Big Driver 2014

Tess Thorne, Maria Bello, a successful crime-mystery writer, is invited to a library in upstate Massachusetts for a meet-and-greet with fans. Because she fears flying, she prefers long drives to travel to engagements, a habit that colors her careful, self-contained approach to life. After the event, Ramona, Ann Dowd, the organizer, suggests a quicker route home, hoping to spare Tess a tougher journey than she’s used to. The proposed shortcut, however, leads Tess into a remote rural stretch where danger waits on a road littered with nails laid across planks. The tire puncture happens near an abandoned gas station, and without any cell signal, Tess clings to the hope that someone will stop to help.

A man in a pickup rolls up and initially offers aid, but his welcome quickly curdles into aggression. He turns violent, beating and raping Tess, then drags her into a culvert and leaves her unconscious. When she comes to, the attacker is gone, and she discovers three other female bodies in the same culvert—victims she believes share the same fate. The fear and isolation feel crushing, and Tess worries about how such an assault will be treated in the public eye. She worries about being blamed, about the media turning her into a cautionary tale even as she campaigns to survive.

Back home, Tess faces the grim reality of reporting the crime and the social stigma that accompanies sexual violence. She contemplates telling no one, a choice born of trauma and a sense that disclosure could retraumatize her. In the midst of this, she receives a call from Betsy Neal, Joan Jett, a waitress at the Stagger Inn, who tells her that Tess’s car has been parked at the inn. The two women—both survivors of violence—here forge a tenuous, uneasy bond that helps Tess feel less isolated in her quest for some measure of justice.

As Tess’s path toward revenge unfolds, the truth about her attackers begins to surface. She learns that Ramona is connected to the assault far more deeply than she first suspected: Ramona is the mother and accomplice who set the trap, inviting Tess to the library only to steer her toward danger. In a tense confrontation at Ramona’s home, Ramona denies complicity, but during a struggle she wrests the gun from Tess and fires—though the chamber is empty. Tess then defends herself with a kitchen knife, killing Ramona, and later she spots an earring she lost during the rape, a tangible thread in the tapestry of clues.

Guided by a sense of purpose more than justice alone, Tess digs deeper and uncovers a trail that points to Lester Norville, known by the nickname Big Driver. At a nearby gas station she spots his rig and notes the address on the truck, setting the stage for a dangerous pursuit. On the road, Tess spots the green pickup of the attackers and confronts the driver, firing at him as he steps from the vehicle. To her shock, the person she shoots is not Big Driver but his brother, Little Driver, played by Andre Myette. Realizing the danger of mistaken violence, Tess grapples with the consequences of taking a life, yet the motivation to end the threat propels her forward, spurred by the words of Doreen, Olympia Dukakis, a figure from Tess’s books who participates in a kind of imaginary support network the author leans on in her darkest moments.

Emboldened, Tess drives toward the home of Big Driver. Inside, she discovers a disturbing trove of photographs: victims, the brothers together with each body, and even images of Tess being assaulted. The atmosphere of looming violence intensifies as she realizes the scale of the harm. When she finds Big Driver himself at a workbench, she chooses to confront him directly. The confrontation ends in a brutal struggle, and Tess fires her gun twice, then is pursued as he desperately tries to escape. She disables him with a nailed plank and, as he staggers, she reloads and shoots him in the groin, ensuring he cannot flee. Doreen appears again, urging Tess to leave quickly and not look back.

An anonymous tip soon directs police to the culvert victims and to the incriminating photos at the brothers’ home. Back at home, Tess receives a final, ominous call from Betsy: “I know what you’ve done. Way to go, girl!” The words echo through Tess’s mind as she comes to terms with the violence she has endured and the choices she has made in response. The story leaves Tess standing at a crossroads between healing and the hard-won, if costly, victory over the men who preyed on her, a testament to resilience amid a world where silence can be as dangerous as the violence itself.