Apartment 4E (2012) Script

Downloaded from YTS.MX Official YIFY movies site: YTS.MX Woman: WHAT DO YOU KNOW ABOUT HER? HUH? THIS?

THIS IS THE BEST THAT YOU COULD DO?

IT'S BULLSHIT! ( clanking )

OKAY. HMM.

I'M SORRY, PIPER. JUST UNLOCK THESE HANDCUFFS.

I'LL LEAVE, I PROMISE.

YOU PUT THEM ON. I DIDN'T MEAN TO.

HMM... COME ON, JOHN.

THIS IS WHY YOU CAME HERE.

WHAT? TO CHAIN MYSELF TO YOUR BED?

OR TO CHAIN YOURSELF TO ME!

TO THROW YOURSELF IN FRONT OF THIS...

LITTLE TRAIN WRECK.

SAVE ME.

PIPER, I'VE TOLD YOU ALL THAT MATTERS.

SHE WAS WORRIED ABOUT YOU, WORRIED WHAT YOU MIGHT DO TO YOURSELF.

SO, SHE SENT YOU TO LIE FOR HER?

NO, NO. SHE SENT ME HERE TO TALK TO YOU.

FIRST RULE OF THERAPY:

DON'T UPSET A SUICIDAL SHUT-IN BY LYING YOUR WAY INTO HER APARTMENT.

YES, I'M SORRY THE WAY THINGS TURNED OUT HERE.

OH... IMPRESSIVE BIT OF ABDICATION THERE, JOHN.

THINGS DIDN'T JUST TURN OUT THIS WAY.

YOU MADE IT ALL HAPPEN.

YOU KNOCKED ON MY DOOR, REMEMBER?

YOU MADE CHOICES, AND YOU FOLLOWED THROUGH.

TAKE SOME CREDIT, JOHN.

THIS IS YOUR SHOW--

YOUR SHOW AFTER ALL--

AFTER ALL WE'VE BEEN THROUGH.

WOULDN'T IT FEEL BETTER IF...

YOU TOOK SOME RESPONSIBILITY?

( sighs )

IT WOULD BE SO FUCKED UP, IF I PULL THIS TRIGGER RIGHT NOW, WOULDN'T IT?

PIPER, STOP IT.

WHAT WOULD YOU TELL MOLLIE?

( exhales deeply )

HERE COME THE LAST WORDS, JOHN. READY?

PUT IT DOWN. ( breathing heavily )

STOP IT. YOU MADE ME DO IT!

( acoustic guitar plays softly )

( "No Sorrow" by Alex Paul plays )


( indistinct yelling )


( typing )


I AM... I AM...

( groans ) I AM--I AM...

OH, SHIT. ALWAYS ME. ALWAYS ME.

HOW SELF-CENTERED.

SELF-CEN-- HOW SELFISH.

SELFISH-- LIKE--LIKE SELF.

HAVING THE APPEARANCE OF--OF SELF.

AH, UH... AS--AS--AS IF SELF AS IF SELF, AS IF A-AGREEABLE TOWARDS SELF.

SELF-- AS IF... HMM.

OH.

IF SELF. ( groans )

( indistinct muttering )

( doorbell buzzes )

( continues muttering )

( doorbell buzzes )

Piper: WHO'S THERE?

UM... PIPER?

I ASKED WHO'S THERE.

YEAH, IT'S--IT'S--IT'S--IT'S JOHN SHARP.

UM, I'M...

I'M, UH, I'M MOLLIE'S BROTHER.

MOLLIE'S-- M-MOLLIE WHO?

MOLLIE SHARP.

YOU ALONE?

WHAT? YES.

WHAT DO YOU WANT?

UM, UH, SHE--SHE SAID SHE MENTIONED ME, MENTIONED SHE HAD A BROTHER.

YOU MET HER ONLINE.

MOLLY SHARP. SHE LIVES DOWN IN VIRGINIA, OUTSIDE D.C.

WHAT DO YOU WANT?

I-- COULD I COME UP?

I DON'T REMEMBER A BROTHER.

WELL, SHE SAID SHE--SHE MENTIONED ME.

SHE SAID YOU MIGHT NOT REMEMBER.

SO, YOU EAVESDROP IN CHAT ROOMS?

WHAT? NO, NO, NO, NO. ( chuckles )

MOLLIE'S MY SISTER. THAT'S HOW I KNOW YOU.

UH, SHE SAID SHE SENT YOU A BOOK.

A BOOK OF POETRY.

YOU GAVE HER YOUR ADDRESS, THAT'S HOW I FOUND YOU.

WHAT IF I DON'T WANT TO BE FOUND?

UH... THEN YOU WOULDN'T HAVE GIVEN YOUR ADDRESS.

GOOD POINT.

HMM. WELL, WHY DIDN'T SHE COME.

I SENT HER-- I GAVE HER MY ADDRESS.

HELLO?

WHY DID I DO THAT? WHY DIDN'T-- WELL, WHY DIDN'T SHE--

WHY DIDN'T SHE COME? I GAVE IT TO HER.

I GAVE IT TO HER. WHY--

UH, WHY DIDN'T SHE COME?

I LIVE NEARBY, IT WAS...

EASIER. OKAY?

NO, IT IS NOT OKAY.

IT'S NOT-- IT'S--IT'S KNOTTED, IT'S ALL TWISTED UP.

( sighs )

Y-Y-YOU'RE JUST GONNA HAVE TO TRUST ME.

TRUST YOU? I'M GONNA HAVE TO TRUST YOU?

THAT--THAT MOLLIE SENT ME.

THAT I'M A FRIEND.

THAT I'M HERE TO HELP.

HELP? WHO SAID I NEEDED HELP?

MOLLIE. MOLLIE SAID THAT YOU--

MOLLIE SAID.

HOW ARE YOU GOING TO HELP ME, JOHN?

I DON'T KNOW YET, EXACTLY.

BUT SHE SAID THAT YOU MIGHT NEED SOMEONE TO--

YOU DON'T KNOW?

WELL, THAT--THAT YOU MIGHT NEED TO--

ARE YOU SUPPOSED TO HELP ME, OR AM I SUPPOSED TO HELP YOU?

MAYBE THAT WE SHOULD TALK.

THAT I COULD HELP YOU SORT THINGS OUT.

SORT THINGS OUT? YOU MEAN LIKE PUT THINGS IN ORDER?

SORT THINGS INTO NEAT LITTLE CATEGORIES, GIVE THEM NAMES AND LABELS...

WHAT, DO YOU HAVE SOME SPECIAL FUCKING GIFT FOR ORDERS AND SPECIAL TABS FOR SORTING THINGS?

WHAT ARE YOU, A LIFE COACH?

ARE YOU A THERAPIST?

HUH. FUCK ME.

MOLLIE SENT ME A THERAPIST?

NO, I'M...

I'M HER BROTHER.

I JUST HAPPEN TO BE A THERAPIST.

GO AWAY.

PIPER? HELLO? PIPER?

SHIT.

( sighs )

( "Like Fools Do" by Alex Paul plays )


( door buzzes )


( locks clicking )

HI, PIPER?

YOU'RE PIPER, RIGHT?

YOU'RE MOLLIE'S BROTHER?

YEAH. YES, I'M HER BROTHER, I'M JOHN SHARP.

YOU'RE SUPPOSED TO HELP ME SORT THINGS OUT?

I JUST WANT TO TALK.

HMM. YOU DON'T REALLY NEED ME, DO YOU?

NO, NO. I MEAN I WOULD LIKE TO TALK WITH YOU.

THAT'S WHAT WE'RE DOING RIGHT NOW.

COULD I COME IN?

YOU SEEM TO BE TALKING JUST FINE OUT HERE... IN THE HALLWAY.

NO, I MEAN IT'S LATE. I'VE BEEN DRIVING--

IS THERE SOMETHING SPECIAL--

IS THERE SOMETHING PARTICULARLY LOQUACIOUS ABOUT MY APARTMENT?

LOOK, I'M NOT HERE TO MAKE TROUBLE.

I'M A-- I JUST...

COULD I JUST COME IN FOR A FEW MINUTES.

SORRY, YOU HAVE TO TRY HARDER THAN THAT.

PIPER!

( locks clicking )

John: PIPER!

PIPER, LISTEN TO ME.

I'M NOT--I'M NOT HERE AS THERAPIST.

I'M NOT HERE TO MAKE YOU DO ANYTHING.

Piper: WHY DO KEEP TELLING ME WHAT YOU'RE NOT HERE TO DO?

AM I SUPPOSED TO GUESS WHY YOU'VE COME?

IS THIS A GAME YOU LIKE TO PLAY WITH STRANGERS?

NO! I'M ONLY HERE BECAUSE MOLLIE CAN'T BE.

SHE KNEW YOU WOULD BE UPSET.

SHE KNEW THAT I WOULD PROBABLY UPSET YOU.

AND PIPER... SHE TOLD ME.

I KNOW--I KNOW YOU HAVE A HISTORY.

BUT SHE CAN'T BE HERE, NOT NOW.

SHE SAID I SHOULD BE PERSISTENT.

WHY? WHY SO PERSISTENT?

BECAUSE SHE WAS SCARED.

Piper: SCARED OF WHAT?

SOMETHING YOU WROTE.

I--I GUESS.

SHE SAID YOU WERE PULLING AWAY, PUSHING HER OUT.

SHE WAS SCARED BECAUSE YOU WERE SCARED AND UPSET, SHE COULD TELL.

SHE COULD TELL?

YES. HMM.

I TOLD HER IT WAS CRAZY.

I MEAN, SHE HARDLY EVEN KNOWS YOU, BUT SHE SAID IT WAS A MATTER OF LIFE AND DEATH, AND SHE KNEW WHAT THAT WAS LIKE.

Piper: HUH.

SHE COULD TELL.

MY CONFIDENT PERSISTENT MOLLIE, THE STORIES SHE COULD TELL.

PIPER?

TELL ME SOMETHING I DON'T KNOW.

COULD I JUST COME IN?

TELL ME SOMETHING ABOUT HER...

THAT I DON'T KNOW, AND I'LL LET YOU IN.

John: WHAT'S SOMETHING YOU DON'T KNOW?

OKAY, UH...

HOW WILL YOU KNOW IF IT'S TRUE?

Piper: I'LL KNOW.

ALL RIGHT. UH...

I-- DO YOU KNOW WHERE SHE WAS BORN?

BALTIMORE! COME ON, JOHN! EARN IT!

UH, UH, UH, SHE WRITES POETRY, BUT SHE WON'T SHOW IT TO ANYONE.

SHE SHOWED IT TO ME.

OKAY. UH, SHE--SHE LOVES DOGS SO MUCH SHE REFUSES TO OWN ONE.

AND SHE TOLD EVERYONE THAT SHE NEVER WANTED TO HAVE CHILDREN, SOMETHING I DON'T KNOW, JOHN!

( sighs ) BUT THE TRUTH IS SHE COULD NEVER HAVE THEM.

SHE WAS VERY SICK WHEN SHE WAS LITTLE, THEY HAD TO REMOVE HER...

OVARIES-- A GROWTH OR A TUMOR.

I DON'T KNOW.

WE NEVER ACTUALLY TALK MUCH ABOUT IT.

BUT THEY SAID THAT SHE COULD NEVER HAVE CHILDREN SO SHE CONVINCED EVERYONE THAT IT WAS HER CHOICE.

HER WAY OF MANAGING, I GUESS.

BUT IT WASN'T HER CHOICE.

SHE MADE ME PROMISE NOT TO TELL.

PIPER?

PIPER, ARE YOU THERE?

GOD, PIPER, PIPER? LISTEN TO ME.

DON'T DO WHATEVER IT IS YOU'RE THINKING OF DOING WITHOUT AT LEAST TALKING TO ME.

MOLLIE TOLD ME.

MOLLIE TOLD ME ABOUT THE GUN.

SHE SAID IT WASN'T THE FIRST TIME YOU PULLED AWAY, BUT THAT TH-TH-TH THIS-- SOMEHOW THIS WAS DIFFERENT.

OR MAYBE IT WAS HER. MAYBE SHE WAS DIFFERENT.

BUT--BUT SHE SAID TO MAKE SURE---

TO DO WHATEVER IT TAKES TO MAKE SURE YOU'RE SAFE.

TO MAKE SURE...

PIPER?

( gun shot ) GOD, PIPER!

( grunting )

SHUT THE DOOR.

( alarm rings )

( alarm continues )

* OH, MY LOVE *

* WHAT ARE YOU TRYING TO PROVE *

* SHOWING ME YOUR BLOOD *

* SHOWING ME YOU'RE BRUISED *

( alarm stops )

* YOU SAY THAT NOTHING HURTS *

* LIKE THE TRUTH *

* SO THAT'S WHAT I'LL USE *

* FOR THE RECORD *

* I NEVER LOVED YOU *

* LIKE FOOLS DO *

* YOU WANTED BIG LOVE *

* WELL, I TRIED *

* I JUST COULDN'T WORK IT UP *

* INSIDE *

* WHEN I SAID I COULDN'T GET ENOUGH *

* I LIED *

* I THINK YOU SAW IT *

* IN MY EYES *


Piper: SHUT THE DOOR.

( door slams )

( breathing heavily ) YOU'RE OKAY.

UH... SORRY ABOUT THE CHAIN.

I JUST, UH...

I WASN'T SURE. YOU DIDN'T ANSWER AND...

AND WHAT?

HEY. IS THAT REALLY NECESSARY?

I'M NOT HERE TO HURT YOU.

NO, YOU'RE HERE TO TELL ME ABOUT MOLLIE.

I AM?

YES, THAT'S WHY I LET YOU IN.

YOU LET ME IN? ( chuckles )

I KIND OF JUST BROKE DOWN YOUR DOOR.

( laughing ) HOW'D IT FEEL?

WELL... IT, UH, IT HURT ACTUALLY.

IT THAT ALL? IT DID FEEL KIND OF POWERFUL, DIDN'T IT?

I MEAN, YOU WEREN'T SURE, AND...

I DIDN'T ANSWER, AND...

YOU SAVED ME.

HAPPY NOW?

IS IT STILL LOADED?

WHAT? THE GUN.

( laughs ) NO.

BUT I EXAGGERATE.

YOU THINK ANYONE WILL CALL THE POLICE?

WHY?

GUN SHOT. NEIGHBORS.

WELL, THIS IS QUEENS, NOBODY'S GOING TO CALL THE POLICE.

SO--SO, WHY HAVE A GUN AT ALL? HUH?

YOU NEVER KNOW WHAT KIND OF PSYCHO'S LURKING AROUND HERE.

YOU HAVE SOME EXPERIENCE WITH THAT?

PSYCHOS? OR PSYCHOSIS?

EITHER.

WHAT DO YOU THINK?

UH, MOLLIE SAYS YOU HAVEN'T BEEN OUT IN A WHILE, IS THAT TRUE?

MOLLIE...

SHE SAYS IT'S BEEN A WHILE SINCE ANYONE HAD SEEN YOU.

SHE'S NEVER SEEN ME.

SHE SAYS IT'S BEEN WEEKS.

WHAT'S SHE LIKE?

WHAT'S SHE LIKE?

I, UH, YOU KNOW HER AS WELL AS I DO.

NO, I--I DON'T. I KNOW LITTLE BLACK CHARACTERS ON A SCREEN.

I'VE GOT FOUR PICTURES IN A BOOK.

FOUR FLAT LITTLE PICTURES.

ONE SMILING, ONE NO SMILE, ONE KIND OF SEXY...

NOT DIRTY. IT'S A SHAME.

REALLY THEY'RE THE SAME REALLY, FOR THE FLATNESS, THERE'S NO FLESH...

OR BONE.

SHE SENT YOU PICTURES OF HERSELF.

THAT'S WHAT I SAID.

YES, I SUPPOSE IT IS.

YOU SUPPOSE YOU WERE STANDING RIGHT THERE WHEN I SAID IT.

YEAH, I GUESS I JUST DIDN'T UNDERSTAND.

DIDN'T CATCH MY MEANING?

IT'S FUNNY...

THAT TO CATCH A MEANING-- CATCH A MEANING, IT'S LIKE A KNIFE, OR A HOT POTATO, LIKE LITTLE BITS OF COLORED GLASS BROKEN AND SCATTERED, ALL READY TO BE PUT BACK TOGETHER.

ARE YOU LOST?

I'M STARTING TO FEEL THAT WAY, YEAH.

( laughing )

SUCH A TINY PLACE TO GET LOST, TO BE HARD TO FOLLOW.

WHEN'S THE LAST TIME YOU WENT OUTSIDE?

( scoffs ) OUT THERE--OUT THERE IS WHERE YOU GET LOST.

IN HERE IT'S TINY.

IT'S TINNY. IT SOUNDS LIKE A DRUM.

ALL THE SOUNDS, THEY COME BOUNCING BACK AT YOU.

WELL, MAYBE THAT'S YOUR PROBLEM.

WHO SAID I HAD A PROBLEM?

YOU DID WHEN YOU WROTE MOLLIE.

WELL, YOU'RE NOT MOLLIE, ARE YOU?

AND WHAT, DEAR JOHN, IS MY PROBLEM?

WELL, UH, THIS APARTMENT FOR ONE.

DON'T CONFLATE ORDER AND HYGIENE.

DON'T YOU THINK IT'S A BIT DEPRESSING?

HMM. DO I LOOK DEPRESSED?

I DON'T KNOW.

WHAT DOES THAT LOOK LIKE?

BI-POLAR WITH A TOUCH OF OCD.

YOU WANT TO LOOK IT UP?

OBSESSIVE COMPULSIVE DISORDER, YOU SURE ABOUT THAT?

( chuckles )

I INTERNALIZE, IT'S ALL UP HERE.

THE AFFECTED CHAOS OF MY APARTMENT IS AN ACUTE MANIFESTATION OF MY CURRENT MANIC PHASE.

IT'S IRONIC, I KNOW, BUT I ONLY OBSESS COGNITIVELY.

AN AWFULLY COHERENT DIAGNOSIS OF YOUR OWN DISORDER.

HMM, THANK YOU.

I ALSO HATE MY FATHER, WANT TO TALK ABOUT THAT?

DO YOU?

YOU'RE THE GODDAMN THERAPIST.

RIGHT. OF COURSE, YEAH.

WELL, DO YOU WANT TO TALK ABOUT THAT?

NO.

ALL RIGHT. QUITTER.

WHAT?

( laughs ) WHAT IS SHE LIKE?

MOLLIE?

MOLLIE, YES. DESCRIBE HER FOR ME.

UH, DIDN'T SHE SEND YOU PICTURES OF HERSELF?

FLAT LITTLE PICTURES.

SO, WHAT DO YOU WANT FROM ME?

ALL THE BITS OF COLORED GLASS, THE FLESH AND BONE.

I DIDN'T COME HERE TO TALK ABOUT MOLLIE.

OF COURSE YOU DID. NO, I DIDN'T.

SHE'S THE ONLY THING THAT WE HAVE IN COMMON.

WITHOUT THAT WHAT DO WE HAVE?

THE WEATHER-- IS THAT WHAT YOU WANT TO TALK ABOUT, JOHN?

THE WEATHER?

SURE, YEAH. THAT'D BE A GREAT START.

I HAVEN'T BEEN OUTSIDE, REMEMBER?

I DON'T KNOW ANYTHING ABOUT THE WEATHER.

BESIDES, YOU GOT WHAT YOU CAME FOR.

NOW, IT'S MY TURN.

I CAME HERE TO TALK.

YOU CAME HERE TO PLAY THE HERO.

HUH, HERE I AM.

I'M STILL KICKING.

NOW, I WANT MOLLIE. HER LIFE FOR MINE.

IT'S A FAIR TRADE, I SHOULD THINK.

PIPER, I CAN'T GIVE YOU MOLLIE.

WELL, THEN GET OUT.

ISN'T IT ENOUGH THAT SHE SENT--

NO, NO, NO. I SAID GET OUT!

OKAY. ALL RIGHT. I CAN LEAVE OR I CAN TELL YOU ABOUT MOLLIE.

WHAT CAN YOU TELL ME?

YOU KNOW, MAYBE YOU DON'T KNOW HER AT ALL.

MAYBE SHE'S THE MEANING THAT YOU CAN'T CATCH.

HURT, DIDN'T IT? I TOLD YOU.

IT'S LIKE LITTLE BITS OF GLASS, THEY ARE.

WHAT IS IT EXACTLY THAT YOU WANT ME TO SAY?

EVERYTHING.

IT'S TOO MUCH.

I HAVE A FEELING IT WON'T BE NEARLY ENOUGH.

NO, I MEAN, I DON'T KNOW...

HOW CAN YOU PUT ANYONE INTO WORDS?

THEY SEEM TO SMALL AND SHE TOO LARGE.

YEAH. SOMETHING LIKE THAT.

THEN IT'S REALLY-- IT'S QUITE THE OPPOSITE.

IT'S THE WORDS THAT ARE TOO... BIG.

THOUGH, I RATHER DOUBT THAT SHE'S TOO SMALL.

YOU TAKE, UM...

THE WORD "PRETTY"...

IS SHE? PRETTY?

YES, SHE'S PRETTY.

THAT CAN MEAN SO MANY DIFFERENT THINGS.

IS SHE ONLY ONE KIND OF PRETTY? HER KIND OF PRETTY.

IT'S THE WORDS. THEY'RE TOO BIG, TOO BROAD. TOO AVERAGE.

AND I DON'T THINK SHE'S AVERAGE, DO YOU?

MOLLIE WAS NEVER AVERAGE.

SO, SHE FITS QUITE NICELY INTO THE WORDS.

WELL, IT'S TOO EASY TO LOSE HER IN THEM.

SO, WHAT DO YOU WANT?

BE SPECIFIC.

ABOUT WHAT?

THE WAY THAT SHE WALKS, HER LAUGH...

THE WAY SHE SMELLS.

ANYTHING.

COME.

SIT.

YOU SPEAK, I LISTEN.

THE WAY SHE WALKS?

YOU REALLY WANT ME TO TALK ABOUT THE WAY MY SISTER WALKS?

COME ON, PIPER. I'M NOT GOING TO DO THAT.

I JUST DROVE...

CAN'T WE JUST TALK?

ABOUT SOMETHING ELSE?

SOMETHING LESS...

I DON'T KNOW. SOMETHING...

PRESENT?

IS--IS THAT THE COMPUTER YOU USE TO CHAT WITH MOLLIE?

YOU SIT RIGHT THERE WHEN YOU'RE...

YOU DON'T WANT TO TALK ABOUT YOURSELF, THAT'S FINE. REALLY.

BUT THAT'S THE ONLY REASON I'M HERE.

I MEAN, WE COULD TALK ABOUT ME.

IF YOU'D LIKE.

BORN IN ARLINGTON OUTSIDE D.C. IN THE SUBURBS.

STUDIED AT GEORGETOWN...

MARRIED, NO KIDS.

OUR PARENTS LIVE 30 MINUTES AWAY, I HARDLY EVER SEE THEM.

ONE CAN ONLY TAKE SO MUCH...

PITY.

MOLLIE WALKED ON HER TOES.

LIKE--LIKE HER HEEL NEVER TOUCHED THE FLOOR.

AND WITH A LITTLE BOUNCE AT EACH STEP.

I THINK IT CAME FROM DANCING.

SHE WAS A DANCER WHEN SHE WAS YOUNGER.

BALLET MOSTLY.

SHE WANTED TO DANCE PROFESSIONALLY, BUT EVERYONE SAID THAT SHE GREW OUT OF THE BODY FOR IT.

SHE WAS ALSO IN A LOT OF...

PAIN BECAUSE OF THE STRESS SHE'D PUT ON HER BODY.

SHE NEVER TALKED ABOUT THAT, THOUGH.

THE PAIN SHE WAS IN.

I THINK SHE THOUGHT SHE WAS SPARING...

OTHERS.

DIDN'T WANT ANYONE TO THINK SHE WAS COMPLAINING.

UH, YEAH. ANYWAY, SHE WALKED ON HER TOES.

MMM. YES?

WHY DO KEEP USING THE PAST TENSE?

DO I?

INDEED.

I MOVED AWAY. MAYBE THAT'S ALL--

I MOVED AWAY, SO THINGS ARE DIFFERENT NOW.

HUH. YOU USED TO LIVE NEARBY BEFORE?

WE LIVED TOGETHER.

YOU LIVED TOGETHER?

YEAH, IS THAT STRANGE?

IS THAT STRANGE?

NO, IT'S NOT STRANGE AT ALL.

PROCEED.

WITH WHAT?

STORY TIME, JOHN! YOU WERE TELLING ME HER STORY!

THAT'S NOT REALLY WHY I'M HERE.

THAT'S WHY I WANT YOU HERE.

I'D RATHER TALK ABOUT YOU.

ME? YOU DON'T KNOW ANYTHING ABOUT ME.

HOW ARE YOU GOING TO TALK ABOUT ME? EXACTLY.

MAYBE YOU COULD TALK ABOUT YOU. INDEED.

WELL?

YES. FINE, THANK YOU.

PROCEED.

I-- PIPER.

I'M GOING TO PEE.

AND YOU'LL THINK MORE CLEARLY WITHOUT ME IN THE ROOM.

WHAT DOES SHE SMELL LIKE?

( urinating )

WELL... ( chuckles ) AREN'T YOU GOING TO CLOSE THE DOOR?

I CAN'T HEAR YOU THROUGH THE DOOR AND OVER MY PEE.

RIGHT.

( urinating continues )

SMELL LIKE?

EVERYONE HAS A SMELL.

UH, SHE--SHE NEVER WEARS PERFUME.

NOT THAT KIND OF SMELL, I MEAN, HER SMELL.

HER SCENT.

LIKE MY MOM, SHE ALWAYS SMELLS SICKLY SWEET LIKE BAD LICORICE.

MY GRANDMOTHER LIKE RUBBING ALCOHOL.

UH, THOSE DON'T SOUND LIKE VERY GOOD SMELLS.

OH, NOT THAT THEY'RE BAD, THEY JUST ARE WHAT THEY ARE.

THE PECULIAR CHEMISTRY OF PEOPLE WE... KNOW.

NOT ALL TOGETHER LOVE.

LOVING THEM ALL TOGETHER, SO TO SPEAK.

ROSEMARY.

SHE SMELLS LIKE ROSEMARY.

ROSEMARY.

YEAH, IT'S THE SHAMPOO SHE USES I GUESS.

I DON'T KNOW.

IT'S AN EARTHY SMELL.

NOT OVERPOWERING OR ANYTHING, I MEAN...

IT'S NOT THE TYPE OF THING YOU WOULD REMEMBER ABOUT HER, IF YOU DIDN'T KNOW HER OR HAD JUST MET HER.

BUT YOU'D NOTICE IT, IF YOU WERE CLOSE.

OR NOTICE IT MISSING, IF SHE ISN'T THERE.

I EVEN TOLD HER THAT ONCE.

THAT'S SHE SMELLS LIKE ROSEMARY.

UH, IT'S--IT'S SWEET, TOO.

NOT TOO SWEET.

I MEAN, SUBTLE.

AND STILL THE KIND OF THING YOU NOTICE MORE WHEN SHE ISN'T THERE.

THAT IT'S... MISSING.

CERTAIN TIMES IT WOULD WRAP EVERYTHING UP IN IT.

HER CLOTHES, SHEETS, WHEN YOU HELD HER IT WOULD LINGER, EVEN AFTER YOU PULLED AWAY.

WHAT KIND OF BROTHER TALKS LIKE THAT?

( scoffs )

WHAT? YOU WANTED TO KNOW WHAT SHE SMELLED LIKE.

HER SHEETS?

YEAH, I-I DID THE LAUNDRY.

YOU LOVE HER?

SHE'S MY SISTER.

DO YOU LOVE HER? YES, OF COURSE.

YES, OF COURSE.

YES, OF COURSE I LOVE MY SISTER.

WHAT'S WRONG WITH THAT?

YOU EVER HEAR OF THE STORY OF SODOM?

SODOM? AS IN SODOMY.

UH, PIPER, I DON'T-- EVER HEAR OF IT?

I DON'T THINK THAT THAT--

DO YOU KNOW WHAT IT MEANS?

DOESN'T MEAN ANYTHING SPECIFIC. IT JUST MEANS...

"TO DO UNNATURAL ACTS."

I DON'T KNOW WHO DECIDES WHAT'S UNNATURAL, BUT THAT'S WHAT IT MEANS TO SODOMIZE, AND IT'S IN THE BIBLE.

YOU EVER READ THE BIBLE, JOHN?

YES, PARTS OF IT.

SODOM, LITTLE FUCKED UP TOWN FULL OF VILLAINY AND EVIL.

AND GOD HATED IT, WANTED TO RAIN DOWN FIRE AND DESTROY IT.

BUT HE SENT THESE TWO ANGELS TO SAVE THE ONE FAMILY WORTH SAVING.

WHEN THEY GOT THERE, THE MEN OF THE TOWN, THE MEN... OF SODOM.

SURROUNDED THE HOUSE AND DEMANDED THAT THEY BE SENT OUT, SO THAT THEY COULD HAVE RELATIONS WITH THEM.

RIGHT? THAT--THAT'S--THAT'S WHAT IT SAYS, "HAVE RELATIONS" WITH THEM.

WHOO.

LOT, THE MAN OF THE HOUSE, HE EVEN OFFERED UP HIS OWN DAUGHTERS TO SAVE THE ANGELS.

CAN YOU IMAGINE THAT?

JOHN?

( sighs )

NO.

GOD DIDN'T LET IT HAPPEN.

THEY WERE SAVED.

( chuckles )

BUT SODOM, THE MEN OF THE TOWN, ALL THE VILLAINY AND EVIL...

GOD BROUGHT DOWN THAT STORM OF FIRE, AND THE SMOKE OF THE LAND ASCENDED...

LIKE THE SMOKE OF A FURNACE.

CAN YOU IMAGINE THAT?

MOLLIE TOLD ME ABOUT YOUR FATHER.

SHE SAID THERE WAS A...

A HISTORY.

THERE WAS A HISTORY?

THAT'S A BIT REDUNDANT, DON'T YOU THINK?

I MEAN, EVENTS MAY BE IN THE PAST, BUT...

HISTORY'S ALWAYS PRESENT.

THERE WAS HISTORY?

MMM.

THERE IS A HISTORY, JOHN.

I LOVED MOLLIE.

I WOULD NEVER DO ANYTHING TO HURT HER.

WELL, I THINK YOU WOULD.

YEAH, WE DON'T SHARE THIS BIT OF HISTORY.

NOT THIS.

( fax machine beeping )

( phone ringing )

( dialing )

( ringing )

Woman: HI! WE CAN'T GET TO THE PHONE RIGHT NOW, BUT LEAVE US A MESSAGE AND WE'LL GET BACK TO YOU.

( beep )


( muttering )

HMM.


WHAT ARE YOU DOING?

CONJURING MOLLIE.

SWEET ROSEMARY, HUH?

NO, I DIDN'T MEAN LITERALLY. OF COURSE YOU DID.

NO, I DIDN'T. I DON'T KNOW WHAT SHE ACTUALLY SMELLS LIKE.

SMELL.

( inhales )

MOLLIE?

FRESH ROSEMARY WOULD HAVE BEEN BETTER.

IT'S NOT REALLY LIKE I REMEMBER.

MAY I HAVE HER BACK, PLEASE?

HMM. WELL, IT'S GOOD ENOUGH FOR ME.

MY MEMORIES AREN'T NEARLY SO FLESHY, SO REAL.

SO, HOW LONG HAVE YOU KNOWN HER?

ABOUT A MINUTE, NOW.

( both giggling )

NO, I MEAN, WHEN DID YOU MEET ONLINE?

THREE MONTHS AND A WEEK AGO.

WHAT WOULD YOU TALK ABOUT? TYPE.

TYPE OF WHAT?

WE TYPE. WE DON'T TALK.

YOU NEVER TALKED? NO.

MY WORDS TUMBLE LESS AWKWARDLY THROUGH MY FINGERS.

I WOULDN'T GIVE HER MY PHONE NUMBER.

SHE ASKED?

NO.

SO ALL YOU SHARED WAS A COMPUTER SCREEN.

AND FOUR FLAT LITTLE PICTURES.

AND A BOOK, SHE SAID SHE SENT YOU A BOOK.

AH, CONSTANCE.

HAVE YOU HEARD OF JANE KENYON?

JANE-- YES.

I, UH, OF COURSE.

I MEAN, BECAUSE OF MOLLIE.

SHE WAS BIPOLAR.

LIKE ME, LIKE MOLLIE.

SHE'S A CHRISTIAN, NOT LIKE ME.

I DON'T KNOW ABOUT MOLLIE.

BUT SOMETHING...

SOMETHING SINGS WHEN MOLLIE...

WRITES OF HER.

SHE LOVES THIS BOOK.

KENYON'S DARKEST.

THE ONE IN WHICH SHE...

( laughs ) SHE HAS IT OUT WITH MELANCHOLY.

IN WHICH SHE...

THAT'S A DIABOLICAL LITTLE GROUPING, DON'T YOU THINK?

IF YOU SAY SO.

WELL, I DO SAY SO.

IN WHICH SHE.

IT'S LIKE AN INCANTATION.

WARDING OFF THE SPIRITS OF CONSTANT MELANCHOLY.

IN WHICH SHE.

DID IT WORK? THE INCANTATION?

I DON'T KNOW. I MEAN, IN THE END...

KENYON DIED OF CANCER.

AN UNNATURALLY NATURAL CAUSE.

SO, SHE--SHE DIDN'T.

KILL HERSELF? RIGHT.

NO.

HAVE YOU READ IT?

SOME.

YEAH. I MEAN, THE WORDS MAKE SENSE.

I--I JUST CAN'T QUITE--

CATCH A MEANING.

CAN YOU EXPLAIN IT?

EXPLAIN WHAT, EXACTLY?

WHATEVER FASCINATES HER ABOUT THESE--THESE WORDS.

WHATEVER MADE YOU BUY THAT GUN.

THAT'S A NEAT LITTLE TRICK, JOHN.

THERE'S NO TRICK.

YOU THINK YOU CAN FIGURE ME OUT JUST LIKE THAT?

YOU CAN'T FIGURE IT OUT.

I CAN'T FIGURE IT OUT. WHY NOT?

BECAUSE! WE'RE NOT A DAMN RIDDLE, WE'RE NOT A PUZZLE, THERE'S NO SOLUTION.

AND, UH, WHO SAID I BOUGHT THE GUN?

WHY HAVE A GUN AT ALL?

THAT'S THE WRONG QUESTION, JOHN.

I WANT TO UNDERSTAND.

I'D APPRECIATE IT, IF YOU COULD HELP ME TO UNDERSTAND.

WE KNOW THE WORLD BY THE QUESTIONS THAT WE ASK.

SEE THAT, RIGHT THERE?

MOLLIE ALWAYS SAID THAT.

WHAT DOES THAT MEAN?

THAT WE MAKE UP OUR WORLD.

OUT OF QUESTIONS.

NOT ANSWERS. WHY THIS BOOK?

WHAT DOES ANY OF THAT HAVE TO DO WITH THIS?

THE LUMINOUS PARTICULAR.

THE WHAT?

SOMETHING THAT KENYON LIKED TO WRITE ABOUT.

ONE MOMENT. ONE EVENT.

REDUCED, CRYSTALLIZED, OFFERED UP IN WORDS.

SO THAT YOU CAN HOLD IT IN YOUR HANDS, TURN IT OVER.

FEEL IT'S WEIGHT.

POETRY DOESN'T SOLVE ANYTHING, IT JUST MAKES THE QUESTIONS DEEPER.

TURNS THE PUZZLE INTO A PATTERN, THAT MAY NOT HAVE A SOLUTION, BUT...

THAT YOU CAN SEE IT BETTER.

SEE IT CLEARER.

THERE ARE NO ANSWERS.

BULLSHIT. THERE ARE ALWAYS ANSWERS, PIPER.

MAYBE THERE ARE TOO MANY, AND THAT'S THE PROBLEM.

THERE'S TOO MANY ANSWERS, I CAN UNDERSTAND THAT.

WHAT CAN YOU UNDERSTAND?

WHAT CAN YOU KNOW?

MOLLIE-- DIFFERENT.

BUT MOLLIE DOESN'T EVEN REALLY KNOW.

SHE ONLY KNOWS WHAT SHE WANTS TO KNOW, RIGHT?

DOESN'T ANYONE? NO.

MOST DEFINITELY NOT.

WHAT'S-- WHAT MAKES YOU ANY DIFFERENT?

I DON'T GET TO KNOW WHAT I WANT TO KNOW, JOHN.

AND WHAT IS IT YOU WANT TO KNOW?

I WANT TO KNOW WHY THE WORDS TUMBLE OUT.

WHY THE SHARDS OF GLASS GET STUCK IN MY MOUTH.

WHY YOU'RE HERE AND NOT HER.

NOT HER!

SHE SENT ME.

HMM. OKAY.

BUT YOU ASK THE WRONG QUESTIONS, JOHN.

SO WHAT ARE THE RIGHT FUCKING QUESTIONS?

I'M A 296.64 BI-POLAR I DISORDER.

MOST RECENT EPISODE, MIXED.

SEVERE WITH PSYCHOTIC FEATURES.

WHICH ONE'S MOLLIE?

PAGE 327.

THERE'S SO MANY.

WHICH ONE IS MOLLIE?

I DON'T KNOW.

YOU DON'T KNOW?

WHAT?

YOU DON'T KNOW YOUR OWN SISTER'S DIAGNOSIS?

UH, WELL, THIS ISN'T REALLY MY AREA.

ISN'T YOUR AREA? YOU'RE A GODDAMN THERAPIST. WHAT THE FUCK IS YOUR AREA?

I MEAN, I DON'T GENERALLY DEAL WITH...

THESE TYPES OF-- WHAT?

CRAZY PEOPLE?

HOW ARE YOU SUPPOSED TO HELP ME?

WELL, I--I--I NEVER ASKED HER.

I--I--I NEVER MADE IT MY BUSINESS.

I SHOULD HAVE.

DOES SHE HAVE AN ELEVATED MOOD?

AN ELEVATED MOOD? INAPPROPRIATE OPTIMISM.

ABOUT THE FUTURE, PAST, PRESENT.

SOMETIMES.

PRESSURED SPEECH, DISTRACTIBILITY?

DECREASED NEED FOR SLEEP?

UH, NO, SHE NEVER SEEMED DISTRACTED.

POOR JUDGMENT? LIKE HOW?

HMM. SHE NEVER DISPLAYS EXCESSIVE INVOLVEMENT IN ACTIVITIES WITHOUT REALIZING THE HIGH POTENTIAL FOR PAINFUL CONSEQUENCES?

INTRUSIVENESS.

CALLING OF ATTENTION TO ONESELF.

NO. NO, NO, NO.

SHE--SHE WAS SHY, WITHDRAWN EVEN.

WAS?

IS. IS! UH, DID I SAY WAS?

HMM. DIDN'T YOU?

UH, I DON'T KNOW. YEAH, I GUESS I DID.

HMM. YOU DO IT A LOT.

I DO?

WHY DO YOU KEEP ASKING ME ABOUT YOURSELF?

YES, YOU SAID "WAS." YES, YOU DO THAT A LOT.

I DIDN'T MEAN TO.

HMM.

SILLY THING TO SAY, JOHN.

IT'S THE TRUTH. ( chuckling )

DID YOU KNOW THAT SHE LIKED GIRLS?

WHAT DO YOU MEAN?

MAN, THOSE LITTLE BITS OF GLASS, THEY JUST SLIDE RIGHT THROUGH YOUR FINGERS DON'T THEY?

KNIVES AND HOT POTATOES.

MEANINGS YOU CAN'T CATCH.

WHAT IF I TOLD YOU WE WERE LOVERS?

THAT WE MET ALL THE TIME.

YOU WOULD BY LYING.

NO SUCH THING.

NO SUCH THING AS A LIE?

NOT A TOTAL LIE, NO.

ONLY EXAGGERATIONS.

ALWAYS A LITTLE BIT OF TRUTH IN THERE.

( laughing )

WHAT DID SHE TELL YOU ABOUT US?

NOT MUCH.

ENOUGH.

FOR WHAT?

ENOUGH TO KNOW THAT YOU ARE IN TROUBLE.

SHE DIDN'T TELL YOU ANY DETAILS?

DETAILS?

YES, DETAILS. MOLLIE'S LITTLE SECRETS.

AHH.

WELL, EVERYONE HAS SECRETS.

LIKE HOW SHE LIKES TO BE KISSED?

IS THAT A SECRET?

DO YOU KNOW?

I'M HER BROTHER.

SHE LIKES TO BE KISSED IN THE SOFT SPACE BEHIND HER KNEE.

I DON'T SEE WHY I NEED TO HEAR THIS.

AND THE SPACE BETWEEN HER BELLYBUTTON AND HER...

REALLY, PIPER. IT'S--IT'S NONE OF MY BUSINESS.

WHAT DOES SHE CALL IT? I DON'T KNOW.

NO, YOU WOULDN'T, WOULD YOU?

NO!

OR HOW...

ONE WELL-PLACED KISS IN THE SMALL OF HER BACK MAKES HER MELT.

HMM.

I'M MAKING YOU UNCOMFORTABLE?

PEOPLE SAY THINGS IN THERE THAT THEY WOULDN'T SAY OUT LOUD.

YOU SHARE THESE THINGS, THESE SECRETS IN THERE.

LITTLE BLACK CHARACTERS, JUST WORDS...

BITS OF COLORED GLASS.

THERE'S MORE TO LIFE THAN JUST WORDS.

MM-HMM.

THEY'RE ALL I HAVE.

YOU'RE THE CLOSEST THING I HAVE TO MOLLIE, TO THE SMALL OF HER BACK.

DO YOU KNOW HOW BADLY I WANT TO KNOW THAT PLACE?

MMM.

I'M NOT MOLLIE.

THAT, JOHN, IS PAINFULLY OBVIOUS.

OH OH OH! LET'S CALL HER! NO.

LET HER TELL YOU THE SECRETS, LET THEM COME TUMBLING OUT.

I DIDN'T COME HERE TO LEARN HER SECRETS.

WHOSE SECRETS THEN? MINE? YOURS?

NO. I DON'T HAVE ANY.

NOW, YOU EXAGGERATE, JOHN. EVERYONE HAS SECRETS.

YOU DON'T HAVE TO CALL HER. SHE SENT ME.

( ringing )

Woman: HI, WE CAN'T GET TO THE PHONE RIGHT NOW, BUT LEAVE US A MESSAGE, AND WE'LL GET BACK TO YOU.

( beep )

HEL-- MOLLIE. HI, MOLLIE.

IT'S PIPER. PIPER.

I'M HERE WITH JOHN.

UH, CALLED 'CAUSE I WANTED TO TALK TO YOU.

UH, UH, T-TALK TO YOU ABOUT...

( giggling, stuttering )

I'LL HAVE TO DO IT A-ANOTHER TIME.

UM...

OKAY. BYE, MOLLIE. BYE.

( hangs up phone )

ANSWERING MACHINE?

SHE SOUNDS PRETTY.

( sighs )

( keys jingling )

Machine: TWENTY-SEVEN NEW MESSAGES.

( beep )

( static, busy signal )

( beep )

( indistinct )

( busy signal )

( beep )

( cell phone ringing )

HEY, MOM.

NO, IT'S JUST THE CALLER ID.

( louder ) THE CALLER ID, YES.

( machine continues playing silent messages )

I KNOW.

NO, MOM. I HAVEN'T.

BECAUSE IT'S NOT THAT SIMPLE, DO WE HAVE TO TALK ABOUT THIS EVERY TIME?

TONIGHT? I DON'T KNOW.

( sighs ) OKAY. NO, IT'S FINE.

YEAH.

IT'S FINE, REALLY.

I'LL SEE YOU THERE.

OKAY.

I KNOW.

ME TOO.

* YOU *

* YOU BREAK MY HEART *

* YOU *

* YOU BREAK MY HEART *

* YOU *

* YOU BREAK MY HEART *

* STILL I GET CAUGHT ON YOU *

Woman: WELL!

IT IS SO NICE TO FINALLY GET YOU OUT HERE FOR DINNER.

GOD KNOWS WHAT YOU'VE BEEN EATING.

I'VE BEEN DOING OKAY.

TV DINNERS-- DO THEY STILL MAKE TV DINNERS?

OKAY? WHAT'S THAT SUPPOSED TO MEAN?

YOU KNOW, THOSE LITTLE ALUMINUM TRAYS...

WITH MASHED POTATOES AND, UH, GRAVY.

IT MEANS I'VE BEEN DOING OKAY.

JUST FINE. I GO TO WORK AND I EAT.

PROBABLY CALL THEM, UM, COMPUTER DINNERS NOW.

YOU GO TO WORK, AND YOU EAT.

YOU EVER GET OUT OF THE APARTMENT?

GO OUT? SEE YOUR FRIENDS?

I'M HERE, AREN'T I?

LEAVE THE BOY ALONE, MOTHER.

LEAVE HIM ALONE?

AFTER I TWISTED HIS ARM TO DRIVE A HALF AN HOUR TO GET OUT HERE I'M GOING TO LEAVE HIM ALONE?

YOU KNOW WHAT I MEAN.

I JUST WANT TO MAKE SURE HE'S OKAY.

I MEAN, REALLY OKAY.

IT'S NO WONDER HE DOESN'T COME OUT HERE WITH YOU PICKING ON HIM ALL THE TIME.

I AM NOT PICKING ON HIM. I'M JUST CONCERNED ABOUT HIM.

( voices drowning out )

HE CAN TAKE CARE OF HIMSELF.

WELL, WHY CAN'T I ASK... WHY IS IT ALWAYS ME?

WHY DON'T YOU ASK HIM...

* YOU YOU BREAK MY HEART *

* STILL I GET CAUGHT ON YOU *

Piper: I'M GOING TO TAKE A SHOWER.

WITH ME HERE?

WOULD YOU RATHER LEAVE?

WOULD YOU?

RATHER LEAVE? WHY? IT'S MY APARTMENT.

NO, WOULD YOU RATHER I LEAVE?

YES, BUT YOU WON'T. NO, I WON'T.

LET'S MAKE A DEAL. YOU KEEP TALKING THE WHOLE TIME I'M IN THE SHOWER, THAT WAY I KNOW WHERE YOU ARE, AND YOU DON'T HAVE TO LEAVE.

I DON'T HAVE THAT MUCH TO SAY.

YOU'VE BEEN DOING GREAT SO FAR.

TELL ME WHY YOU MOVED AWAY.

MOVED AWAY FROM D.C.?

MY WIFE.

YOUR WIFE?

YES, I MOVED AWAY BECAUSE OF MY WIFE.

I THOUGHT YOU LIVED WITH MOLLIE.

I DID. I LIVED WITH MOLLIE AND MY WIFE, AND THEN WE--

YOU ALL LIVED TOGETHER?

UH... WHAT ARE THESE FOR?

AM I SUPPOSED TO GUESS WHAT THESE ARE?

THE HANDCUFFS ON YOUR BED.

KINDA KINKY.

MY DAD'S A COP. AND I STOLE THEM.

YOU STOLE THEM?

THE GUN, TOO. BUT I DIDN'T STEAL ENOUGH BULLETS.

SO, YOU HAVE A KEY, RIGHT?

NO, WHY?

YOU'RE NOT TALKING!

( water stops )

JOHN! JOHN!

JOHN, WE HAD A DEAL!

OH... ( chuckling )

IT'S NOT FUNNY.

OHH... IT IS VERY FUNNY.

YOU HAVE THE KEY, RIGHT?

I DIDN'T HAVE TIME TO STEAL THE KEY.

YOU'RE GOING TO JUST LEAVE ME HERE LIKE THIS?

YOU BROKE DOWN MY DOOR.

NOW, YOU'VE CHAINED YOURSELF TO MY BED.

I'VE HAD VERY LITTLE TO DO WITH IT.

( laughing ) TELL ME ABOUT YOUR WIFE.

WHY?

WHAT'S HER NAME?

YOU'RE NOT CONCERNED ABOUT THIS?

DO YOU KNOW HOW TO SAY "HANDCUFFS" IN SPANISH?

NO, NO. IT'S NEVER COME UP.

ESPOSAS.

I'LL REMEMBER THAT.

IT ALSO MEANS WIFE.

THEY HAVE THE SAME WORD FOR BOTH WIFE, HANDCUFF, HANDCUFF, WIFE.

ARE YOU TRYING TO TELL ME SOMETHING?

NO, I AM TELLING YOU SOMETHING. ARE YOU TRYING NOT TO UNDERSTAND?

NO, I DON'T UNDERSTAND.

OH, AT LEAST YOU'RE CONSISTENT.

YOU FEEL TRAPPED BY YOUR WIFE.

NO, NO, I FEEL TRAPPED BY THESE HANDCUFFS.

SAME THING! NOT IN ENGLISH.

SEMANTICS! WELL, I AM TRAPPED IN ENGLISH.

INDEED.

YOU FEEL TRAPPED BY YOUR WIFE, AND YOUR WIFE HAS LOCKED YOU TO ME.

WHICH DOESN'T MAKE SENSE, BECAUSE I DON'T KNOW YOUR WIFE.

THEY'RE YOUR HANDCUFFS!

( laughing ) THAT MAKES EVEN LESS SENSE.

IS THAT EVEN POSSIBLE?

BECAUSE, I... I DON'T HAVE A WIFE.

HMM. WIVES...

KNIVES, HOT POTATOES.

WHAT--WHAT ON EARTH ARE YOU DOING?

GAINING A NEW PERSPECTIVE.

WHAT'S HER NAME? WHO?

YOUR HOT POTATO.

YOUR... WIFE.

YOUR KNIFE. YOUR HANDCUFF.

JENNY.

DID YOU HAVE TO THINK ABOUT IT?

NO. ( muttering )

JENNY AND JOHNNY, THAT'S AN UNLIKELY PAIR.

JENNY. MY--MY WIFE'S NAME IS JENNY.

HMM. HOW DID JENNY LOCK JOHNNY TO ME?

JENNY HAS NOTHING TO DO WITH THIS.

MOLLIE. MOLLIE'S THE KEY TO YOUR LITTLE HANDCUFF.

TO YOUR LITTLE WIFE.

( giggling )

( chuckling )

AM I ON TO SOMETHING?

YES. OHH.

YOU FIGURED IT ALL OUT.

OOH, IS THAT WHAT I'VE DONE?

HOW VERY CLEVER OF ME.

"BUT WHY?" SHE ASKS, WHILE PICKING UP THE STILL LOADED GUN.

DID JENNY AND JOHNNY MOVE AWAY?

A JOB.

NOPE. YES.

IT WAS A JOB. NO, TOO EASY!

SOMETHING SINISTER, I SUSPECT.

SINISTER?

YOU WATCH CLOSELY NOW, JOHN.

THIS IS WHERE I GET ALL SCARY AND UNPREDICTABLE.

OHH! WHO THE FUCK ARE YOU?

OH, I JUST TOLD YOU. WHAT--WHAT--

BULLSHIT.

I'M JOHN. JOHN SHARP. MOLLIE'S BROTHER.

YOU KNEW WHERE SHE LIKED TO BE KISSED.

IT WAS ALL... OVER YOUR FACE, WHEN I SAID WE WERE LOVERS, YOU WERE GETTING OFF ON IT.

I DON'T KNOW WHAT YOU'RE TALKING ABOUT. YOU!

THE WAY YOU WERE TALKING ABOUT HER.

THE SHEETS, ROSEMARY! THE WAY YOU WERE LOOKING AT ME.

THE WAY YOU WERE TALKING ABOUT HER.

IF YOU'RE HER BROTHER, I SHOULD PUT A BULLET IN YOUR HEAD.

EASY, NOW. PIPER. RIGHT NOW.

JUST TAKE IT EASY.

DOES IT LOOK LIKE I'M HAVING A HARD TIME, JOHNNY?

I'M--I'M A THERAPIST-- COME HERE TO HELP YOU.

HMM. YOU'VE ANY IDEA HOW MANY THERAPISTS I'VE SEEN IN MY LIFETIME?

NO.

36. THAT'S 36 THERAPISTS. DO YOU KNOW WHAT THAT MAKES ME?

I, UH-- AND DON'T SAY "CRAZY."

I WAS GOING TO SAY "TIRED."

( laughing ) EXPERIENCED.

AND YOU ARE NOT A THERAPIST, JOHN.

( chuckling ) THAT GUN ISN'T EVEN LOADED.

YOU SAID SO, IT'S NOT LOADED. ( muttering )

TOLD YOU I EXAGGERATE.

THIS IS STUPID, PIPER.

YOU'RE NOT GOING TO SHOOT ANYONE.

PIPER, JUST PUT THE GUN DOWN.

HMM.

( yells, mumbles )

CONFESS... CONFESS TO WHAT?

YOU EAVESDROP IN CHAT ROOMS, YOU DON'T EVEN KNOW MOLLIE!

BUT, OF COURSE I KNOW HER!

THAT IS NOT GOOD ENOUGH, JOHN!

OKAY! I'M--I'M--I'M NOT HER BROTHER.

I'M NOT.

( John breathing heavily )

( mumbling )

HMM.

WHO THE FUCK ARE YOU?

SOMEONE SENT ME HERE.

WHO SENT YOU?

MOLLIE.

I, UH, IT'S COMPLICATED.

IT'S COMPLICATED.

LOOK, I--I JUST, I JUST CAME HERE TO HELP.

WELL, YOU'RE DOING A REAL BANG UP JOB HERE, JOHNNY.

I KNOW, THIS--THIS WASN'T HOW THIS WAS SUPPOSED TO GO.

THIS? THIS? WHAT IS THIS?

THIS. US. ALL OF IT.

THERE IS NO US! THERE IS ME...

AND SOME SICK LYING FUCK HANDCUFFED TO MY BED.

THAT IS NOT AN US! PIPER, I AM--

SIT DOWN! OKAY. ALL RIGHT.

I... I AM JUST-- I AM JUST TRYING--

YOU ARE NOT JUST-- YOU ARE NOT JUST.

I CAME HERE TO TALK.

( exhales deeply )

WHAT DO YOU WANT FROM ME? OKAY.

I WANT THE TRUTH.

NO, YOU DON'T.

THEN WHAT DO I WANT?

I DON'T KNOW WHAT YOU WANT, PIPER, BUT IT'S DEFINITELY NOT THE TRUTH.

HOW DO YOU KNOW MOLLIE?

UNLOCK THESE HANDCUFFS. I CAN'T.

I'LL LEAVE. I PROMISE. HOW DO YOU KNOW MOLLIE?

IT DOESN'T MATTER! IT MATTERS TO ME.

NO, IT DOESN'T. IT MAKES NO DIFFERENCE TO YOU.

YOU--YOU LET ME IN BECAUSE OF WHAT I KNOW, NOT HOW I KNOW IT.

WHAT DO YOU KNOW?! WHAT DO YOU KNOW ABOUT HER?

HUH? THIS?

THIS IS THE BEST THAT YOU COULD DO?

IT'S BULLSHIT!

( clanking )

OKAY. HMM.

I'M SORRY, PIPER. JUST UNLOCK THESE HANDCUFFS.

I'LL LEAVE, I PROMISE.

YOU PUT THEM ON. I DIDN'T MEAN TO.

HMM... COME ON, JOHN.

THIS IS WHY YOU CAME HERE.

WHAT? TO CHAIN MYSELF TO YOUR BED?

OR TO CHAIN YOURSELF TO ME!

TO THROW YOURSELF IN FRONT OF THIS...

LITTLE TRAIN WRECK. SAVE ME.

PIPER, I'VE TOLD YOU ALL THAT MATTERS.

SHE WAS WORRIED ABOUT YOU, WORRIED WHAT YOU MIGHT DO TO YOURSELF.

SO, SHE SENT YOU TO LIE FOR HER?

NO, NO. SHE SENT ME HERE TO TALK TO YOU.

FIRST RULE OF THERAPY:

DON'T UPSET A SUICIDAL SHUT-IN BY LYING YOUR WAY INTO HER APARTMENT.

YES, I'M SORRY THE WAY THINGS TURNED OUT HERE.

OH... IMPRESSIVE BIT OF ABDICATION THERE, JOHN.

THINGS DIDN'T JUST TURN OUT THIS WAY.

YOU MADE IT ALL HAPPEN.

YOU KNOCKED ON MY DOOR, REMEMBER?

YOU MADE CHOICES, AND YOU FOLLOWED THROUGH.

TAKE SOME CREDIT, JOHN.

THIS IS YOUR SHOW--

YOUR SHOW AFTER ALL--

AFTER ALL WE'VE BEEN THROUGH.

WOULDN'T IT FEEL BETTER IF...

YOU TOOK SOME RESPONSIBILITY?

( sighs )

IT WOULD BE SO FUCKED UP, IF I PULL THIS TRIGGER RIGHT NOW, WOULDN'T IT?

PIPER, STOP IT.

WHAT WOULD YOU TELL MOLLIE?

HERE COME THE LAST WORDS, JOHN. READY?

PUT IT DOWN. ( breathing heavily )

STOP IT. YOU MADE ME DO IT!

MOLLIE WAS MY WIFE.

SHE WAS NEVER MARRIED.

YES, SHE WAS. TO ME.

SHE WOULD HAVE TOLD ME.

YES, SHE WOULD HAVE.

BUT SHE WAS MARRIED... TO ME.

DIVORCED?

NO.

YOU WERE SEPARATED?

YES.

SHE WOULD HAVE TOLD ME.

WE WERE IN LOVE ONCE.

I LOVED HER.

I--I THINK SHE STILL LOVED ME.

NO, SHE LOVES ME.

DOES SHE?

YES, SHE DOES.

HOW DO YOU KNOW?

SHE TOLD ME SO.

DID SHE EVER ACTUALLY WRITE THAT?

MOLLIE LOVES ME, I KNOW SHE DOES.

MOLLIE WAS MY WIFE.

THAT'S HOW I KNOW ABOUT YOU, AND THAT'S WHY I'M HERE.

THE JEALOUS HUSBAND? NO.

YOU SPIED ON HER! YOU SPIED ON US, AND IF YOU DID, THEN YOU KNOW.

THAT SHE LOVES ME.

YOU DON'T UNDERSTAND.

DOES MOLLIE KNOW YOU'RE HERE?

DOES ANYONE?

WHY DID YOU COME?!

I DON'T KNOW.

I DON'T KNOW WHY I'M HERE, I DON'T KNOW WHY I CAME.

THAT IS NOT GOOD ENOUGH!

WHAT ELSE DO YOU WANT?

THE TRUTH.

THE TRUTH.

THE TRUTH IS I AM SITTING RIGHT WHERE I WANT TO BE.

CHAINED TO THIS FUCKING BED.

AND STILL DON'T HAVE THE ANSWERS.

I STILL DON'T KNOW WHAT OR HOW TO SAY THIS.

YOU THINK I HAVEN'T STEPPED TO THE EDGE OF THAT PLATFORM, AND THOUGHT OF WHAT IT MUST HAVE FELT LIKE?

JUMP OR FALL--

WHAT FUCKING DIFFERENCE DOES IT MAKE?

SHE'S STILL GONE.

HOW IS IT GOOD TO BE DEAD, PIPER?

ISN'T THAT WHAT KENYON WROTE?

HOW...

YOU WERE SUPPOSED TO HELP ME FIGURE THIS OUT.

BUT YOU DON'T UNDERSTAND ANY MORE THAN I DO.

JUST TELL ME MOLLIE'S OKAY.

MOLLIE'S DEAD.


I DIDN'T KNOW HOW TO SAY IT.

I WAS SCARED... AFRAID...

I THOUGHT BY--BY TELLING YOU THAT...

IT WOULD JUST MAKE THINGS HARDER.

WORSE.

I WAS AFRAID...

I'M SORRY.

WHY DID YOU COME?

YOU DIDN'T ANSWER. DIDN'T ANSWER?

HER MESSAGE. HER LAST MESSAGE--

YOU DIDN'T ANSWER.

THAT'S WHY SHE SENT YOU?

THAT'S WHY I CAME.

DID SHE TELL YOU TO COME?

( sighs )

I DON'T-- I DON'T KNOW.

YOU ARE A CURSE!

I'M SORRY. DON'T YOU SORRY.

I AM. ONE CAN ONLY TAKE SO MUCH PITY.

IF--IF WE CAN JUST GET THESE OFF.

ISN'T THERE ANYONE WE CAN CALL, PIPER?

THE SOONER WE CAN GET THESE OFF, THE SOONER I CAN LEAVE YOU IN PEACE.

THERE'S NO PEACE.

THERE'LL NEVER BE ANY PEACE.

LEAVE YOU ALONE, THEN.

I'M ALONE NOW.

WHEN WERE YOU GOING TO TELL ME?

ABOUT MOLLIE? WERE YOU EVER GOING TO?

THERE WAS NO PLAN.

I DIDN'T KNOW WHAT I WAS GOING TO SAY.

YOU NEEDED HER.

SHE COULDN'T COME, SO I CAME.

SO, YOU JUST HOPPED IN A CAR, AND DROVE OVER HERE.

YES.

YOU FIND OUT YOUR EX-WIFE IS DEAD, AND THE FIRST THING YOU DO IS COME SEE ME.

IT SEEMED IMPORTANT.

AND THEN, YOU DON'T EVEN TELL ME WHAT HAPPENED.

THAT'S NOT WHY I CAME.

SHOULD HAVE BEEN THE FIRST THING OUT OF YOUR MOUTH.

IT... IT WOULD HAVE JUST MADE THINGS HARDER.

WHEN DID SHE-- WHEN DID THIS HAPPEN?

WHEN DID IT...

( muttering ) WHEN DID IT HAPPEN.

HOLD ON, PIPER. HOLD ON.

SHE SENT THIS FIVE DAYS AGO.

FIVE DAYS AGO.

AND WHAT? WHAT...

WHAT SHE JUST... DIES.

( muttering )

SHE'S JUST GONE. DON'T TELL ME SHE'S JUST GONE!

PIPER, WE'VE GOT TO CALL SOMEONE.

WE'VE GOT TO GET THESE OFF, I CAN'T STAY HERE.

DON'T YOU SEE THIS HURTS!

GOOD!

WHEN DID IT HAPPEN?

WHERE ARE THE KEYS?

FUCK!

THE POLICE.

NOBODY'S CALLING THE POLICE.

THE POLICE SAID THAT SHE FELL...

THAT SHE FELL FROM THE PLATFORM.

DID SHE?

WHAT? FALL?

I DON'T KNOW. DID SHE?

YOU THINK SHE JUMPED?

IT DOESN'T FUCKING MATTER, IF SHE JUMPED OR IF SHE FELL, OR FUCKING FLEW AWAY UP INTO THE SKY.

MOLLIE?

MOLLIE JUMPED?

I DESERVE AN ANSWER.

I DESERVE AN EXPLANATION.

I DESERVE FUCKING ACCOUNTABILITY.

YOU DON'T JUST DO THAT!

YOU DON'T JUST FUCKING...

LEAVE. JUMP. LIKE THAT.

SHE WOULDN'T. SHE--SHE--SHE-SHE WOULDN'T WITHOUT TELLING ME.

WITHOUT TELLING ME... SOMETHING.

I DESERVE SOME CLARITY.

ALL THIS TIME I DIDN'T KNOW.

I DESERVE MORE THAN SOME BULLSHIT POETRY.

I DESERVE AN ANSWER.

THERE ARE NO ANSWERS.

WHY? WHY DID SHE DO IT?

THERE ARE ONLY QUESTIONS.

IS IT-- IS IT THAT BOOK? CONSTANCE?

IS IT--IS IT IN THERE?

HMM. SEE?

WHAT IS IT ABOUT THOSE WORDS?

POEMS? WHAT? WHAT IS IT ABOUT THAT?

THIS IT'S THE WORDS THAT KILL US?

I--I DON'T KNOW WHAT TO THINK.

I DON'T KNOW.

MAYBE IT'S THE WORDS THAT'D SAVED HER.

WHAT? HOW--HOW WOULD THAT SAVE...

HOW--HOW WOULD THE WORDS SAVE HER?

HOW WOULD THE WORDS SAVE HER?

HOW--HOW WOULD THE WORDS SAVE HER?

SAVED ME.

FROM WHAT?

FROM WHATEVER WAS CHASING HER.

WHATEVER WOULDN'T...

LET HER REST.

THE WHORES AT SODOM.

BUT THEY DIDN'T SAVE HER, PIPER.

SHE'S DEAD. SHE'S SAFE.

SHE'S DEAD!

IS THERE A DIFFERENCE?

WHAT?

THE DIFFERENCE...

THE SAME DIFFERENCE THAT KEEPS YOU FROM DOING IT YOURSELF, ISN'T IT?

ISN'T THAT WHY I'M HERE?

ISN'T THAT WHY I'M HERE? TO MAKE SURE...

TO MAKE SURE SOMEONE WOULD NOTICE.

I MEAN, WHAT WOULD BE THE POINT, IF NO ONE WOULD CARE?

THERE'S NO POINT.

NO. THAT'S THE DIFFERENCE BETWEEN YOU AND HER.

MOLLIE DIDN'T HAVE TO WONDER IF SOMEONE WOULD CARE.

SHE KNEW THAT I LOVED HER, SHE KNEW THAT I...

THAT IT WOULD DESTROY ME, AND SHE...

SHE JUST DID IT ANYWAY.

IT HAD NOTHING TO DO WITH YOU.

IT HAS EVERYTHING TO DO WITH ME.

IT HAD EVERYTHING TO DO WITH HER!

HER.

HER... WHAT--WHAT DIFFERENCE DOES IT MAKE TO HER?

SHE DOESN'T GET TO FEEL ANYTHING.

I'M THE ONE--- I'M THE ONE LEFT TO FEEL AND HURT, AND THINK ABOUT AND SECOND GUESS EVERY SINGLE THING I EVER SAID TO HER, OR DID TO HER.

AS IF YOU WERE THE CENTER OF THE UNIVERSE, SUCH ARROGANCE.

( mocking ) "TO FEEL AND TO HURT, AND TO SECOND GUESS EVERY THING THAT I EVER DID."

YOU THINK YOU'RE THE ONLY THAT LOVED HER?

THE ONLY ONE THAT SHE LOVED?

HMM?!

PIPER, THIS IS NOT ABOUT YOU.

( crying )

YOU DIDN'T COME HERE FOR ME. OR MOLLIE.

YOU CAME HERE FOR YOU!

NO. I CAME HERE, BECAUSE MOLLIE TOLD ME ABOUT THE GUN.

AND SHE TOLD ME ABOUT YOUR FATHER, AND SHE TOLD ME ABOUT WHAT YOU WERE PLANNING TO DO TO YOURSELF--

WHAT DIFFERENCE DOES IT MAKE TO YOU?!

I WANTED TO... HELP.

I WANTED TO... REACH OUT.

YOU WANTED TO KNOW WHY SOMEONE LIKE ME WOULD DO SOMETHING LIKE THAT.

FEAR... OF DEATH...

AWAKENS ME.

SO, WHAT? THE CRY FOR HELP...

ALL THAT STUFF ABOUT YOUR FATHER?

WHAT SOME--SOME KIND OF FIX?

A JOLT? AN EMPTY THREAT?

EMPTY THREAT?

NO. I'VE HAD A GUN TO MY HEAD SINCE I WAS 10-YEARS-OLD.

I HAVE...

A GUN TO MY HEAD...

SINCE THE LAST TIME I GOT MORE THAN FOUR HOURS OF SLEEP.

SINCE THE LAST TIME...

I COULD MAINTAIN A DECENT RELATIONSHIP.

SINCE THE LAST TIME THE POUNDING...

IN MY HEAD THAT NEVER EVER GOES AWAY...

STARTED PUSHING EVERY OTHER THOUGHT OUT.

YOU THINK THAT'S DADDY'S FAULT?

THEN WHY?

IT'S NOT A RHETORICAL QUESTION.

DO YOU THINK THAT'S DADDY'S FAULT?

YOU THINK IT'S THAT SIMPLE?

DO YOU?

SOMETIMES, YES.

SOMETIMES I THINK IT'S THAT SIMPLE, BUT...

I NEVER WANTED TO BELIEVE I COULD BE THAT SIMPLE.

TELL ME... TELL ME EVERYTHING.

I HAVE.

NO... TELL ME WHAT HAPPENED.

( clangs handcuffs )

GET THESE OFF.

I CAN'T.

HOW DID SHE DO IT?

HOW DID SHE DO IT?

WHAT GOOD WOULD THAT DO?

IS THAT MEASURE?

THE GOOD IT WILL DO?

I WANT TO KNOW HER.

I WANT TO KNOW HER.

THAT'S ALL.

I CAME HOME ONE AFTERNOON, THE APARTMENT WAS SPOTLESS, THE KENYON BOOK WAS ON THE TABLE, AND THERE WAS A LETTER FROM MOLLIE INSIDE.

WHAT WAS IN THE LETTER?

WHAT DIFFERENCE DOES IT MAKE?

NOW, PIPER, GET THESE FUCKING HANDCUFFS OFF ME.

GOD!

FOCUS, JOHN.

FOCUS.

I NEED YOU TO FOCUS.

I CAN'T WITH THESE ON ME.

THEY'RE NOT COMING OFF.

YOU HAVE TO STOP STRUGGLING.

IT ONLY MAKES IT WORSE, ANYWAY.

WHAT WAS IN THE LETTER?

WHAT WAS IN THE LETTER?

IT DIDN'T MAKE ANY SENSE AT FIRST.

JUST HOW MUCH SHE LOVED ME.

THAT IT WASN'T MY FAULT.

IT WASN'T MY FAULT.

NOTHING HAPPENED.

THERE WAS NO... REASON.

NO ONE'S FAULT.

IT DIDN'T MAKE ANY SENSE.

THEN, SOMEONE AT THE DOOR.

TWO COPS.

TELLING ME MOLLIE HAD FALLEN FROM THE TRAM PLATFORM.

NOT JUMPED.

BUT THEN IT MADE SENSE.

THE LETTER.

BUT IT DIDN'T MAKE SENSE.

YOU KNOW, HOW COULD THERE BE NO REASON?

HOW COULD SHE JUST... THE LETTER...

YES, EVEN WITH THE LETTER I DIDN'T UNDERSTAND.

WHERE WAS THE LETTER?

WHERE? THE BOOK.

THAT-- THIS BOOK?

THE SAME BOOK?

THIS BOOK?

I'M SORRY.

THAT CAN'T BE.

SHE SENT THIS TO ME WEEKS AGO.

I CAN MAKE SENSE OF THIS.

THERE'S A WAY FOR US TO MAKE SENSE OF THIS.

WHEN DID SHE DIE?

WHEN DID SHE DIE?!

JANUARY 2nd.

SIX MONTHS AGO.

I MET HER THREE MONTHS AGO.

IT WAS ME.

IT WAS ME...

FROM THE BEGINNING.

LIAR!

I WISH I WERE LYING, PIPER!

I WISH-- I WISH YOU KNEW HER AND THAT YOU LOVED HER. ANYTHING THAT WAS JUST--

THAT SHE WAS ALIVE AGAIN.

ANYTHING.

* WHAT ARE YOU TRYING TO PROVE *

* SHOWING ME YOUR BLOOD *

* SHOWING ME YOUR BRUISE *

* YOU SAY THAT NOTHING HURTS LIKE THE TRUTH *

* SO THAT'S WHAT I'LL USE *

* FOR THE RECORD *

* I NEVER LOVED YOU LIKE FOOLS DO *

* YOU WANTED BIG LOVE *

* I TRIED *

* I JUST COULDN'T WORK IT OUT *

* INSIDE *

* WHEN I SAID I COULDN'T GET ENOUGH *

* I LIED *

* I THINK YOU SAW IT *

* IN MY EYES *

* HOW I DON'T CARE IF YOU BLEED *

* I DON'T CARE IF YOU'RE BLUE *

* 'CAUSE THAT'S WHAT MY LOVE *

* WILL DO *

* TO YOU *


PIPER.

I DON'T EXPECT YOU TO UNDERSTAND.

OR FORGIVE ANY OF THIS.

I WAS ALONE.

NOTHING SEEMED REAL AFTER SHE WAS GONE.

I HADN'T LEFT THE APARTMENT IN WEEKS.

I JUST WANTED SOMEONE TO TALK TO.

SO... I WENT ONLINE, AS MYSELF AT FIRST.

BUT NO ONE WOULD LISTEN.

EVERYONE THOUGHT THAT I WAS SOME SORT OF A...

NUTCASE PERVERT.

AND--AND THEN I JUST WANTED TO KNOW WHAT IT WOULD BE LIKE.

TO BE HER JUST FOR A LITTLE WHILE.

I USED PICTURES I FOUND AROUND THE HOUSE, I--I PUT IN HER DETAILS, THINGS ABOUT HER NO ONE WOULD KNOW.

AND AT FIRST IT WAS--IT WAS DISGUSTING, SICK, THOSE MEN WOULD TAUNT HER, SEND HER PICTURES--

IT WAS...

BUT THEN YOU--YOU FOUND HER.

YOU CARED FOR HER, YOU REACHED OUT.

AND--AND SOMEHOW-- SOMEHOW SHE WAS ALIVE AGAIN.

DOES THAT MAKE SENSE?

( sighs )

YOU DID KNOW HER.

WHEN I WAS ON, IT WAS HER.

IT WAS EVERYTHING SHE WOULD HAVE SAID, EVERYTHING SHE WOULD HAVE FELT. LIKE THIS BOOK.

THIS IS THE BOOK I FOUND THAT DAY IN THE TABLE.

I SENT IT TO YOU, BECAUSE SHE WOULD HAVE SENT IT.

WHY WOULD SHE HAVE SENT IT TO ME?

YOU SAID YOU ADMIRED KENYON.

YOU SHARE THAT WITH HER.

YOU SHARED SO MUCH MORE. YOU-- THE SAME...

FEELINGS. EVEN THE SAME TURNS OF PHRASE.

I DIDN'T SEE IT COMING WITH MOLLIE, I WANTED TO SEE IT COMING.

AND I SIMPLY COULDN'T HAVE IT HAPPEN AGAIN.

"THERE IS NOTHING I CAN DO AGAINST YOUR COMING."

"WHEN I AWAKE I AM STILL WITH THEE."

I TOLD YOU I READ IT.

YOU, THE POETRY, THE WORDS.

THE WAY SHE KISSED, THE SMALL OF HER BACK, AND...

I... LET YOU. I...

I WAS KNOWN.

MOLLIE'S RIGHT. THERE ARE NO REASONS, NO ANSWERS.

WHAT ARE YOU ASKING ANYWAY?

WHAT IS YOUR QUESTION?

WHY MOLLIE KILLED HERSELF?

WHY I WANT TO KILL MYSELF?

I DON'T KNOW.

( sighs )

WHAT ABOUT THE TELEPHONE NUMBER, THE VOICE?

THAT'S--THAT'S MOLLIE.

I, UH, I NEVER CHANGED THE OUTGOING MESSAGE.

IT WAS THE ONLY WAY I COULD STILL HEAR HER VOICE.

MY, GOD, PIPER.

I'VE NEVER SAID ANY OF THIS OUT LOUD.

AM I CRAZY?

THAT'S A GOOD QUESTION.

YOU SAID YOU DIDN'T HAVE THE KEYS.

I LIED.

( keys hit floor)

( exhales deeply )

( "Ask Anyone" by Alex Paul playing )

* WHERE IS MY BABY NOW? *

* CLOSED MY EYES *

* AND SHE SLIPPED OUT *

* SHE LEFT NO SIGHT *

* NO SOUND *

* BROUGHT NO GUILT *

* TO BRING HER DOWN *

* BUT ASK ANYONE *

* SHE THREW HERSELF TO THE SUN *

* DID SHE GO TO THE HILLS *

* AND FIND HER REST *

* ABOVE MY WILL? *

* NO MORE MEMORIES TO KILL *

* LET AVALANCHES BE HER FILL *

* AND ASK ANYONE *

* SHE THREW HERSELF INTO THE SUN *

* OH, ASK ANYONE *

* SHE THREW HERSELF INTO THE SUN *

* SHE WALKS A PATH *

* THAT NONE CAN FOLLOW *

* SHE WALKS A PATH *

* THAT NONE CAN FOLLOW *