Épisode Un autre regard S02E09 - Six Feet Under Saison 2

Prelude

Scene: Construction Site, lunchtime.

A large building is being built and two of the workers, wearing hard hats, sit down on a beam of one of the highest floors, their legs dangling down, as they eat from their metal lunch boxes.

Guy 1: Vance, I don't know what's wrong with me. I've got like no fucking appetite lately.

Guy 2: That's a sign of depression.

Guy 1: Really?

Guy 2: Oh, yeah. I've been reading up on it. Ever since my wife's hysterectomy, she's been real down on the dumps. Loss of appetite, loss of sex drive, feelings of hopelessness and despair, no energy, all of which she has.

Guy 1: I- uh, only have the loss of appetite.

He unwraps his sandwich and starts to eat.

Guy 1: You know what is depressing?

Guy 2 shrugs.

Guy 1: My wife's cooking. Here. (opens his sandwich and shows it to Guy 2 / VANCE) What the fuck is that? It looks like cat shit!

Guy 2: I think it is cat shit.

Guy 1: She's fucking useless in the kitchen. She always has been.

Guy 2: At least your wife still fucks you.

Guy 1: Oh, thank God. If she didn't do that, I'd have to kill her.

He frustratedly slams his sandwich down on his lunch box... too hard, because he knocks it off the ledge.

Guy 1: Aww, shit!

The two men watch the lunch box's descent. We hear a dull thud, and the two wince and look in horror.

Guy 1: Oh, fuck! Fuck me! Oh, this is fucked! Fucking fuck!

He gets up. The camera cuts to a man in his late fifties lying unconscious or dead, face down to the ground. The lunch box lies, shattered, near him, as does his briefcase. Blood rushes from his head in streams.

The screen fades to white.

"DWIGHT EDGAR GARRISON
1945-2002"

Act One

Scene One: By the Ocean, morning.

NATE and BRENDA stand by the car, staring out at the ocean. It's a small cove, overlooking a sandy beach.

Brenda: It's kinda beautiful, isn't it?

Nate: Yeah, it's way beautiful.

Brenda: You add the sunset factor, it'll be perfect.

Nate: There's like horseshit everywhere.

Brenda: So?

Nate: So, don't you think it'll mess up your white dress?

Brenda: (scoffs) Yeah, like I'm gonna wear a white dress! Besides, if we exchange vows surrounded by horseshit, it'd be kind of fitting.

Nate: (guarded) Meaning you think us getting married is a shitty idea?

Brenda: Meaning we're going into this open-eyed, shit and all. And hopefully my mother will step in some of it. Or better yet, fall face first into it, and then it really will be the happiest day of my life.

Nate: Are you sure you want to marry me? We can still call it off.

Brenda: Of course I want to marry you.

Nate: But I could die, Bren. I mean, I could die any day. I could die any moment.

Brenda: Yeah, and I couldn't?

Nate: Yeah, we're all gonna die, I know, but the chances of it actually happening are significantly higher for me. That's just a fucking fact. And the last thing I want is for you to marry me because you feel sorry for me.

Brenda: You really think I'd do that? Wow.

Nate: I just feel like you've made enough sacrifices in your life without having to go through some--

Brenda: (interrupting, firmly) I'm marrying you because I love you. Because you're the first man that I thought I could actually stand to spend the rest of my life with... or the rest of your life, if it's tragically cut short or whatever. You're not some car I want to trade in because it has faulty transmission. (comes closer to him) Jesus, do you really think I'm that shallow?

Nate: Of course not.

Brenda: All we have is this moment. Right here, right now. The future's just a fucking concept that we use to avoid being alive today.So, be... here... now.

They kiss.

Nate: (laughs) So why do we need to get married at all then? Huh?

Brenda: (smiles) So we can rack up all that free shit from all my mother's wealthy friends, that's why!

Nate: Hey, I know this really cool rabbi who can possibly do our wedding.

Brenda: A rabbi?

Nate: Yeah.

Brenda: Why would we even go there?

Nate: You are half-Jewish.

Brenda: Yeah, I'm also half-Catholic. So, you wanna invite the pope?

Nate: It's a marriage, it's a sacred occasion. You'd rather have just some fucking civil servant there?

Brenda: Well, personally, I think the two of us should be enough to make it sacred.

Scene Two: Keith's Apartment.

DAVID sits in the living room, drinking coffee and reading the newspaper. KEITH enters, in a robe, and DAVID looks up.

David: Hey, did you sleep okay?

Keith: (quietly) No. (sits down on the couch) I finally dozed off around 5.

David: Keith, go back to bed.

Keith: I'm not gonna sleep anymore, believe me.

David: Maybe you should talk to your doctor about medication.

Keith: Yeah, drugs, that's the answer.

David. You're right-- choosing to suffer when you don't have to, that's much more constructive. Idiot.

Keith: (annoyed) Fuck you. Is there any more coffee?

David: I really don't think you should be drinking caffeine when your sleep is so erratic.

KEITH looks at him and they cross looks.

David: Suit yourself. (goes into the kitchen to get coffee) Bitch.

KEITH looks up at the mantelpiece and notices a bottle of pills on it. He gets up and goes to it, picking it up. DAVID enters with a cup of coffee.

Keith: Taylor left her gummy vitamins.

David: (smiles) Big suprise! She hated those.

Keith: I should run these over to Karla.

David: Okay, no. Karla can get her more vitamins. You could probably use a little space right now.

Keith: Yeah, well, I need to make sure Karla's staying clean.

David: You need to take care of yourself right now, okay?

Keith: (straightens DAVID's tie) That's what you're for.

David: Oh, I see. So, basically, I just exist to serve you.

Keith: Well, yeah.

Now he loosens DAVID's tie and starts unbuttoning his shirt, a little roughly.

David: You're gonna make me late for work.

Keith: That's your problem.

They start making out.

Scene Three: Fisher TV Room.

NIKOLAI sits up in a hospital bed, watching the "Teletubbies" on TV. He looks a tad bit perplexed. RUTH enters, wearing her coat. She puts a small plastic Tupperware container on the table near him.

Ruth: There are two chicken salad sandwiches in here. They're for your lunch. And don't eat them before noon, because you'll have to wait until I get home from work to eat again.

Nikolai: (points at the screen) What are these things supposed to be?

Ruth: Have a nice day.

She leaves for the kitchen, but NIKOLAI doesn't notice. He laughs at the screen.

Scene Four: Fisher Kitchen.

RUTH enters. CLAIRE sits at the table, reading a magazine.

Claire: Are we really supposed to believe Britney Spears is a virgin? Why exactly are we supposed to care?

Ruth: I'd like for you to do me a favor and check on Nikolai when you get home.

Claire: Uh, I won't be home until late. Parker and I have plans.

Ruth: I thought you and Parker had a falling out.

Claire: Oh, we made up. I figured it was better to have a total loser for a friend than to have no friends at all.

Ruth: Well, what are you doing with her?

Claire: Um, we're going to the Getty.

Ruth: (laughs) Do you think I'm an idiot?

Claire: (sincerely, levelling with her) No, of course not.

They look each other in the eyes and RUTH sees that she is telling the truth.

Claire: It's not like I'm lying to, like, cover up my drug habit. I'm lying to get out of having to empty the bedpan of some man you're sleeping with. I don't feel like I should have to do that.

Ruth: Oh, for God's sake, that's not what I'm asking you to do.

Claire: Good.

Ruth: You have absolutely no idea how easy you have it.

Claire: Please tell me you're not gonna start talking about your legless grandmother again.

Ruth: I pity you, Claire. You are under the mistaken impression that life owes you something. Well, you are in for some very harsh surprises.

RUTH leaves. CLAIRE sighs.

Scene Five: Fisher Office.

DAVID enters. NATE's already there.

David: Sorry I'm late. Traffic was unbelievable. Are they here yet?

Nate: Yeah, they're waiting in the Wisteria Room. Dave, I've got something I need to ask you.

David: What?

Nate: I-- (stops and stares at DAVID's face, which is red and sore) What's with the red face?

David: Oh, um, Keith and I were fooling around and, well, he hadn't shaved. (smiles)

Nate: You big whore!

David: Is it really bad?

Nate: No, no, no, no.

DAVID runs for a mirror. He looks into it, horrified.

Nate: Actually, it's bright red. It's red as a baboon's ass!

David: Oh, my God, I look like a burn victim!

Nate: Hey, (takes the mirror away from DAVID) what I wanted to ask was if you'd be best man at my wedding.

DAVID stops and looks at him for a moment, very honored and happy.

David: Nate, I'm so honored. Of course I will.

Nate: Excellent.

They shake hands.

Nate: Alright, you ready to roll?

David: Yeah.

NATE leaves the room ahead of DAVE, who looks in the mirror one more time.

David: Good Lord!

Scene Six: Intake (Wisteria) Room.

DAVID and NATE have an intake meeting with MR. GARRISON's daughters, both of whom are in their late twenties/early thirties. Throughout this scene, DAVID tries to block his face with the GARRISON file.

Daughter #1: (surprised) So, Dad already took care of everything?

David: It's all specified in the pre-need contract. For the viewing, he's chosen a Parliament casket, followed by a cremation and internment at Cedar Grove in the remaining chamber of a prayer-level double crypt.

Daughter #2: (surprised) With Mom?

David: (reading from the file) Harriet Mitchell Garrison?

Daughter #2: That's her.

Daughter #1: Wow. So, um, there's nothing for us to do?

Nate: All you have to do is show up.

Daughter #1: Okay. (sighs) Oh, my God! (starts crying, her sister consoles her) I feel so awful! I can't remember the last time that I saw him!

Daughter #2: Honey, it's okay. He knew we loved him.

DAVID pushes the tissue box closer to them, revealing his face.

Daughter #2: (noticing his face, whispering, while still holding her sister) I can give you the number of a great dermatologist.

DAVID smiles. He and NATE tries to hold back from laughing out loud.

Scene Seven: Karla's Apartment, exterior / interior.

KEITH walks up to KARLA's door and knocks. TAYLOR answers the door and lets him in.

Taylor: What up, Uncle Keith?

Keith: (gives her the vitamins) Hey, you left these at my house.

Taylor: I hate these nasty old things!

Keith: Hey, they're good for you.

Taylor: I like the Flintstones.

Keith: Shouldn't you be in school?

Taylor: Mama's sick. I'm staying home today to take care of her.

KARLA enters in her bedclothes.

Karla: (to KEITH) Hey. Don't come too close to me. I got the flu.

Keith: Oh, you've got the flu. Have you been to see the doctor?

Karla: I ain't payin' nobody's doctor $100 just to tell me to stay in bed. Fuck that shit!

KEITH comes up to KARLA and feels her forehead with the back of his hand.

Keith: You don't have a temperature.

Karla: Are you sure? Maybe you should stick a thermometer up my ass.

Keith: (to TAYLOR) Go play in your room.

Karla: No, no, honey. Taylor, you stay here. Mama needs you.

KEITH grabs KARLA's arm.

Keith: (to TAYLOR) Go.

TAYLOR dubst and just stands there.

Keith: (yells) GO!

TAYLOR goes and slams the door.

Keith: You've got a choice to make: you can either let me check you into a drug rehab--

Karla: I already told you: I already went to rehab in Oakland. I am clean! Motherfuck, Keith!

Keith: I'll call down to the station, we'll search this house, and if we find anything, you'll face charges. You got that? It's your choice!

Karla: You sound just like Daddy, you know that? You know that? (yells) You have gone and FUCKIN' turned into Daddy! What are you gonna do next, Keith? Slap me so hard I can't hear out of one ear for the next day and a half? You remember that?!

Keith: It's your choice, Karla.

Karla: Goddammit, Goddammit...

Keith: You need help. I can get you help. I'll find you the best help there is. I swear to you, I will.

KARLA breathes heavily, stares at him.

Karla: I said okay. Okay, but it has to be outpatient. I'm not leaving Taylor again, so...

She sits down on the couch, a single tear streaming down her cheek.

Scene Eight: Fisher Prep Room.

DAVE and NATE stand by RICO, who is examining DWIGHT's body. RICO still has the remainder of a black eye, from RAMON's attack in the last episode.

Rico: No major facial damage. That's a plus. I'm going to do have to do some major pluggings on the top of the head, though. It's a good thing he's not bald.

Nate: Why's that?

Rico: Uh, it'd be a little hard to wig him, since everybody remembered him with his head all nice and shiny, ya know?

Nate: Ah.

Nikolai: (calling from upstairs) Hello! Hello!

All three men look up at the ceiling. NATE and DAVE cross looks.

Nikolai: Oh, for Christ's sake!

Nate: Look, I gotta swing by Appleby and pick up the Parliament.

David: You probably need some help with that.

Nate: Not really.

David: (insisting) Yes, really.

They both leave. RICO shakes his head.

Scene Nine: Claire's Bedroom.

CLAIRE is again having an IM chat with BILLY.

ICDeddPeople: Yesterday...

BillyBatty: fine, tomorrow it is.

ICDeddPeople: do you think britney is really a virgin?

BillyBatty: no way i fucked her four times today already

CLAIRE laughs and types.

ICDeddPeople: LOL you are such a sicko

BillyBatty: oh really i've never heard that before

Nikolai: (screaming from downstairs) Anyone! Please, I'm so bored!

Claire: (talking to herself) That's not my problem, pal.

Scene Ten: Nikolai's Flower Shop.

RUTH and ROBBIE are working.

Robbie: He's gotta be driving you crazy.

Ruth: Not at all. Actually, our relationship has reached a whole new level.

Robbie: Oh, how so?

Ruth: Well, it's not just about the sex anymore. There's more intimacy. He's letting his guard down. He's allowing me to see him at his most vulnerable.

Robbie: Well, that's great, cupcake. Clarify one thing for me: he is bedridden, right?

Scene Eleven: Fisher Kitchen.

RICO enters to get his bagged lunch out of the fridge.

Nikolai: (calls from the next room) Hello! Who is there? (RICO wants to avoid the situation) Hello?

RICO sighs and heads for the TV Room.

Scene Twelve: TV Room.

The TV is still on. NIKOLAI uses the button to make his bed lift, as RICO enters.

Nikolai: Hello? Can you help me?

Rico: That depends on what you want.

Nikolai: I ate already my lunch and I am starving. I cannot walk.

RICO looks down at his brown bag.

Scene Thirteen: TV Room, a little while later.

RICO sits down on the couch, next to NIKOLAI. They are both eating a sandwich half, and watching a soap opera.

Nikolai: (nudges RICO) Ah, she is my favorite, this one. Such a bitch! (RICO laughs, in spite of himself) She would be a wildcat in love, I think! She's the kind that leave scratching marks all over your body.

Rico: Yeah, but she's like 60.

Nikolai: Doesn't matter. Besides, I think she's Latin. They're always hot-blooded.

RICO looks at him, but doesn't say anything.

Nikolai: What kind of sandwich this is?

Rico: Pork.

Nikolai: It is not so good, needs salt.

Rico: (annoyed) Yeah, well, if you don't like it, I'll eat it.

Nikolai: No, I will eat.

Rico: It was supposed to be mine anyway.

Nikolai: (noticing RICO's eye) What happened to your face?

Rico: It's none of your fucking business, pal.

Nikolai: Okay. Sorry.

They continue watching in silence.

Scene Fourteen: Wisteria Room.

MR. GARRISON's new wife paces the room. She is the same age, if not younger, than his daughters. NATE and DAVID sit.

Mrs. Garrison: I don't understand. I'm-- um-- his wife. (sniffs) He should be buried with me!

David: Well, unfortunately, he stipulated in his pre-need contract that he was to be buried with his former wife.

Mrs. Garrison: Well, that's gotta be a mistake. He-- he must have made those arrangements before he married me.

David: (reading the file) This is dated October of 98.

She gasps.

Mrs. Garrison: Well, I never even knew he had done this.

Nate: Neither had his daughters.

Mrs. Garrison: Oh, God, I'm sure they just love it, though. They've always hated me. They thought their daddy was too good for me. And apparently so did he.

She starts to cry and takes out a tissue.

Nate: I'm sure that's not true.

Mrs. Garrison: So this thing's all signed, sealed and paid for, huh? There's no recourse for me.

Nate: Well, actually, it hasn't been paid in full.

DAVID eyes him, knowing there's going to be trouble.

Mrs. Garrison: (smiles) Really? Well, you know he did leave everything to me and I hope you don't think I'm gonna be paying for such a blatant slap in my face.

Scene Fifteen: Brenda's Kitchen.

BILLY sits at the counter with a glass of water beside him. BRENDA puts down a plate of food for him. There's something very awkward and reserved about their conversation.

Brenda: What the hell is Mom doing in Belize?

Billy: She's on some sort of cruise for the recently-separated. Maybe it's for people who want to quit smoking.

Brenda: What a freak!

She takes two bottles of beer out of the fridge and opens one.

Billy: I'm fine with water.

He takes a sip. She puts one of the bottles away.

Brenda: Oh. (pause) Have you spoken to Dad?

Billy: Yeah. Right.

Brenda: So what's with you living with her?

Billy: Well, it sure beats the hospital. You know, Bren, I still go in three times a week to see Dr. Hanover. She's great.

Brenda: (happy) Yeah?

Billy: Yeah, she's a total genius. She's-- uh-- she's helped me look at a lot of my shit.

Brenda: (quiet, maybe a little jealous) That's good.

Billy: Yeah. (pause) So how's Nate?

Brenda: He's, um, he's not so great. He was recently diagnosed with this brain condition, and he's, um, had a couple of seizures, actually. And he could have a stroke.

Billy: (sincere) Shit! That sucks.

Brenda: Yeah.

Billy: Well, now I know why you're marrying him.

Brenda: (yells) Fuck you!

Billy: Wow, that hit a nerve. Must be true.

Brenda: No, I'm just a little surprised at how randomly cruel you can be. I guess I'd forgotten what a kick you get out of that.

Billy: See, this is what you do. You invalidate anything I say that might challenge your authority. You learned it from Mom.

Brenda: The same way that you learned how to explain everything to me like I'm an idiot from Dad, I guess.

Billy: No, I learned that from you.

Brenda: Apparently, you're still angry at me for committing you.

Billy: No, that was the best thing that could have happened to me.

Brenda: Then, why wouldn't you see me, or take my calls or e-mail?

Billy: Because Dr Hanover suggested that I might be able to do more constructive work if I-- cut things of with you for a while. Because you-- because you have contributed a lot to my pathology.

Brenda: You have a medical condition.

Billy: It's not just about pharmaceuticals. I never developed any functional way to deal with the world, because you kept me from it.

Brenda: (flabbergasted) Oh... wow. I've done a real number on you.

Billy: You were always there, looking out for me, protecting me, being strong for me. I never learned how to take care of myself. I mean, shit, Brenda, I've never even had a real girlfriend.

Brenda: (raises her voice) I never let you have a girlfriend?! Oh, that's g--, that's really-- you fucking asshole!

Billy: Okay, I thought we could have a rational discussion.

Brenda: (yells) How dare you blame me for that, Billy!

Billy: I’m not saying that you did it on purpose! But I do think we need to disengage from each other, because our relationship is really toxic.

Very long pause. She looks down and exhales.

Brenda: Okay.

Billy: And I don’t know how long it needs to last.

Brenda: Probably a very long time.

Billy: Maybe. (pause) Anyway, I have somewhere I have to be, but thank you for the grub.

Brenda: (whispers) Okay.

He gets up and leaves. She watches him go out the door.

Scene Sixteen: Fisher Front Hall.

CLAIRE comes down the stairs, her hair brushed straight, wearing a pants suit, and passes NATE on her way out.

Nate: Hey, you look nice.

Claire: Thanks.

Nate: Where you going?

Claire: Um, to meet a friend.

Nate: Billy Chenowith?

Claire: Um... yeah.

Nate: Claire, I really don’t think you should be seeing him.

Claire: (laughs) Okay, I’ll just file that under “Couldn’t Possibly Matter Less.”

Nate: He can be dangerous.

Claire: I can take care of myself, Nate.

Nate: Oh, okay. Well, are you armed? In case he pulls a knife on you?

Claire: How much time have you spent with him?

Nate: How much time did you spend with him?

Claire: Enough to know he isn’t a drooling psychopath, alright? He’s got a disease. He went through a period where he went off his medication, because he was like fucked up and in denial about it. It’s under control now. Sound familiar?

She leaves.

Scene Seventeen: Fisher Kitchen.

RUTH and NIKOLAI sit at the kitchen table, eating dinner.

Ruth: It was very slow at work today.

Nikolai: It is because I wasn’t there. You and Robbie are lazy.

Ruth: That is not true. Why, just today I reorganized the ribbons, I cleaned the inside of the cash register, and I spent a couple of hours looking at the books.

Nikolai: (a little scared) That is not your job.

Ruth: No, and it’s apparently not yours either. I’ve never seen a messier, more incoherent bookkeeping system. I thought my husband was bad.

Nikolai: I don’t want you messing with my books. This is my personal finances. None of your business!

Ruth: May I remind you that I’ve been taking care of all your medical bills?

Nikolai: I will pay back.

Ruth: You’re gonna be in big trouble if you get audited.

Nikolai: Bullshit!

Ruth: Language!

They keep eating in silence.

Scene Eighteen: Margaret's Condo.

BILLY and CLAIRE are alone in the living room. The lights are turned down and there is a fire in the fireplace. They each have a glass of wine.

Billy: So, listen, I really wanted to thank you.

Claire: For what?

Billy: For being the only person who kept in touch with me while I was in the home for the tragically inappropriate.

Claire: Are you kidding me? Your e-mails were like totally brilliant. I saved them all. It was like the only thing that kept me going.

Billy: Well, I know that I would never have given me a second chance after I treated you so bad the first time we met. So, no word from Gabe at all?

Claire: Nada. Which is fine. Like, seriously, good riddance. I mean, it was so obvious he was never gonna take charge of his life, ya know?

Billy: Well, it’s hard. Few people ever do.

Claire: Yeah, but most people are able to avoid becoming drug-addict criminals, ya know?

Billy: Yeah. Most people. (smiles)

CLAIRE smiles back.

Billy: Hey, what are you doing tomorrow?

Claire: I’m not sure, why?

Billy: Well, I need some help with this project, and, uh... there’s not really anybody else I could ask.

Claire: (pause) Okay.

Billy: Yeah? Cool.

Scene Nineteen: Brenda’s Living Room.

BRENDA burns incense, blasts rock music, and empties her wallet. It’s full of little pieces of paper, cards, matchbooks, with the names and phone numbers of men she’s recently flirted with. She takes out SCOTT AXELROD’s business card, a matchbook with the name “Geoffrey Smith” with a phone number scrawled on it, a napkin with the name “Mark Fageol” written on it, along with a home and cell phone numbers. After staring a moment, she tears up all the papers.

Scene Twenty: Keith’s Apartment.

DAVID sits on the couch watching TV. LEZZA GIBBONS, the entertainment reporter, is on the TV. He imagines that she is interviewing KEITH and him.

Leeza: And we’re back with our exclusive visit with one of the year’s happiest and sexiest couple, David and Keith Fisher Charles. So, guys, tell me, how do you do it?

Keith: Well, Leeza, it takes a lot of work.

David: It’s not that much work.

Keith: He’s right. We’ve done all the work.

Leeza: I think people don’t appreciate how important that really is.

David: No, they really don’t.

Leeza: Now, you’ve got kids. How many?

Keith: Two!

David: And we’re talking about a third.

Keith: (smiles) Yeah, we’re talking about a third.

David: I think the key is to do everything together, from PTA meetings to the White Party in Palm Springs. Togetherness is the key. We’re a partnership. We’re a team.

KEITH awakens the snoozing DAVID by rubbing his ear. DAVID smiles.

Keith: How long have I been asleep?

David: Uh, about an hour, I think.

Keith: Shit. I’m never gonna get back to sleep tonight. Why didn’t you wake me up?

David: Because you’re totally sleep-deprived. You should take it where you can get it.

Keith: (sits down) Are you staying here tonight?

David: I was planning on it. Would you rather I didn’t?

Keith: Maybe. I don’t know. Maybe we’re-- moving a little too fast.

David: Okay, I can go home.

Keith: I mean, it’s just that, you know, we’ve spent the last six nights together.

David: Yeah, sure, no problem. Call me tomorrow.

He gets up and kisses KEITH on the mouth. He starts to walk away, but KEITH gently grabs his arm and stands up.

David: What?

KEITH kisses him gently on the mouth and leads him into the bedroom.

The screen fades to white.

Act Two

Scene One: Wisteria Room, next mornin.

MR. GARRISON's daughters are arguing with their stepmother. NATE and DAVID are also in the room.

Daughter #1: It's what our father wanted!

Mrs. Garrison: No, it's what you want. Because you never liked me!

Daughter #1: Well, you got that right.

Mrs. Garrison: You hated that you couldn't control your father when he was alive, and now you're trying to do it when he's dead!

Daughter #2: It was his decision!

David: There is a significant unpaid balance on the account...

Daughter #1: (yells) We'll pay for it!

Mrs. Garrison: You take one cent from them, you'll be hearing from my attorney!

David: I really don't think that's necessary.

Mrs. Garrison: Oh, no? I gave the last 6 years of my life to that man, and contrary to what these stupid bitches think, I really did love him, and I will not be humiliated like this!

Daughter #2: (to DAVID and NATE) Yeah, well, if you do not follow our father's instructions exactly, you will be hearing from our attorney.

Daughter #1: Who used to work for Disney.

Mrs. Garrison: Oh, bring it on, Ferret Face!

Daughter #1: Oh, fuck you, you gold-digging slut!

Mrs. Garrison: How dare you!

Daughter #2: There are naked pictures of you on the Internet! My son showed them to me!

Nate: (has had enough, screams) Shut up, all of you! SHUT THE FUCK UP! (DAVID is shocked) Jesus Christ , a man died! (to MRS. GARRISON) Your husband, (to the daughters) your father. He lived a life, and now he's dead. Show some respect. (to MRS. GARRISON) And if you really loved him, and I believe you did, you'll give him what he wanted. If you don't, then you never really loved him. It's as simple as that.

MRS. GARRISON looks ashamed.

Daughter #1: Thank you.

Nate: And if I get so much as a phone call from anybody's lawyer, we'll give the body back, and the three of you can tear him to pieces like fucking jackals, if you want to. (to MRS. GARRISON) It's not your decision!

He storms out. MRS. GARRISON paces angrily. DAVID awkwardly smiles.

Scene Two: Drug Rehab.

KEITH is helping KARLA sign up. She fills out the paperwork, nervously.

Karla: (almost hyperventilating) God! Oh, my God!

Keith: (gently) Hey, I'm right here, okay? It's okay.

Karla: (sniffs back some tears) What happened to me, Keith? I used to be okay. (wipes some tears away as he caresses her hair) I used to be able to live without all this sadness. Without all this-- never having any hope.

Keith: You're here, aren't you?

Karla: (tears flowing) And my baby, she's so precious. I am such a bad mother!

Keith: Hey, hey, look at me. No, you're not. I've seen worse. Believe me, I have.

Karla: None of it's her fault. None of it her fault! She doesn't deserve this!

Keith: Look, just put it all behind you, okay? Just put it all behind you.

He hugs her. She clings to him, sobbing.

Karla: Help me!

Scene Three: Bookstore.

BRENDA walks over to the "Medical/Psychology/Recovery" section, and looks through the books. She passes by "Living With Life-Threatening Illness," "Bipolar Disorder," "I Hate You -- Don't Leave Me," and then notices "Charlotte: Light & Dark." She continues to walk on, finding titles such as "Nothing Means Anything -- So Why Bother?," and "Damaged Beyond Repair." Then she sees a book entitled "Your Brother's A Whacko and Your Fiancé Is Going To Die." She walks away from the bookshelf, disturbed by her fantasy.

Scene Four: Grocery Store.

NATE shops for fruit, when suddenly he notices LISA.

Nate: Lisa!

Lisa: (a little uncomfortable) Nate... hi.

Nate: What are you doing here?

Lisa: I'm just-- uh-- (squirming) Remember when I told you about that movie producer who was looking for a vegan chef? Well, I finally caved in and took the job.

Nate: Cool.

Lisa: Yup, finally sold out! (smiles)

Nate: So you live here now.

Lisa: Well, the Palisades.

Nate: Well, since when?

Lisa: Since, um, right after Christmas.

Nate: Oh.

Lisa: I-- um-- I didn't want to bother you. You have a whole new life and all.

Nate: Hey, Lisa, come on, we're friends. Alright? You know what, there's a great juice bar here. Let's get caught up, okay?

Lisa: Okay. (smiles and nods)

They walk off.

Scene Five: Bookstore.

An author, LOUIS WINCHELL, who wrote a psychology book, "The Lie of Romance," is doing a reading. We know now that this is why BRENDA has come to the store. She sits in the audience.

Louis: Of all the lies we're fed on which we gorge in our comfort-addicted world, none is more insidious than the lie of romance, the seductive but infantile notion that somewhere there exists someone to complement us in every way-- someone who will make us complete. Of course, this illusion keeps us from ever being complete in and of ourselves, and eventually encourages us to despise our shortcomings, our flaws, everything in which our humanity lies. Our humanity, without which, of course, we are nothing.

As he speaks, he looks directly into BRENDA's eyes and she looks back, intensely.

Scene Six: Juice Bar, Grocery Store.

NATE and LISA each have juice drinks.

Lisa: It's strange. I mean, she's a strict vegan, but she drinks like a fish and she does a lot of blow. But she's nice to me and I needed to make some real money for a change.

Nate: Yeah.

Lisa: So, what's new with you?

Nate: Well, not much. Same old, same old, you know?

Lisa: How's Brenda?

Nate: Uh, she's great. We're, uh-- we're, uh-- we're engaged.

Lisa: (looks like she's about to cry) You're kidding.

Nate: (doesn't notice) Yeah, I know. It's-- What about you? You seeing anybody?

Lisa: No, not really. Oh, by the way, (she unbuttons the coat she's been wearing the whole time to reveal a large belly) I'm pregnant.

Nate: (taken aback) Wow! That's great!

Lisa: Yup. Five months.

He suddenly looks horrified.

Lisa: She's a kicker! (pause) Don't worry, I don't expect anything from you. I don't expect anything at all.

Nate: (trying to form the right words) Lisa, I don't-- w-- w-- how...

Lisa: (angry) Uh, don't you remember when you came to Seattle last August and you fucked me? And then you left the next day like it didn't mean a goddamn thing?! Well, it obviously meant something to you, because you were crying like a fucking baby that night.

Nate: That's not the reason I was crying, okay?

Lisa: You were crying because you knew you were home. Because you missed me. Because you knew that you and I should be together. And then you fucked me.

Nate: Lisa, that is not the reason--

Lisa: And then you chickened out the next day, and I saw you for exactly who you are: a fucking coward who was never going to own up to the way you really felt about me!

Nate: Lisa, Lisa, how could you not tell me about this?

Lisa: Because we already went through this once before! (he looks guilty) But this time, I'm gonna do it. I'm gonna have it without you.

Nate: Lisa, I don't know...

Lisa: Congratulations, you know, on the whole getting married thing. She must be out of her fucking mind!

She starts to walk away and NATE takes her arm.

Nate: Lisa, just give me...

Lisa: (knocks his arm away) Don't!

She storms off. NATE leans on the bar, looking as if he's been punched in the gut.

Scene Seven: Restroom, Bookstore.

BRENDA and LOUIS roll around on the floor, fucking their brains out.

Prelap knock on a door.

Scene Eight: Margaret's Condo.

It’s CLAIRE at Margaret’s condo. BILLY answers. He's wearing nothing but a robe.

Billy: Hey. Come on in!

She smiles a little awkwardly. She's not sure about this. BILLY walks into the living room, where he has a large camera on a tripod and flash with umbrella set up. He draws the curtains closed. CLAIRE follows him in.

Billy: Alright, let me show you. You can put your purse down if you like.

She does.

Billy: (shows her the camera) Now, this is your focus, and this is your zoom. That's pretty much it. So here you go. You'll get a feel for it.

He hands her the camera.

Claire: Okay, so what do you want me to do?

Billy: Just, uh, y'know, follow your instincts. Relax. Don't think about yourself at all. I know that's impossible for a 17 year-old.

Claire: (quickly) 18.

Billy: What you don't know is you're going to be 18 for the rest of your life.

BILLY turns around and takes off the robe. CLAIRE is a little uncomfortable with his nudity. She starts to take pictures.

Billy: I've tried to do self-portraits before, but they always come out so contrived, like I'm trying to be some version of myself, so fucking juvenile.

CLAIRE zooms in on the large scar right above his ass, from where he had carved out his tattoo. She continues snapping shots as he talks.

Billy: And I really want to see it, you know? I want to. I need to see what I've done. And I think it really is impossible for somebody to see themselves. You need someone else's eyes. I need somebody else to see me. Somebody who isn't Brenda. She sees things a little too darkly. I mean, I don't need any help going there. Besides, I've looked through her eyes more than enough for one lifetime, you know? (pause) What are you seeing?

Claire: I'm on your scar, really close up.

She's lying. She's actually photographing the back of his left shoulder and head.

Billy: What's it look like?

Claire: Like the surface of the moon.

She continues snapping shots.

Billy: That's good. That's the thing about Narcissus. It's not that he's so in love with himself, because he isn't at all. Fucking hates himself. It's that without that reflection looking back at him, he doesn't exist.

He starts to cry and looks down. She stops taking pictures.

Claire: Billy, are you okay?

Billy: Dont' be freaked out, this is good. (turns to her, revealing his entire naked front. She looks away) This is exactly what I needed to happen. I'm fucking crying!

He smiles. CLAIRE averts her eyes.

Billy: Oh, God, I'm sorry, this is intense. I'm sorry. You can go. It's okay, I'll be alright, I swear.

Before he can finish talking, she has grabbed her bag, put down the camera, and quickly leaves the apartment, without saying a word. He stares at the door, realizing he has screwed things up with her.

Scene Nine: Brenda's Living Room.

BRENDA smiles and smokes pot as she feverishly types at her Powerbook. Obviously she is full of inspiration.

Scene Ten: Highway.

NATE zooms down the road on his bike. He's wearing a helmet and goggles.

Scene Eleven: Nikolai's Flower Shop.

A man in the Russian mob, YURI, enters the shop with ROBBIE.

Yuri: Nikolai?

Robbie: I told you, he's not here.

Yuri: (approaching RUTH) Where is Nikolai?

Ruth: He's not in today. Can I help you?

Yuri: Where is he?

Ruth: He's at home.

Yuri: No, there is no one at his house.

Ruth: (suspiciously) Who are you?

Yuri: I'm a friend of his. I have something for him. (turning to ROBBIE) I need to know where he is.

Ruth: He's in the hopital. He was robbed and beaten up and the police are investigating.

Yuri: (laughs, says something in Russian, then) You tell-- (he looms menacingly over RUTH; ROBBIE tries to restrain him, but quickly stops) You tell Nikolai that Yuri says he is sorry and hopes he will be better soon.

RUTH nods, scared. Yuri picks up a basket of flowers.

Yuri: I take these for my mother.

Scene Twelve: Highway.

NATE pulls to the side of the road, gets off the bike, takes off his helmet and gets down on his knees. NATHANIEL, SR. appears.

Nathaniel, Sr.: Way to go, buddy boy. Nice to know you're not shooting blanks, right?

Nate: Oh, God, what the fuck am I going to do?

Nathaniel, Sr.: You don't have to do anything. That's the beauty part.

Nate: No, I have to tell Brenda.

Nathaniel, Sr.: No, you don't.

Nate: I can't keep something like this from her. We're getting married.

Nathaniel, Sr.: Not if you tell her, you're not. You really think she'd stay with you, hmmm? My guess is she's just looking for a way out anyway, you know ever since she found about the--um--

Nate: What?

Nathaniel, Sr.: You think she meant everything she said about sticking with you? Yeah. Oh, yeah. Nothing turns the women on more than a potentially fatal brain condition. Try coughing up blood. I bet you'll be getting laid left and right. Y'know, buddy boy, sometimes you can be a fuckin' moron.

Nate: (stands up) I can't.

Nathaniel, Sr.: Sure you can. You can get away with anything. There's shit about me you still don't know, things you'll never know, and let me tell ya, you're better off for it.

Nate: No, I should tell her. She deserves that.

Nathaniel, Sr.: You want to die alone? Go right ahead.

NATHANIEL, SR. dissapears and NATE stands alone.

Scene Thirteen: Brenda's Apartment.

BRENDA's pacing as she talks. MELISSA is sitting in a chair.

Brenda: (excitedly) Oh, my God, it was like hallucinatory, and I'm sorry but it was so, ya know, like I could just uh-- I could feel every inch of my skin. Like I could just feel that I was so goddamn alive! You know how guys who've been to war talk about it?

MELISSA nods.

Brenda: Yeah, like that. Yeah, like I was right in the fucking center of life!

Melissa: (smiles) Wow, for a random fuck, he seems pretty great.

Brenda: But it wasn't him. I don't even remember him! God, what was it? I've had spontaneous, anonymous sex before.

Melissa: Maybe it's just the thrill of breaking the rules.

BRENDA stops pacing and looks at MELISSA, quizzically.

Melissa: You are engaged.

Brenda: You keep harping on about that. It's not it. It's not about me and Nate. It's not, not it at all. It's about-- it's about me not being outside myself, for once. Not watching, not analyzing every goddamn moment as it happens. Not holding back. Just becoming... just becoming pure sensation. Becoming energy. Just becoming nature!

Melissa: Sounds pretty great.

Brenda: Yeah, oh, my God! It was such a fucking rush! And then I came home and I wrote like a whole 12 pages without stopping!

Melissa: Wow.

Brenda: (pauses) What if I'm losing my shit? What if this is the beginning of some serious mental illness, ya know? I mean, chances are I am genetically pre-disposed. Fuck it, that's just me being paranoid. That's just me being afraid to be out of control, as if anyone's ever in control.

Melissa: You know?, I can give you the name of my therapist, if you want to talk to somebody.

Brenda: (laughs) Uh, no thanks. I will never talk to a therapist. Therapists fucked up my life. I don't need a fucking therapist. (MELISSA shrugs.) Want another beer?

Melissa: Sure.

BRENDA goes to get the beer. MELISSA looks like she knows something's wrong with BRENDA.

Scene Fourteen: Fisher TV Room, nighttime.

NIKOLAI is talking to RUTH, looking at the roof.

Nikolai: I come to this country with nothing. My wife was already dead for many years. And my son... my son is dead too. And so, I come to America. Why not? I working cleaning toilets at the studio, riding bus, growing potato in the box in the roof. Bank, they don't want to give me money to start my business. So I have to go somewhere else. What choice do I have?

Ruth: How much money do you owe them?

Nikolai: I... I don't know. It keeps changing. Interest.

Ruth: Nikolai, you should call the police.

Nikolai: Yeah, police. This is no different than Moscow. No difference at all.

Scene Fifteen: Keith's Apartment.

DAVID enters carrying a bag of groceries. KEITH is sleeping on the couch.

David: Keith, are you okay?

Keith: No.

David: What's wrong? (sits down next to him) Is it because of the shooting?

Keith: (annoyed) No, it is not because of the shooting. Damn, David, you're like a fucking broken record about that.

David: What is it then?

Keith: What difference does it make? Am I not allowed to feel shitty every now and then?

David: I just want to help.

KEITH sneers and gets up.

David: Is it because Taylor isn't living here anymore?

Keith: No. You know what?, I'm glad Taylor's not living here anymore! I didn't ask for the responsibility of taking care of a child! I don't want it! I'm glad I have my life back! I'm sick and tired of taking care of everybody else's fucking problems!

David: Okay.

Keith: Oh, God. I'm sorry. I don't mean to take it out on you.

David: You can. I mean, that's just part of it, right? We all need to vent.

Keith: You can tell me to shut the fuck up.

David: I don't mind, really.

Keith: I do miss her.

David: Me too.

Pause.

Keith: You want to have sex?

David: Sure.

Keith: I want to do it on the floor.

David: Okay, let me just put these groceries away. (leaves for the kitchen)

Scene Sixteen: Brenda's Apartment.

BRENDA's in the kitchen, washing dishes. NATE enters through the front door.

Nate: Hey.

Brenda: Hey. How was your day?

Nate: It was okay. Long. You?

Brenda: I got a lot of writing done today.

Nate: That's good.

Brenda: Did you eat?

Nate: (has to think about it for a minute) Uh, no, no, I didn't.

Brenda: Do you want me to fix you something?

Nate: No, no, I'm not hungry.

He picks up a copy of "The Lie of Romance" off BRENDA's coffee table. The front page is enscribed: "Enjoyed meeting you. Hope you enjoy this. LW."

Nate: (holding up the book for her to see) What's this?

Brenda: Oh, some book everyone's raving about.

Nate: You met him?

Brenda: No, that belongs to my mom.

He puts the book down and sighs. She continues washing dishes and looks his way. The screen fades to white.

Act Three

Scene One: Slumber Room, next day.

MR. GARRISON's viewing. NATE and DAVID watch from the other room. FATHER JACK is giving a eulogy.

Father Jack: Dear friends, it was our Lord Jesus Himself who said, "Come to me, all you who labor and are burdened, and I will give you rest. Let us pray, then, for our brother, Dwight Garrison, that he may rest from his labors and enter into--

Cut to NATE and DAVID. FATHER JACK continues in the next room.

David: Nate, are you okay? You don't look well.

Nate: Yeah, yeah, I just, uh-- didn't sleep well last night.

David: You're taking care of yourself, right? You're taking your medication? Not letting yourself get too stressed out.

Nate: (ironically) I'm doing my best.

MRS. GARRISON comes up to them, crying.

David: Mrs. Garrison, is there anything we can do?

Mrs. Garrison: I just wanted to thank you. The service is lovely.

David: I'm pleased you approve.

Mrs. Garrison: And I also want to apologize for the way I behaved yesterday. I was... I was just... I'm just so fucking angry. He shouldn't have died. He was still young. We only had 6 years together. Only 6 years! (bursts into tears)

Nate: It's more than some people have.

Mrs. Garrison: It's not enough!

Nate: (kindly) I know, I know. (hugs her) I know, it's never enough, I know.

Mrs. Garrison: Oh! I went to Cedar Grove. The crypt next to Dwight and his wife's was empty, so I bought it.

Nate: Really?

Mrs. Garrison: Yeah, I still want to be buried with him. Or next to him, if that's all I can get.

David: That's lovely.

Mrs. Garrison: And I don't want those bitches anywhere near him, so I bought the one on the other side. (the brothers both hide their shock) I'd like to come in on Monday and make all of the arrangements in advance, you know?, like he did.

David: Of course, any time after nine.

She smiles.

Mrs. Garrison: Thank you.

She walks away. NATE and DAVID share a secret smile.

Scene Two: Karla's Apartment.

KARLA is talking on the phone. TAYLOR enters from the bathroom, holding a small cup of urine.

Karla: Yes, I do have telemarketing experience. Can you tell me where you're located? (pause) Oh, um, I can't come this morning, I have a previous appointment. How about if I come at 2:30? (happy) Okay, okay, thank you so much! What's your name? (pause) Thank you, Martha. Okay.

She hangs up and TAYLOR gives her the cup.

Karla: Hey, honey, you done? (takes the cup TAYLOR is handing her) Thanks, baby. You did real good! (TAYLOR smiles) I'll take this to the doctor's office on my way to my job interview, and we'll need to do this about twice a week, okay?

Taylor: Okay. (pause) Am I sick?

Karla: No, no, no, of course not, you're not sick. I just want to make sure you don't get sick, okay?

Taylor: Okay.

Karla: You're such a good girl, you know that? (TAYLOR smiles broadly) Mama loves you very, very much!

Taylor: (hugs her) I love you, too, Mama.

Scene Three: Keith's Apartment, evening.

DAVID enters with a bag of groceries. KEITH is there.

Keith: Hey.

David: (surprised) Hey. I thought you were working till midnight.

Keith: Yeah, well, they switched my schedule around. Again. What do you got in that bag?

David: (a little nervous) Oh, these are just some things I thought I'd keep over here, if that's okay.

KEITH looks in the bag. He takes out a toothbrush and then a bottle of pills.

David: Prevacid. Acid reflux. I'm supposed to take it every night, so I got an extra prescription filled just so I don't miss it when I stay over.

KEITH takes out a small white plastic shell, which DAVID takes away, embarassed.

David: That's, uh, my nightguard. So I don't grind my teeth.

The next thing in the bag is a pillow.

David: Buckwheat pillow. It's hypoallergenic!

KEITH smiles. He then takes out a small plastic packet.

David: Earplugs for when you snore. (laughs)

Keith: (now getting a little concerned) Are you moving in?

David: Of course not.

Keith: Because I don't remember discussing you moving in.

David: I'm not moving in. Jesus, are you paranoid or what?

Keith: 'Cause living together-- I'm not sure we're ready for that.

David: Okay, it's just stuff, Keith. I still have my own place. Would you like me to go there now?

Keith: No, I made dinner. "Oz" is on.

He gives DAVID a quick kiss on the mouth.

David: Okay, does the term, "mixed messages" mean anything to you?

Keith: Oh, come on! (laughs, teasing) I'm just fucking with you, fool! I think you should move in!

David: Really?!

KEITH goes into the kitchen. He speaks the next lines from there.

Keith: (O.S.) Yeah, what are we waiting for? Just as long as you don't think you're bringing any of that ugly-ass furniture with you!

DAVID smiles and does a 360 in elation.

Scene Four: Fisher Office.

NATE looks tired as hell. He's doodling something on a sketchpad. There's a knock at the door. It's CLAIRE.

Claire: Hey.

Nate: (perks up) Hey!

Claire: Whatcha doing?

Nate: Just making a list of things I have to do on Monday.

Claire: (nods) Well, you were right about Billy.

Nate: (instantly protective) What happened?

Claire: Nothing. Nothing happened. It's just-- he's on this completely different wavelength, and it's not a wavelength I want to be anywhere near.

Nate: (smiles) Well, I'm glad to hear that.

CLAIRE smiles.

Claire: Well, good night.

She hugs him.

Nate: (suprised and happy) Good night.

She leaves and he stays pensive.

Scene Five: Claire's Bedroom.

CLAIRE is on-line. She checks her AOL mailbox. The voice says, "You've got mail!" She has one message... from BILLY. The subject is "meltdown". She clicks on it, and reads the text. It says: "hey -- sorry about the meltdown -- thought you might like to see these..." She sighs and clicks on the attachments link. The black and white photos she took appear on the screen, and they are quite remarkable. She is witnessing a talent that she never realized she had. She looks at each picture one by one and smiles. She silently mouths "Wow."

The screen fades to white.

END OF ACT THREE

END CREDITS