Alice Doesn't Live Here Anymore Page #7

Synopsis: Despite admitting that she was scared of him in her never-ending quest to please him, thirty-five year old housewife and mother Alice Hyatt is devastated when her husband Donald is killed in an on the job traffic accident. With few job skills except that as a singer, Alice, along with her precocious eleven year old son Tommy, decides to move from their current home in Socorro, New Mexico to her home town of Monterrey, California, the only place she has ever felt happy. She plans on getting singing gigs along the way to earn money to get back to Monterrey by the end of the summer and the start of Tommy's school year. Alice's quest for a job at each stop leaves Tommy often to fend for himself, which may make Tommy even more precocious. His behavior is fostered by Alice, as their relationship is often more as trouble-making friends than mother and son. Alice's plans often do not end up as she envisions, especially as she is forced to take a waitressing job at Mel and Ruby's Diner in Tucso
Genre: Drama, Romance
Director(s): Martin Scorsese
Production: Warner Home Video
  Won 1 Oscar. Another 5 wins & 11 nominations.
 
IMDB:
7.4
Rotten Tomatoes:
88%
PG
Year:
1974
112 min
2,313 Views


DAVID:
Start the burgers.

We're running late.

Then come back and tell us all about it.

-Will there be anything else, sir?

-I guess not.

TOMMY:
What? Hog got your tongue?

DAVID:
There goes the fishing trip.

She's leaking oil.

I got to take her to Charlie's.

TOMMY:
Did you ask?

ALICE:
He said he can't ruin his truck...

so you can catch a fish. Got it?

Sounds familiar.

Cheer up.

Tomorrow, you're 12 years old.

You're fully grown.

You can do whatever you want,

go fishing, get married, or....

When I count to three, draw.

One, two, three!

You missed me, sidewinder.

Put in another quarter and try again.

Hello there, you lonesome polecat.

TOMMY:
You think

you're such a good draw.

TOMMY:
Try and outdraw me.

ALICE:
What's he doing?

-When I count to three, draw.

-He's your kid.

I'm scared.

One, two, three.

Tommy, please don't do that.

It stops my heart.

Put another quarter in and try again, Mom.

-Can I put it in?

-Go away.

DAVID:
You got a very spooky kid.

ALICE:
I know.

I told you three times,

it goes from D to A7.

And I told you three times,

A7 hurts my fingers.

Try it this way. Two fingers.

I got these 12-year-old hands.

I can't do that.

You can't do that if you don't try.

Now try it.

Let me put it this way: no.

Come here, Tommy.

You won't learn anything by quitting.

David. Tommy!

Turn that thing off!

TOMMY:
Damn you!

Screw you. Do you understand that?

When will you understand that

I hate that sh*t-kicking music of yours!

Sh*t-kicking!

Did you hit him? Did he hit you?

TOMMY:
Sh*t, yes, he hit me.

-You hit him?

-You're damn right I did, and he needed it.

-That's what guys who hit kids always say.

-For Christ's sake.

I don't know what you expect from him.

I expect him to do what I say

when he's in my house.

Why should he? All you do is criticize him.

-I what?

-I was hoping you'd be an example for him.

Like you were?

You're a hell of an example.

ALICE:
I damn well try to be.

That's why he's got the foulest mouth

on any kid I've ever seen.

ALICE:
When does he ever hear me swear?

DAVID:
You spoil him rotten.

That kid thinks he can do

whatever he wants to do...

whenever he wants

and wherever he wants to do it.

So do you. You're just as selfish as he is.

You want what you want

when you want it.

I really don't think

you understand kids at all.

You do?

What is that supposed to mean?

-Forget it.

-No, I won't forget it!

How dare you tell me

how to bring up my child!

How dare you! Where are your children?

I know exactly what I'm doing!

DAVID:
Yeah. That's why you can't

make up your mind about your kid...

your job, Monterey, or me.

You're wrong. I just made it up.

Aren't you going to open the door for me?

ALICE:
Come on, Tommy, get in.

What are you going to do, walk 10 miles?

Get in, dope.

TOMMY:
Now what?

ALICE:
What do you mean, now what?

TOMMY:
You said we'd be in Monterey

by my birthday...

we'd get there,

and everything would be fine.

-We'll get there.

-Said the waitress in Tucson.

What's wrong with being a waitress?

I'm supporting you with it, aren't I?

-For God's sake, we'll get there.

-You never ask me what I want to do.

ALICE:
Sure I do. We're in this together.

TOMMY:
When you say so.

ALICE:
Who the hell

do you think you are, buddy?

I said we'll get there.

If you can find a job,

if it pays more than $50 a week...

and if you don't get involved

with another maniac.

Who cares? I don't give a damn.

If you open your mouth once more...

I swear to God, I'm going to nail it shut.

I'm warning you, Tommy. I mean it now.

I'll stop the car and push you out,

and you'll walk the last mile home.

ALICE:
All right.

ALICE:
Out. Get out.

ALICE:
Go. Walk.

AUDREY:
My dad was a bastard, all right.

He used to make me bend over

while he whipped me with his belt.

I still think about going up to him

and saying:

"All right, Harry, bend over.

You're going to get the belt for that."

Yeah, mine was a bastard, too.

Or I guess so.

I don't know.

You going to be going to school

in Tucson?

No. My mom says

we're going to Monterey.

Monterey? You know,

you're lucky to get out of Tucson.

The school here is weird, let me tell you.

Mr. Emmet, the science teacher,

wears a hairnet.

Scary. Really scary.

Can I have some more wine?

Tommy, are you in there?

ALICE:
Tommy?

What did I do?

Come on, honey, let's do something.

I don't feel so wonderful.

Put another quarter in and try again.

Hello? Yes?

Is he okay?

Thank God.

Sure.

Thank you.

The market's not going to

press any charges, Mrs. Hyatt.

-Thank God.

-They had a nice long talk with Tommy.

He's right over there.

-What's he wearing?

-He's got a sweatshirt on.

He got a little sick. Here are his things.

-He was sick?

-Too much wine.

I see.

You're the singing waitress?

ALICE:
I'm Tommy's mother.

AUDREY:
I'm Audrey. It's nice to meet you.

It's nice to meet you, Audrey.

Tell me, how did all this happen?

It was just a big mistake.

-Big mistake.

-Whose?

The store's.

Doris, come on, let's go.

I got to go.

Ramada Rose is upset,

so you tell Tommy I said goodbye.

Yes, I will.

Would you come on?

So long, suckers!

He's all yours.

-Thank you.

-You're welcome.

You look like you've been embalmed.

TOMMY:
What happened?

ALICE:
It's all right. Go back to sleep.

What?

VERA:
Alice?

ALICE:
Yeah?

VERA:
You're late for work.

I know. I'm sorry, I overslept.

I'll be right there.

You okay?

Isn't David coming in today?

You want to talk about it?

Alice, come here, honey.

Come on. Come here.

FLO:
Come on, sugar, right now.

FLO:
Come on, honey.

-Flo, the combinations are ready.

-Mel!

FLO:
We're going right here

and have us a little talk. Come on.

Come on in here, Alice.

Shut that door.

Everything gets so screwed up.

I know.

I don't know. I just.... I tried and....

I don't know. I met David, and then...

I spent all the money

I had saved to get to Monterey...

for Tommy's birthday present.

You know, his cowboy outfit.

I don't know. I got sidetracked, and then....

Gosh, I was so....

I was so scared of Donald, you know?

I was always trying to please him.

I was so afraid not to please him.

-You were scared of him?

-God, yes.

And now I'm without him.

I mean, it's like I always felt

that he was taking care of me...

and now I just don't know what to do.

Honey, it's nice

to have somebody take care of you.

But he didn't.

I just felt like he did

just because he was there.

I don't know how to live without a man,

that's what it is.

FLO:
I want to tell you something.

My life ain't exactly a bed of petunias.

I got me a daughter,

cutest little thing you ever saw.

She needs about $4,000 worth

of dental work...

else she's going to have buck teeth.

What am I going to do?

I ain't got any money.

My old man....

Honey, he ain't talked to me

since the day Kennedy got shot.

What, did he think you had

something to do with it?

FLO:
Look at that face. Look at that body.

Rate this script:3.0 / 2 votes

Robert Getchell

Robert Getchell (December 6, 1936 – October 21, 2017) was an American screenwriter. Getchell wrote the 1974 film Alice Doesn't Live Here Anymore and created the sitcom based on that film, Alice. Getchell was also the screenwriter for the 1981 Docudrama film "Mommie dearest" which is based on Christina Crawford's Nightmarish childhood with her adoptive mother and Actress Joan Crawford. Getchell's screenplay didn't took the film seriously and won the 2nd "Golden Raspberry Award" for worst screenplay due to the scripts over-the-top and uncanny dialogue. more…

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Submitted on August 05, 2018

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