Still Alice Page #2

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.

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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.

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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.

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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.

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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.

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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...

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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.

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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.

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