, HA HO! ♪

♪ IN THIS BIG UNIVERSE ♪

♪ WHERE THERE SEEMS TO BE
NO GRACE ♪

♪ THERE ARE HAVENS
ON THE MAP ♪

♪ WITHOUT HUMANS
IN THE RACE ♪

♪ HAVE PEOPLE
YOU CAN TRUST ♪

♪ WHEN YOU NEED
SOME DECENCY ♪

♪ YOU CAN TRUST SOMEONE
LIKE YOU, BABY ♪

♪ AND TRUST SOMEONE
LIKE ME ♪

♪ DON'T LET THE STRANGERS
GET YOU DOWN ♪

♪ DON'T THE GREET THE STRANGERS
AT YOUR DOOR ♪

♪ DON'T LIVE AMONG
THE STRANGERS ♪

♪ MY FRIEND, OH MY FRIEND ♪

♪ DON'T LIVE
AMONG THE HEARTLESS

♪ THE STRANGERS ♪

♪ THE BASTARDS, MY LOVE ♪

♪ MY LOVE,
OH YEAH YEAH ♪

♪ TALKING ABOUT
MY TENDER LOVE ♪

♪ TALKING ABOUT
GOOD SWEET LOVE ♪

♪ MAKE YOU FEEL ON TOP ♪

♪ YEAH, YEAH ♪

♪ TALKING ABOUT HAPPY LOVE ♪

♪ FEELS SO GOOD ♪

♪ TALKING ABOUT
I'M GONNA BE KISSING YOU ♪

♪ A-HOLDING YOU
AND A-SQUEEZING YOU ♪

♪ YEAH YEAH,
TALKING ABOUT LOVE ♪

♪ GOOD LOVE, GOOD LOVE ♪

♪ TALKING ABOUT-- I'M TALKING--
TALKING ABOUT LOVE ♪

♪ LOVE, LOVE, LOVE. ♪