Ricki and the Flash_2015
<script>
  <scene>
    <scene_description>RICKI AND THE FLASH by Diablo Cody</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SAN FERNANDO VALLEY (VARIOUS) - NIGHT</stage_direction>
    <scene_description>City lights. Cloverleaf freeways. Palm trees. Cellular towers. A starless night sky. A liquor store lit up like Las Vegas-- or Reno at least. Over these images: a spare, pounding DRUM BEAT. We hear a WOMAN'S VOICE belting out the INTRO to Billy Squier's "The Stroke."</scene_description>
    <character>RICKI</character>
    <dialogue>Now everybody, have you heard?</dialogue>
    <scene_description>If you're in the game Then the stroke's the word.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THE SALT WELL - SAME</stage_direction>
    <scene_description>Black knee-high BOOTS planted firmly on a stage. Shapely LEGS in black stretch denim. A feminine HAND grips the microphone stand. Said hand is adorned with rings of silver, turquoise and onyx. A studded leather cuff encircles the wrist.</scene_description>
    <character>RICKI</character>
    <dialogue>Don't take no rhythm, Don't take no style. Got a thirst for killin' Grab your vial!</dialogue>
    <scene_description>A killer GUITAR kicks in. Reveal the woman born LINDA BRUMMEL, now known as RICKI. She's a 54 year-old rock star. A disciple of Stevie Nicks, Joan Jett and Roger Daltrey. A natural-born BAD ASS.</scene_description>
    <character>RICKI</character>
    <dialogue>Put your right hand out. Give a firm hand-shake. Talk to me about your one big break.</dialogue>
    <scene_description>Ricki can sing, strut, and work a crowd better than girls half...hell, a third of her age. Yes, the eyeliner has settled into a few creases, and the boots are cheap pleather from Payless. But she's the real deal. Ricki's trusted guitarist (and occasional boyfriend), GREG, shreds on his '68 Gibson SG. His talent, like Ricki's, transcends the material. Greg's put on a few pounds and his hair and beard could use a trim. But he's lovable at first sight. The rest of the band looks about the same as Greg-- graying rock dudes. A couple of them are grandfathers. But man, they can play. This is THE FLASH, the San Fernando Valley's #1 party band. (Or so they say.) Ricki is PACING like a leopard, singing her heart out. She LEAPS on top of the bass amp as Greg goes into a beast of a solo. Based on the level of showmanship happening on stage, you'd assume this was a packed house. A sold-out crowd. An important venue, at the very least... Nope. Reveal that the Salt Well is a near-empty DIVE. The kind of place frequented by alcoholics, the elderly, and hipsters who think shitty bars are amusing. There are probably 5 people on the "show floor" and a few more huddled at the bar. One flannel-wearing KID whoops encouragement at the stage, but it could be sarcastic. Ricki is not deterred. She JUMPS off the bass amp, then steps down off of the riser that passes for a stage at the Salt Well.</scene_description>
    <character>RICKI</character>
    <dialogue>Stroke me, stroke me. Could be a winner girl, you move quite well.</dialogue>
    <scene_description>Striding through the "crowd", RICKI hoists herself UP ONTO THE BAR and begins to strut the length of the bar, still singing. Somehow, she manages to avoid knocking over people's drinks; she's done this trick many times. Her stiletto boots stomp past a row of VIDEO TRIVIA machines mounted on the bar. A MAN who is playing doesn't even bother to look up.</scene_description>
    <character>RICKI</character>
    <dialogue>Could be a winner, but man you're just a sinner now.</dialogue>
    <scene_description>Ricki climbs down off the bar-- a HEAVYSET WOMAN kindly assists her with an outstretched hand.</scene_description>
    <character>RICKI</character>
    <dialogue>Thanks, Sharon.</dialogue>
    <scene_description>As her bandmates CHANT the coda ("Stroke! Stroke!"), Ricki makes her way back to the stage. She triumphantly thrusts her fist into the air and falls to her knees. Her shoulders heave. She gave it her all. A smattering of tepid applause. Actually, one person goes crazy; the bartender, DANIEL, a young Latino man. He shrieks from his post across the room.</scene_description>
    <character>DANIEL</character>
    <dialogue>Go Ricki! You're an icon!</dialogue>
    <character>RICKI</character>
    <dialogue>Thanks, everyone. Gracias, my sweet Daniel.</dialogue>
    <character>DANIEL</character>
    <dialogue>You're my queen!</dialogue>
    <scene_description>If there's an element of camp at play, Ricki doesn't acknowledge it. She her job very seriously.</scene_description>
    <character>RICKI</character>
    <dialogue>Hello, Tarzana. That was Billy Squier's "The Stroke," a very truthful and brave song about the corrupt record business.</dialogue>
    <scene_description>Ricki's facial expression indicates that this might be a sore subject.</scene_description>
    <character>RICKI</character>
    <dialogue>I'm Ricki Rendazzo, and I'd like to take a moment to introduce my band, the Flash. We've been the house band here at the Salt Well since...</dialogue>
    <parenthetical>(to Greg)</parenthetical>
    <dialogue>When did we get together? 2008?</dialogue>
    <scene_description>Greg nods earnestly.</scene_description>
    <character>RICKI</character>
    <dialogue>Yeah. 2008. That was the year we elected you-know-who...</dialogue>
    <scene_description>She rolls her eyes, clearly not a fan.</scene_description>
    <character>RICKI</character>
    <dialogue>But that's okay. We've still got rock and roll, don't we? No offense, Billy.</dialogue>
    <scene_description>BILLY, the Flash's black KEYBOARD PLAYER, shakes his head.</scene_description>
    <character>RICKI</character>
    <dialogue>We joke around. Speaking of Billy, he's the man on keys. Billy Lambert, everybody.</dialogue>
    <scene_description>Billy plays a MUSICAL STING on the keyboard.</scene_description>
    <character>RICKI</character>
    <dialogue>And we've got Mark "Buster" Frye on the Rickenbacker bass.</dialogue>
    <scene_description>"BUSTER," a skinny weirdo, fidgets and nods.</scene_description>
    <character>RICKI</character>
    <dialogue>Joe Scaduto on drums. Newly single, ladies.</dialogue>
    <scene_description>Balding JOE smiles sheepishly, the pain of the recent breakup evident in his eyes.</scene_description>
    <character>RICKI</character>
    <dialogue>And finally, my right-hand man, Greg Sandoval on the Gibson SG.</dialogue>
    <scene_description>Greg grins at Ricki and leans into his microphone.</scene_description>
    <character>GREG</character>
    <parenthetical>(on mic)</parenthetical>
    <dialogue>You know, people say band mates shouldn't date, but I don't think it's hurting our sound.</dialogue>
    <character>RICKI</character>
    <dialogue>Well, we're not really dating, Greg.</dialogue>
    <scene_description>Greg chuckles to save face, but he's clearly stung.</scene_description>
    <character>GREG</character>
    <dialogue>What?</dialogue>
    <scene_description>Ricki smiles tightly: let's discuss this later.</scene_description>
    <character>GREG</character>
    <dialogue>Is that not the terminology anymore? Are we, uh, "hooking up" like my kid says?</dialogue>
    <scene_description>The other band members exchange uncomfortable glances.</scene_description>
    <character>RICKI</character>
    <dialogue>We've been spending some time together.</dialogue>
    <character>GREG</character>
    <dialogue>I "spend time" with Buster. I think you and I are a little different.</dialogue>
    <scene_description>Buster drags on a glowing-blue electronic cigarette and exhales a cloud of vapor.</scene_description>
    <character>BUSTER</character>
    <dialogue>Shit, I hope so, man.</dialogue>
    <character>RICKI</character>
    <dialogue>Let's not have this conversation onstage.</dialogue>
    <scene_description>She turns back toward the mic, back in "on" mode.</scene_description>
    <character>RICKI</character>
    <dialogue>So. We've learned a new tune since our last gig here at the Salt Well. You asked for more of today's hits and, well...we aim to please.</dialogue>
    <scene_description>Though she tries to sound enthusiastic about this, her tone is resigned. She nods to Greg to prompt him. Greg begins to strum a familiar pop riff. Ricki gamely launches into her best Katy Perry whisper.</scene_description>
    <character>RICKI</character>
    <parenthetical>(singing)</parenthetical>
    <dialogue>You think I'm pretty without any makeup on...</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALT WELL (BAR AREA) - POST-GIG</stage_direction>
    <scene_description>Ricki sits down at the bar, spent and sweating. Daniel is ready with a glass of wine and plenty of praise.</scene_description>
    <character>DANIEL</character>
    <dialogue>Chardonnay for my flawless queen.</dialogue>
    <character>RICKI</character>
    <dialogue>Sorry I couldn't talk before the gig. Vocal rest.</dialogue>
    <scene_description>Greg takes the stool next to her, scoffing gently.</scene_description>
    <character>GREG</character>
    <dialogue>Vocal rest. She thinks this is Madison Square Garden.</dialogue>
    <character>RICKI</character>
    <dialogue>I take things seriously.</dialogue>
    <character>GREG</character>
    <dialogue>I know. I love that about you.</dialogue>
    <scene_description>Greg immediately begins to backpedal.</scene_description>
    <character>GREG</character>
    <dialogue>Not to freak you out or anything--</dialogue>
    <character>RICKI</character>
    <dialogue>Greg, I'm sorry about ...</dialogue>
    <scene_description>Greg pauses.</scene_description>
    <character>RICKI</character>
    <dialogue>...what I said onstage. It was just some fun banter. The crowd loves that tension; it's why Fleetwood Mac worked.</dialogue>
    <character>GREG</character>
    <parenthetical>(dubious)</parenthetical>
    <dialogue>All right.</dialogue>
    <scene_description>Daniel hoists Ricki's huge, fringed BLACK PURSE over the bar.</scene_description>
    <character>DANIEL</character>
    <dialogue>Your purse is vibrating, mama.</dialogue>
    <character>GREG</character>
    <dialogue>If she'd move in with me, she wouldn't need that kind of thing.</dialogue>
    <scene_description>Corny. Ricki rolls her eyes and retrieves her cheap cell phone from her purse.</scene_description>
    <character>RICKI</character>
    <dialogue>Who on earth would be calling me?</dialogue>
    <scene_description>Ugh, probably my manager. He's 19. She looks at the display. It's a 630 area code.</scene_description>
    <character>RICKI</character>
    <parenthetical>(to herself)</parenthetical>
    <dialogue>Six-three-zero.</dialogue>
    <character>GREG</character>
    <dialogue>What's that? Bufu, Egypt?</dialogue>
    <scene_description>Ricki's reply is barely audible.</scene_description>
    <character>RICKI</character>
    <dialogue>Chicago suburbs.</dialogue>
    <character>GREG</character>
    <dialogue>Probably a telemarketer or something. You know, I got an Old Navy credit card like ten years ago and it haunts me to this day. Messed up my credit, got my name on some list all because I needed some swim trunks...</dialogue>
    <scene_description>Greg drones on, but Ricki is lost in thought. She sips her Jack and ginger.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SALT WELL - CLOSING TIME</stage_direction>
    <scene_description>The Salt Well shares a parking lot with a strip mall. Ricki and Greg linger outside, cuddling. After a couple of drinks, Ricki is much more affectionate. Greg slides his jacket over her shoulders.</scene_description>
    <character>RICKI</character>
    <dialogue>Brrr. When I was a kid, I thought it was always warm in California.</dialogue>
    <character>GREG</character>
    <dialogue>Aw, me too. I used to watch Gidget on TV and it looked so great. And like, Hawaii 5-0...</dialogue>
    <character>RICKI</character>
    <dialogue>Hawaii 5-0 was in Hawaii.</dialogue>
    <character>GREG</character>
    <dialogue>You don't say, smart-ass.</dialogue>
    <scene_description>He gazes into her eyes with clear intent.</scene_description>
    <character>RICKI</character>
    <dialogue>I can't tonight. I have work in the morning at nine.</dialogue>
    <character>GREG</character>
    <dialogue>You never go to sleep anyway.</dialogue>
    <character>RICKI</character>
    <dialogue>I've got some things to do.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. RICKI'S APARTMENT - NIGHT</stage_direction>
    <scene_description>MUSIC UP: Fleetwood Mac's "Never Going Back Again." A small, crappy apartment in the deep Valley. Ricki cooks herself some Rice-a-Roni on an electric range. She adds the packet of radioactive-yellow "chicken" powder to the skillet. Her rock-and-roll getup is gone, replaced with a conservative beige bathrobe and slippers. Ricki transfers her dinner to a bowl and carries it ten feet to the "dining room." She sits down at a cheap dining room set, puts on her reading glasses, and begins to page through the Los Angeles Times.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RICKI'S BATHROOM - NIGHT</stage_direction>
    <scene_description>Ricki is removing her glittery black eye makeup with a cotton pad and cold cream. As she finishes, reveal a PILE of soiled pads-- it takes a lot to remove the rock star.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RICKI'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Ricki's bedroom is small, with dirty beige wall-to-wall carpet and a glass vase full of found SEA SHELLS. She climbs into bed and turns on an "Ocean Waves" white noise machine-- Ricki has done her best to turn the Valley apartment into the L.A. beach house she imagined as a child. She turns off the light.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WHOLE FOODS (TO ESTABLISH) - MORNING</stage_direction>
    <scene_description>A busy Whole Foods in Los Angeles.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WHOLE FOODS - SAME</stage_direction>
    <scene_description>Ricki wears a cashier's smock and rings up GROCERIES. She quickly scans item after item of overpriced organic stuff. Her latest CUSTOMER is a dude in bike shorts. Total California douchebag, buying an insane amount of expensive supplements, snacks, etc. Ricki holds up a mysterious FRUIT and examines it.</scene_description>
    <character>CUSTOMER</character>
    <dialogue>It's a star fruit.</dialogue>
    <scene_description>Ricki deftly punches in the SKU code with her long, gold acrylic nails.</scene_description>
    <character>RICKI</character>
    <dialogue>Right.</dialogue>
    <character>CUSTOMER</character>
    <dialogue>I try to listen to my body, and today my body was like, "Fruit!"</dialogue>
    <character>RICKI</character>
    <dialogue>It's funny how that works, isn't it? Okay, that comes to $447.74.</dialogue>
    <scene_description>The man cringes-- jokingly-- as he pulls out his wallet.</scene_description>
    <character>CUSTOMER</character>
    <dialogue>Ouch. I guess there's a reason they call this place...</dialogue>
    <scene_description>Ricki wearily mouths the punch line along with him.</scene_description>
    <character>CUSTOMER</character>
    <dialogue>..."Whole Paycheck."</dialogue>
    <character>RICKI</character>
    <dialogue>Well that actually is, truly, my whole paycheck.</dialogue>
    <scene_description>The man suddenly looks guilty.</scene_description>
    <character>RICKI</character>
    <dialogue>$447...yep, that's about what I make in a week.</dialogue>
    <scene_description>The customer pulls out his debit card, wanting to end the interaction as soon as possible.</scene_description>
    <character>CUSTOMER</character>
    <dialogue>Heh. How about that.</dialogue>
    <character>RICKI</character>
    <dialogue>Maybe if we get the Democrats out of office, the economy will improve, but until then, a lot of us are living to hand-to-mouth.</dialogue>
    <parenthetical>(surprised)</parenthetical>
    <dialogue>Oh. And you'd like $100 cash back.</dialogue>
    <scene_description>Ricki's manager, TROY, 19, has been observing this interaction. He walks over.</scene_description>
    <character>TROY</character>
    <dialogue>Have a great day, sir. Let me know how you like those protein cookies.</dialogue>
    <character>CUSTOMER</character>
    <dialogue>Thanks.</dialogue>
    <scene_description>Ricki hands the man his cash and he hurries out.</scene_description>
    <character>TROY</character>
    <dialogue>You just alienated the customer.</dialogue>
    <scene_description>Ricki is apologetic.</scene_description>
    <character>RICKI</character>
    <dialogue>I was making small talk. I was engaging, like you said.</dialogue>
    <character>TROY</character>
    <dialogue>Let's stick to talking about the weather. Or the inventory.</dialogue>
    <character>RICKI</character>
    <dialogue>Sorry, Troy.</dialogue>
    <character>TROY</character>
    <dialogue>Remember. "Mindfulness."</dialogue>
    <scene_description>Ricki nods with "enthusiasm."</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WHOLE FOODS (BREAK ROOM) - DAY</stage_direction>
    <scene_description>Ricki is sitting at a table, eating a sack lunch from home (tuna sandwich, Yoplait, can of soda). Her PHONE rings again. Ricki sighs, staring at the display. She finally picks up on the third ring.</scene_description>
    <character>RICKI</character>
    <dialogue>Hello?</dialogue>
    <scene_description>CROSS-CUT PHONE CALL</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMEL'S HOME - DAY</stage_direction>
    <scene_description>A suburban COUNTRY KITCHEN, sprawling, with granite counters and pristine cabinets. PETE BRUMMEL, 55, paces with a phone. He looks like what he is: an accountant on his day off. A little nerdy, a little tightly-wound, and definitely not thrilled to be speaking with Ricki.</scene_description>
    <character>PETE</character>
    <dialogue>Linda?</dialogue>
    <scene_description>Ricki sighs, hating the sound of her given name.</scene_description>
    <character>RICKI</character>
    <dialogue>Mm-hm?</dialogue>
    <character>PETE</character>
    <dialogue>You answered. I thought maybe you had another new number.</dialogue>
    <character>RICKI</character>
    <dialogue>Is this Pete?</dialogue>
    <character>PETE</character>
    <dialogue>Yes, this is Pete. I've been trying to call you.</dialogue>
    <character>RICKI</character>
    <dialogue>Really? I'm sorry.</dialogue>
    <character>PETE</character>
    <dialogue>I left you a voice mail. This is kind of time-sensitive matter?</dialogue>
    <character>RICKI</character>
    <dialogue>I haven't figured out how to check those messages yet. You know me.</dialogue>
    <character>PETE</character>
    <dialogue>Yes. I do.</dialogue>
    <character>RICKI</character>
    <dialogue>So what's the problem, Pete?</dialogue>
    <character>PETE</character>
    <dialogue>It's Julie. Max left her.</dialogue>
    <character>RICKI</character>
    <dialogue>Oh my goodness. Where did he go?</dialogue>
    <character>PETE</character>
    <dialogue>He didn't go anywhere. He's divorcing her. He met someone else.</dialogue>
    <character>RICKI</character>
    <dialogue>Well.</dialogue>
    <parenthetical>(pondering)</parenthetical>
    <dialogue>I suppose the heart wants what it wants...</dialogue>
    <character>PETE</character>
    <dialogue>What? Are you actually defending this ass who just abandoned our daughter? Wow. That is-- well, that is pretty consistent with...</dialogue>
    <character>RICKI</character>
    <parenthetical>(interrupting)</parenthetical>
    <dialogue>I'm not defending him. I'm trying to be fair and balanced like always. How is Julie?</dialogue>
    <character>PETE</character>
    <dialogue>That's why I'm calling you. Julie's not well. She's absolutely unhinged. She showed up here a few nights ago, and she's acting...I mean, she's not showering or changing her clothes... she's... I'm worried, Linda.</dialogue>
    <character>RICKI</character>
    <dialogue>How's your wife taking all this?</dialogue>
    <character>PETE</character>
    <dialogue>Maureen is in Seattle with her father. His health is failing.</dialogue>
    <character>RICKI</character>
    <dialogue>Oh right, he has Alzheimers.</dialogue>
    <scene_description>A.L.S.</scene_description>
    <character>RICKI</character>
    <dialogue>Isn't that short for Alzheimers?</dialogue>
    <character>PETE</character>
    <dialogue>No, it isn't.</dialogue>
    <character>RICKI</character>
    <dialogue>What can I do to help?</dialogue>
    <character>PETE</character>
    <dialogue>You could be there for your daughter.</dialogue>
    <scene_description>This is a clearly a loaded topic. Ricki pauses.</scene_description>
    <character>RICKI</character>
    <dialogue>Physically, or like in song?</dialogue>
    <scene_description>A long silence on the other end.</scene_description>
    <character>RICKI</character>
    <dialogue>Physically. Okay.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LAX AIRPORT TICKETING - DAY</stage_direction>
    <scene_description>Ricki passes through the automatic doors, fully made-up and dressed to kill in tight black jeans, boots, a fringed leather jacket, and all of her rock star accessories. Her GUITAR is slung over her shoulder. She looks around, confused. She tries to walk to the ticketing counter, but a uniformed ATTENDANT stops her.</scene_description>
    <character>ATTENDANT</character>
    <dialogue>You need a boarding pass? You can get that right here.</dialogue>
    <scene_description>She directs Ricki to the electronic TICKETING MACHINE.</scene_description>
    <character>RICKI</character>
    <dialogue>Here? This computer?</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Sorry. I haven't flown in a long time.</dialogue>
    <character>ATTENDANT</character>
    <dialogue>That's fine. Just put in your confirmation number.</dialogue>
    <character>RICKI</character>
    <dialogue>Is that like my social?</dialogue>
    <character>ATTENDANT</character>
    <dialogue>No, ma'am.</dialogue>
    <scene_description>Ricki is fumbling in her big purse, lost. A LIPSTICK rolls onto the floor.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LAX SECURITY CHECKPOINT - DAY</stage_direction>
    <scene_description>Ricki takes off her high-heeled boots, looking short and vulnerable. She takes off her many RINGS and BRACELETS and drops them in a plastic bin. Studs, turquoise, chains...it's a comical amount of jewelry. She steps through the detector. BEEP! A giant, ostentations BELT BUCKLE comes off. A silver TOE RING. Ricki tries again. On the other end of the conveyer belt, an exasperated TSA EMPLOYEE opens Ricki's bag.</scene_description>
    <character>TSA EMPLOYEE</character>
    <dialogue>Excuse me, Ma'am? You can't have this.</dialogue>
    <scene_description>The employee holds up a GIGANTIC CAN OF HAIR SPRAY.</scene_description>
    <character>RICKI</character>
    <dialogue>Sorry.</dialogue>
    <character>TSA EMPLOYEE</character>
    <dialogue>You can't have any of this stuff.</dialogue>
    <scene_description>The employee is taking out all of Ricki's "necessary" stuff-- mousse, gel, Oil of Olay, Poison perfume, a big bottle of CHEAP RED WINE. A YOUNG BUSINESS TRAVELER behind Ricki sighs.</scene_description>
    <character>RICKI</character>
    <dialogue>For heaven's sake, the wine is just a hostess gift. I'm not going to drink it on the plane.</dialogue>
    <character>TSA EMPLOYEE #2</character>
    <dialogue>Ma'am, can you step over to this area, please?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PLANE - NIGHT</stage_direction>
    <scene_description>Ricki is stuffed into an economy class seat. She wears her READING GLASSES and reads a library copy of Tuesdays with Morrie.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HERTZ RENT-A-CAR LOT (CHICAGO) - NIGHT</stage_direction>
    <scene_description>It's FREEZING in Chicago. Receipt in hand, Ricki shivers and trots across a lot full of RENTAL CARS, dragging her suitcase and guitar. She clearly didn't pack any type of proper outerwear for this trip. Ricki finds her car, a white PT Cruiser, and unlocks it, rubbing her hands together.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHICAGO EXPRESSWAY (TO ESTABLISH) - NIGHT</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. CAR - NIGHT</stage_direction>
    <scene_description>Ricki is listening to the classic rock station, of course. She slows the car as her headlights illuminate the gated entrance to RUFFLED FEATHERS GOLF COMMUNITY. She pulls into the gate and is stopped by the GUARD.</scene_description>
    <character>GUARD</character>
    <dialogue>Your name, please?</dialogue>
    <character>RICKI</character>
    <dialogue>Ricki.</dialogue>
    <character>GUARD</character>
    <dialogue>You're here to see...</dialogue>
    <character>RICKI</character>
    <dialogue>Peter Brummel.</dialogue>
    <character>GUARD</character>
    <dialogue>Can I see some ID?</dialogue>
    <scene_description>Ricki fishes out her license and hands it over.</scene_description>
    <character>GUARD</character>
    <parenthetical>(examining)</parenthetical>
    <dialogue>This says "Linda."</dialogue>
    <character>RICKI</character>
    <dialogue>That's my given name. But Pete knows I prefer to go by Ricki, so I think he would probably...</dialogue>
    <scene_description>The guard checks the log, interrupting.</scene_description>
    <character>GUARD</character>
    <dialogue>Here you are. Linda Brummel.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT./EXT. PETE BRUMMEL'S HOME - SAME</stage_direction>
    <scene_description>Pete stands at the front door of his handsome brick home. He stares out into the night, impatient and nervous. There's a DRESSED-UP GOOSE STATUE on the front porch. Ricki pulls up and parks crookedly in the driveway. Pete takes a deep breath and walks out to stiffly greet his ex-wife. Ricki struggles with her suitcase and guitar.</scene_description>
    <character>PETE</character>
    <dialogue>Let me help you with that.</dialogue>
    <character>RICKI</character>
    <dialogue>Thanks.</dialogue>
    <character>PETE</character>
    <dialogue>You brought a guitar.</dialogue>
    <dialogue>RICKI Just the one.</dialogue>
    <character>PETE</character>
    <dialogue>Um, how was your flight?</dialogue>
    <scene_description>They walk into the house together. Pete carries Ricki's suitcase, but the mood is awkward and businesslike.</scene_description>
    <character>RICKI</character>
    <dialogue>It was fine. Travel has really changed since we took the kids to Disney World.</dialogue>
    <character>PETE</character>
    <dialogue>Yeah. That was 1988.</dialogue>
    <character>RICKI</character>
    <dialogue>I remember when flying was a treat.</dialogue>
    <scene_description>People got a little dressed up, even. Now I see these young girls in exercise pants.</scene_description>
    <character>PETE</character>
    <dialogue>Well, I can see you're still putting in the effort.</dialogue>
    <scene_description>Ricki's not sure if this is a compliment. Matter of fact, it definitely isn't. Still, she remains cordial.</scene_description>
    <character>RICKI</character>
    <dialogue>Gee, thanks, Pete. Wow, this is some house. This is like a mansion.</dialogue>
    <character>PETE</character>
    <dialogue>Thanks, yeah. We got this, uh, double- height entry, and Maureen had to have those Palladian windows.</dialogue>
    <character>RICKI</character>
    <dialogue>Very classical.</dialogue>
    <character>PETE</character>
    <dialogue>Yes, I feel like Jefferson at Monticello.</dialogue>
    <scene_description>Silence. Ricki and Pete are out of small talk.</scene_description>
    <character>PETE (CONT'D)</character>
    <dialogue>I'll tell Julie you're here.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN - DAY</stage_direction>
    <scene_description>Ricki enters the huge kitchen. She looks very out of place amongst all the stainless-steel luxury. The decor is very crafty and "country". Lots of farm and chicken motifs. A handpainted sign that says "THIS IS NOT BURGER KING-- WE DO THINGS MY WAY." Another that says "HUG A NURSE." A hum as the space-age dishwasher begins to cycle. Ricki walks over. There's a cute little SIGN hanging from the dishwasher that says DIRTY. Ricki turns it over. It says CLEAN. There are some "classic"-looking paneled doors against the wall. Ricki pulls at them curiously, then reacts with surprise-- it's a REFRIGERATOR.</scene_description>
    <character>RICKI</character>
    <dialogue>Oh.</dialogue>
    <scene_description>She opens the freezer side. Alongside the ice cream and frozen veggies, we see a few BAGGIES full of glistening, green MARIJUANA. Ricki raises her eyebrows, surprised.</scene_description>
    <character>RICKI</character>
    <dialogue>Peter.</dialogue>
    <scene_description>As if on cue, Pete enters the kitchen. Ricki closes the freezer quickly.</scene_description>
    <character>PETE</character>
    <dialogue>So, Julie is pretty tired. She's glad you're here though and she's looking forward to having a conversation in the morning...</dialogue>
    <scene_description>A thunder of FOOTSTEPS. Angry, bloodshot EYES appear over Pete's shoulder in the doorway.</scene_description>
    <character>JULIE</character>
    <dialogue>Julie is not glad you're here.</dialogue>
    <scene_description>Julie's fucking pissed. JULIE emerges in a rage. She's in her late 20s, beautiful, but unstable and disheveled. She wears an old Slayer T-shirt and red flannel pajama pants and looks like she hasn't showered in a week.</scene_description>
    <character>RICKI</character>
    <dialogue>Hi Ju-jee!</dialogue>
    <character>JULIE</character>
    <dialogue>Oh my God. Look who it is. Joanfucking- Jett has graced us with her presence.</dialogue>
    <scene_description>Pete laughs nervously; he fears conflict.</scene_description>
    <character>PETE</character>
    <dialogue>Going through a separation...it can be a crazy time...</dialogue>
    <character>JULIE</character>
    <dialogue>I'm not crazy. I've actually never felt more clarity.</dialogue>
    <character>PETE</character>
    <dialogue>There's even a book about it called Crazy Time. Good read.</dialogue>
    <scene_description>Julie opens the fridge and takes out a bottle of KOMBUCHA.</scene_description>
    <character>RICKI</character>
    <dialogue>Oh, kombucha. We sell that at Whole Foods.</dialogue>
    <scene_description>Julie slams the fridge shut.</scene_description>
    <character>JULIE</character>
    <dialogue>You work at a grocery store? Ha, that's poetic, Mom. Because you've never prepared a proper meal for anyone, ever. So how did you wind up in the "packaged foods" industry? Record deal didn't work out? What happened to Tom Petty's cousin or whatever?</dialogue>
    <character>RICKI</character>
    <parenthetical>(looking at Pete)</parenthetical>
    <dialogue>I was under the impression that you wanted me here.</dialogue>
    <character>JULIE</character>
    <dialogue>Do you think we're like, twins now, because I'm getting a divorce? Well, I'm nothing like you, thank Christ.</dialogue>
    <character>RICKI</character>
    <dialogue>This whole thing-- it's not a big deal, honey. Lots of young women your age are having starter marriages. I just read something about it in Parade.</dialogue>
    <character>JULIE</character>
    <dialogue>It wasn't a "starter marriage." I take things seriously, unlike you. I intended to stay with Max forever and have kids and actually raise them to adulthood.</dialogue>
    <character>PETE</character>
    <dialogue>Take it easy, Julie.</dialogue>
    <character>JULIE</character>
    <dialogue>Why would you defend her? She's your "Max", Dad.</dialogue>
    <scene_description>Pete is rattled but tries to play it off with a laugh.</scene_description>
    <character>PETE</character>
    <dialogue>What? Heh, no.</dialogue>
    <character>JULIE</character>
    <dialogue>Yes, she is. She walked out on you.</dialogue>
    <character>RICKI</character>
    <dialogue>I was never unfaithful, Julie.</dialogue>
    <scene_description>Julie reacts to this as though she's been slapped.</scene_description>
    <character>JULIE</character>
    <dialogue>Neither was Max!</dialogue>
    <character>RICKI</character>
    <dialogue>Dad told me Max is already living with someone new. Do you really think he waited until he left you to be intimate with her?</dialogue>
    <character>JULIE</character>
    <parenthetical>(screaming)</parenthetical>
    <dialogue>Oh my God! He left me because he didn't want to cheat on me! He cared about me too much to do that!</dialogue>
    <character>RICKI</character>
    <dialogue>He's an absolute gem.</dialogue>
    <character>JULIE</character>
    <dialogue>Go fuck yourself!</dialogue>
    <scene_description>Julie grabs her kombucha and storms out of the kitchen, seething with rage.</scene_description>
    <character>PETE</character>
    <dialogue>We'll try again in the morning.</dialogue>
    <character>RICKI</character>
    <dialogue>Of course.</dialogue>
    <character>PETE</character>
    <dialogue>You uh, heading to your hotel now?</dialogue>
    <scene_description>Ricki looks at him quizzically.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE/GUEST ROOM - NIGHT</stage_direction>
    <scene_description>Pete opens the door to an OFFICE with a twin bed in it.</scene_description>
    <character>RICKI</character>
    <dialogue>It's a silly, silly mix-up. I'm so sorry. I could hardly afford the plane ticket, and I just thought that since you and Maureen built this big new house that it wouldn't be a problem...</dialogue>
    <character>PETE</character>
    <dialogue>Oh, it's not a problem space-wise.</dialogue>
    <character>PETE</character>
    <dialogue>It's really just, you know, boundaries. But it's fine!</dialogue>
    <character>RICKI</character>
    <dialogue>I hope Maureen doesn't mind.</dialogue>
    <scene_description>Pete chuckles nervously.</scene_description>
    <character>PETE</character>
    <dialogue>Oh, no. Mo is very chill. I'm the one who gets worked up about things.</dialogue>
    <character>RICKI</character>
    <dialogue>Maybe Julie gets that from you.</dialogue>
    <scene_description>Pete bites his tongue.</scene_description>
    <character>PETE</character>
    <dialogue>The bathroom is en suite, so...</dialogue>
    <character>RICKI</character>
    <dialogue>Mmm.</dialogue>
    <character>PETE</character>
    <dialogue>Good night, Linda.</dialogue>
    <scene_description>Pete looks at Ricki-- resentment and longing in his eyes.</scene_description>
    <character>RICKI</character>
    <dialogue>Good night.</dialogue>
    <scene_description>Ricki sits down on the bed and pulls off her boots.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE/SPARE BEDROOM - MORNING</stage_direction>
    <scene_description>The room is flooded with light. Ricki has the covers pulled over her head as she snores.</scene_description>
    <character>JULIE (O.S.)</character>
    <dialogue>Wake up, Linda.</dialogue>
    <scene_description>Ricki stirs.</scene_description>
    <character>JULIE</character>
    <dialogue>Wake up. You're late for Whole Foods.</dialogue>
    <scene_description>Ricki wakes up, disoriented, and sees Julie standing in her doorway. Julie still wears the Slayer T-shirt and plaid pajama pants. She puts on a silly, babyish voice.</scene_description>
    <character>JULIE</character>
    <dialogue>Just kidding.</dialogue>
    <character>RICKI</character>
    <dialogue>Hi.</dialogue>
    <character>JULIE</character>
    <dialogue>I was a huge bitch last night. I'm not sorry. But I acknowledge that I acted like a cunt bag.</dialogue>
    <character>RICKI</character>
    <dialogue>No, you didn't-- not that.</dialogue>
    <character>JULIE</character>
    <dialogue>My therapist started me on Effexor and I think we need to titrate down just a little. I've been volatile, anorgasmic...</dialogue>
    <character>RICKI</character>
    <dialogue>You're having orgasms?</dialogue>
    <character>JULIE</character>
    <dialogue>Anorgasmic. "An" means "not." It's Latin.</dialogue>
    <scene_description>Linda sits up and swings her legs out of bed.</scene_description>
    <character>RICKI</character>
    <dialogue>I know that, sweetie. I couldn't hear you.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>What time is it?</dialogue>
    <character>JULIE</character>
    <dialogue>It's almost 10. I thought I'd come and get you out of bed.</dialogue>
    <parenthetical>(pointed)</parenthetical>
    <dialogue>Just like old times.</dialogue>
    <scene_description>Julie picks up Ricki's phone brazenly and looks at it.</scene_description>
    <character>JULIE</character>
    <dialogue>You got a text here, Ma. Who's Greg?</dialogue>
    <character>RICKI</character>
    <dialogue>Greg plays guitar in the Flash.</dialogue>
    <scene_description>Julie smirks at the cheesy band name.</scene_description>
    <character>JULIE</character>
    <dialogue>The Flash?</dialogue>
    <character>RICKI</character>
    <dialogue>My band.</dialogue>
    <character>RICKI</character>
    <dialogue>I sent you our Facebook website a long time ago, remember? Give me that phone, please.</dialogue>
    <scene_description>Julie is reading the texts.</scene_description>
    <character>JULIE</character>
    <dialogue>He calls you "babe." Ricki takes the phone.</dialogue>
    <character>RICKI</character>
    <dialogue>That's an L.A. thing.</dialogue>
    <character>JULIE</character>
    <dialogue>That's a fuck thing.</dialogue>
    <scene_description>Ricki looks at her belligerent, disheveled daughter.</scene_description>
    <character>RICKI</character>
    <dialogue>How about some Dunkin Donuts?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DUNKIN DONUTS - DAY</stage_direction>
    <scene_description>Julie and Ricki sit in a booth by the window. Julie still wears her shut-in outfit and looks slightly insane. Ricki, of course, is in full hair and makeup.</scene_description>
    <character>RICKI</character>
    <dialogue>For some reason, we don't have Dunkin Donuts in California.</dialogue>
    <character>JULIE</character>
    <dialogue>Guess you have to leave a lot of things behind to become a rock star.</dialogue>
    <scene_description>Ricki stares at her daughter, yearning to connect.</scene_description>
    <character>RICKI</character>
    <dialogue>The donuts were the least of it.</dialogue>
    <character>JULIE</character>
    <dialogue>Yeah, Mom. That was the subtext.</dialogue>
    <character>RICKI</character>
    <dialogue>You know, honey, I came out here to help. Because I know you're in shock right now. And you're not yourself.</dialogue>
    <scene_description>Julie bites into a frosted donut with sprinkles, the kind of thing a 5 year-old would order.</scene_description>
    <character>JULIE</character>
    <dialogue>I tried to commit suicide.</dialogue>
    <scene_description>Ricki blinks, stunned.</scene_description>
    <character>RICKI</character>
    <dialogue>Dad didn't mention that.</dialogue>
    <character>JULIE</character>
    <dialogue>Oh, really? Yeah, Max came home from work and told me he was in love with this girl who works in "Traffic." Which in advertising, just means that she like, e-mails documents to various people all day. It is a non- job.</dialogue>
    <character>RICKI</character>
    <dialogue>Traffic.</dialogue>
    <character>JULIE</character>
    <dialogue>Yes. Nicole from Traffic. So Nicole is 34. She has two kids. 10 and 12. She has fake boobs. Small fake boobs, which is like-- what is the point? And they're like, walleyed. One of them is looking over here and the other one is looking at homeboy over there.</dialogue>
    <scene_description>She gestures to a DUNKIN DONUTS CASHIER across the room.</scene_description>
    <character>DUNKIN DONUTS CASHIER</character>
    <dialogue>Hey.</dialogue>
    <character>RICKI</character>
    <dialogue>How do you know so much about this woman's breasts?</dialogue>
    <character>JULIE</character>
    <dialogue>I found pictures on Max's phone.</dialogue>
    <character>RICKI</character>
    <dialogue>Oh, Julie.</dialogue>
    <character>JULIE</character>
    <dialogue>That night, I took a bunch of sleeping pills. I had them anyway because I have insomnia.</dialogue>
    <scene_description>Ricki is pleased to find a similarity between her and Julie.</scene_description>
    <character>RICKI</character>
    <dialogue>Like me.</dialogue>
    <character>JULIE</character>
    <dialogue>And millions of other Americans, yes. I took like 25 of them.</dialogue>
    <character>JULIE</character>
    <dialogue>Everything went black. And then I woke up in the hospital with a pumped stomach, a Filipino nurse named Girly, and my husband of four years telling me that we were done.</dialogue>
    <scene_description>Ricki looks at Julie. She BURSTS INTO TEARS.</scene_description>
    <character>JULIE</character>
    <dialogue>Whoa.</dialogue>
    <scene_description>Ricki lowers her head onto the table, sobbing.</scene_description>
    <character>JULIE (CONT'D)</character>
    <dialogue>What are you doing?</dialogue>
    <scene_description>Ricki grabs Julie's hands.</scene_description>
    <character>RICKI</character>
    <dialogue>I can't believe you tried to kill yourself!</dialogue>
    <scene_description>A SINGLE DAD having donuts with his TWO SMALL CHILDREN in a nearby booth looks disturbed.</scene_description>
    <character>RICKI</character>
    <dialogue>What the hell were you thinking, Julie? You are precious!</dialogue>
    <character>JULIE</character>
    <dialogue>If it makes you feel any better, a lot of shitty things have happened to me since you left. This is just an incident that you know of.</dialogue>
    <scene_description>Both of them are practically shouting now.</scene_description>
    <character>RICKI</character>
    <dialogue>Oh please don't...</dialogue>
    <character>JULIE</character>
    <dialogue>Yeah. Like one time, when I was a freshman at Marquette? I got drunk at a party and when I woke up there was semen all over my clothes.</dialogue>
    <scene_description>Single Dad looks increasingly alarmed.</scene_description>
    <character>RICKI</character>
    <dialogue>Why would you do that to yourself?</dialogue>
    <character>JULIE</character>
    <dialogue>Oh, it's my fault?</dialogue>
    <character>JULIE</character>
    <dialogue>You would think that. Yeah, okay, Mom. I take responsibility for some guy jerking it over my unconscious body.</dialogue>
    <character>SINGLE DAD</character>
    <dialogue>Excuse me! Can you guys take this conversation outside?</dialogue>
    <scene_description>Ricki turns to him condescendingly.</scene_description>
    <character>RICKI</character>
    <dialogue>Oh, that is so Midwestern. You can't raise children in a bubble.</dialogue>
    <scene_description>The dad escorts his kids toward the door angrily.</scene_description>
    <character>SINGLE DAD</character>
    <dialogue>I can't do something special with my kids when it's my weekend with them?</dialogue>
    <character>JULIE</character>
    <parenthetical>(to man)</parenthetical>
    <dialogue>Did you leave their mother? Because fuck you.</dialogue>
    <scene_description>The man GIVES THEM THE FINGER and exits with his crying kids.</scene_description>
    <character>SINGLE DAD</character>
    <parenthetical>(to little girl)</parenthetical>
    <dialogue>Come on, Journey.</dialogue>
    <scene_description>Julie and Ricki look at each other, strangely proud of the scene they've made.</scene_description>
    <character>JULIE</character>
    <dialogue>"Journey."</dialogue>
    <character>RICKI</character>
    <dialogue>Oh, I like that.</dialogue>
    <character>JULIE</character>
    <dialogue>You would.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMEL'S HOME (MEDIA ROOM) - DAY</stage_direction>
    <scene_description>Pete sits in a big MEDIA ROOM watching golf on TV. Ricki and Julie enter. Pete's on the couch with his back to them. Julie approaches the couch, holding a large DONUT in her mouth like a dog.</scene_description>
    <character>JULIE</character>
    <dialogue>Hrrrgh!</dialogue>
    <scene_description>Pete turns around to see his ex-wife and daughter.</scene_description>
    <character>PETE</character>
    <dialogue>Oh. I was wondering where you guys went.</dialogue>
    <scene_description>Julie shuffles off to the kitchen. Ricki takes this opportunity to quietly confront Pete.</scene_description>
    <character>RICKI</character>
    <dialogue>Our child attempted suicide?</dialogue>
    <scene_description>Pete interrupts defensively.</scene_description>
    <character>PETE</character>
    <dialogue>"Suicide" is an extreme word.</dialogue>
    <scene_description>Ricki stares at him.</scene_description>
    <character>PETE</character>
    <dialogue>I didn't find out about it until a few days after the fact.</dialogue>
    <character>RICKI</character>
    <dialogue>Why didn't you call me?</dialogue>
    <character>PETE</character>
    <dialogue>I did.</dialogue>
    <character>RICKI</character>
    <dialogue>I thought she was just depressed about Max leaving!</dialogue>
    <character>PETE</character>
    <dialogue>I wouldn't have bothered calling you over something that simple.</dialogue>
    <character>RICKI</character>
    <dialogue>Well, why not?</dialogue>
    <character>PETE</character>
    <dialogue>Because historically, Linda, you don't really give a damn.</dialogue>
    <character>RICKI</character>
    <dialogue>Yes I do!</dialogue>
    <parenthetical>(lowering her voice)</parenthetical>
    <dialogue>You shut me out, let's not forget that...</dialogue>
    <character>PETE</character>
    <dialogue>I shut you out. That's rich. You voluntarily put two thousand miles between yourself and your children...</dialogue>
    <character>RICKI</character>
    <dialogue>...and you.</dialogue>
    <scene_description>Pete reddens, flustered.</scene_description>
    <character>PETE</character>
    <dialogue>That's not germane to the conversation.</dialogue>
    <character>RICKI</character>
    <dialogue>Oh, I think it is.</dialogue>
    <scene_description>Julie re-enters, loudly interrupting. She flops down on the couch next to Pete.</scene_description>
    <character>JULIE</character>
    <dialogue>Oh, you guys are fighting! It's like the Eighties all over again. I remember me and Adam and Josh used to sit and watch An American Tail on VHS like over and over while you guys went at each other.</dialogue>
    <scene_description>Ricki sighs and sits down on a chair next to the couch.</scene_description>
    <character>PETE</character>
    <dialogue>We weren't fighting.</dialogue>
    <character>JULIE</character>
    <dialogue>Right, just recapping. How Mom's little "Hollywood experiment" shattered our perfect family...</dialogue>
    <character>RICKI</character>
    <dialogue>Good grief.</dialogue>
    <character>PETE</character>
    <dialogue>That's enough.</dialogue>
    <scene_description>Pete resumes his usual cordial tone.</scene_description>
    <character>PETE</character>
    <dialogue>So. Speaking of Adam and Josh, I let both of them know that you were in town--</dialogue>
    <character>JULIE</character>
    <dialogue>Just dropped in. Suicide visit.</dialogue>
    <character>RICKI</character>
    <parenthetical>(hopeful)</parenthetical>
    <dialogue>Do they want to see me?</dialogue>
    <character>JULIE</character>
    <dialogue>Josh does. Adam doesn't.</dialogue>
    <scene_description>Pete gives Julie an exasperated look.</scene_description>
    <character>PETE</character>
    <dialogue>They both said they're up for dinner tonight. Josh is bringing his girlfriend, Emily. They've gotten pretty serious.</dialogue>
    <character>RICKI</character>
    <dialogue>Is Adam bringing anyone?</dialogue>
    <scene_description>Julie lets out a loud, derisive SNORT.</scene_description>
    <character>PETE</character>
    <dialogue>Julie.</dialogue>
    <character>RICKI</character>
    <dialogue>Well, I can't believe I'm going to have all my kids in the same room. What a treat.</dialogue>
    <character>PETE</character>
    <dialogue>It should be a real nice night.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PETE BRUMMELL'S HOME (BACK YARD) - DAY</stage_direction>
    <scene_description>Phone in hand, Ricki pushes open a sliding glass door to the BACK YARD. For such a grand house, it's certainly on a small piece of land. The yard is a sad little patch of sod with a single cafe table and chairs. A fence barely obscures the other huge houses crowding Pete's. Ricki sits down and dials her phone.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THE SALT WELL - DAY</stage_direction>
    <scene_description>Greg is sitting at the bar at the Salt Well, drinking a bottle of Budweiser. Daniel the bartender looks on. Greg retrieves his phone from his jeans pocket.</scene_description>
    <character>GREG</character>
    <dialogue>Here's Ricki.</dialogue>
    <character>DANIEL</character>
    <dialogue>Tell her we love her.</dialogue>
    <scene_description>Greg hops off his stool, heading outside.</scene_description>
    <character>GREG</character>
    <dialogue>I gotta be careful with the "L" word. She's gun shy.</dialogue>
    <character>DANIEL</character>
    <dialogue>You'll get there.</dialogue>
    <scene_description>Greg answers the phone.</scene_description>
    <character>GREG</character>
    <dialogue>Hey, babe.</dialogue>
    <scene_description>CROSS CUT PHONE CALL</scene_description>
    <character>RICKI</character>
    <dialogue>Hi there.</dialogue>
    <character>GREG</character>
    <dialogue>How's everything going?</dialogue>
    <dialogue>RICKI It's been a bit hellish. I'm staying at Pete's.</dialogue>
    <character>GREG</character>
    <dialogue>Yeah? How's his pad?</dialogue>
    <character>RICKI</character>
    <dialogue>Suburban. Huge. There's so much granite. I'm nervous about the off- gassing.</dialogue>
    <scene_description>Greg switches his phone to the other ear.</scene_description>
    <character>GREG</character>
    <dialogue>What's that? Sorry, tinnitus.</dialogue>
    <character>RICKI</character>
    <dialogue>Nothing. It's just something I read in the paper. So...my daughter, Julie-- she apparently tried to kill herself with sleeping pills.</dialogue>
    <character>GREG</character>
    <dialogue>Oh, man.</dialogue>
    <character>RICKI</character>
    <dialogue>Yeah.</dialogue>
    <character>GREG</character>
    <dialogue>I don't know what to say, Rick. I mean, you know my Derek freaked out on mushrooms that one time, but that was an accident.</dialogue>
    <character>RICKI</character>
    <dialogue>I had no idea she was so lost. I blame myself.</dialogue>
    <character>GREG</character>
    <dialogue>No way.</dialogue>
    <character>GREG</character>
    <dialogue>Blame that punk who cheated on her. You hopped on the first plane to Chicago to be by her side. You're a great mom.</dialogue>
    <character>RICKI</character>
    <dialogue>You really think that?</dialogue>
    <character>GREG</character>
    <dialogue>Yes I do. A great mom, a great rock vocalist, and a so-so guitarist.</dialogue>
    <character>RICKI</character>
    <dialogue>Ha. We can't all be virtuosos like you.</dialogue>
    <character>GREG</character>
    <dialogue>Cover of Shredder Magazine, May 1988 and don't you forget it.</dialogue>
    <scene_description>Ricki laughs and sighs.</scene_description>
    <character>RICKI</character>
    <dialogue>I'm seeing my sons tonight.</dialogue>
    <character>GREG</character>
    <dialogue>That's great. Enjoy.</dialogue>
    <character>RICKI</character>
    <dialogue>I'm scared. They're adults now, you know?</dialogue>
    <character>GREG</character>
    <dialogue>Nah. You grow 'em, you know 'em.</dialogue>
    <scene_description>They're the same kids whose diapers you changed way back when. Ricki seems reassured by this.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ITALIAN RESTAURANT (TO ESTABLISH) - NIGHT</stage_direction>
    <scene_description>A "Tuscan"-style restaurant on a busy Saturday night.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ITALIAN RESTAURANT - NIGHT</stage_direction>
    <scene_description>A HOSTESS leads Ricki, Julie and Pete to a large table in the corner of the restaurant. Ricki is dressed to kill in black pleather pants and a chain belt. Julie has a TRENCH COAT over her Slayer/pajamas ensemble.</scene_description>
    <character>HOSTESS</character>
    <dialogue>Here you are.</dialogue>
    <scene_description>Ricki and Pete's sons ADAM and JOSH BRUMMEL are already seated, along with Josh's girlfriend, EMILY. Adam is 30, intense and attractive like his sister. Josh is 32, a friendly, approachable ex-jock. Emily has a polished, sweater-and-pearls "old money" look. In other words, she's the opposite of Julie and Ricki.</scene_description>
    <character>ADAM</character>
    <parenthetical>(mumbling)</parenthetical>
    <dialogue>Here she is...</dialogue>
    <scene_description>Josh, like his father, is a positive guy who prefers to avoid conflict.</scene_description>
    <character>JOSH</character>
    <parenthetical>(rising)</parenthetical>
    <dialogue>Hi, Mom.</dialogue>
    <character>RICKI</character>
    <dialogue>Hi Josh!</dialogue>
    <scene_description>She and Josh hug warmly. Emily smiles politely.</scene_description>
    <character>JOSH</character>
    <dialogue>And this is my girlfriend Emily.</dialogue>
    <character>EMILY</character>
    <dialogue>It's wonderful to finally meet you, Linda.</dialogue>
    <scene_description>Adam, already a bit loud and drunk, rolls his eyes.</scene_description>
    <character>ADAM</character>
    <dialogue>Hey, that's "Ricki Rendazzo." You're in the presence of greatness, Emily. Don't forget.</dialogue>
    <scene_description>He's kidding-- sort of. There's anger there.</scene_description>
    <character>RICKI</character>
    <dialogue>Adam. You look so handsome, sweetie.</dialogue>
    <scene_description>She holds her arms out for a hug. Adam remains seated and pats one of her outstretched arms.</scene_description>
    <character>ADAM</character>
    <dialogue>Thanks, Mom. How are you?</dialogue>
    <scene_description>The WAITER appears.</scene_description>
    <character>WAITER</character>
    <dialogue>Can I get you folks some drinks?</dialogue>
    <character>WAITER</character>
    <parenthetical>(to Adam)</parenthetical>
    <dialogue>Sir, would you like another martini?</dialogue>
    <character>ADAM</character>
    <dialogue>Why not? Keep 'em coming.</dialogue>
    <character>RICKI</character>
    <dialogue>Just water.</dialogue>
    <character>JULIE</character>
    <dialogue>I'll have water too.</dialogue>
    <parenthetical>(stage whisper)</parenthetical>
    <dialogue>With scotch.</dialogue>
    <scene_description>Julie sits down next to her father and Adam and across from Josh and Emily.</scene_description>
    <character>EMILY</character>
    <parenthetical>(to Pete)</parenthetical>
    <dialogue>So how's Maureen's dad doing?</dialogue>
    <character>PETE</character>
    <dialogue>Oof, not great. The disease is progressing rapidly and--Ricki interrupts curiously.</dialogue>
    <character>RICKI</character>
    <parenthetical>(to Emily)</parenthetical>
    <dialogue>You've met Maureen?</dialogue>
    <character>EMILY</character>
    <dialogue>Yeah, of course. Lots of times. Mo's great.</dialogue>
    <scene_description>Ricki hides her jealousy behind a smile.</scene_description>
    <character>JOSH</character>
    <dialogue>Emily and I have been together for over a year now. She's met the whole family.</dialogue>
    <character>JULIE</character>
    <dialogue>Em, why aren't you wearing your ring?</dialogue>
    <scene_description>A long, AWKWARD SILENCE. Josh glares at Julie.</scene_description>
    <character>JULIE (CONT'D)</character>
    <dialogue>Your engagement ring.</dialogue>
    <scene_description>Emily looks down, embarrassed.</scene_description>
    <character>RICKI</character>
    <dialogue>You two are engaged?</dialogue>
    <character>EMILY</character>
    <dialogue>Yes.</dialogue>
    <character>JULIE</character>
    <dialogue>Josh got Emily this huge conflict free diamond in an antique setting. He proposed at the lake. We were all there. It was beyond gay.</dialogue>
    <scene_description>Josh fumes silently at Julie.</scene_description>
    <character>RICKI</character>
    <dialogue>I'm so happy for you, honey. Why didn't you tell me?</dialogue>
    <scene_description>This question seems to be directed to everyone at the table, especially Pete.</scene_description>
    <character>JOSH</character>
    <dialogue>Well, we wanted to keep things quiet for a while. So we could enjoy our news privately.</dialogue>
    <character>RICKI</character>
    <dialogue>Julie said everyone was at the proposal. Did this just happen?</dialogue>
    <character>JULIE</character>
    <dialogue>No, it was the Fourth of July. So that was like...wow, eight, nine months ago?</dialogue>
    <character>ADAM</character>
    <parenthetical>(to Julie)</parenthetical>
    <dialogue>Look, I know you've been through a lot lately, but you are acting craycray right now.</dialogue>
    <character>JOSH</character>
    <parenthetical>(interrupting)</parenthetical>
    <dialogue>No, Adam. It's fine.</dialogue>
    <parenthetical>(to Ricki)</parenthetical>
    <dialogue>We were planning to tell you in person tonight.</dialogue>
    <scene_description>Julie snickers.</scene_description>
    <character>JULIE</character>
    <dialogue>Right. While Emily's ring was coincidentally being cleaned. Josh, just be honest and say that you don't want Mom at the wedding.</dialogue>
    <scene_description>The waiter reappears with a tray of drinks.</scene_description>
    <character>WAITER</character>
    <dialogue>Would you guys be interested in hearing our appetizer specials?</dialogue>
    <scene_description>Adam claps his hands together in shock.</scene_description>
    <character>ADAM</character>
    <dialogue>Oh my God.</dialogue>
    <character>PETE</character>
    <dialogue>That's not true.</dialogue>
    <character>JOSH</character>
    <dialogue>No. We're practically eloping, Mom.</dialogue>
    <character>EMILY</character>
    <dialogue>We're doing something very small, very green...</dialogue>
    <character>JOSH</character>
    <dialogue>It's not like some huge, formal wedding like Julie had.</dialogue>
    <character>JULIE</character>
    <dialogue>Thanks for bringing that up!</dialogue>
    <character>JOSH</character>
    <dialogue>Well, thanks for this.</dialogue>
    <character>JULIE</character>
    <dialogue>I'm still having Ambien shits from my suicide attempt, and you're talking about my wedding.</dialogue>
    <scene_description>The waiter vanishes.</scene_description>
    <character>RICKI</character>
    <dialogue>It's okay. Go ahead! My feelings aren't hurt if you elope. Your father and I eloped. It was wonderful.</dialogue>
    <scene_description>Pete is unexpectedly pleased by this reminiscence.</scene_description>
    <character>PETE</character>
    <dialogue>Yes. It was.</dialogue>
    <character>RICKI</character>
    <dialogue>This is wonderful news. I would get a bottle of champagne for the table or something, but I recently filed for bankruptcy, so...</dialogue>
    <scene_description>This makes everyone even more uncomfortable.</scene_description>
    <character>JOSH</character>
    <dialogue>That's OK. Thanks, Mom.</dialogue>
    <character>RICKI</character>
    <dialogue>Adam, when are you going to settle down and get married?</dialogue>
    <scene_description>This is a very sensitive subject.</scene_description>
    <character>PETE</character>
    <dialogue>Who wants calamari? How about some calamari for the table? Julie, you love that bruschetta...</dialogue>
    <character>ADAM</character>
    <dialogue>Well, Mom, as you know, I'm gay. So I can't legally get married, thanks to Republicans such as yourself who continue to deny my humanity.</dialogue>
    <character>RICKI</character>
    <dialogue>I didn't mean a man, I just...</dialogue>
    <character>ADAM</character>
    <dialogue>Who would I marry then?</dialogue>
    <character>RICKI</character>
    <dialogue>I thought you were bisexual.</dialogue>
    <character>PETE</character>
    <parenthetical>(to waiter)</parenthetical>
    <dialogue>Two calimaris, the bruschetta, and some more bread for the table, please.</dialogue>
    <scene_description>Julie mutters something to the waiter too, though we don't hear it. Adam takes a big swig of his martini.</scene_description>
    <character>ADAM</character>
    <dialogue>That was my cover story when I was in college. Ten years ago. I'm sorry you didn't stay updated on my sexual identity. But then, you didn't stay updated on much.</dialogue>
    <parenthetical>(to table)</parenthetical>
    <dialogue>Am I right?</dialogue>
    <character>RICKI</character>
    <dialogue>Oh. Okay. Now that I know you've decided to be completely gay, I won't ask about it anymore.</dialogue>
    <character>ADAM</character>
    <dialogue>Decided? You are so homophobic!</dialogue>
    <character>EMILY</character>
    <dialogue>It's not a choice.</dialogue>
    <scene_description>Ricki shoots a surprisingly cold look at Emily.</scene_description>
    <character>RICKI</character>
    <dialogue>Don't twist my words. That is not fair, Adam. I am not homophobic. I have a wonderful little friend named Daniel who is a gay bartender.</dialogue>
    <character>ADAM</character>
    <parenthetical>(to no one in particular)</parenthetical>
    <dialogue>She costumes herself as this "edgy" rocker who's cooler than all the PTA moms. When in fact, she voted for George W. Bush twice.</dialogue>
    <character>RICKI</character>
    <parenthetical>(shrugging)</parenthetical>
    <dialogue>I support our troops.</dialogue>
    <scene_description>Adam addresses the table.</scene_description>
    <character>ADAM</character>
    <dialogue>And I'm the misguided one, right? Meanwhile, she's running around California calling herself "Ricki."</dialogue>
    <character>RICKI</character>
    <dialogue>That's a name. Not a lifestyle.</dialogue>
    <character>ADAM</character>
    <dialogue>I can't help being gay!</dialogue>
    <scene_description>Ricki's response is calm.</scene_description>
    <character>RICKI</character>
    <dialogue>Well, I can't help being Ricki.</dialogue>
    <scene_description>Julie is very entertained at the moment.</scene_description>
    <character>JULIE</character>
    <dialogue>This shit-show is making my life right now. Seriously. It's amazing.</dialogue>
    <character>ADAM</character>
    <parenthetical>(to Julie)</parenthetical>
    <dialogue>Is this "psycho bitch" act just like, an extended plea for attention?</dialogue>
    <character>RICKI</character>
    <dialogue>Don't call your sister a bitch.</dialogue>
    <character>ADAM</character>
    <dialogue>Oh my God, she's parenting. Get the camera.</dialogue>
    <scene_description>Pete raises his voice-- a rare occurence. GUYS. Everyone stops.</scene_description>
    <character>PETE</character>
    <dialogue>It's a very rare occasion that we all get together like this. Your mother is here. I know we've always had some issues and some personality conflicts. But we are still blood. Don't forget that. Let's try to put some of this crap behind us and just appreciate the proximity, OK? Right now, the Brummels are proximal. That's-- that's special in itself.</dialogue>
    <scene_description>He briefly places his hand on Ricki's shoulder in a surprising show of solidarity. Everyone looks briefly chastened. The waiter appears with a FANCY CHOCOLATE ICE-CREAM DRINK.</scene_description>
    <character>WAITER</character>
    <dialogue>Did someone order a Mudslide?</dialogue>
    <scene_description>Julie pats the table next to Adam's place-setting.</scene_description>
    <character>JULIE</character>
    <dialogue>Right here. For my brother, Adam! He finally came out to Mom.</dialogue>
    <character>WAITER</character>
    <parenthetical>(winking)</parenthetical>
    <dialogue>Welcome to the family.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PETE'S CAR - NIGHT</stage_direction>
    <scene_description>Pete drives his high-end SUV. Julie is in the front seat. Ricki is in the back.</scene_description>
    <character>RICKI</character>
    <dialogue>Thanks for dinner, Pete. I appreciated...all of that.</dialogue>
    <character>PETE</character>
    <dialogue>The food there's pretty decent.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Last time we were all together like that was, ah...</dialogue>
    <scene_description>He suddenly stops himself.</scene_description>
    <character>JULIE</character>
    <dialogue>Just say it. My wedding.</dialogue>
    <character>RICKI</character>
    <dialogue>You'll have another wedding. Don't worry about it.</dialogue>
    <character>JULIE</character>
    <dialogue>I don't want to have another wedding. My heart is dead and rotten.</dialogue>
    <character>RICKI</character>
    <dialogue>Hearts never die. A heart isn't like a steak that spoils. A heart is more like...a Big Mac. It sits and sits and it gets older but it doesn't really change.</dialogue>
    <character>PETE</character>
    <dialogue>A Big Mac doesn't go bad?</dialogue>
    <character>RICKI</character>
    <dialogue>No, they last forever. I saw it on 60 Minutes.</dialogue>
    <character>PETE</character>
    <dialogue>Huh.</dialogue>
    <scene_description>Julie is gnawing her nails, stressed out by the discussion at hand. In fact, the entire night has been stressful.</scene_description>
    <character>PETE (CONT'D)</character>
    <dialogue>How about I put on the radio?</dialogue>
    <scene_description>Ricki seems relieved by the idea of music.</scene_description>
    <character>RICKI</character>
    <dialogue>Oh, I'd love that.</dialogue>
    <scene_description>Pete turns it on-- it's NEWS RADIO. He turns up the volume. Ricki settles back into the back seat and stares out the window, miserable.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PETE BRUMMELL'S HOME (MORNING) - TO ESTABLISH</stage_direction>
    <scene_description>The sound of a CELL PHONE BEEPING.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE/SPARE BEDROOM - SAME</stage_direction>
    <scene_description>Again, the office is flooded with mid-morning light, and again, Ricki has the quilt pulled over her entire face. Ricki's CELL PHONE ALARM is going off. She wakes up and turns it off.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMELL'S HOME (UPSTAIRS HALLWAY) - SAME</stage_direction>
    <scene_description>Ricki, wearing her threadbare pajamas, shuffles cautiously down the hallway. She peeks into a BEDROOM we can assume is temporarily Julie's. Julie's CLOTHES and worldly possessions are scattered tornado- style all over the floor, but-- no Julie.</scene_description>
    <character>RICKI</character>
    <dialogue>Julie?</dialogue>
    <scene_description>No answer. Ricki keeps walking. Now she's officially snooping. She opens a door at the end of the hall, revealing PETE AND MAUREEN'S BEDROOM.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MASTER SUITE - SAME</stage_direction>
    <scene_description>Ricki walks in and looks around. It's a huge MASTER SUITE, immaculately maintained, with shining wood floors. It couldn't be more different than Ricki's cramped bedroom with the dirty apartment carpet. Ricki crosses the room and opens another door. A huge BATHROOM with a gigantic, free-standing SOAKING TUB.</scene_description>
    <character>RICKI</character>
    <parenthetical>(to herself)</parenthetical>
    <dialogue>Seems like a waste.</dialogue>
    <scene_description>She walks out of the bathroom and opens another door. Reveal A VERY LARGE WALK-IN CLOSET, complete with vanity. 3/4 of the closet is full of Maureen's clothes. On the other side of the closet. Pete's BUSINESS SUITS are hanging. His shirts are organized by color. Near the back of the closet, Ricki sees a WHITE SPA-STYLE BATHROBE hanging on a hook. It looks like it doesn't get a lot of use. She reaches for it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMEL'S HOME (MEDIA ROOM) - AFTERNOON</stage_direction>
    <scene_description>Ricki enters the large, empty media room with a cup of COFFEE and sits down on one of the leather sectional sofas. She reaches for the REMOTE and turns on the 60-inch TV. Scrolling through the menu, she clicks on "Movies." Ricki selects Life of Pi. A message flashes on the TV asking Ricki to confirm the $6.99 purchase. Ricki glances around the room. She selects "OK." She puts her feet up and begins to watch the movie.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMELL'S HOME (KITCHEN) - AFTERNOON</stage_direction>
    <scene_description>Julie sits at the counter wearing the same Slayer T-shirt and PJ pants. She still hasn't washed her hair and looks like a greasy mess. The clock on the stove reads 1:00 PM. Ricki enters. Julie barely glances up from her bowl of cereal.</scene_description>
    <character>JULIE</character>
    <dialogue>You're still here? Don't you have to go to work?</dialogue>
    <character>RICKI</character>
    <dialogue>I gave all of this weekend's shifts to my coworker, Florence.</dialogue>
    <character>JULIE</character>
    <dialogue>Florence must be P.O.'d.</dialogue>
    <character>RICKI</character>
    <dialogue>No, she was happy to pick up the hours. Most people need money.</dialogue>
    <scene_description>It's implied that Julie, lounging in her dad's 500 square foot kitchen, is not one of those people.</scene_description>
    <character>RICKI</character>
    <dialogue>What are you eating?</dialogue>
    <character>JULIE</character>
    <dialogue>Whole-grain fart flakes. I'm done.</dialogue>
    <scene_description>Julie chucks her spoon and stoneware bowl into the sink. We hear a BREAKING sound.</scene_description>
    <character>JULIE</character>
    <dialogue>Whoops.</dialogue>
    <character>RICKI</character>
    <dialogue>Last night, why did you announce that Josh and Emily got engaged?</dialogue>
    <character>JULIE</character>
    <dialogue>Because I thought you had a right to know. And because I'm kind of a shit- disturber.</dialogue>
    <character>RICKI</character>
    <dialogue>It was a little embarrassing. And then your brother started in on me...</dialogue>
    <character>JULIE</character>
    <dialogue>...But then Dad was all, "It's so magical having Mommy here; everyone needs to calm down and feel the love." What's it like being white-knighted by your ex-husband?</dialogue>
    <character>RICKI</character>
    <dialogue>What--</dialogue>
    <parenthetical>(realizing)</parenthetical>
    <dialogue>You think he was defending me?</dialogue>
    <character>JULIE</character>
    <dialogue>Yeah. He always does.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I mean, you do come up from time to time. People say "How's Linda doing?" and instead of being like "Who gives a fuck, fuck her," Dad's always like, "Oh, she loves California, she's a free spirit, she's still doing her music," whatever. He never says anything bad about you. I think he still has a crush.</dialogue>
    <scene_description>This pleases Ricki, though she doesn't let on.</scene_description>
    <character>RICKI</character>
    <dialogue>Don't be silly. It's just that when you have a child...that's a lasting bond.</dialogue>
    <character>JULIE</character>
    <dialogue>With the father or the child?</dialogue>
    <character>RICKI</character>
    <dialogue>Both.</dialogue>
    <scene_description>She attempts to tousle Julie's hair. Julie dodges it.</scene_description>
    <character>RICKI</character>
    <dialogue>So where is your father?</dialogue>
    <character>JULIE</character>
    <parenthetical>(duh)</parenthetical>
    <dialogue>Work.</dialogue>
    <character>RICKI</character>
    <dialogue>He still goes in every day?</dialogue>
    <character>JULIE</character>
    <dialogue>How do you think he paid for this ten-of-a-kind architectural statement?</dialogue>
    <scene_description>She smirks and gestures to the kitchen.</scene_description>
    <character>RICKI</character>
    <dialogue>He certainly has done well for himself.</dialogue>
    <scene_description>Julie glances at the clock on the microwave.</scene_description>
    <character>JULIE</character>
    <dialogue>I have therapy at noon. I'd better go wash my dick or I'll get another lecture on "personal care." It's evident that Julie does not enjoy her therapy sessions.</dialogue>
    <character>RICKI</character>
    <dialogue>Wait. You could skip therapy today. Call in sick.</dialogue>
    <character>JULIE</character>
    <dialogue>I am sick. Hence, therapy.</dialogue>
    <character>RICKI</character>
    <dialogue>I mean, how often am I here?</dialogue>
    <character>JULIE</character>
    <dialogue>Never...</dialogue>
    <character>RICKI</character>
    <dialogue>Exactly. We can go to the old neighborhood, maybe do some of the things we used to do...</dialogue>
    <character>JULIE</character>
    <dialogue>Like a Civil War reenactment.</dialogue>
    <character>RICKI</character>
    <dialogue>Or just, you know, old times sake.</dialogue>
    <character>JULIE</character>
    <dialogue>And then I don't have to talk to Dr. Paul and his giant veneers.</dialogue>
    <character>RICKI</character>
    <dialogue>Right.</dialogue>
    <scene_description>Julie considers the proposition.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RENTAL CAR - DAY</stage_direction>
    <scene_description>Ricki drives. Julie rides shotgun in her disheveled "uniform." The radio is tuned to Ricki's favorite station.</scene_description>
    <character>JULIE</character>
    <dialogue>Where are we going?</dialogue>
    <character>RICKI</character>
    <dialogue>Do you have credit cards?</dialogue>
    <character>JULIE</character>
    <dialogue>Yeah, but they're still linked to Max's account.</dialogue>
    <character>RICKI</character>
    <dialogue>I think I'll fill up the car.</dialogue>
    <scene_description>Ricki pulls off into a SHELL STATION.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FANTASTIC SAM'S - DAY</stage_direction>
    <scene_description>Julie leans her head back into a SINK at one of those cheap walk-in HAIR SALONS. The STYLIST gingerly touches Julie's limp, greasy hair as she fills the basin.</scene_description>
    <character>JULIE</character>
    <dialogue>Why does this feel like I'm being tricked?</dialogue>
    <scene_description>Ricki stands nearby, drinking a GAS STATION FRAPPUCCINO. She made good use of Max's credit card.</scene_description>
    <character>RICKI</character>
    <dialogue>It's just a shampoo and style.</dialogue>
    <character>STYLIST</character>
    <dialogue>You've got to condition this gorgeous hair. There are people with cancer that pray for this hair.</dialogue>
    <character>JULIE</character>
    <dialogue>I bet they pray for less cancer.</dialogue>
    <character>RICKI</character>
    <dialogue>She has my hair.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FANTASTIC SAM'S - SAME</stage_direction>
    <scene_description>Scissors SLICE through the bottom half-inch of Julie's hair. Julie sits wearing a SMOCK in the busy salon.</scene_description>
    <character>JULIE</character>
    <dialogue>Not more than a half-inch. I can feel what you're cutting.</dialogue>
    <character>RICKI</character>
    <dialogue>Why are you so attached to this hair?</dialogue>
    <scene_description>Julie doesn't answer.</scene_description>
    <character>RICKI</character>
    <dialogue>Because it's the one thing that hasn't changed?</dialogue>
    <scene_description>Julie rolls her eyes, even though her mother is right.</scene_description>
    <character>RICKI</character>
    <dialogue>Lots of things are going to change in your life. Someday you're going to find a gray hair, and I don't mean on your head...</dialogue>
    <character>STYLIST</character>
    <parenthetical>(to herself)</parenthetical>
    <dialogue>Jesus.</dialogue>
    <character>JULIE</character>
    <dialogue>No one wants to hear about your steel wool, Mom.</dialogue>
    <character>RICKI</character>
    <dialogue>I'm just saying, you might as well look pretty. While you still can.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NAIL SALON - DAY</stage_direction>
    <scene_description>A NAIL TECH is gluing super long PLASTIC TIPS onto Julie's short, bitten nails.</scene_description>
    <character>JULIE</character>
    <dialogue>I look like Nosferatu.</dialogue>
    <scene_description>Ricki is at the next STATION getting her LONG ACRYLIC NAILS filled. The TECH wields a Dremel hand drill.</scene_description>
    <character>RICKI</character>
    <dialogue>They'll file them down, don't worry.</dialogue>
    <character>JULIE</character>
    <dialogue>How am I going to wipe?</dialogue>
    <character>RICKI</character>
    <dialogue>You'll manage. I play guitar and work a cash register without any problems.</dialogue>
    <character>JULIE</character>
    <dialogue>Hey, do you ever steal from the register?</dialogue>
    <character>RICKI</character>
    <dialogue>Julie, of course not!</dialogue>
    <scene_description>A CLERK brings over the tab and Max's credit card on a tray.</scene_description>
    <character>CLERK</character>
    <dialogue>That's $65 on the card and you can add whatever tip.</dialogue>
    <scene_description>(NOTE FOR MALES WHO ARE READING THIS SCRIPT: YOU ALWAYS PAY FOR YOUR NAILS BEFORE THEY'RE DONE SO YOU DON'T MESS UP YOUR NAILS. XO DC)</scene_description>
    <character>RICKI</character>
    <parenthetical>(scribbling)</parenthetical>
    <dialogue>I'll leave a nice big one.</dialogue>
    <scene_description>Julie watches mother, a reluctant half-smile creeping onto her face.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STRIP MALL PARKING LOT - DAY</stage_direction>
    <scene_description>Ricki and Julie stand on the sidewalk outside of the salon. They hold out their hands to examine them in the daylight. Ricki has the same long, squared-off acrylics she's been rocking for 25 years. Julie is rocking Rihanna-esque pointy nails with rhinestones and glitter. Pretty rad.</scene_description>
    <character>JULIE</character>
    <dialogue>Wow.</dialogue>
    <scene_description>Staring at her hand, she subtly does the "hand job" gesture.</scene_description>
    <character>RICKI</character>
    <dialogue>What are you doing?</dialogue>
    <character>JULIE</character>
    <dialogue>Just seeing how something would look.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Are we going home now?</dialogue>
    <character>RICKI</character>
    <dialogue>No, we're going to get you out of that get-up and into something more flattering.</dialogue>
    <scene_description>She leads Julie in the direction of a Gap.</scene_description>
    <character>JULIE</character>
    <dialogue>Oh no. I allowed you to treat me like your Barbie makeup head all day. I'm done.</dialogue>
    <scene_description>She heads off toward the car.</scene_description>
    <character>RICKI</character>
    <dialogue>Ju-jee.</dialogue>
    <scene_description>Julie stops.</scene_description>
    <character>RICKI</character>
    <dialogue>Let me have this.</dialogue>
    <scene_description>The look on Ricki's face is so pitiful that Julie relents.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMELL'S HOME (KITCHEN) - DAY</stage_direction>
    <scene_description>Pete is in the kitchen, home from work. His BRIEFCASE sits on the kitchen island. Julie and Ricki enter. Ricki has a look of satisfaction on her face.</scene_description>
    <character>JULIE</character>
    <dialogue>Hi, Dad.</dialogue>
    <character>PETE</character>
    <dialogue>Hey...Hey.</dialogue>
    <scene_description>He's startled by Julie's TRANSFORMATION. She may have just switched to skinny jeans and a fresh gray T-shirt, but combined with the clean hair and polished nails, it's quite a change. She's lovely.</scene_description>
    <character>PETE (CONT'D)</character>
    <dialogue>You look very nice.</dialogue>
    <scene_description>Even though Julie would never admit it, she does feel a little better now that she's cleaned up. It shows.</scene_description>
    <character>JULIE</character>
    <dialogue>Bah.</dialogue>
    <scene_description>She turns around and heads off before any more compliments can be paid. Pete looks at Ricki.</scene_description>
    <character>PETE</character>
    <dialogue>How?</dialogue>
    <scene_description>Ricki plays it off like it was no big deal.</scene_description>
    <character>RICKI</character>
    <dialogue>I just made a suggestion. She listens to me, you know?</dialogue>
    <character>PETE</character>
    <dialogue>I guess she does.</dialogue>
    <scene_description>Pete's expression is deeply grateful. Admiring, even.</scene_description>
    <character>PETE (CONT'D)</character>
    <dialogue>Hey, I'm sorry if I was a bit of an asshole yesterday afternoon. Things have been a little stressful at the company.</dialogue>
    <character>RICKI</character>
    <dialogue>Well, you work very hard. And I admire that.</dialogue>
    <character>PETE</character>
    <dialogue>You do? You used to call me an uptight workaholic.</dialogue>
    <character>RICKI</character>
    <dialogue>I "used to" a lot of things. But I've changed, Pete. I have.</dialogue>
    <character>PETE</character>
    <dialogue>I can see that.</dialogue>
    <scene_description>Ricki is pleased.</scene_description>
    <character>PETE</character>
    <dialogue>I've been trying to get her out of that T-shirt for ten days.</dialogue>
    <character>RICKI</character>
    <dialogue>Well, sometimes a girl just needs her mother.</dialogue>
    <character>PETE</character>
    <dialogue>Do you-- do you want to go grab a bite somewhere? Maybe Julie would want to come.</dialogue>
    <character>RICKI</character>
    <dialogue>Yes. That sounds great.</dialogue>
    <parenthetical>(dry)</parenthetical>
    <dialogue>Just don't invite any of our other children.</dialogue>
    <character>PETE</character>
    <dialogue>I won't. That was...</dialogue>
    <character>RICKI</character>
    <dialogue>Rough.</dialogue>
    <scene_description>The two of them have to chuckle at the memory.</scene_description>
    <character>PETE</character>
    <dialogue>Yes. That was rough.</dialogue>
    <scene_description>Their eyes meet as they laugh. It's a temporary truce.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE'S CAR - EVENING</stage_direction>
    <scene_description>Pete drives his SUV down the highway. Ricki is in the front seat. Julie rides in the back seat, looking very much like a child. Their child. They drive pass a LARGE SUBURBAN PUB, the kind of place that has live music and darts and lots of guys in baseball caps. The parking lot is overflowing with cars. It's hard to miss.</scene_description>
    <character>RICKI</character>
    <dialogue>That place looks busy.</dialogue>
    <scene_description>Julie looks unimpressed.</scene_description>
    <character>JULIE</character>
    <dialogue>Ugh, yeah. Friday happy hour at Pat Flanagan's. What a cesspool...</dialogue>
    <parenthetical>(suddenly)</parenthetical>
    <scene_description>HOLY SHIT! Julie screams so loud that Pete practically loses control of the car.</scene_description>
    <character>PETE</character>
    <dialogue>What?</dialogue>
    <scene_description>There's an orange HONDA FIT parked near the edge of Pat Flanagan's parking lot.</scene_description>
    <character>JULIE</character>
    <dialogue>That is Nicole from Traffic. That is her car.</dialogue>
    <character>PETE</character>
    <dialogue>How do you know?</dialogue>
    <character>JULIE</character>
    <dialogue>Dad, flip a bitch!</dialogue>
    <character>PETE</character>
    <dialogue>What?</dialogue>
    <character>RICKI</character>
    <dialogue>A U-turn Pete, make a U-turn.</dialogue>
    <scene_description>Pete obliges quickly.</scene_description>
    <character>JULIE</character>
    <dialogue>I know that's Nicole's car because she has those stupid "stick figures" on the back window. Both of her kids and even their fucking dog.</dialogue>
    <scene_description>They pull into the parking lot. Julie gets out of the car and gets a closer look at Nicole's Honda. As she walks closer, her jaw drops.</scene_description>
    <character>PETE</character>
    <dialogue>Julie...don't vandalize that car.</dialogue>
    <character>JULIE</character>
    <dialogue>Oh my God, Oh my God...</dialogue>
    <scene_description>Ricki sees what Julie is freaking out over. Sure enough, there is a family of "stick figure" decals on the back window of Nicole's car. But there's a NEW FIGURE added to the end of the line-up.</scene_description>
    <character>RICKI</character>
    <parenthetical>(to Pete)</parenthetical>
    <dialogue>She added Max.</dialogue>
    <scene_description>Yup. A new DAD STICKER labeled "Max" stands next to figures labeled "Nicole" "Kenzie" "Kash" and the DOG, "Scooter." Julie loses her shit.</scene_description>
    <character>JULIE</character>
    <dialogue>He's a sticker now? He's got sticker status? They've been dating for like 45 minutes. What kind of insane person allows himself to be stuck, in effigy, to the rear window of a Honda Fit just because he's getting some new pussy?</dialogue>
    <character>RICKI</character>
    <dialogue>Ugh, I hate that word.</dialogue>
    <character>PETE</character>
    <dialogue>It's awful. You know, we didn't even curse around her when she was little...</dialogue>
    <character>RICKI</character>
    <dialogue>Honestly. I th--</dialogue>
    <scene_description>Suddenly, Julie turns around and looks at her parents. A huge, lone TEAR rolls down her cheek. Her bravado is gone, replaced by pure PAIN. Something about this pitiful sight galvanizes Pete and Ricki. Their expressions change. Their baby is crying.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BAR - HAPPY HOUR</stage_direction>
    <scene_description>It's a big place, and crowded. Darts, pool tables, people eating, drinking, SUBURBANITES dressed up for a night "on the town." A young crowd. There's a small BAND on stage tuning up. The front door swings open and Ricki enters. Julie and Pete are close behind her. Julie suddenly seems nervous.</scene_description>
    <character>JULIE</character>
    <dialogue>Mom? Mom? What are we doing?</dialogue>
    <character>RICKI</character>
    <dialogue>Why did you want to stop here if we weren't going to do anything?</dialogue>
    <character>JULIE</character>
    <dialogue>Well, I was just doing a standard "scorned ex" drive-by, I didn't want to go full revenge-porn on them.</dialogue>
    <character>RICKI</character>
    <dialogue>They need to come face to face with what they've done.</dialogue>
    <character>PETE</character>
    <dialogue>But that won't help Julie to forgive them.</dialogue>
    <scene_description>It's clear to both of them that they're not talking about Julie.</scene_description>
    <character>RICKI</character>
    <dialogue>What is she supposed to do, Pete? Kill them with kindness?</dialogue>
    <character>PETE</character>
    <dialogue>She won't be able to move on with her life until she lets go of her resentment and tries to forgive them.</dialogue>
    <character>JULIE</character>
    <dialogue>Okay, "Jesus."</dialogue>
    <character>RICKI</character>
    <dialogue>Do you think she could ever let go of something that big?</dialogue>
    <character>PETE</character>
    <dialogue>Yes. Because she'll move on. And she knows who Max really is. And she'll always care about that person.</dialogue>
    <scene_description>Pete and Ricki are locked in to each other. There's a DISCORDANT, TWANGING SOUND from the stage. A YOUNG GUITARIST, maybe 20 years old, is tuning up with an AUTOMATIC GUITAR TUNER. Ricki rolls her eyes.</scene_description>
    <character>RICKI</character>
    <dialogue>Look at this kid.</dialogue>
    <dialogue>She marches over to the stage before Peter or Julie can stop her.</dialogue>
    <character>RICKI</character>
    <dialogue>What are you trying to do here? Open D?</dialogue>
    <character>GUITARIST</character>
    <dialogue>Uh...yeah?</dialogue>
    <character>RICKI</character>
    <dialogue>First of all, you need get rid of this chromatic tuner. This will make you a lazy musician. You've got to develop your ear.</dialogue>
    <character>GUITARIST</character>
    <dialogue>Um. Okay.</dialogue>
    <character>RICKI</character>
    <dialogue>May I?</dialogue>
    <character>GUITARIST</character>
    <dialogue>What?</dialogue>
    <character>RICKI</character>
    <dialogue>Let me tune that thing.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I'm a professional. I promise you I can hear better than that thing.</dialogue>
    <scene_description>She indicates the automatic tuner. Glancing at the rest of the BAND and humoring this older woman, he slips the GUITAR off her shoulders and hands it to her. Ricki quickly tunes the guitar. She expertly launches into the opening riff of "Brown Sugar" by the Rolling Stones. It's amplified, and BAR PATRONS stare, impressed. Ricki feels the eyes on her and cheats her body towars the crowd. The woman loves an audience. As Ricki strums, she scans the crowd and spots MAX and NICOLE, both in their early 30s. Max looks like a deer in headlights; he was not expecting to see his California-based mother-in- law here. Ricki takes off the guitar-- reluctantly-- and hands it back to the now-impressed kid. From across the room, we can see that Pete looks a little impressed himself.</scene_description>
    <character>GUITARIST</character>
    <dialogue>Cool. Actually, we're opening with the Stones.</dialogue>
    <character>RICKI</character>
    <dialogue>Well, obviously. Why else would you be in Open D? Just don't do "Satisfaction." I always lose the crowd on that one. I think it's overplayed.</dialogue>
    <scene_description>Julie and Pete are watching Ricki with amusement. And pride.</scene_description>
    <character>GUITARIST</character>
    <dialogue>We're doing "Start Me Up." You know because it's like, the start of the set?</dialogue>
    <character>RICKI</character>
    <dialogue>Very creative. Break a leg, honey.</dialogue>
    <scene_description>She gives him a quick SWAT on the butt, in full Ricki mode.</scene_description>
    <character>GUITARIST</character>
    <dialogue>Thanks!</dialogue>
    <scene_description>As Ricki walks away, we hear the BAND laughing, shocked.</scene_description>
    <character>GUITARIST</character>
    <parenthetical>(to drummer)</parenthetical>
    <dialogue>I thought that was like, someone's mom...</dialogue>
    <scene_description>Ricki walks over to the booth where Max and Nicole sit. They're surrounded by a few of Nicole's FRIENDS. The conversation at the table screeches to a halt.</scene_description>
    <character>MAX</character>
    <dialogue>Hi?</dialogue>
    <character>RICKI</character>
    <dialogue>You walked out on Julie.</dialogue>
    <character>MAX</character>
    <dialogue>It's-- look it's personal. Okay? It's my business.</dialogue>
    <character>RICKI</character>
    <parenthetical>(calmly)</parenthetical>
    <dialogue>How could you be so selfish?</dialogue>
    <character>MAX</character>
    <dialogue>I don't know. I made a mistake? We got married too young.</dialogue>
    <character>RICKI</character>
    <dialogue>I got married too young. I was 21. You were a grown man.</dialogue>
    <scene_description>Max has had a lot to drink.</scene_description>
    <character>MAX</character>
    <dialogue>Look, lady. You don't know me. We've talked like, once. Julie doesn't even like you. You're the reason she's messed up.</dialogue>
    <scene_description>Julie has emerged from the entryway and is watching this interaction from afar. She gnaws her nails. Pete places a protective arm around his daughter.</scene_description>
    <character>RICKI</character>
    <dialogue>Yes, and I have to live with the consequences of my actions. And so do you. But you're not a bad person Max. You're just a human being.</dialogue>
    <character>NICOLE</character>
    <parenthetical>(to Max)</parenthetical>
    <dialogue>She's right, baby.</dialogue>
    <scene_description>Suddenly, Ricki's whole demeanor changes. She turns to Nicole, ablaze.</scene_description>
    <character>RICKI</character>
    <dialogue>I was not speaking to you, you wretched little whore.</dialogue>
    <character>NICOLE</character>
    <dialogue>Excuse me?</dialogue>
    <character>RICKI</character>
    <dialogue>It's one thing to have feelings for someone. Great. It's quite another to allow him to abandon his new bride and to slap a sticker of him on your rear window. That's tacky! He's next to the dog.</dialogue>
    <scene_description>Nicole gets up in Ricki's face.</scene_description>
    <character>NICOLE</character>
    <dialogue>Hey, I love my dog.</dialogue>
    <character>RICKI</character>
    <dialogue>Well now you have two.</dialogue>
    <character>NICOLE</character>
    <dialogue>Get out of my face, you dried-up old hag.</dialogue>
    <character>RICKI</character>
    <dialogue>Listen, Nicole. My daughter is going to feel stupid about this for the rest of her life. The least you can do is feel stupid for a night.</dialogue>
    <scene_description>She takes a PITCHER OF BEER off the table and pours it all over Nicole's breasts. People scream and POINT. Nicole is soaked to the bone, her infamous wonky boobs clearly visible.</scene_description>
    <character>NICOLE</character>
    <dialogue>Oh my God!</dialogue>
    <scene_description>Ricki tilts her head and examines Nicole's breasts with a charitable eye.</scene_description>
    <character>RICKI</character>
    <dialogue>They're not that bad.</dialogue>
    <scene_description>She turns around and walks out. The BAND begins playing "Start Me Up" as Ricki saunters to the exit.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAR - NIGHT</stage_direction>
    <scene_description>Pete drives in silence, looking semi-mortified. Ricki is in the front seat, casually touching up her black eyeliner. Julie is in the back. She gazes out the window. A huge GRIN creeps onto her face. Ricki glances at her daughter in the rear view mirror and SMILES. Julie reaches up and slaps something on the window. It's the stick-figure decal of MAX-- a bit battered from having been forcibly scraped off the car, but still intact.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMELL'S HOME (GARAGE ENTRY) - NIGHT</stage_direction>
    <scene_description>Pete, Julie and Ricki enter the house.</scene_description>
    <character>PETE</character>
    <dialogue>Everybody hitting the hay?</dialogue>
    <character>JULIE</character>
    <dialogue>Dad, it's like nine.</dialogue>
    <character>RICKI</character>
    <dialogue>Pete, can I ask you a question?</dialogue>
    <character>PETE</character>
    <dialogue>Sure.</dialogue>
    <character>RICKI</character>
    <dialogue>Why is there pot in the freezer?</dialogue>
    <scene_description>Julie smirks knowingly.</scene_description>
    <character>PETE</character>
    <parenthetical>(embarrassed)</parenthetical>
    <dialogue>One of my coworkers gave it to me.</dialogue>
    <scene_description>You know I still get those migraines from time to time. He said it would help.</scene_description>
    <character>JULIE</character>
    <dialogue>The freezer keeps it fresh.</dialogue>
    <character>PETE</character>
    <dialogue>I haven't even tried it yet.</dialogue>
    <character>RICKI</character>
    <dialogue>Why not?</dialogue>
    <character>PETE</character>
    <dialogue>You know I don't like to lose my cool.</dialogue>
    <scene_description>Julie and Ricki giggle.</scene_description>
    <character>PETE</character>
    <dialogue>What? You guys don't think I'm cool?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMELL'S HOME (MEDIA ROOM) - NIGHT</stage_direction>
    <scene_description>Pete and Julie are sitting on the couch, very stoned. Ricki plays her ACOUSTIC GUITAR. She sits on the floor, strumming and singing "Passenger Side" by Wilco. This is the "real" Ricki-- none of the forced stage theatrics, just raw, stripped-down talent.</scene_description>
    <character>RICKI</character>
    <dialogue>Hey, wake up. Your eyes weren't open wide. For the last couple of miles. You've been swerving from side to side. You're gonna make me spill my beer If you don't learn how to steer passenger side. Passenger side I don't like riding on the passenger side.</dialogue>
    <scene_description>Pete and Julie have heard Ricki sing and play before, but it's been a long time. They're AWESTRUCK by her voice.</scene_description>
    <character>RICKI</character>
    <dialogue>Should've been the driver. Could've been the one. I should've been your lover. But I hadn't seen. Can you take me to the store, and then the bank? I've got five dollars we can put in the tank. I've got a court date coming this June. I'll be driving soon Julie lays her head on Pete's shoulder. Passenger side. I don't like riding. On the passenger side. I don't like riding. On the passenger side.</dialogue>
    <scene_description>Ricki finishes and looks up, a little embarrassed.</scene_description>
    <character>RICKI</character>
    <dialogue>That's it.</dialogue>
    <character>JULIE</character>
    <parenthetical>(sincere)</parenthetical>
    <dialogue>Bra-fucking-vo.</dialogue>
    <character>PETE</character>
    <dialogue>Your voice has really held up, Linda.</dialogue>
    <character>RICKI</character>
    <dialogue>Glad something has.</dialogue>
    <character>JULIE</character>
    <dialogue>How come you didn't get famous?</dialogue>
    <scene_description>Ricki's laugh is brittle.</scene_description>
    <character>RICKI</character>
    <dialogue>You know the story. Those wolves took advantage of me. They told me I could be the next Melissa Etheridge, Emmylou Harris. But what they wanted was a sex doll they could control.</dialogue>
    <scene_description>Julie cringes at the unholy intersection of "mom" and "sex."</scene_description>
    <character>PETE</character>
    <dialogue>I still have your record.</dialogue>
    <character>RICKI</character>
    <dialogue>You do?</dialogue>
    <character>PETE</character>
    <dialogue>Yes. There's a big Rubbermaid out in the garage with a lot of old stuff from back then.</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMEL'S HOME (MEDIA ROOM) - TEN MINUTES LATER</stage_direction>
    <scene_description>Close on a big STORAGE CONTAINER. Ricki pulls off the lid, revealing a lot of old photos, documents, etc. from Ricki and Pete's failed marriage. Julie grabs a framed 8 x 10 FAMILY PHOTO. It's a posed, corny shot, like something you'd get from Sears Portrait Studio.</scene_description>
    <character>JULIE</character>
    <dialogue>Look at this!</dialogue>
    <scene_description>"Young Mom" Ricki has COMICALLY BIG, TEASED HAIR. Pete looks basically the same. Julie is about 5 and smiling in pigtails. Josh, 9, wears his softball uniform. Adam, 7, wears a turtleneck and a sweet expression.</scene_description>
    <character>JULIE</character>
    <dialogue>And you think Adam wasn't born gay.</dialogue>
    <scene_description>Ricki sees the aforementioned RECORD. She looks very glamorous on the cover, pouting against a black backdrop. The cover says: RICKI RENDAZZO - SILK NIGHT SKY</scene_description>
    <character>JULIE</character>
    <dialogue>Ah, yes. "Silk Night Sky."</dialogue>
    <character>RICKI</character>
    <dialogue>My first and only single.</dialogue>
    <character>RICKI</character>
    <parenthetical>(dry)</parenthetical>
    <dialogue>It took five songwriters to make that mess, can you imagine?</dialogue>
    <character>PETE</character>
    <dialogue>Why'd the label make you do that?</dialogue>
    <character>RICKI</character>
    <dialogue>That song "Black Velvet" was a big hit. I guess they thought they could rip it off.</dialogue>
    <character>JULIE</character>
    <dialogue>The stuff you wrote was better.</dialogue>
    <character>RICKI</character>
    <dialogue>No one's interested in originality. Even at my gigs, we do mostly covers. Party songs. People just want to relive the past.</dialogue>
    <character>JULIE</character>
    <dialogue>Well, that's just pathetic.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Do you think I could still fit in this?</dialogue>
    <scene_description>She grabs a LITTLE GIRL'S T-SHIRT that says "I'm The Little Sister" and holds it up to her chest, fully aware of the irony.</scene_description>
    <character>JULIE</character>
    <dialogue>I have to pee.</dialogue>
    <scene_description>Julie drops the T-shirt and flounces off toward the bathroom. Pete makes a very stoned attempt at humor.</scene_description>
    <character>PETE</character>
    <dialogue>Hey, don't kill yourself in there.</dialogue>
    <scene_description>Ricki looks at him, horrified.</scene_description>
    <character>RICKI</character>
    <dialogue>Pete!</dialogue>
    <character>PETE</character>
    <dialogue>I can't believe I just said that.</dialogue>
    <scene_description>Ricki covers her mouth and stifles a shocked squeal/moan of anguish.</scene_description>
    <character>PETE (CONT'D)</character>
    <dialogue>I'm so stoned. I'm sorry. I just...I don't know how to talk about things. You know that.</dialogue>
    <character>RICKI</character>
    <dialogue>I know. I know.</dialogue>
    <scene_description>She pats Pete's hand. The brief hit of electricity registers on both of their faces.</scene_description>
    <character>PETE</character>
    <dialogue>She was only 10, you know? She was only 10 when you left. The boys were a little older, and they understood...</dialogue>
    <character>RICKI</character>
    <dialogue>No they didn't. They were babies, too.</dialogue>
    <character>PETE</character>
    <dialogue>I understood.</dialogue>
    <character>RICKI</character>
    <dialogue>But you didn't.</dialogue>
    <character>PETE</character>
    <dialogue>I understand now, so now, I can understand in the past. I'm sending a message to me then, and saying: Understand.</dialogue>
    <character>RICKI</character>
    <dialogue>You are very stoned.</dialogue>
    <scene_description>They chuckle.</scene_description>
    <character>RICKI (CONT'D)</character>
    <dialogue>I just have to say...I love this house.</dialogue>
    <character>PETE</character>
    <dialogue>What?!</dialogue>
    <character>RICKI</character>
    <dialogue>I do.</dialogue>
    <character>PETE</character>
    <dialogue>I didn't think you would.</dialogue>
    <character>RICKI</character>
    <dialogue>I do.</dialogue>
    <character>PETE</character>
    <dialogue>But it's so boring and conventional. You usually like places with "character."</dialogue>
    <character>RICKI</character>
    <dialogue>Fuck character.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMEL'S HOME (MEDIA ROOM) - AN HOUR LATER</stage_direction>
    <scene_description>Julie is SOUND ASLEEP on the couch. (PRELAP):</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMELL'S HOME (KITCHEN) - SAME</stage_direction>
    <scene_description>Pete stands in front of the fridge, holding up a bunch of ARGULA. Both he and Ricki are still very stoned.</scene_description>
    <character>PETE</character>
    <dialogue>Wow. Wow. You know that off the top of your head?</dialogue>
    <scene_description>Ricki sits on the kitchen counter, giggling uncontrollably. She eats a spoonful of COOKIE DOUGH from a package.</scene_description>
    <character>RICKI</character>
    <dialogue>Yes.</dialogue>
    <character>PETE</character>
    <dialogue>Arugula is 94844.</dialogue>
    <character>RICKI</character>
    <dialogue>I know all the PLU codes. I ring up stuff all day. Go ahead, try me.</dialogue>
    <character>PETE</character>
    <parenthetical>(mind blown)</parenthetical>
    <dialogue>But there are so many fruits and vegetables.</dialogue>
    <character>RICKI</character>
    <dialogue>Yes, there are.</dialogue>
    <character>PETE</character>
    <dialogue>How about, um, bananas?</dialogue>
    <character>RICKI</character>
    <dialogue>Organic or regular? Organic is 94011.</dialogue>
    <character>PETE</character>
    <dialogue>You're like a memorizing genius.</dialogue>
    <character>PETE</character>
    <dialogue>You're like Forrest Gump.</dialogue>
    <character>RICKI</character>
    <dialogue>What?</dialogue>
    <character>PETE</character>
    <dialogue>I meant the other--</dialogue>
    <character>RICKI</character>
    <dialogue>Rain Man.</dialogue>
    <character>PETE</character>
    <dialogue>Yes. You know, they think like every kid has that now. Autism. I don't know.</dialogue>
    <character>RICKI</character>
    <dialogue>Remember when the pediatrician--what was his name? Dr. Fandango?</dialogue>
    <scene_description>The shared memory and botched name cracks up both of them.</scene_description>
    <character>PETE</character>
    <dialogue>I know who you're talking about. Dr. Firouz Fandango. Whatever. That guy in Wheaton. Yes.</dialogue>
    <character>RICKI</character>
    <dialogue>That guy, that doctor, remember he said Joshy was hyperactive? It turned out he was just drinking too much pop.</dialogue>
    <character>PETE</character>
    <dialogue>They don't know anything.</dialogue>
    <parenthetical>(philosophical)</parenthetical>
    <dialogue>We don't know anything.</dialogue>
    <scene_description>They both seem to suddenly think of their sleeping daughter in the next room.</scene_description>
    <character>PETE (CONT'D)</character>
    <dialogue>She's going to be fine.</dialogue>
    <character>RICKI</character>
    <dialogue>I don't know.</dialogue>
    <character>PETE</character>
    <dialogue>She is. She is.</dialogue>
    <scene_description>He walks over and takes the spoon out of Ricki's hand, chucks it in the sink. He gently takes the package of cookie dough away from her.</scene_description>
    <character>RICKI</character>
    <dialogue>I'm still eating that.</dialogue>
    <scene_description>It is a simple protective gesture from a very impaired Pete.</scene_description>
    <character>PETE</character>
    <dialogue>No.</dialogue>
    <scene_description>Standing in front of Ricki, who is still sitting on the counter, he suddenly bows his head, laying it in her lap.</scene_description>
    <character>RICKI</character>
    <dialogue>Pete? Are you okay?</dialogue>
    <character>PETE</character>
    <parenthetical>(muffled)</parenthetical>
    <dialogue>Yes.</dialogue>
    <character>RICKI</character>
    <dialogue>Are you sick?</dialogue>
    <character>PETE</character>
    <dialogue>No.</dialogue>
    <character>RICKI</character>
    <dialogue>Did you just want to touch me?</dialogue>
    <scene_description>Pete doesn't answer. Ricki gently runs her hand through what's left of his hair. Her hand passes over his bald spot. He's old and "square." But in this moment, he's somehow hers again.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE/SPARE BEDROOM - MORNING</stage_direction>
    <scene_description>It's morning again. Ricki wakes up, rolls over, and looks at her phone. She has a MISSED CALL from Greg...and it's also 10:30 AM. Ricki shakes her head and climbs out of bed. No wake-up call today. Still, she looks optimistic. Last night, however bizarre, felt like a healing experience. She's hopeful. Happy, even. She reaches for a HAIR BRUSH and her makeup case.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMELL'S HOME (STAIRS/KITCHEN) - MORNING</stage_direction>
    <scene_description>Ricki comes down the stairs wearing the PLUSH WHITE BATHROBE she found in Pete's closet. As she descends the stairs, she hears BUSY BREAKFAST NOISES. Sizzling, clinking; the sounds of a cozy domestic scene. Ricki rounds the corner and enters the KITCHEN. Julie and Pete sit at the breakfast table, enjoying FRUIT and FRENCHPRESS COFFEE. MAUREEN, 50, is at the stove making some restaurant-quality French toast. Maureen is African-American, fit and lovely for her age in designer jeans and a scoop-neck top. Everyone turns and looks at Ricki.</scene_description>
    <character>MAUREEN</character>
    <dialogue>Oh, hi there.</dialogue>
    <character>RICKI</character>
    <dialogue>Hi Maureen.</dialogue>
    <character>PETE</character>
    <dialogue>There you are. Just in time for Maureen's famous brioche French toast.</dialogue>
    <scene_description>Pete's blank impersonal smile is miles removed from the warmth and vulnerability he showed the night before.</scene_description>
    <character>RICKI</character>
    <dialogue>How's your dad? I thought you were in Seattle?</dialogue>
    <character>MAUREEN</character>
    <dialogue>Thanks for asking. Dad's kind of plateaued at the moment, so they told me I might as well come back here for the time being. I don't like to be away from my family.</dialogue>
    <scene_description>She beams at Pete and Julie.</scene_description>
    <character>JULIE</character>
    <dialogue>Mo makes the best breakfast.</dialogue>
    <character>MAUREEN</character>
    <parenthetical>(teasing)</parenthetical>
    <dialogue>That's all I'm good for, right?</dialogue>
    <scene_description>She brings over a platter of golden French toast. She tousles Julie's hair.</scene_description>
    <character>JULIE</character>
    <dialogue>Nahh.</dialogue>
    <scene_description>She leans up and sweetly gives Maureen a peck on the cheek. Ricki is taken aback by this display of affection between stepdaughter and stepmother.</scene_description>
    <character>MAUREEN</character>
    <dialogue>I decided to take the red-eye last night. Got in at six this morning. I feel like a hot mess.</dialogue>
    <character>RICKI</character>
    <dialogue>You don't look like a hot mess.</dialogue>
    <scene_description>She certainly doesn't.</scene_description>
    <character>MAUREEN</character>
    <dialogue>Aw, Linda, you're sweet. Do you want some coffee?</dialogue>
    <character>JULIE</character>
    <dialogue>Mo's coffee is the best.</dialogue>
    <character>RICKI</character>
    <dialogue>I thought the French toast was the best.</dialogue>
    <character>PETE</character>
    <dialogue>It's hard to decide what's best when Mo's cooking!</dialogue>
    <scene_description>Ricki looks at Pete as though he's Judas.</scene_description>
    <character>MAUREEN</character>
    <dialogue>Sit down, have some breakfast.</dialogue>
    <character>RICKI</character>
    <dialogue>Thanks. I'm really not hungry.</dialogue>
    <character>MAUREEN</character>
    <dialogue>Suit yourself. By the way, you look good in my robe. Keep it.</dialogue>
    <scene_description>Julie glances wryly at Ricki like: Seriously? You took her robe? Mo dusts some powdered sugar off her jeans and sits down at the table. She holds out her hands.</scene_description>
    <character>MAUREEN</character>
    <dialogue>Hands?</dialogue>
    <scene_description>Pete, Julie and Ricki CLASP HANDS and lower their heads. Maureen prays simply and eloquently.</scene_description>
    <character>MAUREEN</character>
    <dialogue>Dear Lord, bless this food set before us.</dialogue>
    <character>MAUREEN</character>
    <dialogue>Please shepherd Julie through this time of adversity and bring peace to her heart and soul. In Jesus's name, Amen.</dialogue>
    <character>JULIE</character>
    <dialogue>Amen.</dialogue>
    <scene_description>They tuck into their breakfast. Ricki stands there in her robe, outside of the circle, wordless.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PETE BRUMMEL'S HOME (BACK YARD) - DAY</stage_direction>
    <scene_description>Ricki dials her phone, pacing the tiny yard.</scene_description>
    <character>RICKI</character>
    <parenthetical>(on phone)</parenthetical>
    <dialogue>Hello, Greg. This is Ricki. Sorry I missed your call last night. I...I miss you and I think I'm coming home soon. I don't know. Julie needs me. We'll see. Okay. Talk to you later.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PETE BRUMMEL'S HOME (UPSTAIRS HALLWAY) - DAY</stage_direction>
    <scene_description>A freshly showered Ricki walks down the hallway, wrapped in a towel. She looks very plain and vulnerable with her bare face and wet hair.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE/SPARE BEDROOM - DAY</stage_direction>
    <scene_description>Ricki walks into the spare bedroom and practically jumps out of her towel. Maureen is sitting on the swivel chair by Pete's computer desk.</scene_description>
    <character>MAUREEN</character>
    <dialogue>Hi. Can we talk?</dialogue>
    <character>RICKI</character>
    <dialogue>I'm practically naked right now.</dialogue>
    <character>MAUREEN</character>
    <dialogue>I have five sisters. I've seen a naked lady before.</dialogue>
    <character>RICKI</character>
    <dialogue>I had a brother.</dialogue>
    <scene_description>She sits down on the bed, holding her towel closed protectively.</scene_description>
    <character>MAUREEN</character>
    <dialogue>So. As you know, we're very concerned about Miss Julie.</dialogue>
    <character>RICKI</character>
    <dialogue>She's going to be all right. She's always been a fighter.</dialogue>
    <character>MAUREEN</character>
    <parenthetical>(pointed)</parenthetical>
    <dialogue>She's had to be.</dialogue>
    <scene_description>Ricki wants to say something, but hesitates.</scene_description>
    <character>MAUREEN (CONT'D)</character>
    <dialogue>Right now we're working with her doctor to stabilize her. She's on some meds, and she's been going to therapy as well.</dialogue>
    <parenthetical>(pointed)</parenthetical>
    <dialogue>I don't like her to miss a session.</dialogue>
    <character>RICKI</character>
    <dialogue>I don't think one's that big of a deal...</dialogue>
    <character>MAUREEN</character>
    <dialogue>I also understand that you gave her some marijuana last night?</dialogue>
    <character>RICKI</character>
    <dialogue>No. Pete did. I mean, it's Pete's marijuana, for his headaches. Yes. We did smoke some.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>It's just a plant.</dialogue>
    <character>MAUREEN</character>
    <dialogue>I know that. I've smoked a little in my time. But when a person's body is adjusting to new medications, and they're emotionally labile...</dialogue>
    <character>RICKI</character>
    <parenthetical>(interrupting)</parenthetical>
    <dialogue>Labile?</dialogue>
    <character>MAUREEN</character>
    <dialogue>Sorry. You know I've been a nurse for 100 years. Erratic. Unstable.</dialogue>
    <character>RICKI</character>
    <dialogue>I don't think she's being erratic.</dialogue>
    <character>MAUREEN</character>
    <dialogue>Uh-huh. As I was saying...I just think maybe it's not great for you to be here right now.</dialogue>
    <character>MAUREEN</character>
    <dialogue>You're always welcome in our home, and I know Pete thought that it would help for Julie to see you, but I think what she needs right now is normalcy.</dialogue>
    <character>RICKI</character>
    <dialogue>Well, I did get her out of those pajamas. I got her hair styled. I'd say she's doing much better since I arrived.</dialogue>
    <character>MAUREEN</character>
    <dialogue>Hey, Linda, please don't be offended. I'm just looking out for my kid.</dialogue>
    <scene_description>This cuts deep.</scene_description>
    <character>RICKI</character>
    <dialogue>Your kid?</dialogue>
    <character>MAUREEN</character>
    <dialogue>She's your kid too, of course. But Linda, let's be real. The last time you lived with her, she was a little girl. I was there for the teen years, college...</dialogue>
    <character>RICKI</character>
    <dialogue>She went to college in Milwaukee.</dialogue>
    <character>MAUREEN</character>
    <dialogue>Who do you think drove her ass there?</dialogue>
    <scene_description>Linda has no reply to this one.</scene_description>
    <character>MAUREEN (CONT'D)</character>
    <dialogue>Who do you think helped her put together her dorm furniture? Who paid her bail when she got that DUI, or went to the Mother-Daughter Tea at that god-awful white sorority?</dialogue>
    <scene_description>Ricki is silent.</scene_description>
    <character>MAUREEN (CONT'D)</character>
    <dialogue>Huh? Who do you think has been doing all the mom stuff all these years? Kids aren't "done" once they leave grade school. They need someone to finish the job.</dialogue>
    <character>RICKI</character>
    <dialogue>I know that. I'm not a fool.</dialogue>
    <character>MAUREEN</character>
    <dialogue>Look, I respect you as the women who gave her life, but once you went to L.A., those Christmas visits didn't cut it. There was a hole in this family. I filled it.</dialogue>
    <character>RICKI</character>
    <dialogue>No. You made it worse. I tried to come out here and see them more, but you always made it difficult. Yes, you did! You alienated my children from me, Maureen. You poisioned the relationship...</dialogue>
    <scene_description>As Ricki grows more agitated, Maureen remains calm.</scene_description>
    <character>MAUREEN</character>
    <dialogue>Are you serious right now? You know all those birthday and Mother's Day gifts you got "from the kids"? I paid for those. I mailed them. I made sure the kids didn't forget about you even though they had good reason to. You should be kissing my feet right about now.</dialogue>
    <character>RICKI</character>
    <dialogue>Bullshit.</dialogue>
    <scene_description>Maureen gets up, shaking her head.</scene_description>
    <character>MAUREEN</character>
    <dialogue>I didn't want it to go like this.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Do you need help paying for a flight back?</dialogue>
    <character>RICKI</character>
    <dialogue>You wish.</dialogue>
    <scene_description>She tries to think of some way, any way, to retaliate.</scene_description>
    <character>RICKI (CONT'D)</character>
    <dialogue>Pete is still in love with me.</dialogue>
    <scene_description>Unruffled, Maureen laughs.</scene_description>
    <character>MAUREEN</character>
    <dialogue>I'll let you have that.</dialogue>
    <scene_description>Maureen walks out of the room.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PETE BRUMMEL'S HOME (DRIVEWAY) - EVENING</stage_direction>
    <scene_description>The AIRPORT SHUTTLE pulls up to the curb. Ricki is outside with her battered SUITCASE and GUITAR. Pete waits with her.</scene_description>
    <character>PETE</character>
    <dialogue>I can wake up Julie.</dialogue>
    <character>RICKI</character>
    <dialogue>No, it's fine, just let her nap.</dialogue>
    <character>PETE</character>
    <dialogue>These shuttles really aren't that bad. It's the same thing as sharing a cab.</dialogue>
    <character>RICKI</character>
    <dialogue>It's great. Thank you so much for calling.</dialogue>
    <parenthetical>(awkward)</parenthetical>
    <dialogue>And paying.</dialogue>
    <character>PETE</character>
    <dialogue>It was nice to see you. Ultimately, I think it was good that you came.</dialogue>
    <character>RICKI</character>
    <dialogue>Yes. It was a real pleasure.</dialogue>
    <character>PETE</character>
    <dialogue>Well, fly safe.</dialogue>
    <character>RICKI</character>
    <dialogue>I have no control over that.</dialogue>
    <character>PETE</character>
    <dialogue>I know.</dialogue>
    <scene_description>He pats her stiffly on the shoulder. She walks to the shuttle.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AIRPLANE - NIGHT</stage_direction>
    <scene_description>Ricki is crammed into another COACH SEAT. She wears headphones and watches MTV on her seatback. Ricki hasn't watched MTV in years. It's a KE$HA VIDEO. Ricki watches miserably as the wild young woman contorts herself in torn fishnets and hot pants.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. AIRPORT - NIGHT</stage_direction>
    <scene_description>An exhausted Ricki waits on the curb. A CAR pulls up-- a real beater. The trunk pops. Ricki tosses in her stuff and climbs into the passenger side. Reveal a Greg behind the wheel, holding a CHEAP BOUQUET and a STUFFED ELEPHANT. Ricki can't help but smile.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THE SALT WELL - NIGHT</stage_direction>
    <scene_description>Ricki and the Flash are onstage at the Salt Well, which is surprisingly CROWDED tonight. A perspiring Ricki sings "It's Only Rock n' Roll (But I Like It)" by the Rolling Stones. Even though Ricki lives for the stage, there's a crack in her veneer tonight. She seems fatigued. Angry.</scene_description>
    <character>RICKI</character>
    <dialogue>I know it's only rock n' roll But I like it. I know it's only rock n' roll But I like it, like it, yes I do!</dialogue>
    <scene_description>With a flurry from the DRUMS, the song ends.</scene_description>
    <character>RICKI</character>
    <dialogue>Yeah. Thanks. The amazing Rolling Stones, of course.</dialogue>
    <scene_description>She yanks the mic out of the stand and paces the stage.</scene_description>
    <character>RICKI</character>
    <dialogue>Funny thing about Mick Jagger. The man has seven children by four different women, can you believe that?</dialogue>
    <scene_description>Someone in the audience WHISTLES loudly. Daniel adds supportive commentary from the bar.</scene_description>
    <character>DANIEL</character>
    <dialogue>Get it, Mick!</dialogue>
    <character>RICKI</character>
    <dialogue>Yeah. Busy guy. Of course, he didn't raise all of them. He was a rock star. And more importantly, he wasn't a mother.</dialogue>
    <scene_description>Greg and Billy glance nervously at each other.</scene_description>
    <character>RICKI (CONT'D)</character>
    <dialogue>See, daddies are allowed to do what they want. Make love to whomever they want. Take risks. Get hooked on dope. Leave. Who cares if other people get hurt along the way? Doesn't matter, if you get some great songs out of it, right?</dialogue>
    <scene_description>Greg tries to prompt her to move on.</scene_description>
    <character>GREG</character>
    <dialogue>And let's hear some of those great songs now...</dialogue>
    <character>RICKI</character>
    <dialogue>By the way, your kids will still respect and love you. Because you're "the man." But if you're a woman, God forbid. God forbid you miss one school concert, or you forget to be the tooth fairy one time out of 20 teeth. Congrats, you're a monster. Daddy can go to the South of France and have sex with a model, but Mommy...Mommy is why you're messed up.</dialogue>
    <scene_description>The crowd has fallen silent. Behind the bar, Daniel's face falls. Greg tries to lighten things up.</scene_description>
    <character>GREG</character>
    <dialogue>Ricki, that's enough. You're scaring some of the guys in here. Heh. I think I just felt my balls go up into my body.</dialogue>
    <character>RICKI</character>
    <dialogue>Well, you didn't need them anyway, Greg.</dialogue>
    <scene_description>On Greg: pissed.</scene_description>
    <character>GREG</character>
    <dialogue>Oh but I do need them, Linda.</dialogue>
    <character>RICKI</character>
    <dialogue>Pardon me?</dialogue>
    <scene_description>Buster impatiently slides his fingers up the bass.</scene_description>
    <character>BUSTER</character>
    <dialogue>Let's keep it tight, people.</dialogue>
    <character>RICKI</character>
    <dialogue>You're right, Buster. Whatta we got next?</dialogue>
    <scene_description>Billy looks at the set list taped to his keyboard. We see everything from the Eagles to Pat Benetar to Lady Gaga.</scene_description>
    <character>BILLY</character>
    <dialogue>Pink.</dialogue>
    <character>RICKI</character>
    <dialogue>Pink. Yes.</dialogue>
    <parenthetical>(fake smile)</parenthetical>
    <dialogue>Let's get the party started!</dialogue>
    <scene_description>The band begins to play "Get the Party Started" by Pink. Ricki begins singing with forced enthusiasm. She's a pro. Always.</scene_description>
    <character>RICKI</character>
    <dialogue>I'm coming up, so you better get this party started...</dialogue>
    <scene_description>Billy echoes with background vocals.</scene_description>
    <character>BILLY</character>
    <dialogue>I'm coming up, you better!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SALT WELL (PARKING LOT) - NIGHT</stage_direction>
    <scene_description>Ricki is outside helping Buster, Billy and Joe load gear into a van. Chivalrously, they do most of the heavy lifting.</scene_description>
    <character>BILLY</character>
    <dialogue>"Comfortably Numb" needs work. That's all I'm gonna say.</dialogue>
    <character>JOE</character>
    <dialogue>I think I need a bigger kit.</dialogue>
    <character>BUSTER</character>
    <dialogue>Man, you always say you need a bigger kit.</dialogue>
    <character>JOE</character>
    <dialogue>You want me to play like Nick Mason? I need Nick Mason's gear.</dialogue>
    <character>BUSTER</character>
    <dialogue>Greg sounds exactly like Gilmour and he doesn't have Gilmour's gear.</dialogue>
    <character>BILLY</character>
    <dialogue>He's got the SG.</dialogue>
    <character>JOE</character>
    <dialogue>See? He sounds like Gilmour 'cause he's got Gilmour's guitar.</dialogue>
    <character>BUSTER</character>
    <dialogue>No, Greg sounds like Gilmour 'cause Greg's a fuckin' god.</dialogue>
    <scene_description>Greg appears, draped in power cords and carrying some equipment.</scene_description>
    <character>RICKI</character>
    <dialogue>Here he is, just in time for compliments.</dialogue>
    <scene_description>Greg angrily tosses an EFFECTS PEDAL into the van.</scene_description>
    <character>GREG</character>
    <dialogue>Or just in time to be berated. Because I'm a man.</dialogue>
    <character>RICKI</character>
    <dialogue>Oh my goodness. It was just stage banter. Like--</dialogue>
    <character>GREG</character>
    <dialogue>Yeah, Fleetwood Mac, whatever. That wasn't about creating "dramatic tension" or whatever. You've been pissed off ever since you got back.</dialogue>
    <character>RICKI</character>
    <dialogue>I'm just jet-lagged.</dialogue>
    <character>GREG</character>
    <dialogue>You were in Chicago, not Iraq.</dialogue>
    <character>RICKI</character>
    <dialogue>What was that "Linda" crap on stage? Don't ever call me that.</dialogue>
    <character>GREG</character>
    <dialogue>Oh, but it's okay for you to bully me all the time. Right? Sorry I'm not some rich suit like your old man.</dialogue>
    <scene_description>Joe, Billy and Buster have stopped loading gear and are observing the fight like three wide-eyed kids.</scene_description>
    <character>RICKI</character>
    <dialogue>Let's talk about this privately.</dialogue>
    <scene_description>She and Greg round the corner to another, even less picturesque area of the parking lot. Dumpster-town.</scene_description>
    <character>GREG</character>
    <dialogue>Well, this is romantic.</dialogue>
    <scene_description>Ricki is too emotionally spent to even laugh.</scene_description>
    <character>GREG</character>
    <dialogue>Can I even say that? Can I say "romantic"?</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Do you love me?</dialogue>
    <character>RICKI</character>
    <dialogue>Of course I love you.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>And I love Joe, and Buster and...</dialogue>
    <character>GREG</character>
    <dialogue>I didn't ask if you loved me like Wendy loves the fucking Lost Boys! I asked if you LOVE me.</dialogue>
    <character>RICKI</character>
    <dialogue>What is your interest in me? I'm old. I'm broke. I can't cook a decent meal. I'm getting fat. Why would you even love a ruined person? A ruined person who has ruined other people?</dialogue>
    <parenthetical>(breaking up)</parenthetical>
    <dialogue>Kids...</dialogue>
    <character>GREG</character>
    <dialogue>Is that it? You think you screwed up once so you don't get another chance? Rick, I cheated on my first wife with a stripper from Seventh Veil who was addicted to codeine cough syrup. And by the way, I may be "just a dad" but my kids didn't fucking forgive me. They're still mad. I got a calendar for Christmas. All right? We're in our fifties, so who cares if we've made some mistakes? We've had long enough to get better.</dialogue>
    <character>RICKI</character>
    <dialogue>Did the stripper ever get better?</dialogue>
    <character>GREG</character>
    <dialogue>What?</dialogue>
    <character>RICKI</character>
    <dialogue>Her cough?</dialogue>
    <character>GREG</character>
    <dialogue>All right, smart ass.</dialogue>
    <scene_description>Jokes like this are a classic Ricki avoidance tactic.</scene_description>
    <character>GREG (CONT'D)</character>
    <dialogue>My point is-- this is gonna sound crazy, but it honestly doesn't matter if your kids love you or not.</dialogue>
    <scene_description>Off Ricki's surprised expression.</scene_description>
    <character>GREG (CONT'D)</character>
    <dialogue>No, listen, it doesn't. Because it's not their job to love you. It's your job to love them. That's why you were put here, and that's why you're their mom and why I'm my kids' dad. I love my kids so much. Do you?</dialogue>
    <character>RICKI</character>
    <dialogue>Yes. More than my life.</dialogue>
    <character>GREG</character>
    <dialogue>There you go. Just keep loving them and you've got it made.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>So do you just want to be, like... friends?</dialogue>
    <character>RICKI</character>
    <parenthetical>(smiling)</parenthetical>
    <dialogue>No.</dialogue>
    <scene_description>Greg lights up, surprised.</scene_description>
    <character>GREG</character>
    <dialogue>More?</dialogue>
    <character>RICKI</character>
    <parenthetical>(quickly)</parenthetical>
    <dialogue>Now, I'm not ready for a serious relationship...</dialogue>
    <character>GREG</character>
    <dialogue>'Course not. You've only been divorced for like 20 years.</dialogue>
    <scene_description>Ricki laughs. Greg glances back toward the Salt Well.</scene_description>
    <character>GREG</character>
    <dialogue>Wanna go back in and get some chow? They're feeding us tonight.</dialogue>
    <scene_description>Ricki grabs Greg by his stupid T-shirt and KISSES him passionately. Greg is in shock.</scene_description>
    <character>GREG</character>
    <dialogue>Okay.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. RICKI'S APARMENT - NIGHT</stage_direction>
    <scene_description>Greg and Ricki enter the apartment, MAKING OUT. As Ricki fumbles with her keys, Greg scoops her up into his arms. She wraps her legs around his waist.</scene_description>
    <character>GREG</character>
    <parenthetical>(breathless)</parenthetical>
    <dialogue>This rules.</dialogue>
    <scene_description>Greg stumbles toward the bedroom, cradling his "prize" as they kiss.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RICKI'S APARTMENT (BEDROOM) - NIGHT</stage_direction>
    <scene_description>Ricki and Greg are lying together, post-sex. Ricki's "Ocean Waves" WHITE NOISE MACHINE is on. Even though the bed is old and lumpy, they both look very comfortable. The sound of electronic waves fills the tiny room.</scene_description>
    <character>GREG</character>
    <dialogue>I like that machine.</dialogue>
    <character>RICKI</character>
    <dialogue>I've had it forever. That's why the waves are starting to sound funny.</dialogue>
    <character>GREG</character>
    <dialogue>We should do a song about waves.</dialogue>
    <character>RICKI</character>
    <dialogue>I was in a band once that did "The Ocean" by Led Zeppelin.</dialogue>
    <character>GREG</character>
    <dialogue>Did you guys do it justice?</dialogue>
    <character>RICKI</character>
    <dialogue>I like to think I did.</dialogue>
    <character>GREG</character>
    <dialogue>Well yeah, of course you did. You're like the chick Robert Plant.</dialogue>
    <scene_description>Ricki smiles in the darkness.</scene_description>
    <character>RICKI</character>
    <dialogue>I always imagined myself coming to L.A. and living near the water.</dialogue>
    <character>GREG</character>
    <dialogue>You gotta have a million dollars for that. Five million.</dialogue>
    <character>RICKI</character>
    <dialogue>I know. I thought my life here would be like the song "Gypsy." You know, Stevie Nicks?</dialogue>
    <scene_description>Greg nods.</scene_description>
    <character>RICKI (CONT'D)</character>
    <dialogue>Bohemian, you know. Sleeping on the floor. Lace and paper flowers...I'd get away from everything I hated about marriage and real life and the suburbs.</dialogue>
    <character>GREG</character>
    <dialogue>And now?</dialogue>
    <character>RICKI</character>
    <dialogue>I'm 54 and filing for bankruptcy.</dialogue>
    <parenthetical>(pause)</parenthetical>
    <dialogue>And I'd love to have a big bathtub.</dialogue>
    <scene_description>Greg nods, getting it. Then.</scene_description>
    <character>GREG</character>
    <dialogue>You could still sleep on the floor.</dialogue>
    <character>RICKI</character>
    <dialogue>With my back? Forget it.</dialogue>
    <character>GREG</character>
    <dialogue>My back's a mess too.</dialogue>
    <parenthetical>(getting up)</parenthetical>
    <dialogue>This is kind of embarrassing but I have to get up and pee a lot at night. I have an enlarged prostate.</dialogue>
    <character>RICKI</character>
    <dialogue>That's all right. I--</dialogue>
    <scene_description>She pauses, debating whether or not she should confess something similar.</scene_description>
    <character>RICKI (CONT'D)</character>
    <dialogue>I have to put in an estrogen suppository before bed.</dialogue>
    <scene_description>Greg doesn't seem put off in the least.</scene_description>
    <character>GREG</character>
    <dialogue>Huh. This stuff is fun, right?</dialogue>
    <scene_description>He extends a hand to Ricki and helps her get out of bed.</scene_description>
    <character>RICKI</character>
    <dialogue>Oh yeah. It's a blast.</dialogue>
    <character>GREG</character>
    <dialogue>Rock and roll.</dialogue>
    <scene_description>Greg heads off to the tiny bathroom as Ricki throws on her robe. MUSIC UP: CLASSIC ROCK BEGIN MONTAGE We see VARIOUS SCENES of Ricki returning to her usual life, building her relationship with Greg, working, playing...etc.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WHOLE FOODS - MORNING</stage_direction>
    <scene_description>Ricki rings up a mountain of overpriced PRODUCE for a bored STAY-AT-HOME MOM. A THREE-YEAR-OLD GIRL grabs an expensive bar of "rainforest chocolate" off the conveyor and unwraps it. Ricki smiles at the little girl, who stares back at her rudely. Ricki totals out the groceries...$366.00. Ricki's teenaged MANAGER walks by and gives her an approving nod.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. REHEARSAL - DAY</stage_direction>
    <scene_description>Ricki and the Flash rehearse in BUSTER'S GARAGE. Ricki, in glasses and jeans, is playing RHYTHM GUITAR and singing her heart out. There's a hiccup and Joe stops playing drums. The band convenes for a brief discussion. They're a welloiled machine. Joe counts off with his sticks again, and they're off...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHAKEY'S BUFFET - DAY</stage_direction>
    <scene_description>Date night at a cheap BUFFET RESTAURANT. Ricki carries her plate of food over to a booth. Greg, who is already seated, has taken full advantage of the all-you-can-eat "snow crab" situation. His overflowing plate of TEENY-TINY CRAB LEGS is adorable. Despite the terrible food and the cheap carnation in a vase, it's...romantic.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALT WELL - NIGHT</stage_direction>
    <scene_description>Ricki CLIMBS ON THE BAR, her signature move. She struts past the Trivia Touch machines mounted on the bar. There's about 30 people in the bar, but the Flash is giving it their usual 110%. Onstage, Greg is a sweaty rock beast. Daniel whips out his BAR RAG and discreetly mops Ricki's footprints off the bar. Gazing at his idol, he pretends to wring the rag into a GLASS and drink it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RICKI'S APARTMENT (BEDROOM) - NIGHT</stage_direction>
    <scene_description>Ricki and Greg are lying in bed together. Ricki has her glasses on and is reading a BOOK. Greg, also wearing glasses reads the latest issue of Rolling Stone. Greg suddenly flings the magazine aside and "attacks" her playfully. Their glasses knock together as they make out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RICKI'S APARTMENT (LIVING ROOM) - DAY</stage_direction>
    <scene_description>Alone, Ricki enters carrying a big pile of MAIL. She tosses aside the junk, the piles of collection notices and bills. Then she notices a curiously large MANILA ENVELOPE. She immediately recognizes the return address: Feather Drive, Naperville, Illinois. Pete's house. END SONG Cautiously, Ricki opens the envelope. There's a slightly smaller, SQUARE ENVELOPE inside; it has an expensive, creamy look to it. There's also a HANDWRITTEN LETTER. Ricki reads the letter first. We hear MAUREEN'S VOICE narrating as we read along.</scene_description>
    <character>MAUREEN (V.O.)</character>
    <dialogue>Dear Linda. I'm sorry about some of the words we exchanged during your visit. As you know, it's a loaded topic and we haven't had many chances to talk about it. Please accept this olive branch from me, and I hope we can try again on better terms.</dialogue>
    <scene_description>Ricki reflects, then reads on:</scene_description>
    <character>MAUREEN (V.O.)</character>
    <dialogue>Also, I heard that you poured beer on that bitch Nicole from Traffic. Respect. I wish I had been there.</dialogue>
    <scene_description>Ricki grins at the memory.</scene_description>
    <character>MAUREEN (V.O.)</character>
    <dialogue>Enclosed, please find something I feel you should have received a long time ago. You're entitled to it. Hope to see you in a few weeks. Maureen.</dialogue>
    <scene_description>Ricki opens up the fancy envelope. It's an engraved INVITATION, with a rustic-yet-expensive look. It's tied together with a piece of GREEN TWINE. The invite reads: Mr. and Mrs. Jonathan Schmitz request the honor of your presence at the marriage of their daughter Emily Anne Schmitz to Joshua Hendrix Brummel.</scene_description>
    <character>RICKI</character>
    <dialogue>Joshy.</dialogue>
    <scene_description>She sifts through the different components of the fancy invite. There's a card that says: Dinner Choice: Vegan/Gluten Free\_\_\_ Vegetarian\_\_ And finally one last little SLIP OF PAPER included with the invitation. We hear EMILY'S girlish voice read it aloud.</scene_description>
    <character>EMILY (V.O.)</character>
    <dialogue>This invitation is embedded with wildflower seeds and can be planted! Please return it to the earth!</dialogue>
    <scene_description>This gets an eye-roll from Ricki. But we can see that the invite, even coming from Maureen, means the world to her.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALT WELL - EVENING</stage_direction>
    <scene_description>The Salt Well is decorated for Valentine's Day. Ricki is sitting at the BAR, drinking a glass of wine. Daniel is reading the INVITATION, which Ricki has brought to show him. The Flash is doing a routine SOUND CHECK on the stage as people filter into the bar.</scene_description>
    <character>DANIEL</character>
    <parenthetical>(reading)</parenthetical>
    <dialogue>"In lieu of a gift, please make a donation to one of the following children's charities."</dialogue>
    <parenthetical>(aghast)</parenthetical>
    <dialogue>Ha! Oh my God, who gets married and doesn't want a bunch of stuff?</dialogue>
    <character>RICKI</character>
    <dialogue>My son.</dialogue>
    <scene_description>On stage, Buster speaks into the mic.</scene_description>
    <character>BUSTER</character>
    <dialogue>Testes, one-two.</dialogue>
    <scene_description>Daniel hands the invite back to Ricki.</scene_description>
    <character>DANIEL</character>
    <dialogue>Flower seeds. That is some bougie shit. How much do you think those invites cost per person?</dialogue>
    <character>RICKI</character>
    <dialogue>I have no idea. I just thought you'd get a kick out of it.</dialogue>
    <character>DANIEL</character>
    <dialogue>So are you excited about the wedding, then?</dialogue>
    <character>RICKI</character>
    <dialogue>I'm not going.</dialogue>
    <character>DANIEL</character>
    <dialogue>You have to! It won't be sexy without you. Buy something at Dress Barn, take your man, and go see your baby get married.</dialogue>
    <character>RICKI</character>
    <dialogue>I don't have any money. I discussed it with Greg and we simply don't have it. But it's fine. I don't think I'm necessarily wanted there.</dialogue>
    <character>DANIEL</character>
    <dialogue>Well, you're always wanted here.</dialogue>
    <character>RICKI</character>
    <dialogue>Thank you, sweetie.</dialogue>
    <scene_description>Ricki pats Daniel's hand as she gets up and heads for the stage. She hops on to scattered applause.</scene_description>
    <character>RICKI</character>
    <dialogue>Good evening, Tarzana! Happy Valentine's weekend to all you lovers out there. Any Janis fans out there? Janis Joplin?</dialogue>
    <scene_description>No response, except CLAPPING from Daniel.</scene_description>
    <character>RICKI (CONT'D)</character>
    <dialogue>Good, because we're gonna start things off with a song that's very special to me...</dialogue>
    <scene_description>She glances at Greg, who is wearing a DIFFERENT GUITAR than usual. It's not his beautiful sunburst Gibson SG. It's a cheaper YELLOW ELECTRIC GUITAR, '80s model.</scene_description>
    <character>RICKI (CONT'D)</character>
    <dialogue>Where's your guitar?</dialogue>
    <character>GREG</character>
    <dialogue>This is my guitar.</dialogue>
    <character>RICKI</character>
    <dialogue>No, your guitar.</dialogue>
    <parenthetical>(disbelief)</parenthetical>
    <dialogue>Your '68 SG Standard that you've been besotted with since the day I met you?</dialogue>
    <character>GREG</character>
    <dialogue>I felt like playing this one tonight.</dialogue>
    <scene_description>This idea is so absurd that Ricki laughs.</scene_description>
    <character>RICKI</character>
    <dialogue>Yeah, right. The "Wet Banana"? What's going on?</dialogue>
    <scene_description>Billy, Buster and Joe exchange glances.</scene_description>
    <character>GREG</character>
    <dialogue>I sold it.</dialogue>
    <character>RICKI</character>
    <dialogue>Why?</dialogue>
    <scene_description>Greg just looks at her. Over on bass, Buster shakes his head and takes a drag off his blue e-cigarette.</scene_description>
    <character>RICKI</character>
    <dialogue>Oh, Greg.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. AIRPORT (SECURITY CHECKPOINT) - DAY</stage_direction>
    <scene_description>Ricki and Greg are the TSA's worst nightmare. Greg pulls off a GIANT BELT BUCKLE and unlaces a pair of 18-hole boots. Ricki is removing her usual array of accessories.</scene_description>
    <character>GREG</character>
    <dialogue>How do we know that scanner isn't some form of mind-control?</dialogue>
    <character>TSA AGENT</character>
    <dialogue>Sir, you cannot take this through.</dialogue>
    <scene_description>An AGENT, digging through Greg's carry-on, holds up a bottle of CABO WABO TEQUILA.</scene_description>
    <character>GREG</character>
    <dialogue>Come on, man, that's Sammy Hagar's tequila!</dialogue>
    <character>TSA AGENT #2</character>
    <parenthetical>(to Ricki)</parenthetical>
    <dialogue>Ma'am, I need you to remove the toe ring.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PLANE - DAY</stage_direction>
    <scene_description>Ricki and Greg READ on the plane. Ricki is reading a library copy of The Celestine Prophecy. Greg enthusiastically flips through the Skymall catalog.</scene_description>
    <character>GREG</character>
    <dialogue>Look at this. It cooks the hot dog and toasts the bun at the same time.</dialogue>
    <character>RICKI</character>
    <dialogue>That's useful.</dialogue>
    <character>GREG</character>
    <dialogue>Right?</dialogue>
    <character>RICKI</character>
    <dialogue>This book is very enlightening.</dialogue>
    <character>GREG</character>
    <parenthetical>(musing)</parenthetical>
    <dialogue>I don't eat hot dogs much anymore.</dialogue>
    <scene_description>Ricki pats Greg's arm affectionately.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DRESS BARN (TO ESTABLISH) - DAY</stage_direction>
    <scene_description>A strip mall in the Chicago suburbs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DRESS BARN - DAY</stage_direction>
    <scene_description>Ricki is in one of the "dressing rooms"-- a BOOTH hidden behind a curtain. Greg is sitting on a chair waiting for her to emerge.</scene_description>
    <character>GREG</character>
    <dialogue>Come out, babe.</dialogue>
    <character>RICKI (O.S.)</character>
    <dialogue>I look absurd.</dialogue>
    <character>GREG</character>
    <dialogue>I'm sure you look gorgeous.</dialogue>
    <character>RICKI (O.S.)</character>
    <dialogue>I look like my mother.</dialogue>
    <character>GREG</character>
    <dialogue>No way. Your mother's dead.</dialogue>
    <scene_description>Ricki comes out wearing a CONSERVATIVE, UN-RICKI-LIKE PALE BLUE DRESS with the tags hanging off it. It looks very odd with her pleather boots.</scene_description>
    <character>GREG</character>
    <dialogue>You look beautiful. That is like, the most amazing blue. Reminds me of Roger Daltrey's eyes in Tommy.</dialogue>
    <character>RICKI</character>
    <parenthetical>(sincere)</parenthetical>
    <dialogue>Thank you.</dialogue>
    <character>GREG</character>
    <dialogue>Did the invitation say you had to be fancy?</dialogue>
    <character>RICKI</character>
    <dialogue>It said "Dress to Impress." Ricki rolls her eyes at the affected wording.</dialogue>
    <character>GREG</character>
    <dialogue>Well, I'm impressed.</dialogue>
    <character>RICKI</character>
    <dialogue>I haven't seen a lot of these people in years. Pete got "custody" of all our friends and most of the family. They're gonna see me and there's gonna say "Wow, there's Linda. I guess things didn't work out for her in Hollywood."</dialogue>
    <character>GREG</character>
    <dialogue>Um, are any of those "nosy rosies" in Tarzana's number one party band?</dialogue>
    <scene_description>Ricki has to laugh at that.</scene_description>
    <character>GREG</character>
    <dialogue>Yeah. I'd say things worked out pretty fucking well!</dialogue>
    <character>RICKI</character>
    <dialogue>Ha. I'll just tell them I'm collaborating with Greg Sandoval. That'll shut them up.</dialogue>
    <character>GREG</character>
    <dialogue>Collaborating? You're doing him. You're the luckiest woman alive.</dialogue>
    <scene_description>The SALES LADY walks over.</scene_description>
    <character>SALES LADY</character>
    <dialogue>Can I show you some other styles?</dialogue>
    <character>RICKI</character>
    <dialogue>Do you have anything black?</dialogue>
    <character>GREG</character>
    <dialogue>She'll take this one.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MORTON ARBORETUM (TO ESTABLISH) - DAY</stage_direction>
    <scene_description>It's a beautiful spring day at the OUTDOOR WEDDING VENUE, a tree-filled nature preserve.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MORTON ARBORETUM - DAY</stage_direction>
    <scene_description>A HARPIST plays as GUESTS filter into the WEDDING CEREMONY. HIP-LOOKING WAITERS and WAITRESSES hold trays of signature COCKTAILS. The wedding looks perfectly rustic in a very expensive way. Ricki enters the area with trepidation, wearing her new blue dress. A PERKY WAITRESS immediately solicits her.</scene_description>
    <character>WAITRESS</character>
    <dialogue>Would you like a cocktail before the ceremony?</dialogue>
    <character>RICKI</character>
    <dialogue>Sure. What is this?</dialogue>
    <character>WAITRESS</character>
    <parenthetical>(gesturing)</parenthetical>
    <dialogue>This one is called "The Josh." It's ginger beer and small-batch whiskey with candied lemon peel. This is "The Emily"; it's kind of a playful take on a Kir Royale.</dialogue>
    <scene_description>Ricki looks at the girl like she's speaking Cantonese.</scene_description>
    <character>RICKI</character>
    <dialogue>Which one do you recommend?</dialogue>
    <character>WAITRESS</character>
    <dialogue>Sorry, I'm in recovery.</dialogue>
    <character>RICKI</character>
    <dialogue>Me too.</dialogue>
    <scene_description>Ricki scoots away from the cocktails, wrinkling her nose. She wanders self-consciously through the sea of assembled GUESTS. Suddenly, a WIZENED HAND grips her arm.</scene_description>
    <character>OMA (O.S.)</character>
    <dialogue>Linda.</dialogue>
    <scene_description>Linda turns to see a VERY OLD WOMAN of about 90.</scene_description>
    <character>RICKI</character>
    <dialogue>Hi, Oma. How are you?</dialogue>
    <scene_description>Oma appears to be senile.</scene_description>
    <character>OMA</character>
    <dialogue>I like you. You know? Even though you ran off on my son.</dialogue>
    <character>RICKI</character>
    <dialogue>I always liked you too.</dialogue>
    <character>OMA</character>
    <dialogue>How is Las Vegas?</dialogue>
    <character>RICKI</character>
    <dialogue>Um...</dialogue>
    <parenthetical>(realizing)</parenthetical>
    <dialogue>Los Angeles. It's very nice. Warm.</dialogue>
    <character>OMA</character>
    <dialogue>I don't like Peter's new wife one bit. Don't trust her.</dialogue>
    <character>RICKI</character>
    <dialogue>Peter and Maureen seem happy.</dialogue>
    <character>OMA</character>
    <dialogue>Maybe now, but it's only been a few weeks.</dialogue>
    <character>RICKI</character>
    <parenthetical>(gently)</parenthetical>
    <dialogue>It's been many years.</dialogue>
    <scene_description>A YOUNG, MALE RELATIVE rushes to retrieve poor, confused Oma.</scene_description>
    <character>MALE RELATIVE</character>
    <dialogue>Oma, there you are! Come on. Let's have a seat.</dialogue>
    <character>MALE RELATIVE</character>
    <parenthetical>(to Ricki, flat)</parenthetical>
    <dialogue>Oh. Hi.</dialogue>
    <scene_description>Oma is ushered away. Ricki looks at the COCKTAIL WAITRESS.</scene_description>
    <character>RICKI</character>
    <dialogue>I'll take "the Emily."</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MORTON ARBORETUM (CEREMONY AREA) - DAY</stage_direction>
    <character>OFFICIANT (O.S.)</character>
    <dialogue>Everyone, please take your seats.</dialogue>
    <scene_description>The ceremony is about to start. The ceremony area consists of about 100 chairs in a clearing. Everything is festooned with wildflowers. Ricki is seated alone on an aisle seat near the back, reading the wedding program. The "better" seats are rapidly filling up. As PEOPLE walk by and sit down, we hear a snippet of GOSSIP in hushes tones: Is that?...It is. Wow...Not even sitting with family... Ricki continues to look down at her program.</scene_description>
    <character>OFFICIANT</character>
    <dialogue>All rise.</dialogue>
    <scene_description>Everyone complies. Ricki looks ahead and sees that JOSH and ADAM, the best man, have appeared at the altar in suits. A CLASSICAL GUITARIST begins to play near the altar as the wedding procession begins. A BRIDESMAID in a long dress walks down the aisle, escorted by a GROOMSMAN. Another PAIR follows. The bridesmaids wear elegant vintage dresses and carry "green" bouquets. Then, Julie appears, looking radiant (and almost unrecognizable) with her hair and makeup done. She's so beautiful that there's a murmur through the crowd as she emerges on the arm of a GROOMSMAN Julie sees Ricki and pauses. Ricki smiles at Julie. Julie looks at the assembled crowd, remembering her last trip down the aisle. She looks frozen, disturbed. Ricki realizes what's bothering Julie. As the GROOMSMAN tries to nudge Julie down the aisle, Ricki leans over and whispers at her daughter.</scene_description>
    <character>RICKI</character>
    <dialogue>Don't run away.</dialogue>
    <scene_description>Julie looks back at her mother.</scene_description>
    <character>RICKI</character>
    <dialogue>Just keep walking.</dialogue>
    <scene_description>She nods encouragingly. Julie looks ahead, squares her shoulders, continues to WALK. As Ricki regards Julie's departing form, she notices with surprise-- and love-- that her daughter wears COMBAT BOOTS with her dress. Finally, EMILY appears, escorted by both her MOTHER and FATHER. All three look rich, elegant and happy. Shutters click as everybody oohs and ahhs over the bride. Ricki looks at Josh: he wipes a tear away from his eye as he gazes at his soon-to-be wife. Ricki looks at the bride and her parents as they stride past her: a perfect, intact TRIAD, seemingly untouched by dysfunction or pain. From the front row, PETE and MAUREEN beam at their soon-to- be daughter-in-law. Pete's arm is around Maureen. He rubs her arm happily as the bride swishes past. Ricki glances across the aisle at a LITTLE BOY who seems to be having an awful time. He pouts and kicks the chair in front of him. He meets Ricki's gaze. She WINKS.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RECEPTION - DAY</stage_direction>
    <scene_description>Ricki makes her way through the RECEIVING LINE, where Josh and Emily greet their GUESTS. Josh hugs Ricki warmly, overwhelmed by his big day.</scene_description>
    <character>JOSH</character>
    <dialogue>Mom. I'm so glad you're here. I didn't know if you would make it out.</dialogue>
    <character>RICKI</character>
    <dialogue>My boyfriend pawned his Gibson SG.</dialogue>
    <character>EMILY</character>
    <dialogue>Oh!</dialogue>
    <character>JOSH</character>
    <dialogue>Well, we got your RSVP so late that we couldn't really move things around with the hall so...</dialogue>
    <parenthetical>(awkward)</parenthetical>
    <dialogue>I hope you don't mind eating with some of Emily's cousins and like, our harpist...</dialogue>
    <character>RICKI</character>
    <dialogue>Not at all. I'd love to learn about harp theory. Well. I'll see you guys in there.</dialogue>
    <character>EMILY</character>
    <dialogue>Great.</dialogue>
    <character>JOSH</character>
    <dialogue>Really great to see you, Mom.</dialogue>
    <scene_description>Ricki heads into the reception area and sees ADAM with his date, a GOOD-LOOKING ASIAN GUY. She waves in their direction.</scene_description>
    <character>RICKI</character>
    <dialogue>Adam!</dialogue>
    <scene_description>She trots toward them and holds her arms out expectantly. Adam puts on a brave face. So does Ricki.</scene_description>
    <character>ADAM</character>
    <dialogue>Hi, Mom. Um, Desmond, this is my mother, Linda.</dialogue>
    <character>DESMOND</character>
    <dialogue>What a pleasure. I see where Adam gets his cheekbones.</dialogue>
    <character>RICKI</character>
    <dialogue>You're Adam's friend?</dialogue>
    <character>DESMOND</character>
    <parenthetical>(quickly)</parenthetical>
    <dialogue>Yes. We're friends.</dialogue>
    <character>ADAM</character>
    <dialogue>We're seeing each other.</dialogue>
    <character>RICKI</character>
    <dialogue>That's wonderful. Adam, I'm so glad you've met someone. Particularly someone so handsome! You may be too young for this, but have you ever heard of Bruce Lee?</dialogue>
    <scene_description>Adam looks like he wants to die.</scene_description>
    <character>DESMOND</character>
    <dialogue>Of course I've heard of Bruce Lee; he's the man!</dialogue>
    <character>RICKI</character>
    <dialogue>You look a lot like him.</dialogue>
    <character>ADAM</character>
    <dialogue>Not at all. Not even a little.</dialogue>
    <character>DESMOND</character>
    <dialogue>Thanks! I've been growing my hair out lately, and I think I'm serving up some "Bruce realness."</dialogue>
    <character>ADAM</character>
    <dialogue>You're not even Chinese.</dialogue>
    <character>DESMOND</character>
    <dialogue>Neither was Bruce; he was born in San Francisco.</dialogue>
    <parenthetical>(to Ricki)</parenthetical>
    <dialogue>I did a research paper on him in college.</dialogue>
    <character>RICKI</character>
    <dialogue>Where did you go to school?</dialogue>
    <character>DESMOND</character>
    <dialogue>Harvard.</dialogue>
    <character>RICKI</character>
    <parenthetical>(enjoying herself)</parenthetical>
    <dialogue>Wow! Adam always dreamed of going to Harvard, but to no avail...</dialogue>
    <character>ADAM</character>
    <dialogue>Thanks, Mom.</dialogue>
    <scene_description>Ricki stops and looks Adam in the eyes.</scene_description>
    <character>RICKI</character>
    <dialogue>No. You're brilliant. If you'd had more support from me, you could have done it.</dialogue>
    <scene_description>Adam seems to respect Ricki's willingness to "own" this.</scene_description>
    <character>ADAM</character>
    <dialogue>Thanks.</dialogue>
    <scene_description>Desmond's eyes dart from Ricki to Adam. Awkward.</scene_description>
    <character>RICKI</character>
    <dialogue>Well. I just think you two are a beautiful couple and I hope you have a nice time and enjoy your vegan dinner.</dialogue>
    <scene_description>She pronounces it vedge-in, like vegetable.</scene_description>
    <character>ADAM</character>
    <dialogue>Vegan.</dialogue>
    <character>RICKI</character>
    <dialogue>I don't know what it is.</dialogue>
    <scene_description>She smiles and walks off. Adam's got that stun-gun look.</scene_description>
    <character>ADAM</character>
    <parenthetical>(to Desmond)</parenthetical>
    <dialogue>OK, she must be heavily medicated.</dialogue>
    <character>DESMOND</character>
    <dialogue>I like her.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. RECEPTION - EVENING</stage_direction>
    <scene_description>The dinner portion of the RECEPTION is in full swing. Everything is lovely, quirky, and just-so. Guests drink wine out of mason jars. A JAZZ COMBO plays dinner music onstage. Near the front of the room, the BRIDAL PARTY holds court at the customary LONG TABLE. Pete is sitting there, chatting with the newlyweds. The seat next to him is empty; Maureen is circulating and saying hello to various people. The perfect hostess. Ricki watches her, as usual, with envy. Near the back of the room, Ricki is sitting at a round table with SEVEN OTHER PEOPLE, none of whom she knows. A GIRL sitting across from her tries to strike up a conversation</scene_description>
    <character>GIRL AT TABLE</character>
    <dialogue>So, how did you meet Josh?</dialogue>
    <character>RICKI</character>
    <dialogue>Caesarean section.</dialogue>
    <scene_description>Before the confused girl can reply. Ricki glances at her watch nervously.</scene_description>
    <character>RICKI</character>
    <dialogue>I have to go.</dialogue>
    <scene_description>She gets up and crosses the room to the bridal party's table. She walks up to Pete.</scene_description>
    <character>RICKI</character>
    <dialogue>Pete. I think it's time.</dialogue>
    <scene_description>Pete seems surprised.</scene_description>
    <character>PETE</character>
    <dialogue>Already?</dialogue>
    <character>RICKI</character>
    <dialogue>It's nearly the end of dinner.</dialogue>
    <character>PETE</character>
    <dialogue>That's right, that's what you said.</dialogue>
    <scene_description>Julie overhears this conversation and reacts with alarm.</scene_description>
    <character>JULIE</character>
    <dialogue>You're leaving, aren't you?</dialogue>
    <character>RICKI</character>
    <dialogue>Julie...</dialogue>
    <character>JULIE</character>
    <dialogue>Big surprise. You've been here for a hot minute. How about waiting until the ink dries in the guest book?</dialogue>
    <character>PETE</character>
    <dialogue>Calm down, honey. You don't know what this is about.</dialogue>
    <scene_description>Ricki has already picked up a CHAMPAGNE GLASS. She begins hitting it with a fork: ding ding ding. She nods at the JAZZ COMBO, who hurriedly finish up their song. A SERVER appears and hands RICKI a microphone. Ricki accepts it nervously. The entire crowd turns to face her.</scene_description>
    <character>RICKI</character>
    <dialogue>Hello everyone. Remember me?</dialogue>
    <scene_description>Awkward chuckles from the crowd.</scene_description>
    <character>RICKI</character>
    <dialogue>If you don't, I'm Linda Brummel, mother of the groom. I remember a lot of you, from years ago. It's nice to see your faces again.</dialogue>
    <scene_description>Many of those FACES stare back at her. Blinking.</scene_description>
    <character>RICKI</character>
    <dialogue>I wasn't really sure what to give Josh and Emily as a gift.</dialogue>
    <character>RICKI</character>
    <dialogue>Not just because I don't have any money, but because there were too many possibilities. There's so much out there that I haven't given them. Where to begin? How to decide what to give my son, who deserves so much and has gotten so little?</dialogue>
    <scene_description>Josh and Emily have nervous smiles on their faces.</scene_description>
    <character>RICKI</character>
    <dialogue>I was never a traditional mom. And I won't be a traditional mother-in-law-- I hope.</dialogue>
    <scene_description>More laughter, this time more genuine.</scene_description>
    <character>RICKI</character>
    <dialogue>But I realized that the only thing I have to give Josh and Emily is the only thing I've ever had to give anyone. I'm not much of a housekeeper, a cook, or a nurse...</dialogue>
    <scene_description>On Maureen, watching Ricki intently...</scene_description>
    <character>RICKI (CONT'D)</character>
    <dialogue>But I am a musician. That's what I have to give. That's what I am. That's all. And so I'd like to sing a song for my son and his beautiful wife right now.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Oh. I want to thank my children's "other mother" for helping me to arrange this surprise.</dialogue>
    <scene_description>From across the room, Maureen nods at Ricki respectfully. Josh mouths What is she doing? to Maureen; Mo waves him off.</scene_description>
    <character>RICKI (CONT'D)</character>
    <dialogue>Guys? You can come in.</dialogue>
    <scene_description>Ricki gestures toward the back of the room. GREG, BUSTER, JOE and BILLY appear. Greg has the Wet Banana, Buster carries his bass; Joe has his sticks. They wear cheap SUITS. (Buster actually has a "tuxedo" T-shirt on.) They head toward the stage as the crowd murmurs.</scene_description>
    <character>EMILY</character>
    <parenthetical>(to Josh)</parenthetical>
    <dialogue>Who are they?</dialogue>
    <character>JOSH</character>
    <dialogue>I think that's the Flash.</dialogue>
    <scene_description>The regular BAND steps aside, making room for Ricki and the Flash. They've discussed all of this in advance. Greg plugs in his yellow guitar. Ricki adjusts her mic.</scene_description>
    <character>GREG</character>
    <parenthetical>(into mic)</parenthetical>
    <dialogue>I usually have a way better guitar.</dialogue>
    <character>RICKI</character>
    <dialogue>Josh and Emily, here's some sage advice from .38 Special. I love you both very much.</dialogue>
    <scene_description>Joe counts off with his sticks.</scene_description>
    <character>JOE</character>
    <dialogue>One-two-three-four!</dialogue>
    <scene_description>The Flash launch into "HOLD ON LOOSELY."</scene_description>
    <character>RICKI</character>
    <dialogue>I see it all around me. Good lovin' gone bad. And usually it's too late when you Realize what you had...</dialogue>
    <scene_description>On Emily's PAINED FACE...her reception has been hijacked. Plus she hadn't planned on .38 Special at her perfect quirky/indie wedding. Josh looks a little sheepish. But when he sees the expression on his bride's face, he realizes he has to embrace the situation to keep it from ruining the day. Josh takes Emily's hand and leads her out into the middle of the floor.</scene_description>
    <character>EMILY</character>
    <dialogue>Josh! What about our first dance?</dialogue>
    <character>JOSH</character>
    <dialogue>I guess this is it.</dialogue>
    <scene_description>He gives Ricki the thumbs up as he begins to SPIN and TWIRL Emily, who knows the steps well...</scene_description>
    <character>EMILY</character>
    <dialogue>What about our choreography?</dialogue>
    <character>JOSH</character>
    <dialogue>Just do what we rehearsed</dialogue>
    <character>EMILY</character>
    <dialogue>But it's not the right song!</dialogue>
    <character>JOSH</character>
    <dialogue>Just do it faster.</dialogue>
    <scene_description>Emily can't help but laugh as Josh whips her around. The crowd begins to WHOOP and CHEER and Emily softens.</scene_description>
    <character>EMILY</character>
    <dialogue>Okay!</dialogue>
    <scene_description>Other GUESTS begin to move to the floor. Ricki is committed to her performance, as always, but she notices everyone beginning to dance. DESMOND leads a reluctant ADAM onto the floor. Ricki sees Adam staring at her. She flashes him a THUMBS UP. His gaze back is a little cynical, a little wounded-- as always. And yet he begins to DANCE.</scene_description>
    <character>RICKI</character>
    <dialogue>Just hold on loosely, don't let go. If you cling too tightly, you're gonna lose control...</dialogue>
    <scene_description>Maureen and Peter dance. Julie dances by herself. Even GRANDPARENTS and KIDS hit the floor. The wedding kind of sucked until now. But Ricki is giving 'em blood, sweat and tears and it's THRILLING. Julie, ever the shit-disturber, is enjoying this more than anyone. She smiles proudly at her mom. When the SONG ENDS, Ricki shrugs humbly instead of her usual rock-star posturing. But Julie begins to CHANT, pumping her fist in the air.</scene_description>
    <character>JULIE</character>
    <dialogue>Ricki! Ricki! Ricki!</dialogue>
    <scene_description>Peter joins in gamely. Soon everyone is chanting. Ricki looks over at Greg, who smiles at her.</scene_description>
    <character>CROWD</character>
    <dialogue>Ricki! Ricki! Ricki!</dialogue>
    <scene_description>Ricki closes her eyes, ABSORBING it. In the temporary darkness she's created, the chanting and applause could be coming from anywhere. Is she imagining herself headlining a huge concert, as she's done so many times before? She doesn't need to. Ricki opens her eyes.</scene_description>
    <character>THE END</character>
  </scene>
</script>
Ricki chased her dreams of becoming a famous rock star by abandoning her family. She gets a chance to put things right when her ex-husband Pete asks her to visit Indianapolis and help their estranged daughter Julie through a difficult time. Ricki has a rock band that plays a regular gig at a small bar, when she is not working as a cashier to make ends meet. Julie recently attempted suicide because her husband cheated on her and is divorcing her. Despite being broke, Ricki comes to Indianapolis to help her daughter, but Julie is hostile. Likewise, her two sons are hostile and unwelcoming. One has come out as gay and the other recently became engaged, though no one told their mother. Still, Ricki gets through to Julie. Pete's second wife, Maureen, returns unexpectedly, confronting Ricki with some hard truths. She wasn't there for her children when they needed her and Maureen was. Ashamed, Ricki returns to her band in California angry and bitter, insulting her guitarist who is in love with her. He makes her realize he cares and they make love. Maureen sends Ricki an invitation to the son's wedding as an olive branch, but Ricki can't afford to go. Her boyfriend sells his best guitar to pay for the tickets. Despite her attempts at reconciliation, she's clearly still an outsider. The wedding guests look askance at Ricki when she gets up to toast the bride and groom. As her gift, having no money, she has her band take over and play for the guests. Her son and his bride start the wedding dance and slowly the guests join in.