Scripts.com
Still Alice
By Richard Glatzer


INT. NEW YORK RESTAURANT - EVENING

In a fashionable uptown Asian-Fusion eatery, a birthdaycelebration takes
place. At the head of the table is ALICE
HOWLAND, a woman who could be said to have it all: a high-
flying academic career, a successful marriage, and threehealthy grown
children. She is whip smart, charming,
undeniably beautiful. To her right is her husband, JOHNHOWLAND, also an
academic, a bear of a man with a gleam ofhigh intelligence. To her left is
her oldest daughter ANNAHOWLAND JONES, a successful lawyer, and handsome
husbandCHARLIE. One chair at the table is conspicuously empty.
ANNA (PRE-LAP)
Okay. Happy Birthday, Mom!
Anna hands Alice a gift-wrapped bag.
ALICE :
Is that for me?
CHARLIE :
Exactly, I don’t believe it. You
don’t even look forty, much lessfifty.
ALICE :
Oh Charlie, please - but thank you.
I appreciate it. Can I open this
now?
ANNA :
Yes, open it. Please.
Alice opens the present and gasps.
ALICE :
Oh! Oh I love it.
ANNA :
Oh good.
ALICE :
It’s so beautiful.
ANNA :
You can exchange it if it doesn’t
fit.
ALICE :
No, no, no. I’m not going to. I
absolutely love it. You always get
me things I love.
A smart young man bearing a resemblance to John rushes up.
This is TOM HOWLAND.
TOM :
Sorry I’m late..!
Tom kisses his mom on the cheek.
ALICE :
Oh hey!
Tom finds a seat.
ALICE :
Isn’t...um...Lisa coming?
TOM :
No, we split up.
ANNA :
Yes, I did notice that your statuspopped back to single...yet again.
He gives his sister a tight-lipped smile. Then, to Alice:
TOM :
I forgot your present. Left it in
my locker.
ALICE :
I just hope you didn’t spend toomuch.
ANNA :
Don’t worry, he didn’t.
JOHN :
Where have you been?
TOM:
The ER was like a madhouse. This
one guy came in - six stab wounds.
I swear one missed his heart by,
seriously, an inch.
ANNA :
No. Tom, it’s dinner time. Please.
TOM :
Not yet it isn’t.
ANNA :
Nearly.
JOHN :
So what kind of antibiotic do you
use..?
As John and Tom engage enthusiastically in a rehash of thepoor guy’s
trauma, Alice turns to Anna and Charlie.
ANNA :
Mom, have you spoken to Lydia?
ALICE :
Yes. She wanted to be here
tonight, but she had a reallyimportant audition.
ANNA :
What for?
ALICE :
A guest spot on some TV thing.
Something Enemy.
Anna shakes her head.
CHARLIE :
Maybe this will be her big break.
ALICE :
Yeah maybe.
ANNA :
Don’t hold your breath.
CHARLIE :
Meow.
ANNA :
(laughing)
Stop it.
CHARLIE :
You two must have been somethinggrowing up. Why do I picture dollswith
heads cut off?
ALICE :
No, my sister and I were veryclose, actually.
Charlie and Anna both look at her, a little surprised.
CHARLIE:
Oh...sorry...I was talking about
Anna and Lydia.
ALICE :
Oh my goodness, I don’t know why Isaid that.
Anna steps in to change the mood.
ANNA :
Well we’re here to celebrate you,
Mom. So Dad, what about a toast.
She turns to her dad, who is still rattling on about E.R.
ANNA :
Dad, a toast?!
JOHN :
Oh yes, yes, yes.
They raise their glasses.
JOHN :
To the most beautiful and the most
intelligent woman I have known myentire life.
ALICE :
Thank you.
EVERYBODY :
Happy Birthday!


INT. UCLA UNIVERSITY CAMPUS - CORRIDOR - LOS ANGLES - DAY

We follow Alice from behind as she walks down the bright,
broad corridor of the academic institution.
PROFESSOR JOHNSON (O.S.)
My name is Frederick Johnson, I’man associate professor of cognitivescience
here at UCLA and I’m here
to welcome today’s speaker who hasjust flown in from New York.


INT. FUNCTION ROOM - AN HOUR LATER

A lectern has been set up in front of a projection screen.
About FORTY ACADEMICS are sitting, listening. Young,
confident, PROFESSOR JOHNSON is introducing Alice as shewaits at the side.
PROFESSOR JOHNSON
Now in my dissertation I spent
about a chapter and a half fairly
vituperatively citing today’s guest
and saying why I thought she was
wrong...
The audience laughs, Alice as well.
PROFESSOR JOHNSON
For the record, every time Alice
and I have argued, she’s right.
Alice Howland is the Lillian YoungProfessor of Linguistics atColumbia
University. She famouslywrote her seminal textbook, From
Neurons to Nouns, while raisingthree children - I’m sure gettingmore than a
few “Ah-ha” moments
from them - and it is now
considered one of the cornerstones
of linguistics education all overthe world. Please welcome...Dr.
Alice Howland.
Warm applause from the assembled. Alice takes her placebehind the lectern.
ALICE :
Thank you. Thank you so much.
She taps a computer sitting on the lectern. A photo of anadorable,
bright-eyed baby comes up on the screen behind her.
She launches into her talk with great self-assurance.
ALICE:
Most children speak and understand
their mother tongue before they
turn four, without lessons,
homework, or much in the way of
feedback. How do they accomplish
this remarkable feat? Well this is
a question that has interested
scientists at least since Charles
Darwin kept a diary of the early
language of his infant son. He
observed, “Man has an instinctive
tendency to speak, as we see in the
babble of our young children.”
She taps her computer - a photo of Charles Darwin comes up.
ALICE:
Much has been learned since then
but today I’m going to show yousome recent studies from my lab inchildren
between the ages ofeighteen months and two and a half
years.
She taps again - a picture of a toddler in a kid-friendly
lab.
ALICE:
Now, this might sound like it fallsinto the great academic traditionof
knowing more and more about lessand less until we know everythingabout
nothing.
(audience chuckles)
But I hope to convince you that bytaking these first baby steps intothe...
The smooth, assured flow of Alice’s lecture is broken - aword isn’t
forthcoming.
ALICE :
Into the...
The audience waits patiently.
ALICE:
(deadpanning)
I knew I shouldn’t have had that
champagne.
An appreciative murmur. Alice takes a slight detour roundthe word.
ALICE :
...into the word stock of a givenlanguage...
(hits her stride again)
...we will learn crucial
information about the interaction
between memory and computation thatis the very essence ofcommunication.


INT. BLACK CAR -- MOVING -- LOS ANGELES

Alice stares out the window - something is troubling her.
She closes her eyes as if to squeeze out a thought.
ALICE :
(under her breath)
Lexicon!
Satisfied, she looks at a WORDS WITH FRIENDS game on heriPhone. Moving
three letters, she forms the word “HADJ” on atriple.


EXT. APARTMENT BUILDING - KOREATOWN - LATE AFTERNOON

The black car arrives at a two-story run-down Seventiesapartment building.


EXT. SECOND FLOOR CORRIDOR

Alice exits the elevator and walks down the corridor of the
low-rent building. She passes a room where she glimpses afew young people
hanging out listening to indie rock. A
little further down, she finds Lydia’s door.
The door is answered by LYDIA HOWLAND, a feisty young womanwith dark hair.
LYDIA :
Hey.
ALICE :
Hi.
LYDIA :
Hey, sorry. You just caught me by
surprise. Come on in. It’s messy
but I was in the process of
cleaning.


INT. LYDIA’S APARTMENT

ALICE :
It’s fine, honey. Don’t worry.
Alice looks around. A living room adjoins a kitchen,
separated only by a counter that is cluttered with left-oversfrom lunch.
There are some pieces of eighties thrift storefurniture, some carelessly
discarded men’s boots.
LYDIA:
(picking up a few things)
The boys are total slobs. The
kitchen is the main battleground,
but I’ve got them in training. So
we’ll see how that goes.
Alice glances at some photobooths on the wall - Lydia and twoyoung men
goofing for the camera.
ALICE :
So where are they?
LYDIA :
At work. Doug’s at Starbucks.
Malcolm does some catering.
ALICE :
I guess that’s what they mean by aworking actor?
Lydia gives a tight-lipped smile. Acting is always a soretopic for them.


INT. L.A. RESTAURANT - NIGHT

The restaurant is typical Silverlake -- hipster Mexican.
Lydia has finished eating. Alice is still working on it.
ALICE (PRE-LAP)
Are you involved with either one ofthem?
LYDIA :
Doug’s gay. And Malcolm and I did
have a thing, but it’s over. He gotme in with Open Space though. It’s
like the best theater company.
ALICE :
Yes, I heard.
Alice’s plate is taken away prematurely by a BUSBOY.
ALICE :
(joking)
Thank you. Yeah, I’m done.
LYDIA :
It would have been awesome if yousaw ‘No Exit.’
ALICE :
Daddy said you were really good.
LYDIA :
I was all right. Not my bestnight, but at least he got a senseof it all.
Figure out why he’sdoing - you know - me a solid withthe company.
Alice didn’t know this. Lydia immediately realizes sheshouldn’t have said
anything.
ALICE :
What do you mean?
LYDIA :
It’s just really nice of him to
help out.
ALICE :
How is he helping out with the
company?
LYDIA :
It’s our responsibility as membersto raise equity for our productionswe put
on. And then eventually weget a cut of the box office - it’slike we’re
shareholders...
ALICE :
So you have to...pay to act,
basically?
LYDIA :
No. It’s a theater group. It’sjust the reality of the situation.
That’s how it is here. It’s Los
Angeles.
ALICE :
Lydia, don’t you think it’s timeyou reconsidered things? You’re so
smart. There’s so much more youcould be doing with your life...
LYDIA :
(interrupting, annoyed)
Like going to college?
ALICE :
Yes! Like college.
LYDIA :
Yeah...Like we’ve never talked
about that before...every singleday of my life. I figured out whatI wanted
to do and I’m doing it.
It’s a good thing.
ALICE :
But on whose dime?
LYDIA :
You’re helping Tom with Med school.
You helped Anna with law.
ALICE :
Sweetheart...those are real
careers. I just don’t want you to
limit your choices.
LYDIA :
You want to make my choices.
ALICE :
No, I don’t.
LYDIA :
I’m really happy.
ALICE :
I’m sorry. I don’t - I don’t wantto argue about this. Just forget Isaid
anything.
LYDIA :
It’s forgotten.
A noise dings on Alice’s phone.
LYDIA :
You going to check your phone?
Alice looks at the phone.
ALICE :
It’s just a game. Your sister and
I have developed an obsession withWords with Friends.
LYDIA :
(feeling a bit left out)
That’s cute.
ALICE:
(reading this)
Believe me, you don’t want to playher. She’s a demon.
LYDIA :
I’m not surprised.
Alice sighs and looks for a way to re-start the conversation.


EXT. TOWN CAR - MOVING - AFTERNOON

Alice is travelling, once again, now through the streets ofNew York.


INT. ALICE’S HOME - ENTRY WAY

She enters with her bags and closes the door behind her.
ALICE:
John? Hi.


INT. KITCHEN

Depositing her keys in a goldfish bowl, she glances at a
small memory board on the wall. No note has been left for
her.
ALICE :
John?
She gets her iPhone out of her bag and texts John:
TEXT:
Where R U?


EXT. UPTOWN STREETS - MOMENTS LATER

Now in athletic wear, Alice runs down the cold street. She
navigates around PEDESTRIANS and MOMS WITH STROLLERS.


EXT. RIVERSIDE PARK

In the light of the late afternoon, she runs through the
trees on a familiar path.


EXT. COLUMBIA CAMPUS -- DAY

Students and academics are going about their business. A
young STREET VENDOR is passing out leaflets calling, “Sale at
the Shoe Warehouse.”
Alice runs into the center of the square then slows down.
Suddenly, she’s not sure of where she is.
TIGHT CLOSE-UP OF ALICE
THE DEPTH OF FIELD has become very shallow, completelyisolating her from
her surroundings. The normal Universitysoundscape fades away
disconcertingly. She looks from one
building to another - from one person to another. Thingsswim momentarily
into focus but there’s no context - nobigger picture. Her breathing starts
to quicken.
She ventures one way a few paces, up some stairs. Her
breathing is rapid, her face flushed with fear. She puts herhead down,
forcing herself to focus.
Then, she recognizes the Columbia Library Building in frontof her.
Normality returns. People walk by her, chatting.
Everything is in focus now.
She heads towards her home.
STREET VENDOR :
Want one?
ALICE :
No thanks.


INT. ALICE’S HOME - ENTRYWAY

There’s the sound of a key in the door.
JOHN (O.S.)
Ali...
From the kitchen area, John appears, hair messy, a day’sstubble visible.
Alice enters, trying not to show theturmoil she’s feeling.
JOHN :
I was wondering where you were.
He goes to hug her.
ALICE :
Don’t. I’m all sweaty.
JOHN :
How did it go?
ALICE :
What?
Alice heads to the kitchen.


INT. KITCHEN

JOHN :
UCLA..?
ALICE :
Good. They were really...receptive.
JOHN :
I’m sure they were. And how was
Lydia?
ALICE :
Good, y’know...
JOHN :
You guys argue?
ALICE :
Well we spent the whole eveningtrying not to. You know, I have tosay the
news that you were bankrolling
her theatre company didn’texactly help.
JOHN :
I told you about that.
ALICE :
You didn’t.
JOHN :
I thought I did.
ALICE :
You didn’t.
JOHN :
Well...you’re not gonna like thiseither, but I still have a lot ofthings to
do at the lab. So maybeyou could walk me over there right
now...
ALICE:
(annoyed)
No. I don’t want to go to campus.
I just went for a run. I reallyneed to be home now.
JOHN :
(a flicker of concern)
Are you okay?
ALICE :
Yeah, I’m fine. I just - you saidwe were going to spend the eveningin.
JOHN :
I did - and we will. The sooner I
go, the sooner I’ll be back. And
we can watch a movie.
Alice takes a breath.
ALICE :
I’m sorry. I’m just exhausted.
He kisses her on the forehead and heads off.
JOHN :
Get some rest. Try to relax.
John walks out.


INT. DR. BENJAMIN’S OFFICE - DAY

Alice sits in a chair being questioned by DR. BENJAMIN, anunseen
Neurologist. In one long take, we see her trademarkconfidence start to
erode.
ALICE (PRE-LAP)
I’ve started forgetting things.
Little annoying things likes wordsand names. And I got lost -
completely lost - running on
campus. I talked to my doctorabout it and she said it could be
menopause and the last time I had aperiod was in February but then Ihad one
in September right beforemy birthday so...
DR. BENJAMIN
Are you taking any pills, anymedication, supplements?
ALICE :
I take a multivitamin, flax seedoil, calcium, iron and occasionallya
sleeping pill when I travel.
DR. BENJAMIN
Have you had any head injuries?
ALICE :
No.
DR. BENJAMIN
Would you consider yourselfdepressed, or under undue stress atthe moment?
ALICE :
No. I work a lot but I thrive on
it.
DR. BENJAMIN
How’s your sleeping?
ALICE :
It’s fine. Like seven hours a
night.
DR. BENJAMIN
Now I’m going to ask you toremember a name and address. I’ll
ask you for it again later, okay?
(she nods)
John Black, 42 Washington Street,
Hoboken. Can you repeat that forme?
ALICE :
John Black, 42 Washington Street,
Hoboken.
DR. BENJAMIN
Good. How old are you?
ALICE :
I’m fifty.
DR. BENJAMIN
What’s today’s date?
ALICE :
November 26th.
DR. BENJAMIN
Where are we?
ALICE :
We are on the third floor of New
York Presbyterian.
DR. BENJAMIN
Can you spell ‘water’ for me?
ALICE :
W-A-T-E-R.
DR. BENJAMIN
Now spell it for me backwards.
ALICE :
R-E-T-A-W.
DR. BENJAMIN
Can you tell me what you see on
these cards?
ALICE :
Pliers. A ladder. A sea horse. A
screwdriver. An elephant.
It seems absurd for Alice to be answering such childishquestions.
DR. BENJAMIN
Tell me about your parents.
ALICE :
They’re both dead. My mother andsister died in a car accident when
I was eighteen. My father died in1999 of liver failure.
DR. BENJAMIN
Hepatitis?
ALICE :
Cirrhosis. He was an alcoholic.
DR. BENJAMIN
And what was he like towards the
end?
It’s an uncomfortable subject for Alice.
ALICE :
Incoherent. Incontinent. To tell
you the truth we didn’t see a lotof each other. He lived in New
Hampshire and...we weren’t thatclose.
DR. BENJAMIN
Sorry. Do you have any othersiblings?
ALICE :
No. I only had the one.
DR. BENJAMIN
Now can you tell me the name andaddress I asked you to remember?
A wall. Alice tries to recall.
ALICE :
Um...John Black.
DR. BENJAMIN
And the address?
She takes a moment.
ALICE :
Damn it, I forgot.
DR. BENJAMIN
42 Argyle street, Cole Street,
Washington Street or South Street?
A pause. She shakes her head.
ALICE :
I was distracted, talking about myparents. Can we do that one again?
DR. BENJAMIN
There’s no need to at this time.
ALICE :
Okay.
DR. BENJAMIN
I’d like to do an MRI, just to rulesome things out.
ALICE :
Like what? Because I think I have a
brain tumor.
DR. BENJAMIN
It’s just a precaution. But it
will also allow us to see if there
are any lesions or signs of a
stroke. Find out what’s going on
in there.
Alice nods, absorbing this.
ALICE :
Okay - what should I do in themeantime?
DR. BENJAMIN
You can get plenty of exercise.
It’s always good to get the bloodpumping. And drink lots of water,
hydration is excellent for the
memory.
Alice takes this in.
DR. BENJAMIN
And the next time that you come and
see me, can you bring in someone
that knows you well? Your husband
or a close relative?
After a brief hesitation, Alice nods.
ALICE :
Okay.

medical_context, memory_loss, relationship_conflict, treatment_discussion


EXT. ALICE’S NEIGBORHOOD -- DAY

Snow has fallen. The busy streets of New York are suddenly,
and magically, quiet.


INT. ALICE’S HOME - KITCHEN - AFTERNOON

We see winter squash chopped; brussel sprouts peeled, a
turkey in the oven being checked.
Alice is busily preparing Christmas dinner. A timer rings.
She goes over to the far wall murmuring...
ALICE :
Stethoscope. Millennium. Hedgehog.
Lifting a dish cloth on a memory board, she checks three
words -Stethoscope. Millennium. Hedgehog.
Erasing the words, she thinks a moment and writes, “Cathode,
Pomegranate, Trellis.”
She places the cloth back over the words and resets the
timer.
MOMENTS LATER :
Alice is peeling carrots. There’s the sound of someone coming
in the front door.
TOM (O.S.)
Hello!
ALICE :
Hi. Come on in.
Tom appears with a new GIRLFRIEND.
TOM :
Hey Mom.
ALICE :
Good to see you.
TOM :
This is Jenny.
ALICE :
I’m Alice. I’m so happy you couldjoin us.
JENNY :
Thank you for having me.
ALICE :
Of course. Sweetheart, why don’t
you guys go in the and get a drink
and grab the - cheese thing. All
right? I’m so happy you could
join, I really am, Jenny.
JENNY :
Thank you.
Tom and Jenny head to the living room.


INT. LIVING ROOM

JENNY :
It smells so good in here.
TOM :
Beautiful.
Tom admires the table spread.


INT. KITCHEN -- MOMENTS LATER

Alice assembles milk, sugar, white chocolate, challah breadon the counter.
She opens a box of eggs and stares blanklyat them.
ALICE :
(to herself)
How many goddam eggs..?
The timer goes off again.
ALICE :
Cathode. Pomegranate...Trellis.
She goes over to the memory board, checks the results. Rightagain! She
erases the words as Lydia appears.
LYDIA :
Hey Mom!
ALICE :
Hey!!
They hug warmly.
LYDIA :
Merry Christmas.
ALICE :
Aw, Merry Christmas.
ALICE :
How was your flight?
LYDIA :
Actually awful. This guy coughedall over me the entire time.
ALICE :
I hope you don’t get sick.
Lydia glances at the ingredients on the counter.
LYDIA :
Does this mean what I think it
means?
ALICE :
Yes.
LYDIA :
Bread pudding!
ALICE :
It’s your favorite.
ANNA (O.S.)
Mom! Merry Christmas!
Anna and Charlie enter the kitchen in expensive casual-wearcontrasting with
Lydia’s thrift-store chic. Anna hugs hermother.
ANNA :
Have you seen my latest Words WithFriends?
ALICE :
Oh no. I haven’t had time yet,
sweetheart.
ANNA :
It’s a real zinger.
CHARLIE :
JEALOUSY on a triple.
ANNA :
Don’t spoil it.
CHARLIE :
It’s already trending on Twitter.
Lydia greets her sister.
Alice is distracted, staring at the bread puddingingredients, as the
sisters attempt some friendlyconversation.
ANNA :
How’s California?
LYDIA :
It’s great.
ANNA :
Warmer than here..?
LYDIA :
Yes. Definitely warmer than here.
ALICE :
Okay now, all get outta here. I
have to concentrate or there’ll be
no food.
LYDIA :
Where’s dad?
ALICE :
He’s upstairs.
Lydia goes into the living room.
ANNA :
Can I help you with anything?
ALICE :
No, I’m fine. Just go get a drink
or something.
ANNA :
Okay. It’s going to be delicious.
ALICE :
Oh I hope so.
ANNA :
It will be. I can’t wait.
Anna and Tom go into the living room. Alice checks her phone
for a bread pudding recipe.


INT. DINING ROOM - AN HOUR LATER

Anna, Charlie, John, Tom and his girlfriend, are seated
drinking wine.
ANNA :
It’s a very big decision. We’re
excited. The place was recommendedby a couple of friends who’d beentrying
for years and have just hadtheir first child. So we’ll see...
JOHN :
I’ve heard good things about
Wellspring.
ANNA :
Good. It’s expensive, but we
obviously want it to work.
TOM :
I can’t believe you’re going to be
a Mom.
ANNA :
I know!!
They carry on chatting as Alice enters carrying a soup
tureen.
ALICE :
Here we are...
She places the tureen in the center of the table.
LYDIA :
What kind of soup is it?
ALICE:
It’s butternut squash.
LYDIA :
Nice!
Alice notices Jenny sitting next to Tom.
ALICE:
Hi, I’m Alice. I’m so happy you
could join us.
JENNY :
I’m - Jenny.
Jenny looks a little startled. Lydia glances over at her.
Alice takes a breath.
ALICE:
It’s really nice to meet you. Well
I think I deserve a glass of wine
after all that, don’t you?
LYDIA :
You want white?
ALICE:
Yes. Thank you. Does everyone
have a glass?
ANNA :
Yes, we do!
ALICE :
Let’s have a toast. To Christmas!!
ALL :
Merry Christmas.
They clink glasses.


INT. DR. BENJAMIN’S OFFICE - DAY

Alice is nervously listening as the doctor reviews her file.
DR. BENJAMIN (PRE-LAP)
No cerebral vascular disease, no
evidence of any stroke, no masses.
ALICE :
(under her breath)
Thank God.
DR. BENJAMIN
And your blood work came backcompletely clear. But what worries
me are the memory tests that I sentyou for. You have sporadic
memoryimpairment totally out ofproportion to your age and there isevidence
of decline in your levelof mental function.
(MORE)
DR. BENJAMIN (cont'd)
I think we should do a PET scan.
It’s similar to an MRI but it can
pick up things at the molecularlevel...
ALICE:
(interrupting)
I know what a PET scan is but what
in particular are you looking for?
DR. BENJAMIN
I want to see if the results are
consistent with Alzheimer’s
disease. It would be rare for
someone as young as yourself. But
you do fit the criteria.
Alice nods, absorbing this.
DR. BENJAMIN
Now last time you came I asked you
to bring a close relative.
ALICE :
I really didn’t think that would be
necessary.
DR. BENJAMIN
Next time, for sure. Okay..?


INT. KITCHEN - NIGHT

John is at the counter top, reading e-mails on his computer.
At the sink, scrubbing a pot, Alice responds to him almost onautopilot.
JOHN :
“...enhancement of endogenouslevels of beta endorphin has not sofar been
shown to reduce the
incidence of metastasis in the
distant cell sites.”
ALICE :
That’s not good.
JOHN :
Tell me about it. We’ve been
working on this for months! “The
beta-endorphin doesn’tsignificantly impact the microphageactivity”...
ALICE :
How about the cytokines?
JOHN :
Elevated. Slightly. Oh god backto square one. Are we both here on
the seventeenth?
ALICE :
I don’t remember.
JOHN :
Phil and Diane were saying they
might come to town for the weekend.
No reply. John looks up at her. She is still determinedlyscrubbing.
JOHN :
How long are you going to keep atthat thing?
ALICE :
Until it’s clean...


INT. BEDROOM - NIGHT

John is sleeping soundly. Unable to sleep, Alice looks atthe clock. It’s
2.15.


INT. BATHROOM - LATER

She enters, switching on the too-bright light, then looks atherself in the
mirror, face scrunched. Opening the bathroomcabinet, she takes out some
sleeping pills.


INT. BEDROOM - NIGHT

It’s now 4:
racing. Deliberately, she turns on the bedside lampand touches John’s
shoulder.
ALICE :
John...John, sweetheart. Wake up.
He groans, shifts around under the covers. He groggily openshis eyes.
JOHN :
Hmmm... What time is it?
ALICE :
I need to talk to you...I’ve...I’vegot something wrong with me.
He gradually starts to wake up.
JOHN :
What are you talking about..?
ALICE :
I’ve been seeing a neurologist.
JOHN :
You’ve been seeing a neurologist?
Why?
ALICE :
They think it might be early onsetAlzheimer’s.
JOHN :
What? That, that makes absolutely
no sense.
ALICE :
I didn’t want to tell you becausethey don’t know anything for surebut I’ve
been doing all these testsand I’m really scared.
John sits up in bed.
JOHN :
Ali, that is completely insane.
ALICE :
I got lost when I was running oncampus awhile ago. I can’t
rememberappointments. Words...
JOHN :
Honey, we all have memory lapses.
That’s a sign of getting older.
The other day I forgot the word ‘
glucose.’
ALICE :
It’s not like that. It’s like
something just drops out under me.
JOHN :
But there’s no diagnosis yet?
ALICE :
No.
JOHN :
Well I think that this is
ridiculous. It’s complete
bullshit, you don’t have
Alzheimer’s.
He reaches out again for her, but she pulls away. Her
emotion, stoked by a sleepless night and a failed Ambien,
turns to anger.
ALICE :
God dammit! Why won’t you take meseriously? I know what I’m feeling.
And it feels like my brain isfucking dying. And everything I’veworked for
in my entire life isgoing. It’s all going...
JOHN :
Come here don’t cry.
In his eyes we see care and concern but also the first signsof reckoning.


INT. KITCHEN - MORNING

Alice sits at the counter in a baggy sweatshirt. John is
dutifully preparing some cereal. They both look exhausted.
JOHN :
What time is your tutorial?
ALICE :
Eleven.
JOHN :
Well, that gives you some time.
I’m going to be a little latebecause I have a departmentalmeeting. But when
I get back maybewe can do dinner, have some Thaifood?
ALICE :
Yeah. Okay. I’m okay...last nightjust got the better of me, that’sall.
Their routine conversation seems almost stripped of meaning,
yet they do what people do - they carry on.
JOHN :
Well two things; I think it’s waytoo early to jump to anyconclusions and
whatever happens,
I’m here.
She looks at him, weighing him, wondering about the future.


INT. DOCTOR BENJAMIN’S OFFICE

A computer shows a brightly colored cross-section of a brain.
Alice’s brain.
DR. BENJAMIN
You can clearly see in here. The
red areas are high in beta amyloid.
The build up has probably been
ongoing for several years. I’m
sorry.
John sits beside Alice. He is not buying it.
JOHN :
There is evidence of high amyloid
in older people with normal
cognitive functioning, correct?
DR. BENJAMIN
Yes but not in someone as young as
Alice. At least, it would be
extremely rare.
JOHN :
I also read that high amyloid is
associated with conditions other
than Alzheimer’s.
DR. BENJAMIN
Unfortunately, in Alice’s case this
corroborates the clinical symptoms
she’s presenting.
JOHN :
Shouldn’t any diagnosis be
accompanied by a genetic test?
ALICE :
John, hold on a minute, please.
DR. BENJAMIN
Actually, I was going to suggest
that.
(MORE)
DR. BENJAMIN (cont'd)
In a case like this - with the
onset being so early - we’d like to
check for presenilin mutations.
That would be an indicator of
Familial Alzheimer’s Disease which
is a rarer form. We can make an
appointment for you to see a
genetic counsellor.
This news really hits Alice. When she speaks, it takes an
effort to control her voice.
ALICE :
So this concerns my children too?
DR. BENJAMIN
Yes.
ALICE :
I assume if I have the gene, the
chances of passing it on to each
one is fifty-fifty?
DR. BENJAMIN
I’m afraid so.
ALICE :
And if they are carrying the gene,
what are the odds of them
developing the disease?
DR. BENJAMIN
I’m afraid it’s 100%.
She nods, still trying to stay calm as her eyes betray a rush
of emotion.


INT. MEDICAL BUILDING ELEVATORS -- DAY

Alice and John wait by the elevators. There’s a tremendous
weight upon them. For a moment, neither can speak.
ALICE :
The kids will be here for our
anniversary.
JOHN :
I don’t think we should tell them.
Not until we have the test results.
ALICE :
We will by then. If I go in next
week...
Suddenly, John leans forward and punches the button.
JOHN :
Where the hell is this goddamelevator? Here we are in a majorhospital, and
they only have oneelevator running.
ALICE :
John, it’s okay.
JOHN :
We could have taken the stairs by
now.
ALICE :
It doesn’t matter.
The elevator arrives and they get in silently.


INT. LIVING ROOM - DAY

Anna, Charlie and Tom are on the couch, Lydia sits apart.
Alice wants to make an announcement but the words just won’t
come.
ALICE :
Well, um everybody...
TOM :
What’s going on?
ALICE :
Oh boy.
She looks at John.
LYDIA :
Are you guys breaking up, or...
ALICE :
No. It’s nothing like that.
ANNA :
Mom are you sick..?
ALICE:
I’ve been seeing a neurologist forthe past few months and I haveAlzheimer’s
disease. Early onset.
There is a sense of unease and shock in the room.
TOM :
That...That makes no sense.
Are you sure? It may be...
JOHN :
There’s no doubt. She has the
disease.
TOM:
But at her age...
JOHN :
It’s rare but it’s been confirmed.
ANNA:
(tearing up)
You’re so young Mom. I don’tunderstand that.
LYDIA :
I had noticed one or two things.
You didn’t know Tom’s girlfriendwhen she came over at Christmas-
ANNA :
(under her breath)
Lydia!
Anna shakes her head at Lydia.
TOM :
What medications are you on?
ALICE :
Right now Aricept and Numenda.
TOM :
And they can slow its progress?
ALICE :
No.
JOHN:
(as Alice tries to talk)
I’m afraid not. They can helpalleviate the symptoms but notactually prevent
the disease.
ALICE :
John! The thing is that the type
of Alzheimers I have is very rare.
And, well, it’s familial -- it’s
passed on genetically.
ANNA :
Oh my god.
JOHN :
We believe she got it from herfather. And of course we’re veryworried about
the three of you.
Now there is a test you can take.
But it’s completely up to youwhether you want to find out ornot.
Anna starts to cry. Lydia sits on her own, quietly
reckoning.
ALICE :
I’m sorry. I’m sorry...


INT. BATHROOM - DAY

Alice reaches for a pill container with different capsulesfor each day of
the week. She empties out Wednesday, startsto down them with water.
John passes by the doorway. He doesn’t like to watch her
regimen.


INT. COLUMBIA LECTURE HALL - DAY

TWO DOZEN STUDENTS are waiting. Alice enters, flustered,
opens the computer and clicks on the folder that says“Linguistics Classes.”
It contains six files: Syntax,
Acquisition, Semantics, Comprehension, Phonology, andPathologies.
Looking at the list, she is momentarily confused - which
lecture is she giving? Meanwhile, her students are starting
to get restless.
ALICE :
Can anyone tell me what it says on
the syllabus for today?
A few hands shoot up and a voice calls out “Phonology.”
ALICE :
And can anyone tell me what
phonology is..?
No answers. She clicks on the appropriate file.
ALICE:
“Phono” is from the Greek word
“phon.” meaning sound, andphonology, broadly speaking, is thestudy of the
sounds of language.
It should be carefullydistinguished from phonetics...


EXT. COLUMBIA CAMPUS -- DAY

Bundled up against the cold, Alice walks briskly across the
campus. Her phone goes off. It’s Anna.
ALICE :
Hi Anna.
ANNA (O.S.)
Hi Mom.
ALICE :
Are you okay?
ANNA (O.S.)
I got the results, I’m positive.
ALICE :
Oh God, Anna. I’m sorry. I’m so
so sorry.
ANNA :
Tom turned out negative and Lydia
didn’t want to know. But I’m
positive.
ALICE :
Baby, how you feeling?
ANNA :
I’m okay. One good thing, at leastI found out now before the next IUI
session. I guess there’s a waythey can test the embryos. So we
can be sure - that the baby’ll beokay.
ALICE :
Anna, where are you? I’ve got alecture but I can cancel it and I
can be right there.
ANNA :
No no, Mom. It’s okay. I’m with
Charlie.
ALICE :
No, I want to. I want to be there.
I can come.
ANNA :
No, please don’t worry. I’ll be
fine.
ALICE :
Okay. I love you, sweetheart.
ANNA :
I love you.
ALICE :
Bye.
ANNA :
Bye.
She walks off across the campus alone.


INT. ALICE’S HOME - KITHCEN -- DAY

Alice reaches into the fridge and stops for a moment.
There’s a bottle of shampoo on the top shelf. She picks it
up and looks at it.


INT. LIBRARY BUILDING -- DAY

Back at the university, Alice walks round the rotunda.


INT. COLUMBIA UNIVERSITY - HEAD OF DEPARTMENT’S OFFICE - DAY

The Head of Department, ERIC WELLMAN, is an avuncular fiftyyear-old with an
intimating air. He reads from his computer.
ERIC WELLMAN :
“I had been looking forward to thiscourse my sophomore year but I
wasthoroughly disappointed. The
content was often muddled and
delivered with little focus or
care.”
Alice listens uncomfortably.
ERIC WELLMAN :
“Class was a waste of time. I
ended up just following the on-lineversion.”
(then the next)
“I found Linguistics 201 very
erratic.
(MORE)
ERIC WELLMAN (cont'd)
I had a hard time following Dr.
Howland’s lectures--even she seems
like she gets lost in them.”
Eric turns to her. Alice looks down.
ALICE :
Eric, I am so sorry. I - I didn’t
know the students felt this way.
Obviously I will make the necessary
adjustments and we can reevaluate
my performance next semester.
ERIC WELLMAN :
Listen, is everything okay at home?
Is everything all right between youand John?
ALICE :
Yes, everything is fine with John.
ERIC WELLMAN :
Is it something we can help with?
Stress, depression-
ALICE :
No. It’s not that...
ERIC WELLMAN :
Substance abuse?
ALICE :
Oh god, no. Eric...No it’s nothing
like that. It’s, uh, it’s medical.
It’s a medical issue. And I admit
I had a hard time teaching last
semester and I wasn’t aware of how
much it showed.
ERIC WELLMAN :
Alice, I’m not following.
ALICE :
I have a mild cognitive impairment.
ERIC WELLMAN :
Would you unpack that for me?
ALICE :
In early February I was diagnosed
with Early Onset Alzheimer’s
disease.
ERIC WELLMAN :
What? Alice...Oh my God. I’m so
sorry.
ALICE :
It’s early. It’s still in the
early stages. I mean obviously it
will limit my abilities as time
goes on but for now I feel
perfectly capable...
ERIC WELLMAN:
(he takes a breath)
Really there’s no need to...We
don’t want you under any undue
stress. That would be
counterproductive.
ALICE :
I can handle the stress. I would
like to remain in the departmentfor as long as we all think it’spossible.
He looks at her, takes a breath.
ERIC WELLMAN :
I’ll have to let the department and
faculty know
Alice nods, absorbing this.
ALICE :
Yes, of course.
ERIC WELLMAN :
I’m so so sorry.

caregiving_boundary, medical_context, medical_event, treatment_discussion


EXT. STREETS OF NEW YORK - LATE AFTERNOON

Once again, Alice runs on the streets.


EXT. RIVERSIDE PARK

Alice’s breath comes in clouds as she runs beneath the trees.


INT. STREETS OF NEW YORK

She slows down, out of breath, and sees something ahead.
A FAMILY is coming out of a Pinkberry Frozen Yoghurt shop.
After a moments thought, she walks toward the brightly litfranchise.


INT. PINKBERRY

Looking at the array of toppings, Alice orders.
ALICE :
I’ll have a regular with blueberry
and coconut, please.
MOMENTS LATER :
Alice sits on her own, eating her frozen yoghurt.


INT. ALICE’S HOME - HALLWAY - NIGHT

When Alice comes in the front door, John is irate.
ALICE :
Hi.
JOHN :
Alice, where the hell were you?
ALICE :
I went for a run.
JOHN :
But you’ve been gone for over twohours. I was worried.
ALICE :
I stopped for Pinkberry.
JOHN :
Pinkberry?
ALICE :
Yes, Pinkberry.
She heads into the living room. John follows.


INT. LIVING ROOM - NIGHT

JOHN :
Well I hope it was worth it becauseyou completely blew our dinner plans -
Susan Kirby and her husband.
ALICE :
I’m sorry. I forgot. I have
Alzheimer’s.
She looks at him boldly. For a moment he’s at a loss for
words. He looks away.
JOHN:
I texted you. I e-mailed you. There
are lots of ways of managing this.
ALICE :
John, I said I was sorry.
JOHN :
She’s chair of my department, forcrying out loud. I had absolutelyno idea
where you were, ifsomething had happened to you. Whydidn’t you bring your
phone?
ALICE :
I can’t while I’m running.
JOHN :
Why don’t you wear a fanny pack?
Is it really so inhibiting?
ALICE :
Yes!
She sighs heavily and sits on the sofa.
ALICE :
I hate that this is happening to me.
JOHN :
I hate it too.
He sits opposite her.
JOHN :
But we have to keep the importantthings in our life going. We have
to try or we’re going to go crazy.
ALICE :
I know. I know, John. I am sorry.
But I don’t know what I would have
been like at a dinner party. I
might not be able to remember namesor answer simple questions, nevermind
get through an anecdote.
JOHN :
I think you’re doing greatrecently.
ALICE :
Relative to what?
They look at each other.
ALICE :
I wish I had cancer.
JOHN :
Don’t say that.
ALICE :
No, I do. I mean it. I wouldn’t
feel so ashamed. When people havecancer they wear pink ribbons foryou and
go on long walks and raise
money. And you don’t have to feellike some kind of a - social...I
can’t remember the word. *


EXT. MOUNT AUBURN NURSING CENTER - DAY

Winter has ended, the air is warm, birds are singing.
Alice heads toward a large building bordered with sproutingcrocuses and
budding bushes.


INT. MOUNT AUBURN NURSING CENTER - ENTRANCE/CORRIDOR

Alice walks from a reception area down a broad corridor withTRACEY
FREDERICKS, an African-American CAREWORKER. A few OLD
FOLK shuffle around as a COUPLE OF ORDERLIES go about theirbusiness.
CAREWORKER :
In 2013 we completed repairs and
inside we replaced the elevators,
refurbished the auditorium, library
and lounge area and upgraded our
HVAC system.
ALICE :
That’s good.
CAREWORKER :
We also took away most of the oldsecurity doors. Residents are
issued a bracelet instead, whichkeeps them from using elevators orleaving
the building - depending ontheir level. I don’t know if
you’ve experienced this yet withyour parent, but a lot of timesthey get
nighttime restlessness andwandering.
(MORE)
CAREWORKER (cont'd)
This way, we can prevent their
elopement without our patients
feeling they are locked in.
ALICE :
I see.


INT. COMMON ROOM -- DAY

Many OLD PEOPLE stare into space or hum to themselves. One
old lady puts curlers into another one’s hair.
CAREWORKER:
We saw after a while that large
group activities left most
residents unengaged and even
distressed by the confusion they
experienced from all the
stimulation. So we redefined
activities to include all
interactions between staff and
residents in the unit. All the
staff looks for opportunities to
make a meaningful connection with
residents, starting with knowing
about the person who they’ve been,
and what makes them comfortable.
One resident who had worked as a
nurse sat part of most days at the
nursing station, writing notes.
ALICE :
That’s heartbreaking.
CAREWORKER:
Yes but its a behavior we see time
and again.
(Alice nods)
We don’t have any restrictions on
visiting times. Friends and family
are welcome any hour of day or
night.
ALICE:
It doesn’t look like anyone is here
today.
CAREWORKER:
Well, Sunday’s the day they usuallycome by.
An alarm goes off. Across the room, an OLD LADY is up out of
her wheelchair in an agitated state. A SECOND CAREWORKER
tries to calm her.
CAREWORKER:
(talking over her)
That’s a chair alarm. Certain
residents have them so we know when
they’re up and about.
The Old Lady is seated once more in the chair and the alarm
is silenced.
ALICE :
Is she all right?
CAREWORKER :
It’s just a precautionary measure.
ALICE :
It’s all women.
CAREWORKER :
We do have mainly female residentshere but there are a couple ofgentlemen.
There’s William over
there - William was part of theteam that sent the first satellite
into orbit.
William is nearly bent double, shuffling towards a tableusing his walker.
This really gets to Alice.
“BUTTERFLY” SEQUENCE
A WHITE SCREEN:
Words appear quickly typed on a iPhone:
ALICE, ANSWER THESE THREE
QUESTIONS.
1) WHAT IS THE NAME OF YOUR OLDESTDAUGHTER?

daily_routine, institutionalization, medical_context, medical_event, memory_loss, treatment_discussion


INT. PRIMARY CARE PHYSICIAN’S OFFICE

ALICE :
They just aren’t powerful enough tosend me to sleep.
DOCTOR :
Do you want to try Lunesta?
ALICE :
How about Rohypnol?
DOCTOR :
They’re very strong...
ALICE :
I need something strong.
ON THE WHITE SCREEN
2) WHAT STREET DO YOU LIVE ON?


INT. HOME OFFICE

Alice has plugged a small video camera into her computer.
She reaches to press RECORD then sits in front of the camera.
ALICE :
Hi Alice. I’m you and I havesomething very important to say to
you.


INT. MOUNT AUBURN MANOR NURSING CENTER--LOBBY

Alice types questions onto her phone (dialogue from previous
scene continues)
ON THE WHITE SCREEN
3) WHAT MONTH IS YOUR BIRTHDAY?
ALICE (V.O.)
So I guess you’ve reached that
point - the point that you can no
longer answer any of the questions.


INT. ALICE’S HOME--OFFICE

Alice continues making the recording.
ALICE :
So this it the next logical step.
I’m sure of it.


INT. ALICE’S HOME - MASTER BEDROOM

Alice writes a note to herself.
ALICE (V.O.)
In your bedroom is a dresser with a
blue lamp. Open the top drawer.
In the back of the drawer there is
a bottle with pills in it. It says
take all pills with water.
(MORE)
ALICE (V.O.) (cont'd)
Now there are a lot of pills in
that bottle. But it’s very
important that you swallow them
all.
Alice attaches a label to the bottle of prescription pills.
She puts them at the back of her dressing table drawer,
behind bits and pieces of jewelry and accessories.
Then something catches her eye: an old pendant of a smallenamel butterfly,
brightly colored, a bit gaudy. She takes
it out and weighs it in her hand.


INT. ALICE’S HOME -- OFFICE

Alice finishes up the video and drags it to a folder on her
desktop labelled ‘Butterfly.’
ALICE (V.O.)
Okay? And then lie down, and go tosleep...And don’t tell anyone whatyou’re
doing.
ON THE WHITE SCREEN
WHEN YOU CAN NO LONGER ANSWER THESE QUESTIONS GO TO A FILE ON
YOUR COMPUTER LABELLED BUTTERFLY


INT. LIDO BEACH HOUSE - LIVING ROOM - EVENING

Suddenly, Alice awakens. She’s been napping, curled up on abig old sofa.
There’s the sound of waves. She looks around -
a little disoriented.
She sees a BOWL OF SHELLS on the table in front of her and a
MEMORY IMPAIRED bracelet on her wrist.
Slowly, she gets up and wanders towards the french doors.
Stepping out on the balcony, she sees the ocean.


EXT. LIDO BEACH - LATE AFTERNOON

Alice walks along the virtually abandoned beach. Down by thewater’s edge,
she takes in the massive beautiful landscape.
MOMENTS LATER she is sitting on a rock. A hundred yards
away, John comes running.
JOHN :
Ali!
He joins her on the rock. They sit for a moment looking out
at the sea.
JOHN :
I love it here.
ALICE :
I know. I love it too.
They move in for a tender kiss. The song, “If I had a Boat,”
comes up on the soundtrack.


INT. LIDO BEACH HOUSE - BEDROOM - NIGHT

Alice and John are in the bedroom, laughing together.
ALICE :
Remember Santorini?
JOHN :
Can you believe that was 30 yearsago?
ALICE :
Don’t do that to me - oh my god.
Oh that was a complicated time,
huh?
JOHN :
What was it - about a year after?
ALICE :
Yeah. Something like that.
JOHN :
I know I’ve said this to you
before, but I am sorry I never got
to meet your mother and your
sister.
ALICE :
Me too.
(she sighs)
We had a great time though.
JOHN :
Yeah.
She shifts a little and looks up at him.
ALICE :
Don’t you ever wish we’d had more
of that?
JOHN :
If you mean blow jobs on the beach,
yes I do wish we had more of that.
ALICE :
You know, yeah all of it. It all
happened so fast, you know. Anna
was born, our careers.
JOHN :
You were pretty relentless. You
wanted everything and all at once.
ALICE :
That’s how I am. That’s how I like
it. Anna’s the same way, right.
JOHN :
I like the way you are. I like
everything about you.
She comes to kiss him and they roll over together.
ALICE :
This is so great you know. I kind
of like it, being liberated fromColumbia. Why don’t you take asabbatical
next year?
JOHN :
And we’re going to do what, tour
around the country in an R.V?
ALICE :
Sure. I don’t know. Spend moretime here. Go to Bhutan.
JOHN :
I think our summer on the Island is
all the excitement I can handle
right now.
ALICE :
Well, you know what, this might bethe last year that I’m myself, youknow...
This brings John up short.
JOHN :
Please don’t say that.


INT. LIDO BEACH HOUSE--LIVING ROOM

Alice answers the questions on her phone.
82
IPHONE SCREEN 82
1) WHAT IS THE NAME OF THE STREET YOU LIVE ON?
The answer 1 - 1 - 2 - T - H
Then WHAT MONTH WERE YOU BORN IN?
O - C - T - O - B - E - R


INT. LIDO BEACH HOUSE - LIVING AREA - MORNING

Alice finishes up her daily memory-check on her iPhone.
Then, gets up and walks out of the door.


EXT. LIDO BEACH HOUSE - GARAGE - MORNING

It’s a foggy, overcast morning.
ALICE :
John...
JOHN (O.S.)
I’m over here.
John, down below, planting some shrubs in the garden.
ALICE :
Hey when do you leave for theconference?
JOHN :
On Monday.
ALICE :
And when is Lydia coming?
JOHN :
Lydia comes on Sunday.
ALICE :
She doesn’t have to come all that
way to baby-sit me.
JOHN :
Well shes’s coming to do the Chekhovplay at the Saugatuck, remember?
She looks around at the misty morning.
ALICE :
...Right.
JOHN :
When I get finished are we still
going to go for a run?
ALICE :
Yeah, I just need to grab another
layer.
She heads inside.


INT. LIDO BEACH HOUSE - MASTER BEDROOM

Entering the master bedroom, she goes over to a largedresser. She opens a
drawer, digs around and finds what sheis looking for - a lightweight top.
It’s a bit more colorful
than her taste usually runs.
She puts it on over her T-shirt, turns, and noticessomething.
It’s a photo album of her childhood, with fading photos andPolaroids, held
in place by yellowing cellophane.


EXT. LIDO BEACH HOUSE - UPSTAIRS BALCONY - MINUTES LATER

Alice sits, studying the photo album.
In one photo, her MOTHER, a woman in her thirties, and hersister ANNE,
mid-teens, are on the beach, smiling for the
camera. Turn a page, and there is young Alice eating dinner,
her mouth full of spaghetti.
Another page and there is her FATHER, giving the camera aslightly askew
smile. Alice ponders him for a moment.
JOHN (O.S.)
Hey, are we still going running?
He appears from inside.
ALICE :
I’m sorry. Hey look I found thisphoto album with these pictures ofmy mother
and my sister.
(John nods patiently)
Hey, when are you going to the
conference?
JOHN :
Monday.
ALICE :
And when is Lydia coming?
JOHN:
Lydia is coming Sunday.
ALICE :
Ok.
JOHN :
Are we going running?
ALICE:
Yes we are, I just have to go pee.
I’ll be right back.


INT. LIDO BEACH HOUSE - UPSTAIRS

Alice walks in but feels disoriented, suddenly unsure ofwhere she is.


INT. LIDO BEACH HOUSE - HALLWAY/LIVING AREA

She comes downstairs, looks into the kitchen, then makes herway to the
hallway, trying doors but not finding thebathroom. There’s a closet. Then
Lydia’s room. Then an
office.
Hurrying towards the living room again, she becomes more andmore anxious.
She tries the door to her right -- the closetagain.
CLOSE ON ALICE:
Her skin is flushed, reddening with humiliation.
John rushes down the stairs.
JOHN :
Alice!
She is standing by the hallway, her sweat pants soaked inurine.
JOHN :
Ali...
ALICE :
I couldn’t find the bathroom.
JOHN :
It’s okay, baby. Come on, let’s getyou cleaned up.
ALICE :
...I don’t know where I am.
She starts to cry. John puts his arm round her and they goupstairs.


EXT. LIDO BEACH - DAY

A wide shot of the empty beach. Small in the frame, thefigures of Alice and
Lydia walk along the shoreline.


EXT. LIDO BEACH - BOARDWALK

LYDIA :
I like that necklace.
ALICE :
You haven’t seen it before?
LYDIA :
Nope.
ALICE :
My Mom gave it to me.
Alice fingers the butterfly pendant as they walk along.
ALICE:
When I was a little girl, second
grade, my teacher told me that
butterflies don’t live a very long
time, they live like a month or
something - and I was so upset. And
I went home and I told my mother,
and she said, yeah but you know,
they have a nice life. They have a
really beautiful life, so...it
makes me think about my mother’s
life and my sister’s life. And to
a certain extent my own.
LYDIA:
You’re going to be around for along time Mom.
ALICE:
Yes yes...There are some things I
want to do. I want to take a
sabbatical year with daddy, but I
don’t think that’s going to happen.
I want to read some classic books
I‘ve always meant to read. And I
want to see Anna have a baby, I
want to see Tom graduate...
LYDIA :
You will!
ALICE :
And I’d like to see you go to
college.
Lydia looks at her.
ALICE :
Not for medicine, or anything - butfor drama.
(Lydia shakes her head)
You know, and then if actingdoesn’t work out you could teach oryou could do
workshops. You’d have
some kind of backup plan.
LYDIA :
Yeah...I don’t want a back-up plan.
I want to do this. I want to giveit a shot, it’s not going to happenif I
don’t believe in myself.
ALICE :
I believe in you, Lydia. I do.
It’s just that, you know, life’stough. It is tougher than youknow. I want
you to have some sortof security before I go.
LYDIA :
Mom - you have to - you can’t useyour situation to get me to doeverything
that you want.
ALICE :
Why not? Why can’t I?
LYDIA :
Because it’s not fair.
ALICE :
I don’t have to be fair. I’m your
mother. Right...


EXT. BEACH -- DAY

Flashbacks of Alice’s memory play like a movie. She is on
the beach with her mother and sister.


INT. LIDO BEACH HOUSE - DAY

Framed photos show the Howland family at a younger age.
Alice is playing Words With Friends.
She drags three letters onto the board to make theunderwhelming word TONE.
As ever, the game is with AnnaHowland-Jones.
Alice looks sadly at a photo of Anna, then gazes out of the
window into nothingness.


EXT. LIDO BEACH HOUSE - UPSTAIRS

John is answering e-mails on his computer as Alice walks upthe stairs.
JOHN :
Hey.
ALICE :
What’s going on?
JOHN :
I’m just working. How about you?
ALICE :
Nothing. I need something to read.
JOHN :
I thought you were reading MobyDick.
ALICE :
Yeah. I was. I got tired ofreading the same page over and overagain. I
can’t focus.
JOHN :
That happens to me when I read MobyDick too.
(she smiles)
Why don’t you try something
lighter.
ALICE :
What like the Cat in the Hat?
JOHN :
How about some of those plays Lydiahas downstairs? They’re quicker,
they’re easy to read. Might give thetwo of you something to talk about.
Alice nuzzles against him, trying to distract him, but he
continues.
ALICE :
Okay.
She gets up to head down the stairs.
ALICE :
You work all the time.


INT. SECOND BEDROOM

Alice enters. Lydia’s personality can be felt in herabsence: incense on the
window sill, paintings on the wall,
clothes strewn over chair backs.
On the bedside table there’s a pile of plays. Alice picks upa few of the
thin volumes and looks at them - Proof, ThreeSisters, Angels in America.
She opts for Angels in Americaand is about to set the other two back on the
stack when she
notices something: a small notebook with the handwritten
label “Lydia Howland Journal.”
Alice hesitates a moment, then opens it.


EXT. LIDO BEACH HOUSE - LIVING AREA - NIGHT

Lydia and Alice are trying to have a productive discussion asper John’s
suggestion.
ALICE :
What I really liked about it washow...
She searches for a word.
ALICE :
How...big...how wide...the scape ofit was.
LYDIA :
Yeah the scope of it.
ALICE :
The scope of it, yes that’s theword. God, listen to me.
Lydia perseveres.
LYDIA :
It’s unbelievable to me that youguys had to live through that. You
must have known somebody who diedfrom AIDS right?
ALICE :
Oh yes, honey. Everybody did. Welost a lot of people.
She looks at Lydia.
ALICE :
What did you think? You and
Malcolm - you played the Mormons,
didn’t you - the husband and wife?
You did the scenes in your actingclass.
LYDIA :
Yeah - how’d you know that?
Alice hesitates.
ALICE :
I don’t know. You must have told
me about it.
LYDIA :
I didn’t tell you.
ALICE :
Well, I don’t know how I know.
Lydia looks right at her.
LYDIA :
Mom, did you read my journal?
Alice looks away, trying to remember.
LYDIA :
Why? Why would you do that? Mom?!
ALICE :
I am so sorry Lydia. I honestlydidn’t understand what I was
reading.
LYDIA :
You didn’t understand “Lydia
Howland” written across the front
of the notebook?
ALICE :
I’m sorry, I’m so sorry.
LYDIA :
I don’t believe you!
ALICE :
I didn’t mean to...
LYDIA :
Okay, it’s fine. I just can’t...
Lydia storms off.
ALICE :
Lydia, I didn’t - I really didn’t
know...
LYDIA :
Just stop!
ALICE :
I wouldn’t do that to you.
A door slams. Lydia is gone.


INT. LIDO BEACH HOUSE DINING AREA

In the bright clean light of the day, the table is laden withbagels, lox,
toppings, and fruit salad. Anna, Charlie andTom are visiting. Lydia is
conspicuously absent. Alice
struggles to follow the conversation.
TOM :
So you can’t eat this you know.
ANNA :
No, I know. No sushi, no hot dogs -
hot dogs are the worst!
CHARLIE :
No alcohol.
ANNA :
No alcohol.
CHARLIE :
Cigarettes.
ANNA :
I’ve never even smoked.
CHARLIE :
Well I mean...
JOHN :
You mean to tell me you’ve never
smoked a cigarette in your entire
life?
ANNA :
Not one.
CHARLIE :
You can’t be too careful.
ANNA :
He was so cute. He even grabbed myhand the other day as I was walkingdown
the stairs.
CHARLIE:
I was just trying to protect my
investment.
General laughter. Alice jumps in. Rather awkwardly.
ALICE :
Anna, I want you to return my Wordswith Friends.
ANNA :
I’m sorry, Mom. I haven’t had
time.
Lydia walks up to the table.
LYDIA :
Hey congrats.
ANNA :
Hey. Thank you.
She hands Lydia a mimosa.
LYDIA :
So it’s twins, huh?
ANNA :
Yes. A boy and a girl.
TOM :
Kinda perfect.
JOHN :
It’s exactly what your mom and Iwere hoping for.
ALICE :
It’s so wonderful.
John’s phone goes off. He checks the I.D.
JOHN :
Oh gosh. I’m sorry. I’ve got totake this.
He heads back to the office talking into his cell.
LYDIA :
How far along are you?
ANNA :
Five weeks. I know it’s very earlydays, but...well the timing ofthings, how
we found out, and whenwe did...well it really worked outin the end.
LYDIA :
Great. That’s amazing.
Alice smiles, not completely following.
TOM :
So Mom, how are you feeling?
ALICE :
Mostly fine.
TOM :
Really?
ALICE :
Yeah. I use this thing. You know,
instead of a memory. It reminds me
to take my medications and thingslike that.
Alice produces her iPhone.
TOM :
It’s nice how technology can help.
Alice starts to open up her iPhone calendar.
ALICE :
Lydia, what time is the play?
LYDIA :
It’s eight o’clock.
CHARLIE :
Are you nervous about tomorrow?
LYDIA :
Yes. It’ll be find once I’m upthere, but I’ll definitely have toblock all
of you out.
ALICE:
I’m sorry, what time did you say itwas again?
LYDIA :
Eight o’clock.
ANNA :
Mom, you don’t have to schedule it.
It’s ok.
ALICE :
No, no. I want to put it in! And
where is it?
LYDIA :
The Saugatuck theater.
ALICE :
Can you spell that?
ANNA :
Come on, Mom - it’s not like we’regoing to forget to bring you.
LYDIA :
Just let her do it. S - A - U - G -
(carries on)
ANNA :
(under her breath)
Oh God.
TOM :
Anna, you’re not helping.
ANNA :
No, you’re not helping. Why shouldshe have to worry about
rememberingsomething that she doesn’t have toremember?
LYDIA :
Well, if you just let her do it shewon’t worry. What’s the problem?
Don’t talk about her as if she
isn’t sitting right here.
ANNA :
I’m not - I’m talking to her.
Aren’t I, Mom?
ALICE :
Yes. Yes you are.
ANNA :
And what makes you such an expert?
LYDIA :
Shut up.
ANNA :
Grow up Lydia!
LYDIA :
Suck it!
ANNA :
Oh, that’s very articulate. Well
said.
ALICE :
Girls...
LYDIA :
You want me to show you?
ANNA :
Are you kidding me?
ALICE :
Girls that’s enough!
LYDIA :
Why are you such an asshole?
John re-enters in the middle of the argument.
ALICE :
Both of you stop it!
JOHN :
What is going on?
An awkward silence.
CHARLIE :
Alice, this is a wonderful spread.
ALICE :
Thank you, Charlie.

caregiving_boundary, daily_routine, medical_context, medical_event, memory_loss, relationship_conflict, treatment_discussion


INT. KITCHEN - MOMENTS LATER

With the rest of the family on the balcony, Alice ladles outfruit while
Lydia folds napkins.
ALICE :
Lydia. Baby. I have a feelingthat we argued about somethingyesterday but I
can’t remember whatit was about.
LYDIA :
It was nothing, honestly.
ALICE :
No, I know I upset you. I should
apologize.
LYDIA :
No. I should apologize. I’m - I
feel really bad. I was so
insensitive yesterday. Will you
forgive me? Honestly?
ALICE :
But what for?
Lydia sighs.
LYDIA :
It was about you not respecting myprivacy. And I don’t want that,
and I take it back - completely.
And I’m sorry.
ALICE :
I’m sorry. It’s not as if I can
remember it.
LYDIA :
I know.
Alice laughs. Lydia takes a long look at her Mom.
LYDIA :
What is it like? I mean what does
it actually feel like?
ALICE :
Well, it’s not always the same. I
have good days and bad days. On my
good days, I can almost pass for a
normal person. But on my bad days,
I feel like I can’t find myself.
(MORE)
ALICE (cont'd)
I’ve always been so defined by my
intellect, my language, my
articulation, and now sometimes I
can see the words hanging in front
of me and I can’t reach them and I
don’t know who I am and I don’t
know what I’m going to lose next.
LYDIA :
It sounds horrible.
They pick up some bowls and head outside.
ALICE :
Thanks for asking.


INT. LIDO BEACH HOUSE - MASTER BEDROOM - NIGHT

Alice finishes cleaning her teeth. As John enters the
bathroom, she comes into the bedroom, ready for sleep.
She is about to climb into bed, when she notices something.
Under the covers is an old-fashioned school notebook, withthe label Lydia
Howland Journal. There’s a yellow post-it onit that says “No Secrets.”
Alice is deeply moved.
ALICE :
Oh, Lydia...


INT. SAUGATUCK STREET THEATRE

In small community theater, Lydia is on stage, playing Irinain Chekhov’s
THREE SISTERS. All three sisters are on stage.
MASHA speaks. The family watches Lydia.
MASHA :
They are leaving us. One has quite
left us, quite and for ever. We
remain alone, to begin our life
over again. We must live... we
must live....
LYDIA/IRINAThere will come a time when
everybody will know why, for whatpurpose, there is all thissuffering, and
there will be nomore mysteries. But now we mustlive...
IN THE AUDIENCE
Watching Lydia perform, Alice is calmly attentive.
BACK ON STAGE:
LYDIA/IRINA
...we must work, just work! Tomorrow,
I'll go away alone, andI'll teach and give my whole lifeto those who may
perhaps, need it.
It's autumn now, soon it will bewinter, the snow will covereverything, and
I shall be working,
just working....
IN THE AUDIENCE:
Abruptly, there’s resounding APPLAUSE.
John stands, smiling, clapping. Alice follows suit.
ON STAGE:
Lydia and the rest of the cast take their bows.


INT. BACKSTAGE - CORRIDOR

We follow Alice from behind, as she walks backstage followingher family.
The corridor is crowded with FRIENDS OF THE CAST.


INT. BACKSTAGE - DRESSING ROOMS

The family greets Lydia, who’s just emerged from the dressing
room. There’s a cacophony of voices, as Charlie, Tom, John,
and Anna all chime in on Lydia’s performance.
ANNA :
There she is! Hey, you were
amazing.
JOHN :
Miss Howland, would you sign this
for me?
When Alice arrives, Lydia comes into focus. Alice chooses
her words carefully.
ALICE :
It was just wonderful. I found it
so easy to empathize with her. You
really caught her despair, but alsoher joy.
This pleases Lydia enormously.
LYDIA :
Thank you. Awesome.
ALICE :
So will we get to see you in
anything else this summer?
Lydia’s looks at her nervously, her eyes scanning hermother’s face, but she
keeps her emotion in check.
LYDIA :
No, this is the only job I got.
ALICE :
Oh so you’re here just for theseason?
LYDIA :
Yeah -
Tears well in Lydia’s eyes - but she does not have the heartto contradict
Alice’s misunderstanding.
ANNA :
Mom! Mom, this is Lydia. Your
daughter.
ALICE :
...I know that.
John looks on worried. Lydia tries to keep theconversation going.
LYDIA :
Thanks for coming, to see me.
This is so weird, it’s like
embarrassing.
ALICE :
Don’t be embarrassed. Please,
don’t be.


INT. DR. BENJAMIN’S OFFICE - DAY

We see Alice gradually coming into focus.
ALICE :
Giraffe...Hammer...Comb.
Oh I know what that is. It’s like
a chicken. But it’s not..
The card shows a duck.
ALICE :
It’s...it’s a duck!
DR. BENJAMIN
How about this one?
ALICE :
Basketball.
He puts the cards down.
DR. BENJAMIN
Can you spell water backwards for
me?
ALICE :
Well, let me try it forwards first.
She holds her fingers up one by one. John looks veryuncomfortable.
ALICE :
W...A...T...E...R. So backwards...
(folding down her fingers)
R...E...T...
(she hesitates)
A...W!
DR. BENJAMIN
Very good.
Alice nods - pleased to have completed the task.
DR. BENJAMIN
Now do you remember the name I gaveyou a few minutes ago?
ALICE :
I feel as though you always tell meand I never remember it.
DR. BENJAMIN
Was it John Black, John White, JohnJones, or John Smith?
She guesses randomly.
ALICE :
Smith.
DR. BENJAMIN
And his address, was it EastStreet, Washington Street, MainStreet or
Humbolt Street?
John speaks up.
JOHN:
Sorry to jump in here, we’re both
concerned about the rate of
deterioration. Is that normal?
DR. BENJAMIN
Every case is different. With
Familial Early Onset, things can go
fast -- and actually with people
who have a high level of education,
it can go faster. Often they’ve
managed to sustain their mental
processes by innovative means and
that delays diagnosis. Clearly
Alice’s memory is failing but she’s
still incredibly resourceful.
ALICE :
Thank you.
DR. BENJAMIN
I know you’re discouraged. But
sometimes I’ve seen patients
plateau, even at this point. Don’t
lose hope. Alice, I read your name
in the Dementia Care Conference
brochure. You’re going to give a
speech.
Alice nods.
ALICE :
Will you be there?
DR. BENJAMIN
Yes, I’m looking forward to it.
JOHN:
I’m going to be away on business in
Minnesota and I’m worried. Are you
sure this is a good idea --
considering the state that she’s
in? She’s going to be under a lot
of stress.
DR. BENJAMIN
Oh, I think it will be great for
her. I’m sure everything will be
fine. You’re not worried are you,
Alice?
She ponders this for a moment.
ALICE :
No, I don’t think so.


INT. ALICE’S HOME - OFFICE - DAYS LATER

Alice is practicing her speech out loud, going over the wordswith a yellow
marker. On the computer in front of her, Lydiais on Skype.
ALICE :
“Various ways to prevent theproduction of Amyloid are beingtried. There is
a new study thatcombines base and gamma secretaseinhibitors and this is one
of our
best hopes for the future...”
That’s it. That’s the speech.
LYDIA :
It’s good, Mom. It’s good. It’s
very scientific.
ALICE :
Yes. Well, you know.
LYDIA :
And I’m sure it’s valid. But um...
ALICE :
But what?
LYDIA :
I mean, is there any value in
making it a bit more personal?
ALICE :
I don’t understand. What do you
mean by personal?
LYDIA :
It’s not a speech to a room ofscientists. What I want to know
really is how you feel. What does
it feel like? What does this
disease mean to you?
ALICE:
(getting irritable)
You weren’t listening becausethat’s all there. That’s in the
speech.
LYDIA :
Okay. Don’t ask me then.
ALICE :
Oh no then, I won’t ask - then.
Lydia gives it a moment then tries to re-engage her mother.
LYDIA :
Hey...mom...let’s give it one more
shot, okay?
ALICE:
(annoyed)
I can’t because I have done it
already. I use this - this yellow
thingy - to make it so I don’t have
to read the same line over and over
and over again.
Alice waves her highlighter pen at the screen.
LYDIA :
Got it. Totally. Just print out
one more.
ALICE :
Do you know that it took me three
days to write this?
LYDIA :
You can print out one more...
ALICE :
No no! It took me three days!
LYDIA :
Sorry.
ALICE :
Three days.
She clicks off the Skype and stares at the blank screen.


INT. LECTURE THEATER - AFTERNOON

From behind, we follow Alice and Tom as they enter a large,
crowded lecture hall, led by LUCIA GUZMAN, a coordinator forthe Alzheimer’s
Association.
LUCIA GUZMAN:
Here you are...
ALICE :
Thank you.
She removes two ‘RESERVED’ stickers on places at the front ofthe
auditorium. Alice sits, a sheaf of papers in her lap.
Tom cranes around to look at a sea of unknown faces.
Alice sees Anna and Charlie about eight rows behind and
waves. A voice comes in from the left.
DR. BENJAMIN
Hello there.
TOM :
Hello.
Alice turns and sees Dr. Benjamin - recognizes him, but can’tremember his
name.
ALICE :
Oh, Hi. Tom this is my doctor.
This is my son.
DR. BENJAMIN
I’m Travis Benjamin, I’m your
mother’s neurologist.
ALICE :
This is my son, Tom.
DR. BENJAMIN
So how you feeling Alice?
ALICE :
I think I’m nervous.
DR. BENJAMIN
You’re going to do great. Break a
leg!
He smiles encouragingly as he departs.
DR. BENJAMIN
(to Tom)
Nice to meet you.


INT. LECTURE THEATER -ON STAGE AFTERNOON

Lucia Guzman is now at the podium.
LUCIA GUZMAN:
It’s a great honor to welcome ournext speaker, Alice Howland. A
former Professor of Linguistics atColumbia, she’s written textbooksand
she’s lectured all over the
world.
(MORE)
LUCIA GUZMAN (cont'd)
Alice has been living with EarlyOnset Alzheimer’s with the care and
support of her loving family.
Please welcome Alice Howland.
Alice walks to the podium, sets down her file and looks outto the sea of
strange, intimidating faces.
ALICE :
Hello. Please give me a minutehere.
She uncaps her pen. And she begins reading from her speech,
highlighting each sentence as she goes. It makes for an
awkward presentation.
ALICE :
Good morning. It’s an honor to be
here. The poet Elizabeth Bishoponce wrote: 'the Art of Losingisn't hard to
master: so manythings seem filled with the intentto be lost that their loss
is no
disaster.' I'm not a poet, I am aperson living with Early OnsetAlzheimer’s,
and as that person Ifind myself learning the art oflosing every day.
She turns the page and looks up.
ALICE :
Losing my bearings, losing objects,
losing sleep, but mostly losingmemories...
When she looks back down, she knocks the pages from thepodium. A murmur
from the assembled. Alice tries to gatherup the pages with the help of
Lucia Guzman. For a longmoment, she seems lost in confusion. Finally, she
finds apage with some yellow markings on it and resumes.
ALICE :
I think I’ll try to forget thatjust happened.
Warm laughter from the crowd - they’re with her!
ALICE :
All my life I’ve accumulated
memories - they’ve become, in a
way, my most precious possessions.
(MORE)
ALICE (cont'd)
The night I first met my husband,
the first time I held my textbook
in my hands. Having children,
making friends, traveling the
world. Everything I accumulated in
life, everything I’ve worked so
hard for - now all that is being
ripped away. As you can imagine,
or as you know, this is hell. But
it gets worse.
In the audience, Dr. Benjamin is willing her on.
ALICE:
For who can take us seriously when
we are so far from who we once
were? Our strange behavior and
fumbled sentences change other’s
perception of us and our perception
of ourselves. We become
ridiculous, incapable, comic. But
this is not us, this is our
disease. And like any disease it
has a cause, it has a progression,
and it could have a cure. My
greatest wish is that my children,
our children - the next generation -
do not have to face what I am
facing.
Anna watches her mother from the audience, the words
resonating.
ALICE:
But for the time being, I’m still
alive. I know I’m alive. I still
have people I love dearly. I still
have things I want to do with my
life. I rail against myself for
not being able to remember things -
but I still have small moments in
the day of pure happiness and joy.
She turns the final page. Tom has tears in his eyes.
ALICE:
So, 'live in the moment' I tell
myself. It's really all I can do,
live in the moment. And not beat
myself up too much for mastering
the art of losing. One thing I
will try to hold onto though is the
memory of speaking here today. It
will go, I know it will.
(MORE)
ALICE (cont'd)
It may be gone by tomorrow. But it
means so much to be talking here,
like my old ambitious self who was
so fascinated by communication.
Thank you for this opportunity. It
means the world to me.
Alice looks up from her pages.
ALICE :
Thank you.
The audience breaks into applause. Strong applause thatbuilds and builds.
Spontaneously, people rise from theirchairs and give her a standing
ovation.

caregiving_boundary, medical_context, memory_loss, relationship_conflict


EXT. STREETS OF NEW YORK

A cold and rainy day. Winter is approaching.


INT. ALICE'S HOME - BEDROOM -- MORNING

John is dressing for work, in mid-explanation. Alice is
sitting on the bed in a crumpled shirt.
JOHN:
It’s the Mayo Clinic. It would
start up next spring and I would beheading my own team.
ALICE :
So you want to move to...
JOHN :
Minnesota. Rochester, Minnesota.
It could be a whole new adventure
for us. You might even like itthere.
ALICE :
Everything I know is here. Anna
and Tom and the babies that are
coming.
JOHN :
It’s a two hour flight. We’d see
them almost as much as we do now.
Ali, this just came up and theyhaven’t even made a formal offer.
But don’t you see? This is it -
they’re working on so many cuttingedge treatments, they’ve got so
many resources-
Alice, visibly distressed, tries to think this through.
ALICE :
I understand. I understand that
work is important. I miss working.
I think you should ask them if youcan start in a year.
JOHN :
It’s not academia, Ali. They don’tgive sabbaticals.
ALICE :
But to pick up and move, at thispoint, when I...when we...
(shakes her head,
frustrated)
Why can’t I say what I want to say?
JOHN :
Ali, one way or another, we’llstill be together.
ALICE :
So no time off.
JOHN:
(getting frustrated)
I just can’t take a year off.
Financially - it’s not an option.
God knows what we’ll be facing
further down the line.
ALICE :
That’s it then, that’s it.
JOHN :
What?
ALICE :
You - you don’t want that. A year
at home, with me, watching this.
You don’t want it.
JOHN :
I didn’t say that.
ALICE :
You didn’t have to.
She turns and looks right at him. He looks away.


INT. ALICE'S HOME - LIVING ROOM - DAY

Alice is doing her daily questions.
ON A WHITE SCREEN
WHAT IS THE NAME OF YOUR OLDEST DAUGHTER?
The answer comes in A - N - N - E
Then corrects:
WHAT MONTH WERE YOU BORN IN?
The predictive text has a hard time figuring out “October.”


INT. ALICE’S HOME - MASTER BEDROOM - NIGHT

Alice lies awake in bed. She checks the alarm clock - 2.05.
After a moment, she sighs and gets out of bed.


INT. HALLWAY

Tentatively she descends the stairs in the dark.


INT. ALICE’S HOME - KITCHEN

Entering the kitchen, she finds her bag on the counter and
begins to empty out the contents: keys, wallet, tissues.
She looks in a second bag -- magazines, papers.
She opens the kitchen drawer. It contains a wide assortment
of items - screwdrivers, packets of seeds, a tape measure,
Scotch tape, drink coasters, a potato.
ALICE :
Where the hell is it?!
In frustration, she picks up the fish bowl full of keys andloose change and
unceremoniously dumps it out. It makes an
explosive sound as the contents scatter across the granitecounter top.
Manically, she begins sorting througheverything.
John enters.
JOHN :
Ali, what are you doing?
ALICE :
I can’t find it!
JOHN :
Can’t find what?
ALICE :
I’m looking for my phone.
JOHN :
It’s the middle of the night.
ALICE :
It goes off at 8 o’clock everymorning and asks me thesequestions. I have to
find it.
JOHN :
We’ll look for it in the morning.
ALICE :
No, I have to find it.
JOHN :
I’ll help you find it tomorrow.
ALICE :
No...No.
JOHN :
Tomorrow. I’ll help you find it.
ALICE :
Help - help me find it.
JOHN :
I promise we’ll find it. Come to
bed with me. Come to bed with me
please...please.
ALICE :
Okay...
Her manic rage finally subsides.


INT. ALICE’S HOME - KITCHEN - MIDDAY

From the front room, there are sounds of John on the phone.
At the kitchen table, Alice, in a quiet mood, is doing ajigsaw puzzle.
Someone approaches from the dining room, carrying take-out.
ANNA :
Hi.
ALICE :
Anne? Hi.
ANNA :
Hi Mom. It’s Ann-a.
She kisses Alice on the cheek.
ALICE :
I thought you were my sister.
ANNA:
It’s ok.
ALICE :
How are you feeling?
ANNA :
So uncomfortable. I can’t breathe.
I can’t sleep. Was it like this
for you?
ALICE :
I didn’t have two at a time.
ANNA :
This is true.
Anna unloads the Thai food on the counter. John enters.
JOHN :
Did you get the green curry?
ANNA :
I did. It’s right here.
Everything on track?
JOHN :
Yeah. They’ve made a very generousoffer.
ANNA :
Oh, that’s great.
JOHN :
I guess.
John sighs, conflicted.
ANNA :
No it is. It’s absolutely the
right decision.
JOHN :
Would you like some water?
ANNA :
Yes, please.
John starts getting some glasses out for drinks.
ALICE :
John, what happened? Who was that
on the phone?
JOHN :
That was that hospital honey, theMayo Clinic
ALICE :
Oh. Is someone sick?
JOHN :
No. Nothing’s wrong. Everythingis absolutely fine.
He moves to the freezer, opens it and picks out an ice tray.
JOHN :
Oh My God.
Reaching into the back of the freezer, he produces a frozen,
frost-encrusted iPhone. He shows it to Alice.
ALICE :
Oh no.
(she approaches)
I was looking for it all last night.
She takes the phone and examines it.
JOHN:
(quietly, to Anna)
That was over a month ago.


INT. ALICE’S HOME - MASTER BEDROOM - EVENING

Alice is slowly, painfully, trying to tie her shoe-laces.
123


EXT. SUPER 8 FOOTAGE - PARK 123

Young Alice and her sister play with their Dad.


INT. LIVING ROOM -- DAY

Alice sits before a blank TV, staring. The home-help, ELENA,
is vacuuming the rug.


EXT. SUPER 8 FOOTAGE - BEACH - DAY

Young Alice is given a piggy back ride by her dad by the
shoreline. She rushes suddenly towards the camera.


INT. BATHROOM - NIGHT

Alice looks at herself in the mirror. For an instant, she
doesn’t recognize her naked older face. Then she takes some
toothpaste and smears it over her reflection.
JOHN (O.S.)
Ali, wake up.


INT. ALICE’S HOME - MASTER BEDROOM - MORNING

Alice opens her eyes.
JOHN :
Hey. Wake up. Wake up baby. It’s
time to wake up. It’s time to getdressed. I’m going to help you.
Slowly, Alice gets up out of bed. John begins laying outclothes for her -
more like her original style.
JOHN :
I’ve got some very good news for
you. Let me help you get your
pants on.
ALICE :
I want my green one.
JOHN :
Oh, I think this one would bereally really nice. Let’s put that
one on. Lean on me. Okay hold on.
Tenderly, he helps her get dressed.


INT. HOSPITAL - DAY

Led by John, Alice walks along brightly lit corridors,
passing DOCTORS, NURSES, PATIENTS. They approach Anna’s
room.
ALICE:
(whispering)
What’s wrong with her? She looks
terrible.
JOHN :
She’s just delivered the babies,
honey!


INT. HOSPITAL ROOM

They walk through a door. Anna is in the bed cradling ababy. Charlie is by
her side with another.
ALICE :
Anna! You had your babies!
ANNA :
I did mom!
Charlie unfolds the blanket, revealing a small pink face.
CHARLIE :
This is Allison.
JOHN :
You look so beautiful.
ANNA :
Thank you.
CHARLIE :
And that’s Charlie Jr.
JOHN :
My goodness.
Allison starts crying.
ALICE :
Can I hold her?
CHARLIE :
Um -- is that a good idea?
ALICE :
I know how to hold a baby.
ANNA :
That’s okay, Mom. You can sit rightthere in that chair.
Alice sits on a chair and Charlie hands her the baby.
ANNA :
That’s good.
CHARLIE :
Something tells me you’ve done this
before.
Alice looks down happily at the baby, then over to Anna.
ALICE :
She looks like you.
Something breaks in Anna -- she beams back at her mother.
Alice continues to look at the baby with pure unalloyed joy.


INT. ALICE’S HOME - LIVING ROOM - DAY

Alice is asleep on the sofa. Out of focus in the distance,
her family talks about her future.
JOHN :
There are days she knows where sheis, certainly, but just as manydays when
she doesn’t. Maybe shethinks she’s a child back in New
Hampshire, or who knows where...
ANNA :
It’s happening more and more, Tom.
She doesn’t know what’s going on.
TOM :
Yeah, but...I always think of whatshe said in the speech, y’know,
howimportant her memories are to whoshe is...
ANNA :
I know but, but that was months
ago.
JOHN :
Guys, this is difficult for all of
us. But what we have to remember
is who Alice was. She would not
want to be a burden. Anna, youhave the babies, and you want to goback to
work. And you’re not in aposition to care for her, notseriously, Tom. And I
can’t keepMayo waiting. Beginning of themonth, I’m gone.
Alice starts to wake up.
JOHN:
Now I want to take her with me.
And once she adjusts to Minnesota,
she’ll be happier for it and sowill we all.
A thoughtful moment.
TOM :
Lydia’s gonna flip out.
ANNA :
So let her.
TOM :
Well, she is.
ANNA :
She has no right to. If she reallycared, she wouldn’t be on the otherside
of the country.
Suddenly, they become aware of Alice sitting up, listening.
ALICE :
It’s hot in here.
There’s a moment’s self-consciousness at the table: how much
did she overhear?


INT. ALICE’S HOME - KITCHEN - EVENING

Alice is talking to Lydia on Skype. A kettle is close to
boiling on a stove in the background.
ALICE :
So who is he exactly?
LYDIA :
A manager. His name’s Bill
Thompson.
ALICE :
And why is he so important?
LYDIA :
He’ll open doors, get me to
auditions I wouldn’t have access
to. He got me some good headshots.
ALICE :
I see. What’s his name?
LYDIA :
Bill Thompson. He’s with Thompson
and Gould if you want to look them
up. They’re good.
ALICE :
The kettle’s boiling.
LYDIA :
Where’s Elena?
Alice goes over to the stove, puts a tea bag in the cup andpours water over
it.
ALICE :
I’m making myself a cup of tea.
LYDIA :
Cool...where’s your caretaker?
ALICE :
Elena is not here today. Her
daughter is sick. She’s at the
doctor.
LYDIA :
So you’re there alone?
ALICE :
I can make myself a cup of tea.
She returns to the computer.
LYDIA :
Okay. You want to check out myheadshot? If I send you a link canyou open
the file - download thefile?
ALICE :
Yes!
LYDIA :
Good.
(she sends)
There you go. I’ll talk to youlater, okay. I love you.
ALICE :
Bye.
LYDIA :
Bye.
Alice clicks on the file from Lydia to download it.
When the download is complete, she clicks Skype closed butcannot find the
file. She clicks one folder on her desktop,
then another, then another.
One of the folders opens revealing a Quicktime with a pictureof herself on
it.
Surprised, she clicks on it. It is the Butterfly file.
There on the screen is Alice - younger, sharper, coherent,
reassuring.
ALICE ON QUICKTIMEHi Alice. I’m you and I havesomething very important to
say to
you. I guess you’ve come to thatpoint, the point where you can’tanswer the
questions. And this is
the logical next step. It’s the
right step, I’m sure of that.
Present-day Alice watches, intrigued, amused, not reckoningwith the
seriousness of what her old self has to say.
ALICE ON QUICKTIMEBecause what’s happening to you,
the Alzheimer’s - you could see itas tragic. But your life has beenanything
but tragic. You’ve had a
remarkable career, you’ve had agreat marriage, and three beautifulchildren.
Alice on Quicktime has to struggle to control her emotions.
Present-day Alice just sits there watching like a curiousbird.
ALICE ON QUICKTIMEAll right. Listen to me, Alice.
This is important. Make sure youare alone. Go to your bedroom.
There’s a dresser by the window,
the one with the blue lamp on it.
Go to the dresser and open thedrawer. In the back of the drawer
are some pills. It says ‘take allpills with water’ on it. There are
a lot of pills in that bottle, butyou need to swallow them all.
Present-day Alice is now listening attentively.
ALICE ON QUICKTIMEThen go to the bed, lie down and goto sleep. And don’t
tell anyonewhat you’re doing, okay?
Abruptly, the Quicktime ends. Alice obediently gets up andleaves the room.

medical_context, medical_event, relationship_conflict, safety_risk, treatment_discussion


INT. ALICE’S HOME - STAIRCASE

Alice climbs the stairs, muttering to herself.
ALICE :
Dressing table, blue lamp.


INT. ALICE’S HOME - MASTER BEDROOM

Alice enters, still muttering.
ALICE :
Dressing table, blue lamp.
Dressing table, blue lamp.
She stands in the center of the room, looking around,
confused. She goes to the dressing table...There’s a bluelamp on it...But
she doesn’t know what to do next.


INT. ALICE’S HOME - KITCHEN - EVENING

ANGLE ON THE COMPUTER
ALICE ON QUICKTIME...Go to your bedroom. There’s
that dressing table, the one withthe blue lamp on it. Go to that
table and open the drawer. In the
back of the drawer are some pills.
It says ‘take all pills with water’on it.
Present-day Alice, listens, again trying to memorize theinstructions.


INT. STAIRCASE

We follow Alice from behind as she heads back up the stairs.


INT. MASTER BEDROOM

She enters again, heads over to the dressing table.
ALICE :
Dressing table, blue lamp.
Dressing table, blue lamp.
She pulls the drawer out. There are bits of old jewelry andaccessories,
some coins. Alice picks out a bracelet made ofpolished grey stones, puts it
on and inspects it. She
realizes she’s forgotten something -- but what was it?


INT. STAIRCASE

Now Alice heads back up the stairs carrying the laptop as themessage plays:
ALICE ON QUICKTIME...Go to your bedroom. There’s a
dresser by the window, the onewith the blue lamp on it. Go to
the dresser and open the drawer.
In the back of the drawer are some
pills.


INT. MASTER BEDROOM

She enters and sees the drawer already open. She wanders upto it and looks
down. This time she seizes immediately onthe pill bottle and holds it up.
We see the attached note in
Macro close up - TAKE ALL PILLS WITH WATER.
ALICE ON QUICKTIME
It says ‘take all pills with water’on it. There are a lot of pills inthat
bottle, but you need toswallow them all. Then get into bedand go to sleep.
Then go to thebed, lie down and go to sleep. And
don’t tell anyone what you’redoing, okay?


INT. BATHROOM

She enters the bathroom. Going over to the basin, she emptiesout the
contents of the toothbrush mug into the sink. She
fills the mug with water and empties the pill bottle into herhand. Then --
A NOISE!
ELENA (O.S.)
Hello?
Alice turns her head and, in shock, drops the pills. Theyscatter
everywhere.


INT. HALLWAY

Elena enters downstairs and closes the door.


INT. BATHROOM

Alice stares down at the pills blankly not knowing what to donext.


INT. PINKBERRY - DAY

Alice and John are at the head of the line, looking at thearray behind the
counter.
JOHN :
May I have cookies and cream and achocolate hazelnut. Alice, youknow what
you want right?
ALICE :
Cookies and cream and a chocolate
hazelnut.
JOHN:
No honey. You usually have the
original with blueberries and
coconut.
ALICE :
Ok...
JOHN :
Original with blueberries and
coconut please.
MOMENTS LATER:
John and Alice are eating their frozen yoghurt.
JOHN :
Ali, you see that building overthere? Do you know what it is?
He points to a structure in the distance.
ALICE :
I don’t think I know that.
JOHN :
That’s Columbia. Where you used toteach.
ALICE :
Someone told me, I was a good
teacher.
JOHN :
Yes, you were.
ALICE :
I was really smart.
John looks away, fighting back emotion that threatens tooverwhelm him.
JOHN :
You were the smartest person I’veever known.
He looks at her, struggling with something.
JOHN :
Alice. Do you still want to behere?
She answers brightly.
ALICE :
I’m not done yet. Do we have to
go?
JOHN :
No. Don’t worry. Take your time.


EXT. ALICE’S HOME - DAY

Blossoms in a tree show signs of another spring. A taxi
pulls up outside.


INT. HALLWAY

Alice sleeps on the sofa in the front room. John carries a
suitcase into the hallway. Behind him is Lydia.
JOHN (O.S.)
Is this all of your stuff?
LYDIA :
I shipped some boxes as well.
JOHN :
Were you sad to leave L.A.?
LYDIA :
I’m trying to convince myself I’mmore of an east coast girl.
Where’s mom?
JOHN :
She’s sleeping.
He indicates the sleeping Alice.


INT. ALICE’S OFFICE

The room has been partially converted back to being a
bedroom, but some of Alice’s touches remain.
JOHN :
Yeah well - here it is. Your old
room.
They drop the bags.
JOHN:
How did it go with your manager...?
LYDIA :
It’s a west coast company, so...you
know. Not good.
JOHN :
Oh. That’s too bad. You sure you
don’t mind..?
LYDIA :
Dad, we’ve had that conversation.
JOHN :
Okay.
LYDIA :
This is New York. I’ll audition.
Do theater. I know this is where I
need to be so...
John nods, weighing his daughter’s sacrifice.
JOHN :
Well...you’re a better man than I
am.
She looks at him. Troubled, he looks quickly away.
LYDIA :
Dad...I got her, okay.
Unexpectedly, the dam bursts. He starts sobbing
uncontrollably. She pulls him into a hug.


EXT. NEW YORK CITY

We see the seasons pass -- spring, summer, fall...


EXT. RIVERSIDE PARK - DAY

It’s a bleak winter’s day in a small unfriendly parkoverlooking the cold
Hudson river and the distant grey shoresof New Jersey.
A few PEOPLE are scattered through the park -- walking dogs
or jogging by.
A TEENAGE BOY strums a melancholy tune on his guitar and
harmonizes with his GIRLFRIEND.
On a bench nearby, Lydia is checking her phone. Next to her
sits Alice, visibly diminished. She picks repeatedly at hercoat.
LYDIA :
It’s getting pretty cold, huh. You
want to head home? Come on. Let’s
do it.
Lydia helps Alice up and they shuffle off down the path.


INT. ALICE’S HOME - LIVING ROOM

Alice and Lydia enter through the main door to be greeted bythe nurses
aide, ELENA.
LYDIA :
Hey.
ELENA :
Hi. How was your walk?
ALICE :
I don’t think I know you!
ELENA :
Yes, you do.
LYDIA :
Mom, it’s Elena.
Alice responds with a vague, unfocused look. It’s not clear
she even recognizes her.
LYDIA :
I’m going to get you some juice,
okay.
ELENA :
Come on, let’s take off your coat
and go inside.


INT. HOWLAND HOUSE - FRONT ROOM

Alice has a cup of juice and is staring into space. Lydia
sits in front of her, book in hand, reading a speech fromAngels in America.
LYDIA (O.S.)
Night flight to San Francisco;
chase the moon across America.
God, it’s been years since I was on
a plane. When we hit 35,000 feet
we’ll have reached the tropopause,
the great belt of calm air - as
close as I’ll get to the ozone. I
dreamed we were there.
Lydia looks directly at her Mom, but Alice seems absent.
LYDIA:
The plane leapt the tropopause, the
safe air, and attained the outer
rim, the ozone, which was ragged
and torn, patches of it threadbare
as old cheesecloth, and that was
frightening. But I saw something
only I could see because of my
astonishing ability to see such
things.
Then -- a flicker of comprehension. Alice’s eyes turn to
Lydia as she reads.
LYDIA:
Souls were rising, from the earth
far below, souls of the dead, of
people who’d perished from famine,
from war, from the plague, and they
floated up like skydivers in
reverse, limbs all akimbo, wheeling
and spinning.
Lydia notices her mother’s attention and it inspires her
reading.
LYDIA:
And the souls of these departed,
joined hands, clasped ankles and
formed a web - a great net of
souls. And the souls were three-
atom oxygen molecules of the stuff
of ozone, and the outer rim
absorbed them, and was repaired.
Nothing’s lost forever.
(MORE)
LYDIA (cont'd)
In this world, there is a kind ofpainful progress, a longing forwhat we’ve
left behind, anddreaming ahead. At least I think
that’s so.
Alice looks down. Lydia breaks from her performance.
LYDIA :
That’s it.
She comes over to Alice, sits down next to her.
LYDIA :
Hey...did you like that? What I
just read, did you like it?
Alice nods. It’s unclear she even knows what Lydia istalking about. But
Lydia persists, wanting some kind ofaffirmation.
LYDIA:
What was it about?
ALICE:
Love. Love.
Tears come into Lydia’s eyes.
LYDIA :
Yeah, Mom. It was about love.
Alice smiles and looks at Lydia. She is still able to
connect.
There is a SUPER 8 FLICKER, a memory, of Alice and her sister
walking away from the camera on a beach long ago.
THE END: