THE SILVER LININGS PLAYBOOKOFFICIAL SHOOTING DRAFTbyDAVID O. RUSSELL(Based on the novel by Matthew Quick)David O. RussellWGAEProperty of Weinstein Co. 2008
2.INT. KAREL PSYCHIATRIC FACILITY - DAYOVER BLACKPATWhat, are you kidding me? Sundays?I love Sundays. I live for Sundays.The whole family’s together. Mommakes braciole. Dad puts the jerseyon. We’re all watching the game.Yeah, it drives me crazy, and yes,I was negative.FADE IN ON:INT. KAREL PSYCHIATRIC FACILITY/PAT’S ROOM - DAYPAT SOLATANO stands in the middle of his room, his back tocamera.PAT (CONT’D)You didn’t even know that I lovedit, Nikki, but I did. I just didn’tappreciate it, or you, before.”There is a knock at the door.MALE ORDERLY (O.S.)Come on. Time to go.PATI lost all that. I blew it. But youalso blew it. We can get it back.We’re gonna get it back. It’s allgonna be better now. I’m better nowand I hope you are, too. And I’mgonna appreciate--”Another knock at the door. Pat ignores it.PAT (CONT’D)Hey, I’ll be there in a minute,okay?MALE ORDERLY (O.S.)Doctor’s waiting. Let’s go.PATI’ll be there in a minute.Pat returns to his speech.
3.PAT (CONT’D)That’s true love.See glimpses of Pat's room: mayonnaise jar filled with water,black trash bag strewn on the bed, handwritten sign taped toPat's wall, "EXCELSIOR".INT. PSYCHIATRIC FACILITY/ HALLWAY - DAYPAT HURRIES DOWN THE STAIRS.INT. PSYCHIATRIC FACILITY/ DISPENSARY - DAYPAT HOLDS SMALL PAPER CONTAINER WITH PILL.TIPS HIS HEAD BACK AND DUMPS THE PILL INTO HIS MOUTH.DRINKS WATER, OPENS MOUTH WIDE AND STICKS HIS TONGUE OUT toshow he swallowed.PAT WALKS, SPITTING OUT THE PILL. PILL LANDS ON FLOOR.INT. PSYCHIATRIC FACILITY/ROOM - DAYA GROUP OF PATIENTS SEATED IN A CIRCLE WITH A DOCTOR, HAVINGA GROUP THERAPY SESSION. PAT IS INCLUDED.DANNYYeah, that’s when I had long hair.People say I talk about my hair toomuch.DANNY SITS BETWEEN TWO OTHER MALE PATIENTS.DANNY (CONT’D)And it was just the way I wantedit, but he cut it back too far. Hecut this side back too far tryingto even it up. I didn’t tell him todo that. I said, “Just cut it theway you cut it.”PATOnce you get in the right frame ofmind, I think anything’s possible.I think we get, we so often getcaught in this state of negativityand it’s a, it’s a poison likenothing else.
4.EXT. PSYCHIATRIC FACILITY - DAYPAT works out: drinks water from his plastic mayo jar, doessquats, sit ups, push ups -A WOMAN'S FOOT STEPS INTO FRAME NOT FAR FROM HIS FACE -- WITHRED TOE NAILS IN A WHITE FLAT SANDAL -Pat looks at the foot -- then looks up -HIS MOTHER, DOLORES SOLATANO, dressed in a dress.INT. PSYCHIATRIC FACILITY/HALLWAY - DAYCAMERA TILTS UP OVER A MALE DOCTOR, DR. TIMBERS, AS HE WALKSWITH DOLORES. PAT FOLLOWS. CAMERA MOVES BACK WITH THEM.DR. TIMBERS.technically, you can take himout against our recommendation,but you assume a lot of liabilityin the eyes of the court. And he'sjust getting used to the routinehere.DOLORESI don't want him to get used to theroutine here. Eight months isalready long enough.INT. PSYCHIATRIC FACILITY/OFFICE - DAYCS - A FORM WITH THE HEADING:HOSPITAL DISCHARGE APPROVAL FORMPART OF THE FORM, WHICH STATES:ACKNOWLEDGE THAT THE HOSPITAL BEARS NO LIABILITYDOLORES SIGNS HER NAME.INT. DOLORES’S CAR - DAYPAT CLOSES THE REAR PASSENGER DOOR, GETTING INTO THE FRONTPASSENGER SEAT. DOLORES IN THE DRIVER’S SEAT.THE CAR BEGINS TO MOVE, DANNY APPEARS., CARRYING A SUITCASE.PATHey, Mom. Can we give Danny a rideto North Philly?DOLORES STOPS THE CAR.
5.DOLORESWhat? I don't understand.PATMom, no, it’ll be fine. It’ll befine.DANNY OPENS THE REAR PASSENGER SEAT AND GETS INTO THE CARWITH HIS SUITCASE.DANNYI guess everybody’s leaving today!Hello, Mrs. S. An honor to finallymeet you. Pat told me all aboutyou, how God made you rich incharacter, and you're the mightyoak that holds the householdtogether, and not to mention thelasagna you make on game day whenthe Birds play.EXT. HIGHWAY - DAYDOLORES’S CAR DRIVES TOWARDS PHILADELPHIA.INT. DOLORES’S CAR - DAYPATDanny was in for assault because ofcrystal meth and alcohol.DANNYBad combination.PATYeah. On top of an anxietydisorder.DANNYThat was when I was an X-raytechnician with my ADD and myanxiety. I had a lot of access tomedication and I took advantage ofit. That’s when my hair was long,too. But my hair only grew when Iwas older. When I was younger, myhair didn’t grow because mybrother.(to Pat)Remember I told you about mybrother, he had a Jheri curl, and Icouldn’t get a Jheri curl becausemy hair didn’t grow long enough. Iwas so jealous of my brother.
6.PAT(to Dolores)He’s obsessed with his hair.DOLORES’S CELL PHONE RINGS. SHE ANSWERS AS SHE DRIVES.DOLORES(into cell phone)Hello?PAT(to Danny)It looks great now.DANNYYou like it?PATIt’s good now.DOLORES(into cell phone)Yes, it is.PAT TOUCHES DANNY’S HAIR.DANNY(as Pat touches hair)Wait, you’re going the wrong way!DOLORES(into cell phone)What? Are you sure about that? I’llbring him back right away.DOLORES HANGS UP.DOLORES (CONT’D)You lied to me, Pat. Danny's notallowed to leave.PATAll right, Mom, just hold on a sec.EXT. STREET - DAYDOLORES’S CAR BEGINS TO TURN AT A SMALL INTERSECTION.PAT(voice over)Let’s just talk about this.
7.INT. DOLORES’S CAR - DAYDOLORES REACTS AS PAT GRABS THE STEERING WHEEL.PATMom, just listen-EXT. STREET - DAYDOLORES’S CAR SWERVES TOWARD THE LANE AGAIN. A PASSING CARHONKS AND SWERVES TO AVOID DOLORES’S CAR.DOLORESDon’t tou-.INT. DOLORES’S CAR - DAYDOLORES REACTS AS PAT GRABS THE STEERING WHEEL.DOLORES.-ch the steering.EXT. STREET - DAYDOLORES’S CAR MOVES. THE PASSING CAR HONKS AND SWERVES TOAVOID DOLORES’S CAR.DOLORES(voice over).wheel!INT. DOLORES’S CAR - DAYDOLORES PULLS THE CAR OVER AND STOPS.DOLORESPat, this whole thing was amistake.PATI’m sorry, Mom. You okay?DOLORESI am out on a limb for you with thecourts right now.DANNYIt’s my fault. Pat didn’t know. Patdidn’t know. He’s my friend, so hewas rootin’ for me.(MORE)
8.DANNY (CONT'D)I’m havin’ a disagreement with thehospital, but we’re working it out.Take me back to the hospital, buttake Pat home, he’s fine. Trust me.You’ll see, he’s fine. It’s myfault.DISSOLVE TO:INT. DOLORES’S CAR - DAYTHE EMPTY REAR PASSENGER SEAT: DANNY GONE. PAN TO: PAT, INTHE FRONT PASSENGER SEAT.PATMom, can we stop at the library? Iwanna read Nikki’s entire Englishhigh school syllabus.DELORES LOOKS AT HER SON, WORRIED.PAT (CONT’D)Mom, it’s a good thing. I’mremaking myself.DOLORES SMILES. PRE-LAP INCOMING DIALOG FROM HOUSE:RANDY (O.S. PRELAP)DeSean Jackson. What happened toDeSean Jackson?INT. SOLATANO HOUSE/LIVING ROOM - DAYCAMERA PANS L. ONTO PAT’S FATHER, PAT SR., AND HIS NEIGHBOR,RANDY.RANDYCome on, tell me that one.PAT SR.It’s insanity. He spikes the ballat the one yard line. The onefucking-yard line. I mean, get intothe end zone, dummy. I mean, hecelebrates before he's even in!RANDYYou know something? It’s nothingnew. Your team does that all thetime. They get close.PAT SR. LEANS DOWN, SHUFFLES RESTAURANT DESIGN PLANS ONCOFFEE TABLE.
9.RANDY (CONT’D).and then they blow it. They gotan inferiority complex.PAT SR. STRAIGHTENS AND TURNS TO RANDY.PAT SR.Wait a minute, what are you talkingabout? What makes the CowboysAmerica's Team?RANDYBecause we are, we're America'sTeam.PAT SR.You should be ashamed of yourself.We’re in Philadelphia, what’s thematter with you? You’re a fuckingtraitor.RANDYWhat's more American than a cowboy?PAT SR.You know what’s more American?What?RANDYPAT SR.Benjamin Franklin, that’s what’smore American.RANDYBenjamin Franklin?PAT SR.Benjamin Franklin. The founder ofour country, here in Philadelphia.RANDYYou mean the guy with the.INT. SOLATANO HOUSE/FOYER - DAYTHE FRONT DOOR OPENS AND DOLORES AND PAT STEP INTO THE HOUSE.RANDY.little glasses and the longscraggly hair?
10.PAT SR.What about the lightning with thekite? He stood in the storm with akite.RANDYIf he wasn’t on the hundred dollarbill, nobody.A FRAMED PHOTO OF PAT’S BROTHER JAKE ON THE WALL. PAN TOEMPTY SPACE WHERE ANOTHER FRAME HUNG -RANDY (CONT’D).would even know who he is.FALLEN FRAMED PHOTO OF PAT, ON THE TABLE BELOW.PAT SR.What are you doing? No, no, no, no.Don’t touch them, don’t touch them.RANDYI didn’t even touch ‘em. Why areyou--, don’t blame me.PAT SR.Who did this? Who took, who took,who took the.INT. SOLATANO HOUSE/LIVING ROOM - DAYPAT SR. LEANS OVER, STRAIGHTENS MULTIPLE REMOTE CONTROLS ONTABLE.PAT SR.-the remotes like this? Did you dothis, Randy?RANDYNo, I don’t touch them. As a matterof fact, I don’t know why you needso many. Hey, there she is! Lookhow beautiful!PAT SR.(turns, sees Pat)What?! What’s this?!Hey.RANDYPAT SR. STEPS CLOSER, PATTING PAT ON THE ARM.PAT SR.Everything good?
11.PAT(awkward, unsure)Mm-hmm.Ahh.PAT SR.PAT SR. EMBRACES PAT.PAT SR. (CONT’D)Where is it?PAT SR. TOUCHES PAT’S SHIRT.PATIt’s right here.PAT SR.You got it. Ahh, well, we got that.We don’t want them to steal that.PAT SR. PULLS A GOLD NECKLACE OUT OF PAT’S SHIRT.PATYou still got yours?PAT SR.Yeah, I got mine.PAT SR. LOOKS AT DOLORES.PAT SR. (CONT’D)So what, you don’t talk to me? Youdidn’t tell me you took him out.DOLORESWell, he’s ready. Look at him.PATYou didn’t tell Dad you werepicking me up?DOLORESDon’t worry about that.PAT SR.I wanna make sure when you come outthat you’re okay, and she didn’tsay anything. (to Dolores) Youdidn’t tell me?DOLORESThe court said yes. Don’t worry.
12.PAT SR.Yeah, but what did the doctor say?Because the, the court listens tothe doctor.PATYeah, and the court said-PAT SR.The court listens to the doctor,the doctor-PATDad, relax. The court said it’sfine, okay? Let it go.DOLORESDon’t worry.PATDad, I’m in there because of thecourt. That’s the agreement that wemade months ago. It was a pleabargain with the courts. Thelawyer, he instructed me, he saidthat what we should plead that, andthen I would serve eight months andthen I’d get out.PAT SR.Yeah, no, I just-DOLORESIt’s all under control.PAT SR.Well.okay, okay. Congratulations.PATThank you. So what are you doingwith yourself?PAT SR.You know, I’m gonna start arestaurant.A DRAWING OF A RESTAURANT ON THE COFFEE TABLE.PAT SR. (CONT’D)It’s gonna be a cheesesteak place.PATHow you gonna pay for it?PAT SR.I’m gonna pay for it, don’t worryabout it.
13.PATFrom your bookmaking?PAT SR.Who told you that?PATMom told me. Outside.DOLORESI did not. No, I didn’t.PATYou just told me outside, Mom, whatare you talking about? Five minutesago, we were walking up the stairs,you said, “Don’t say anything, butDad lost his job and he’sbookmaking.”PAT SR.Why, Dolores? Why did you say thatto him? He has the wrong idea.(to Pat)Everything’s fine, Patrick. I’mmore concerned about you thananything else.PATGood, Dad. Good.PAT SR.Okay, the question, the bigquestion, is what are you gonna dowith yourself?PATWhat am I gonna do? I’m getting inshape, I’m getting trim, I’mgetting really fit for Nikki. I’mgonna read Nikki’s teachingsyllabus and get my old job back.PAT SR.Nikki sold the house. She left.Didn’t your mother tell you that?PATLet me tell you something. Youdon’t know anything about mymarriage, okay, Dad? All right? Ourmarriage.we’re very, very much inlove, okay? Just like you two.PAT SR.Listen, Patrick, she’s gone. She’snot around anymore. Nikki left.
14.PATWhat are you doing, Dad? You knowwhat? Excelsior. Excelsior.PAT SR.What does that mean?PATIt means you know what I’m gonnado, I’m gonna take all thisnegativity and use it as fuel andI’m gonna find a silver lining,that’s what I’m gonna do. Andthat’s no bullshit. That’s nobullshit. That takes work andthat’s the truth.EXT. SOLATANO HOUSE - NIGHTINT. SOLATANO HOUSE/LIVING ROOM - EVENINGPAT SR. AND DOLORES SIT, READING.INT. SOLATANO HOUSE/ATTIC - EVENINGPAT SITS, READING A BOOK. SIGHS. HE TURNS A PAGE.PAT LIES ON HIS BED, READING. DOLORES ENTERS AND SETS A TRAYOF FOOD ON THE BED FOR DINNER.INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHTPAT SR. AND DOLORES GET INTO BED.INT. SOLATANO HOUSE/ATTIC - NIGHTPAT’S HAND TURNS A PAGE.PAT LIES ON HIS BED, READING.INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHTPAT SR. TURNS OFF THE LAMP ON HIS SIDE OF THE BED. DOLORES ISNEXT TO HIM.INT. SOLATANO HOUSE/ATTIC - NIGHTCU - THE BOOK PAGES.
15.PAT SITS IN A CHAIR, READING.PAT AS HE READS.PAT TURNS THE LAST PAGE.HANDS CLOSE THE BOOK.CAMERA TILTS UP ONTO HIS FACE.PATWhat the fuck?!CAMERA PULLS BACK AS PAT THROWS THE BOOK.EXT. SOLATANO HOUSE - NIGHTTHE BOOK SMASHES THROUGH THE ATTIC WINDOW, SOARS THROUGH AIR,LANDS ON THE FRONT LAWN.PAT(yelling)Stupid fucking book!INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHTPAT SR. WAKES.CUT TO:PAT PACES IN HIS PARENTS BEDROOM.PAT(yelling)I just can’t believe Nikki’steaching that book to the kids. Imean the whole time -- let me justbreak it down for you -- the wholetime you’re rooting for thisHemingway guy to survive the warand to be with the woman that heloves, Catherine Barkley.HIS TIRED PARENTS LOOK AT HIM FROM THE BED.DOLORESIt's four o’clock in the morning,Pat.
16.PAT.and he does. He does. Hesurvives the war, after gettingblown up he survives it, and heescapes to Switzerland withCatherine. But now Catherine’spregnant. Isn’t that wonderful?She’s pregnant. And they escape upinto the mountains and they’regonna be happy, and they’re gonnabe drinking wine and they dance -they both like to dance with eachother, there’s scenes of themdancing, which was boring, but Iliked it, because they were happy.You think he ends it there? No! Hewrites another ending. She dies,Dad! I mean, the world’s hardenough as it is, guys. It’s fuckinghard enough as it is. Can’tsomebody say, “Hey, let’s bepositive? Let’s have a good endingto the story?”DOLORESPat, you owe us an apology.PATMom, for what, I can’t apologize.I’m not gonna apologize for this.You know what I will do? I willapologize on behalf of ErnestHemingway, because that’s who’s toblame here.PAT WALKS TO THE DOOR.PAT SR.Yeah, have Ernest Hemingway call usand apologize to us, too.PAT EXITS, CLOSING IT BEHIND HIM.EXT. STREET - DAYPAT SR. AS HE JOGS TO PAT. HE WALKS TO THE SIDEWALK ANDBEGINS STRETCHING.PAT SR. JOGS.PAT SR.Why didn’t you run with me?PATI was reading.
17.PAT SR.Please. Do us a favor, don’t readfor a while.PAT GROANSPAT SR. (CONT’D)What are you wearing a garbage bagfor?PATI’m gonna go run now.PAT BEGINS TO JOG PAST PAT SR.PAT SR.Wait, wait, wait. You have to fixthis window.PAT STOPS AND TURNS.PATI’ll fix it when I get back.PAT SR.Fix it now.DOLORES ENTERS.DOLORESGet in the car, Pat. You have to goto therapy.DOLORES EXITS.PATI don't wanna go to therapy.DOLORESYou have to go. It's part of thedeal. You can't live with us andnot go.INT. OFFICE/LOBBY - DAYPAT STEPS INTO THE LOBBY. THE FEMALE RECEPTIONIST SITS AT HERDESK AND SHE PUSHES A SIGN- IN SHEET TO PAT WHO ENTERS,WRITING HIS NAME.SONG FADES IN: ‘CHERIE AMOUR’ BY STEVIE WONDER.PATIs that song really playing?RECEPTIONISTWe have music sometimes.
18.PATThat song is killing me. Could youplease turn it off?I can’t.RECEPTIONISTPATWhat do you mean, you can’t?RECEPTIONISTI don’t have the controls. I’msorry, I-PAT(interrupting))Did Doctor Timbers put you up tothis? Is there a speaker here?PAT WALKS TO A MAGAZINE RACK.PAT (CONT’D)Is, is the speaker here?HE OVERTURNS THE METAL MAGAZINE RACK.WAITING PATIENTS STARE, A MALE THERAPIST OPENS HIS OFFICEDOOR, LOOKING AROUND.THE RECEPTIONIST REACTS.PAT (CONT’D)I’m sorry. I’m sorry. Okay.I’msorry. I'll fix all this, okay?PAT PICKS UP THE MAGAZINES, EMOTIONAL, EMBARRASSED.INT. DR. PATEL’S OFFICE - DAYPATThat was a messed up thing you did,Doctor Patel. That’s a messed upthing. I’m sorry, but that’s.DR. PATELYou can call me Cliff, please.PATYeah, well, Cliff, that’s not theway you’re supposed to meet people,okay? Why don’t you write that downin your, I don’t know, your littlebook you write stuff down in.
19.DR. PATELI’m sorry about that song. I justwanted to see if it was still atrigger for you.PATBravo. It’s a trigger. I’m notgonna take any meds, I should justtell you that right now.DR. PATELYou have to take medicine.PATNo, I’m not gonna take anymedicine. It makes me foggy-DR. PATEL(interrupting)No, you will have to takemedication.PATI don’t want any meds, Doctor.Look, I am not the explosion guy,okay? My father is the explosionguy. I’m not that guy. He gotkicked out of that stadium he beatup so many people at Eagles games,he’s on the exclusion list. I hadone incident.DR. PATELOne incident can change a lifetime.PATBut I'm ready. I’m ready to takeresponsibility for my side of thestreet. She just needs to takeresponsibility for hers.DR. PATELWhat's hers?PATWhat's hers? Are you joking? Let’sgo back to the incident. I comehome from work after IEXT. HOUSE - DAY-FLASHBACKTHE HOUSE WHERE PAT AND NIKKI LIVED. PAT’S POV GOES TO HOUSE.
20.PAT(voice over)I left work early -- which I neverdo, by the way, but I got in afight with Nancy, the high schoolINT. OFFICE/DR. PATEL’S OFFICE - DAYPAT.principal. I come home andwhat’s playing but the song from mywedding. The song that you socharmingly played out here todayfor us. That’s playing and I don’tthink anything of it. Which is odd,‘cause I should have.INT. HOUSE/LIVING ROOM - DAY - FLASHBACKCAMERA MOVES OVER THE FLOOR AND STAIRCASE, WHICH IS LITTEREDWITH CLOTHING.PAT(voice over)I come home, what do I see? I walkin the door and I see underwear andpieces of clothing and a guy’spants with his belt in it, and Iwalk up the stairs, and all.THE SONG PLAYSINT. OFFICE/DR. PATEL’S OFFICE - DAYPAT.ll of a sudden I see the DVDplayer, and on the D-.INT. HOUSE/UPSTAIRS HALLWAY - DAY - FLASHBACKCAMERA MOVES IN ON A SMALL MUSIC SYSTEM.PAT(voice over).-VD player is the CD and it’splaying our wedding song, and thenI look down and I see my wife’s.CAMERA PANS L. ONTO A PAIR OF WOMEN’S UNDERWEAR ON THE FLOOR.
21.INT. OFFICE/DR. PATEL’S OFFICE - DAYPAT.panties on the ground and thenINT. HOUSE/UPSTAIRS HALLWAY - DAY - FLASHBACKCAMERA TILTS UP FROM THE UNDERWEAR ONTO THE BATHROOM DOORWAY.THE DOOR IS OPEN AND PAT’S WIFE NIKKI IS VISIBLE THROUGH THETRANSPARENT SHOWER CURTAIN. SHE FACES THE WALL IN BG.PAT(voice over).I look up and I see her naked inthe shower.INT. OFFICE/DR. PATEL’S OFFICE - DAYPAT.and I think, “Oh, that’s kindasweet, she’s in the shower. What aperfect thing. I’m gonna find herand maybe I’ll go in there. Wenever-.INT. HOUSE/BATHROOM - DAY- FLASHBACKPAT SEES NIKKI, VISIBLE THROUGH THE SHOWER CURTAIN.PAT(voice over).fuck in the shower anymore.Maybe today we will.” I.INT. OFFICE/DR. PATEL’S OFFICE - DAYPAT.pull the curtain back andthere’s the fucking history.INT. HOUSE/BATHROOM - DAY- FLASHBACKPAST PAT, TO NIKKI, VISIBLE THROUGH THE SHOWER CURTAIN. NIKKITURNS AND REACTS, REVEALING A MAN IN THE SHOWER WITH HER,DOUG CULPEPPER.PAT(voice over).-teacher with tenure.
22.INT. OFFICE/DR. PATEL’S OFFICE - DAYPATAnd you know what he says to me?INT. HOUSE/BATHROOM - DAY- FLASHBACKPAST PAT, TO DOUG AND NIKKI AS THEY REACT.PAT(voice over)“You should probably go.” That’swhat he says to me.INT. OFFICE/DR. PATEL’S OFFICE - DAYPATSo yeah, I snapped. I almost beathim to death. But now I get fuckingchastised for it? I’m parallel tomy father? I don’t think so.DR. PATELAll right. Can you talk aboutsomething that you did, before orafter?PATYeah, about a week before theincident, I called the cops and Itold them that my wife and thehistory guy were plotting againstme by embezzling money from thelocal high school, which wasn’ttrue. It was a delusion. And welater found out from the hospitalthat’s because I’m, uh.DR. PATEL.undiagnosed bipolar.PATYeah. With mood swings and weirdthinking brought on by severestress, which rarely happens, thankGod. And then the shower incidenthappened and that’s when everythingsnapped, so I then realized that,oh, wow, I’ve been dealing withthis my whole life. And without anysupervision I’ve been doing it allon my own with no help andbasically I’ve been white-knucklingit this whole time.
23.DR. PATELThat had to be hard.PATYeah. It’s a lot to deal with,espe
You lied to me, Pat. Danny's not allowed to leave. PAT All right, Mom, just hold on a sec. EXT. STREET - DAY DOLORES’S CAR BEGINS TO TURN AT A SMALL INTERSECTION. PAT (voice over) Let’s just talk about this. 6.
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