Épisode Vies privées S01E12 - Six Feet Under Saison 1

Prelude

Scene: ATM Machine, nighttime

Two young gay men, MARC and PETE are standing near an ATM machine. PETE is getting money out of the machine, as MARC stands behind him, holding him sensually.

Marc: I just remembered. I owe you money.

Pete: Well, thank you for sparing me the awkward confrontation.

They both laugh.

Marc: (flirtateously) Oh, are you starting to feel exploited?

Pete: Yeah, but in a good way. (laughs; finishes with the ATM Machine as MARC walks up to it to get money) Go ahead.

PETE kisses the back of MARC's neck as he takes out money.

Marc: Are you looking at my balance?

Pete: Eh, it's OK. Size isn't everything.

Marc: Funny.

A car approaches, very slowly, blasting loud music. As the car comes close, PETE starts to feel uncomfortable and backs away from MARC.

Pete: Hey, so, does bad music make people deaf or do deaf people just have really bad taste in music?

Marc: Well, there is Beethoven.

The car stops and two brutish, threatening young men step out of it.

Pete: (very scared now) Hey, come on, let's go.

Brute #1: What the fuck is that shit?

Pete: Hey, hurry, let's go.

Marc: I have to get my receipt.

Pete: Come on, that's alright, just leave.

PETE finally convinces MARC to get the hell out of there, when the two brutes walk right up to them.

Marcus: (to the brutes, referring to the money) Look, it's all yours.

Brute #2: Uh uh, do you think you can do that kind of offensive shit like that in public?!

Pete: Look, man, we're sorry.

MARC's voice overlaps, ad-libbing sentiments similar to PETE's.

Brute #2: Don't be sorry.

Brute #1: Yeah.

Marc: (terrified) Come on, Pete, let's go.

BRUTE #1 violently shoves MARC.

Pete: Hey, fuck you, man.

BRUTE #1 pulls out a heavy, lead pipe and wields it menacingly.

Marc: (screams) Run! Run!

BRUTE #2 tries to attack PETE from behind, but PETE elbows him in the stomach, gets away and runs. Meanwhile, MARC runs in the other direction, chased by BRUTE #1. While running, MARC gets out his cell phone and desperately tries to dial, dropping it by accident. He stops for a moment to get it, but BRUTE #1 gets there first and hits him hard in the stomach with the pipe, knocking MARC to the ground. He kicks him viciously as BRUTE #2 comes up to them.

Brute #2: The other one got away.

They both beat MARC mercilessly all over his body and end by kicking him in the face.

Brute #2: Fuckin' pervert! Read a fuckin' bible, you pervert!

Brute #1: Johnny, come on, come on, let's go.

They both run away. MARC is left there on the ground, unconscious, broken and bleeding. The screen fades to white.

"MARCUS FOSTER, JR.
MARCH 5, 1978 - JUNE 5, 2001"

Act One

Scene One: Slumber Room, late morning

FEDERICO and NATE stand in the center of the slumber room. FEDERICO is holding AUGUSTO. RUTH and VANESSA sit nearby, laughing and smiling.

Federico: (handing AUGUSTO over to NATE) OK, here we go to Uncle Nate! (to NATE) You got him?

Nate: (taking him) Like this?

Federico: (shows him how to hold the baby's head) Put your hand under there. Yup, there ya go!

Nate: I got him, I got him.

Federico: Yes! OK... But don't hold him like he's a football. It's more like you're carrying a watermelon. (demonstrates) See?

Nate: OK.

DAVID walks past the slumber room, carrying a pressed suit on a hanger.

Federico: There ya go.

Nate: Hey, there, little guy! Who looks just like his dad?! Huh.

Ruth: They say when a baby's born, it always looks more like his father, which is nature's way of establishing paternity.

Federico: We're hopin' he grows out of it.

Ruth: (gets up, takes the baby) Oh, don't worry. I'm sure he will. (to baby) Yes! Yes!

Vanessa: David! Come meet Augusto!

David: I just have to get Mr. Perlmutter dressed for his viewing.

Vanessa: David, please, come take one look at him!

DAVID comes in, walks over to RUTH and looks at the baby.

Ruth: Nate was an extremely gassy baby. Always crying. David, on the other hand, hardly ever made a peep.

Federico: Hey, when are you guys gonna grow up around here and make this woman a grandmommy?!

David: Well, certainly not until after Mr. Perlmutter's got some clothes on.

Scene Two: Outside the High School

CLAIRE pulls into a parking space outside the high school. She gets out of the driver's side, and GABE gets out of the passenger side.

Gabe: You know what? It's kind of funny me coming back to school in a hearse.

Claire: It's hilarious.

Gabe: This sucks. Does everybody know?

Claire: I don't know. Who'd you tell?

Gabe: No. I mean, like, did they make an announcement or something?

Claire: Don't you think you would have gotten like a couple of cards or something if they had?

Gabe: No. It's not cool to OD. Freaks people out.

Claire: Who gives a fuck what these people think? Everyone is too obsessed with what everyone else thinks about them to think about anyone else!

Gabe: You're a freak.

Claire: Yeah, well, so are you.

CLAIRE walks ahead of him.

Gabe: (following) Is that supposed to make me feel better?

Two girls in the distance stop and look at GABE. One of them points him out to her friend.

Girl: That's the guy that ODed.

Girl #2: Yeah.

Other kids stop and stare.

Claire: (to other kids) What the fuck are you looking at?!

Scene Three: Brenda's Living Room

BRENDA drops the photos of her and NATE sleeping together on the table beside BILLY.

Billy: Yeah, so what? Call me over here to show me a picture of you and the gravedigger?

Brenda: I need your key back 'cause you've crossed a line, and I don't feel like I can trust you anymore.

Billy: You think I took that picture?

Brenda: I will not play this game with you! I'm not gonna deal with you when you're off your meds, Billy, because I don't even know who you are.

Billy: You know, for someone with so much animosity towards the psychiatric profession, you sure do love to push those pharmaceuticals. Makes sense, as you're obviously no stranger to medication yourself.

He picks up a nearby bag of pot.

Brenda: You're sick, Billy. You're sick and you have to stay on your fucking medication or you get scary, OK?

Billy: You're not scared of me! I would never hurt you! You're the most important person in my life!

Brenda: Yeah, well, did you ever stop to think that maybe that's fucked up?

Billy: I'm sorry.

Brenda: Don't be sorry. Just-- just take the meds.

Billy: OK. I promise.

Brenda: Now, give me the key.

Billy: (cries and screams, throws a tantrum) Please, I just told you I'd take the medication, Brenda! I just told you I'd take the medication! Jesus Christ, you don't have to be such a bitch! When did you turn into Mom?! (angrily tears her key off his key-chain) OK. You know what?, I don't give a shit. You want your fuckin' key? Great. Here. (all his other keys fly off the chain) Take all the fuckin' keys! I could always have another copy at home.

Brenda: Yeah, I could always change the locks.

Billy: Do you know how easy it would be to break into this place?

Brenda: I'd like you to go now. (hands him a box of his laundry) Your wet suit, clothing, robe. Just take them.

Billy: I just told you I'd take the medication, Brenda. (he throws the box across the room and cries bitterly) I told you I'd take the medication! (sounds like a crying baby) Pleeeeezzzz!!!

BRENDA opens her front door.

Brenda: You have to take care of yourself now, I can't do it. Not anymore.

Billy: Please, Brenda! You're the only person I can talk to! You're the only one that hears me, Brenda!

Brenda: Billy, you have to get a life of your own! OK? Please.

BILLY picks up his things off the floor and leaves. She closes the door behind him.

Scene Four: Room Behind the Curtain

DAVID and NATE have an intake meeting with MR. and MRS. FOSTER.

Mr. Foster: You probably read about it. It was all over the news-- what happened to Marc.

Nate: Yes.

Mr. Foster: The coroner still has his--his-- they still have him.

David: In situations like this where there's been-- violence, the family may prefer a closed casket.

Mrs. Foster: No.

Mr. Foster: Honey, I think he looks pretty bad.

Mrs. Foster: I have to see him. I brought some pictures so you'll know what he looks like. (cries as she hands the photos over to NATE) Wasn't he such a beautiful boy? Why does a thing like this happen?

Mr. Foster: Come on, now, we all know why this happened.

Mrs. Foster: That is not a reason!

Mr. Foster: It is the only reason. If he wasn't-- he'd be alive today.

Mrs. Foster: You know what? I was always so worried about AIDS. I never even thought that just being out on the street-- What is wrong with people?

Mr. Foster: Could have told him this kind of thing happens. I would've too, if he'd ever just talked to us about it. Ever come out and told us what he was.

Mrs. Foster: Well, what do you expect, Marcus? You can't even say it!

Scene Five: Basement

DAVID stands by the closed body bag. FEDERICO stands nearby, changing the baby's diaper and singing to him in Spanish.

Federico: Hey, Dave, I'll be right with you.

FEDERICO lifts AUGUSTO and speaks in Spanish. Meanwhile, DAVID opens the body bag and grimaces. MARC's body and face are horrifically beaten.

David: Jesus!

Federico: Oooh, boy! OK, Cinderella, we're gonna have to work overtime to get you ready for the ball. (baby voice) Because, men don't make passes at girls with big gashes! It was funny, right? Daddy's Mr. Funny Man! (to DAVID) Let me just run Augusto upstairs, and I'll be right back down to do him.

David: I can handle this, Federico. Why don't you take the rest of the day off?

Federico: It's a pretty tough job, Dave. The skull's all shattered up there, and you might have to completely rebuild the tissue on his cheek.

David: I can do it.

Federico: Hey, thanks, man. I'm so damn tired I can barely see straight!

David: Get some rest.

Federico: (leaving) You bet! Good luck! (to the baby) Let's go, buddy! Let's go, baby!

DAVID looks at one of the photos. It is of MARCUS, Sr. and Jr. standing together and smiling.

Scene Six: Restaurant, nighttime

NATE and BRENDA sit together at a table for two. Their dinner has not yet been served.

Brenda: ...and I told him not to come around for a while.

Nate: That's it?

Brenda: What else can I do, Nate?

Nate: You can talk to the police, you can get a restraining order.

Brenda: I don't need you to tell me how to handle this. That is so arrogant and patronizing. I just need you to listen to me.

Nate: Brenda, you can't just sit around waiting for the next fucked up thing Billy does. You need to do something now.

Brenda: Do you think that was easy for me? Just cutting him off like that? Do you even comprehend what it's like to be responsible for someone your whole life? Do you even get the concept of loving somebody that much?

Nate: Yes, I get that concept.

Brenda: He's sick.

Nate: He's not just sick. He's dangerous. He built a bomb. He broke into our hotel room and took pictures of us in bed. What's he gonna do next time?

Brenda: I took his key away from him.

Nate: Yeah? Well, he didn't have a key in Vegas. That didn't keep him out. I'm sorry. I know you don't trust your parents, but I really think they're right on this: he needs to be somewhere.

Brenda: This is so not how I need you to be right now. (starts getting her things together)

Nate: What are you doing?

Brenda: I don't want to discuss this with you anymore. In fact, you know what, why don't we just take some time off?

Nate: What is this? Oh, you dump Billy, so now you gotta dump me?

Brenda: Don't you fucking analyze me! (stands up) You might as well throw away your key, because I changed the lock. (storms off)

Scene Seven: Fisher Kitchen

RUTH lays out dinner on the kitchen table for her and DAVID and they start eating. Throughout the following scene, she is trying to get DAVID to talk to her about his homosexuality, but is trying not to be overtly obvious about it.

David: Where's Claire?

Ruth: Well, she claims to be at a movie. But what do I know?, nobody ever tells me what's really going on. That boy who got beat up on the street, was he doing something?

David: He was getting cash. Didn't you read the paper?

Ruth: Yes. I just thought you might know more about it.

DAVID shakes his head and continues to eat.

Ruth: Do you like the hen?

David: Very much. What did you stuff it with?

Ruth: Chestnuts, bread crumbs, celery. (starts trying to question him from another angle) Do you want to know all the ingredients?

David: (weirded out) No. Thanks.

Ruth: Are you going out tonight?

David: Not tonight. Are you?

Ruth: Me? No. But, you know, sometimes I do see Hiram on occasion. And I know you don't like that. But I also know you love me no matter who I see in my private life.

David: Well, that's good, Mom.

Scene Eight: Gary's Office, next afternoon

Gary: (reading CLAIRE's school files) So, why did you drop Jazz Vocal sophomore year?

Claire: Because the music teacher was a crackhead.

Gary: I'm serious, Claire.

Claire: So am I: he got busted and fired and then Jazz Vocals was discontinued. Do your homework.

Gary: What happened with the literary magazine?

Claire: Censorship. I wrote this totally, like, harmless, like cartoon story about this girl who can make peoples' heads explode and, apparently, it was too disturbing to publish.

Gary: The debate team?

Claire: They debated what the prom theme should be! I mean, God, the people in this school-- they have the mentality of teenagers.

Gary: You are a teenager.

Claire: Yes, but I actually think about things besides trying to figure out how to puke after lunch without anyone noticing.

Gary: So, what do you do for fun?

Claire: I don't know. What do you do for fun?

Gary: I go bowling with my friends, I take hikes with my girlfriend, I bake...

Claire: (laughs) You bake?

Gary: Uh huh. Your turn.

Claire: I read. I go on-line and make up freaky cyber-identities, ya know? Sometimes I'm a Scientologist. Sometimes I'm a young Christian wife.

Gary: What about friendships that are based on the truth? Any of those?

Claire: Uh--sometimes I hang out with Parker McKenna. I kinda like her, even though she's pretty much a split-personality freak.

Gary: Dating anyone?

Claire: Dating? You mean like getting drunk and screwing?

Gary: If that's what it is.

Claire: Yeah, that's what it is. No, I'm not.

Scene Nine: Outside the Police Station

KEITH stands around and is soon approached by another COP, a superior officer.

Cop: Keith, got a minute?

Keith: Yeah, sure. What's up?

Cop: I want to put you on security for the Marc Foster funeral on Thursday.

Keith: OK, why?

Cop: Because all the whackos turn out for these things.

Keith: Why me?

Cop: Come on, Keith, 'cause you're a good, smart cop, and you use your head before you use your gun, alright?

Keith: So it has nothing to do with the fact that I'm gay, right?

Cop: Hey, what do you wanna do, man? Sue me for discrimination or show up and protect this kid's family?

Scene Ten: BasementWhile DAVID works on MARC, MARC's ghost appears behind DAVID. His face is battered and bruised, but he is smiling and jovial.

Marc: Oh, God, I look like something Chef Boyardee makes!

David: So, you never told your parents you were gay either?

Marc: Oh, please, they knew. I just didn't want my dad making me feel guilty about it all the time.

David: Maybe he could've accepted it, if you'd given him a chance.

Marc: You heard him. He thinks it's my fault I'm dead.

David: That's not what he was saying. He was saying it's a sick world.

Marc: I'm the one who was sick.

David: Shut up!

Marc: (sits down, laughs) So I liked men! I never should've given into it. It's not what God intented. I could've had a family. I could've had a normal life. You could've too.

David: That life would've been a lie, and completely unfair to your wife and children who would've hated you.

Marc: Not if I never looked back. Not if I had faith. God challenges us like this so we'll choose good, so we'll triumph over evil. Only thing is so few of us do.

Daivd: It's not a choice. God already made the choice for you.

Marc: That's just liberal propaganda to justify your own depravity-- (condescendingly) Jim. No matter how nice you fix me up, I'm still going to Hell and you know it-- cause you're going there too.

DAVID gets up and walks over to the sink.

Scene Eleven: Fisher Kitchen

NATE sits at the table, drinking a beer. "The Funeral Director's Candidate Information Handbook" is beside him on the table. We see him on the phone, leaving a message on BRENDA's answering machine.

Nate: (into phone) Brenda, pick up the phone. Don't just lay there and say "Fuck you." OK, look, I'm sorry I pissed you off. I know you're under a lot of pressure, but so am I. So let's talk about it, OK? Call me.

He hangs up and, a moment later, the phone rings. He picks it up, thinking it will be BRENDA.

Nate: Hey-- (realizes it isn't BRENDA) --uh, yes, this is Fisher & Sons. Can I help you? Terribly sorry. Yes, we can pick up the body--uh, the deceased. Which morgue? Residence. OK. What's the address?

Scene Twelve: Nikolai's Flower Shop

RUTH works on flower arrangements as ROBBIE moves flowers around in the background. As he passes RUTH, one of the longer stems of an arrangement he is carrying brushes against RUTH.

Ruth: Robbie?

Robbie: Oh, I'm sorry. Did my tree hit you?

Ruth: Do you have a moment?

Robbie: Well, I don't know, Ruth. I've got a whole big bunch of ferns out back I gotta cut up so you can make some more of those beautiful, one-of-a-kind arrangements.

Ruth: How did you tell your parents you were--?

Robbie: Into flowers? Well, it was obvious from the beginning. My first word was "perennial."

Ruth: How did you tell them you were gay?

Robbie: What makes you think I am gay? Just because I have a refined aesthetic you think you can make assumptions about my personal life?

Ruth: I'm so sorry. You're not gay?

Robbie: Yes, I'm gay. But I certainly don't see how that's any of your business. Do I ask you about your intimate sexual life? Even though it is on full display in the workplace? No, I do not. I tolerate the repercussions, but I don't pry.

Ruth: I'm sorry. I'm asking because my son, I think--

Robbie: Oh, dear Lord! Save it for Geraldo! Someone in the family shows signs of homosexuality and suddenly it's a national crisis! Coming out to my parents? Honestly! Why don't you tell me the most horrible moment from your intimate past?

Ruth: It was horrible?

Robbie: It's none of your business.

Ruth: I'm sorry I offended you, Robbie.

Robbie: (points to her arrangement) That's a shitty place for the lily.

Scene Thirteen: Building, interior

NATE enters a large, empty building, pushing a gurney.

Nate: Mr. Coby?

He looks around and finds nobody, so he walks over to the service elevator, pushes the gurney in and closes the door. He pushes the button to go up and the elevator starts to ascend. As it rises, NATE looks at the wall and sees a blown-up photo of Claire. Underneath it is a card that reads "Claire, 2001." As it rises to the top floor, NATE sees the photo of CLAIRE and BILLY making out. The caption reads, "Your Sister and Me, 2001." NATE exits the elevator and walks on down the hall, becoming quite frightened. He sees a picture of BRENDA and him having sex, taken from outside BRENDA's bedroom window. The caption reads, "My Sister and You, 2001." Slow, classical, operatic music starts to play in the background. NATE comes to a sign that reads, "Installation Continues in the Next Room." NATE enters the room. It is a very large apartment full of art canvases and photographs. The floor is lined with lit candles, in the form of a pathway that lead up to a bed. Over the bed, a large picture of BILLY hangs. On the bed, a body lies under a white sheet, stained with blood. NATE approaches, horrified.

Nate: Aw, fuck! Jesus, Billy, you fuckin' psycho!

At the bottom of the bed is a card that reads, "You Did This To Yourself, 2001." NATE comes closer and pulls the sheet off. That moment, BILLY jumps up and screams, scaring NATE half to death.

Nate: Fuck!

Billy: (laughs) Did I getcha? Oh, come on, man, it's paint. Why aren't you laughing?

Nate: I don't think it's funny.

Billy: Oh, no, it's just plain fun. You know, if you mix up the letters in "funeral," you get "real fun." (laughs) How much do you love that?

Nate: You stay away from my sister! She's just a kid.

Billy: Oh, now that's kind of ironic, don't you think-- you telling me that?

NATE starts to walk away but BILLY runs around and blocks his exit.

Billy: What'd they tell you?

BILLY pulls out a box cutter and wields it menacingly. NATE backs away, frightened.

Billy: Did they tell you I made a bomb? They tell you who it was for?

Nate: Look, I know you wrote things about your family.

Billy: (screams) Liar! Don't fuckin' lie to me! He thought he was such a genius. Everybody thought he was supposed-- he even had Brenda fooled, which blows my mind. Well, OK, she was young.

Nate: Are you talking about Dr. Feinberg?

Billy: No, Trevor, you fucking moron. Trevor. Perfect fucking Trevor. He thought he was the king of Brenda, which is such adolescent shit. As if you could know somebody for, what, a few months and just replace their whole life? Their family?

Nate: Brenda's not allowed to love anyone as much as she loves you?

Billy: Able. She's not able.

Nate: You know what?, you're right. Bren never even told me about Trevor. She obviously doesn't trust me.

Billy: You don't get to call her that! You call her "Brenda."

Nate: You know she broke up with me today?

Billy: Really?

Nate: Yeah. Took away my key.

Billy: Well, that's probably for the best. You and Brenda was never a good idea.

Nate: Yeah, tell me about it. Listen, I gotta go. So, you take care.

NATE runs out and BILLY stays and thinks, playing with the boxcutter.

Scene Fourteen: Outside the High School

CLAIRE sits outside, under a tree, sketching a picture of a man's head exploding, in her notebook. A hat flies off the man's head. GABE comes up to her and sits down.

Gabe: Hey.

Claire: Hey. Ready to go?

Gabe: Yeah. (lies his head in her lap) Just give me a second to recover.

Claire: Still bad, huh?

Gabe: It's fuckin' tiring, trying to act normal all day.

Claire: I know what you mean. So what's the stupidest thing anyone's said to you today?

Gabe: Um--ok, Packie Walter told me that he once had to get his stomach pumped because he ate his dog's deworming pills. (laughs) He thought they were ludes.

Claire: Well, isn't that comforting to know that being miserable is still better than being an idiot?

As she talks to GABE, GARY gets out of his car and sees CLAIRE and GABE together. CLAIRE looks up, sees him, and turns away, trying to avoid his glance.

Scene Fifteen: Nikolai's Flower Shop

Ruth: (walks up to ROBBIE, who is reading a magazine) Alright. You want to hear the most horrible moment from my intimate past?

Robbie: Uh, no, sister, I do not.

Ruth: I was married to my husband for 30 years, and I never slept with another man until I started having sex with my hairdresser. (ROBBIE puts the magazine down and sits next to her now) And the first time my hairdresser friend and I had intercourse, he asked me to pleasure myself so he would know, you know, how I did that-- and I couldn't. Because I had never pleasured myself in my life! I was 52 years old. And I had to learn how to--

Robbie: Masturbate...

Ruth: From a hairdresser.

Robbie: (lughs) Oh, my! Oh, my! Well, Ruth, thank you for sharing that. (holds her hand) But I'm still not gonna tell you about coming out to my parents.

Ruth: Why not?

Robbie: Because I never did, cupcake. My daddy would have never spoken another word to me, and my mother would have just gone insane right there on the spot.

Ruth: How do you know?

Robbie: A child knows what his parents need him to be. My mother is one of those women that never did anything but raise children, so if you came out wrong, like in the opposite of what she was trying to make you into, then, you know, her whole life is a failure.

Ruth: I'm not like that.

Scene Sixteen: Brenda's House, nighttime

BRENDA lies in bed, as NATE talks to her.

Brenda: Did he ever actually threaten you?

Nate: Uh-- telling the new boyfriend that you wanted the old boyfriend dead while you're playing with a fucking knife-- yeah, that seems like a threat to me. How come you never told me about Trevor?

Brenda: It's such ancient history.

Nate: Well, you said you'd never been serious about anyone.

Brenda: I was eighteen.

Nate: Did you love him?

Brenda: Yes.

Nate: So what happened?

Brenda: Billy got sick. Trevor went to Yale without me.

Nate: Billy got rid of him because he was jealous.

Brenda: Everyone was jealous of Trevor. He was ridiculously gifted. One of those people everybody secretly hates because he's good at everything and always gets what he wants.

Nate: Well, he didn't get you.

Brenda: No, please, he could do better. He did, actually. The woman he married won the National Book Award last year.

Nate: You know, you're ridiculously gifted too. You could be one of those people who has everything.

BRENDA snickers.

Nate: Look, I don't know, Bren. If you don't wanna deal with this, I might have to wanna call your parents.

Brenda: Well, you might have to wanna call my parents but, unfortunately, they happen to be in South Africa at the moment. I have absolutely no idea how to contact them.

Nate: Would you stop fuckin' around? I love you, and I'm sure whatever you feel about me, you don't wanna see me dead. Are you OK?

Brenda: (teary) No.

Nate: Do you want me to take you to a doctor?

Brenda: What? Now you think I'm crazy too?

Nate: No, no. (tries to touch her arm, but she pushes him away) Goddammit, why are you shutting me out?

Brenda: I just want to be alone, OK? I just wanna go to sleep.

Nate: Well, good night. (leaves)

Scene Seventeen: David's Car, nighttime

DAVID is emotionally worn out. He drives by the place where MARC was killed. A small memorial has been set up, with flowers, candles and pictures of MARC. It is surrounded by a group of mourners. DAVID looks mournfully at the group. One man, EDDIE, KEITH's boyfriend, who is standing among the mourners, looks up at DAVID, who looks back at him. DAVID slowly drives away.

Act Two

Scene One: Gary's Office, afternoon

Gary: Why didn't you tell me about your relationship with Gabriel Dimas?

Claire: Uh-- I guess I just wasn't in the mood for a lecture on inappropriate friends.

Gary: What makes you think I would do that?

Claire: Well, some people don't think he's the greatest influence.

Gary: What do you think?

Claire: I think that I'm as much of an influence on him as he is on me, so it's not like it only goes one way.

Gary: Right. Relating to another person is a way that we relate to a part of ourselves.

Claire: It's like-- he's like an extreme version of me, ya know?

Gary: I can see that.

Claire: But, what he's going through, it's so much more. But I can understand, ya know? Feeling like you've got this shadow over you all the time.

Gary: What's your shadow?

Claire: (laughs) Um-- death, I guess. Death and silence. (laughs nervously) Is that crazy?

Gary: What's the silence?

Claire: I don't know. It's like, sadness or fear, maybe. It's like, ya know, everybody's so scared that they're gonna say the wrong thing 'cause like, ya know, when you bury someone it's like the most sensitive time in a person's life. It's like, my family, they're just so careful. It's like they almost become invisible. That was heavy.

Gary: What's going on?

Claire: Nothing. I'm just being a freak.

Gary: You don't have to be afraid that you'll say the wrong thing.

Claire: That's just it. I'm not. I--I mean, I do say the wrong thing, but it's like-- this is gonna sound stupid but, like, I talk so much shit all the time, ya know, and that's just another way to-- not say-- whatever.

Gary: To not say what? (pause) I'm not here for the school or for your mom. I'm just here for you.

Claire: This is confidential, right. (he puts down his pen) Gabe didn't OD by accident. He did it on purpose, I think.

Gary: Well, most ODs aren't really just accidents.

Claire: Right. So what can I do as the friend of a person who would do something like that? LIke, I know all the "I can't save him" stuff, and I went to the websites, and it's all like what you can't do, so what can I do?

Gary: Try not to make yourself invisible.

Claire: This isn't about me.

Gary: That's not a very good start, is it?

Scene Two: Basement

DAVID is done prepping MARC's body, which is no longer scarred. MARC is dressed in a suit. DAVID straightens his tie. MARC's ghost appears behind DAVID. He is still scarred.

Marc: At least my tie can be straight, right? You should have left me the way I was. Let the world see me for who I really am. (whispers) An abomination of nature.

David: (yells) Shut up! (MARC snickers) Who you are is nothing to be ashamed of.

Marc: That's a little hard to buy, coming from somebody who cruises for dick on the Internet and has unsafe sex with prostitutes.

David: You know they made a shrine at the place where you died with pictures of you and flowers? People go there and hold candles in your honor.

Marc: What people?

David: Your friends, your community.

Marc: Bleeding heart faggots with nothing better to do. Guys who fucked me when they were drunk and they never called me back.

David: There are people who love you.

Marc; But not as many as hate me-- and you.

FEDERICO enters and sees the body. He claps, whistles and pats DAVID on the back.

Federico: Nice job! Man, that is the best work you've ever done, David!

David: Thanks.

Federico: Nice. Very nice! (walks over to the mirror, straightens his tie) Hey, there's like 200 homos outside. (laughs) Shit!

David: Already? It's only a quarter of--

Federico: You'd think the family wouldn't want all that coming in here, ya know?

David: All of what?

Federico: There's this one guy, he's dressed like Jackie Kennedy. You think this guy's mother really needs to see that today? How did you get those abrasions on his cheeks so smooth-looking?

David: I used diaper rash cream. You left some.

Federico: Wow.

David: You know, Rico, I'm a homo. I may not dress like Jackie Kennedy, but I have sex with men.

FEDERICO doesn't talk for a moment, but stands still, completely stunned.

Federico: Don't--don't talk to me about that. Alright?

David: Why should I have to hide it from you? You change your baby's diaper in my house, you show me a videotape of your wife giving birth.

Federico: Where I come from, if men need to do that sometimes, they don't talk about it. They don't leave their wife and kids. They're still men.

David: (yells) I am a man!

FEDERICO leaves.

Scene Three: Back of Claire's Hearse

CLAIRE's hearse is parked in the school parking lot. CLAIRE and GABE sit in the back, doing math homework.

Claire: So, I took the height of tree A and divide it by the length of shadow B, so-- you see how I got tangent C?

Gabe: (drinking beer) Since when were you such a trig bitch?

Claire: Don't get me wrong, I know it's totally pointless. Just somehow, teaching you makes it seem more interesting. It must be the power. (takes a swig of his beer)

Gabe: Well, you are a very-- stimulating teacher. (they both smile) I love your-- grasp of the material.

Claire: Well, maybe we should "grasp" the next one.

Gabe: Which one?

Claire: Number 5.

Gabe: OK.

They start to kiss, but she stops and pushes him away.

Gabe: What is it?

Claire: (wirh tears in her eyes) Nothing. Allergies.

Gabe: Here, come on.

Claire: I'm scared.

Gabe: It's okay. I'm scared too.

Claire: I'm scared you're gonna disappear.

Gabe: I'm not gonna disappear.

Claire: What are you scared of?

Gabe: I'm scared I'm not gonna finish my math homework.

Claire: Hey-- I told you.

Gabe: I'm scared that you are too good for me.

Claire: Oh, you're crazy.

She grabs him and they make out passionately.

Scene Four: Fisher Kitchen, nighttime

NATE helps RUTH prepare dinner.

Nate: I finally find a woman I want to commit to, and she makes it totally impossible.

Ruth: You think that's a coincidence?

Nate: What's that supposed to mean?

Ruth: Maybe if she made it easier, you wouldn't be so eager. (tastes pasta sauce) I need more garlic. (back to NATE) You've always been bored with the girls you could have, fascinated with the ones you couldn't.

Nate: Yeah, well, whose fault is that? (chops vegetables)

Ruth: Your brother's gay, isn't he?

Nate: (taken aback) Don't you think that's a question for him?

Ruth: Has he told you?

Nate: No, he's not told me.

Ruth: But it's obvious! Everyone knows! Am I supposed to say something to him? I tried--I tried to discuss it. He wouldn't let me.

Nate: Well, I guess he doesn't want to talk about it, Mom.

Ruth: But it's not good for a person to skulk around like that. He's very tense. It's not good for him. (gets worked up)

Nate: Breathe, Mom.

Ruth: (yells) I know how to breathe! And I don't appreciate you blaming me for all your problems, thank you very much!

Nate: Carrots are burning.

Scene Five: Brenda's House, nighttime

Brenda lies in bed, watching TV. She hears glass shatter in the other room and looks up worriedly. She gets out of bed and enters the living room. She finds BILLY sitting on the floor, crying. Shattered glass from the front window lies on the floor.

Brenda: What are you doing here?

Billy: (crying and laughing; crazed) I know what to do. I know how to fix it.

Brenda: Yeah, fix what?

Billy: It was a big mistake. But I'm gonna fix it, OK?

Brenda: (noticing blood on his hands) Oh, my God, Billy, what have you--? (pauses, terrified) Did you hurt him?

Billy: No. No. No. I fixed it.

BILLY turns around and lifts his shirt. He reveals his back, which is very bloody and grotesque-looking. BILLY has obviously carved his "Isabel" tatoo off his own back with his box cutter.

Brenda: Oh, God!

Billy: I can't beat him anymore. He's somebody else now. I did it for you and now we can bury him. Oh, and the best part is now the nurse will never be able to find him! (laughs)

Brenda: You've lost a lot of blood. Let me get a towel.

Billy: We'll just have to do your's now. (gets out his box cutter) And this way you'll be safe from her too, for like the first time ever, and then we can bury them, and you and I can be new people, and-- (cries) we can forget about everything bad that they wrote--

Brenda: I don't want us to be new people. I like us the way we are.

Billy: Well, I already did it, Brenda. So you have to do it too.

Brenda: OK.

Billy: Alright.

Brenda: Give me the knife.

Billy: I wanna do it.

Brenda: No, you did yours. I should do mine.

Billy: Nathaniel saved Isabel once, on the sailboat in the storm.

Brenda: It's a book. It's fiction.

Billy: And he gave her mouth-to-mouth and saved her for the first time, because she'd always saved him before.

Brenda: Nathaniel and Isabel are not real!

Billy: (crazed) I need to do it.

BRENDA, at this point, is terrified. She tries to run away from BILLY. She gets to the front door, but it's locked and she can't get it open in time. BILLY comes up behind her and throws her down to the floor on her stomach, holding her down.

Brenda: (screams) Billy! Get off!

BILLY rips the back of her dress open with the box cutter, exposing her bare back.

Brenda: Billy, get off me!

Billy: I'm warning you. This is gonna hurt!

As he extends the knife to her back, BRENDA desperately elbows him in the face. He falls back, hitting his head against the wall and knocking himself unconscious. The boxcutter falls out of his hand. Trembling, she picks it up and picks up her phone.

Brenda: (dials) Yes, hello, I need an ambulance--

Act Three

Scene One: Cemetery, Marc's Funeral, daytime

The service is filled with friends and family. PAUL looks at the coffin, mournfully, and throws dirt on top. We see MARC's parents crying. His mother looks up to see a group of protestors standing nearby the service. They carry signs spewing such words of hate as "No Fags in Heaven," "Homos in Hell," "God's Wrath on Fags Gen. 19:1-26," and "Fag = Anal Sex = [a picture of skull and crossbones]." KEITH patrols around the group. Meanwhile, DAVID, NATE and FEDERICO stand together. DAVID looks at the signs, sickened. He looks up to see MARC's ghost, still bloodied and scarred, sitting on a nearby gravestone, taunting him.

Scene Two: Cemetery, after the service

NATE, DAVID and FEDERICO escort MARC's parents away from the service. As they walk by, protestors start shouting hateful words at them.

Protestor #1: The Bible says your son's burning in Hell!

Protestor #2: That's right!

Protestor #1: God hates Fags!

Nate: (yells back) God hates morons!

Protestor #1: The wages of sin is death and AIDS!

Protestor #2: Amen!

Suddenly, DAVID, overwhelmed with anger, rushes at PROTESTOR #1. KEITH holds him back.

David: You leave these people alone or God help me!

Protestor #1: It's my right to be here.

Protestor #2: Yeah, this is America!

Protestor #1: It's my right to tell the truth! God killed Marc Foster, and I'm here to celebrate.

DAVID gets out of KEITH's grasp and punches the man hard in the stomach. PROTESTOR #1 falls down. KEITH pulls DAVID back.

Keith: David!

David: God just shoved your stomach into your lungs, and I'm here to celebrate!

KEITH pulls DAVID away, but he gets out of his grip again. He punches the man a second time, this time in the face.

David: Look, God just got you in the face!

KEITH pulls him away again.

Keith: What the hell is wrong with you?

DAVID walks away.

Protestor #1: (hand on his face) He started it.

Keith: Are you alright, sir?

Protestor #1: That man oughtta be arrested!

Keith: Listen, we'll take care of it. Just watch yourself.

Protestor #1: I demand that man be arrested!

KEITH grabs the man roughly, hurting him.

Keith: (furious) This is a funeral! Show some respect!

A reporter steps up with a notepad. A cameraman stands behind him.

Reporter: What happened? Did something happen?

Keith: Nothing happened.

KEITH walks away. NATE and FEDERICO have been watching this whole scene, stunned. KEITH walks over to his cop car and leans against it. DAVID comes up to him and leans on it, beside him. KEITH laughs.

David: I'm sorry.

Keith: Don't apologize to me. (laughs) Damn, you messed that guy up!

David: No, I'm sorry for how I've been. I'm just-- I'm sorry.

Keith: You know, I have to work hard not to be worrying about you all the time. You could get yourself killed-- if--

David: If what?

Keith: If that's what you want.

David: That's not what I want.

Keith: Are you sure?

David: Yes. I'm sorry for how I was-- with you, when we were together. I don't know why it's so hard for me.

Keith: Hey, it's hard for all of us.

David: But you know that you're right. That you're a good man. For me, it's like I agree with them, ya know? Like it is my fault and I should be able to fix it.

Keith: There's nothing to fix.

David: But it's not who I wanna be. I wanna be like the guy at my church with the kid on his knee.

Keith: You can have a kid on your knee, David. That guy probably hasn't slept with his wife in five years. (DAVID laughs.)

David: I feel like my father would hate me if he knew.

Keith: You said your father did know.

David: Then he never said anything.

Keith: Did you?

Scene Three: Shower, Bathroom in Fisher House

GABE and CLAIRE take a shower together. They are making out, naked, with the water running.

Gabe: (rapping) My girl's named Claire. She likes it clean. She's got orange hair. Smells like a tangerine. She's got orange hair. Smells like Benzadrine.

Claire: Would you shut up? My mother's gonna fry your balls for breakfast if she catches you in here.

Gabe: Nice. So is that pretty much what you eat in a funeral home?

Claire: Yeah. Why?

They laugh and continue to make out.

Scene Four: Hospital

There is no background noise. BILLY lies unconscious in a hospital bed. Outside the room, BRENDA talks to a doctor. She looks saddened and concerned.

Scene Five: Hospital, a little later

BRENDA sits near BILLY, who is still sleeping, and tucks the blanket over his back, which is now covered with a thick bandage.

Scene Six: Hospital, a little later

BRENDA is given forms and a clipboard. She reads them over and signs her name.

Scene Seven: Hospital, a little later

BRENDA sits in a chair. She is emotionally worn out and has been crying. NATE comes up to her.

Brenda: (happy to see him) Oh, God!

Nate: Hey.

Brenda: I had Billy committed.

She starts to shake. He holds her and hugs her.

Scene Eight: TV Room, Fisher House, nighttime

DAVID enters to find RUTH sleeping on the couch, with a cloth over her eyes.

David: Mom?

Ruth: (stirring awake) Hmm?

David: Are you okay?

Ruth: I have a terrible headache.

David: Well, maybe we can talk later.

Ruth: (quickly sits up) What? What?

David: I'm gay.

Ruth: Why didn't you ever tell me? (sounds hurt)

David: I am telling you.

Ruth: Before. Before. Don't you trust me?

David: What do you mean? I'm telling you.

Ruth: But I've tried to discuss it with you several times.

David: Look, I just wasn't comfortable, ok? What does it matter now?

Ruth: Why not? (almost crying) When I was clearly trying to be open--?

David: You know, Mom, you may be trying to be open now, and that's great, but that's not how you've been for all my life. You and Dad--no one talked about anything. None of us are like that. Except for Nate, and that's just because he has no other way to distinguish himself.

Ruth: I've always loved you.

David: I know you love the part of me that's your son.

Ruth: What part of you isn't my son?! You're all my son!

David: I don't think you know me very well.

Ruth: (scolds) Well, whose fault is that? (calms down) I'm sorry.

David: And, you know, when you've tried to bring it up before, or now even, it's like you decided you should know who I am, like you're willing to see me the way you make yourself look at something horrible, like a corpse, because it's your job, your duty. It revolts you, but you make yourself bare it.

Ruth: You're wrong! You don't revolt me! I don't choose which part of you I love, like some kind of chicken! It was just so much easier when you were little and you would tell me everything. And when you were upset, I could always fix it. I don't know how to take care of you anymore.

David: Just let me-- just let me take care of myself.

Ruth: But do you? I'm afraid you don't. (clasps his hands)

David: I do. I will. Mom, that's all I wanted to say.

Ruth: Alright. (pause) We're having veal.

Scene Nine: David's Bedroom

DAVID lies in bed. MARC appears, still bloody.

Marc: Well, Mommy still love you. Does that make everything better? (laughs) Yeah, I didn't think it would.

David: What are you still doing here?

Marc: I could've come out to every mother in the world and I'd still be dead.

DAVID throws off his bedcovers and sits up. He gets the phone and starts to dial.

Marc: Oh, what, are you gonna interrupt him and his matching love stud? Both of whom will be in Hell with you, by the way. (DAVID throws down the phone) But something tells me they're gonna have a lot more fun.

David: (cries) Stop! Stop!

Marc: Make me.

DAVID gets down on his knees at the foot of his bed and prays.

David: Please, God, help me. Take this pain away. Please, fill this loneliness with your love. Help me. God, please, help me.

He cries.

END OF ACT THREE

END CREDITS