Épisode Le piège S03E05 - Six Feet Under Saison 3

ACT I
 
FADE IN
 
EXT. WOODED HILLSIDE - DAY
 
Birds sing as a couple approach along a path.
 
WOMAN
I don't know why you didn't accept the complimentary map at the trail head.
 
MAN
Because I've done this hike a hundred times before.  You're the one who insisted on making a left at the last marker.
 
WOMAN
Because the other way didn't look like a trail.
 
MAN
That was the trail.
 
WOMAN
Fine.  Everything is my fault, everything in the entire world.
 
MAN
Not everything.  Just the fact that we're now totally lost and I'm totally dehydrated.
 
WOMAN
Oh, well if you were so sure about the damn trail, which you weren't, then why didn't you just go and find--
 
She notices something offscreen.
 
WOMAN
Hey, what is that down there?
 
EXT. RAVINE - DAY
 
An old abandoned car lies by the side of creek, covered by weeds.
 
WOMAN
I told you there was something, but you didn't believe me, you never believe me, you act just like your mother.
 
MAN
No, I'm don't.
 
WOMAN
Yes you do, just be honest for once.
 
She tries the handle.
 
WOMAN
Oh my God, something is moving.  Somebody's in there, they're trapped.
 
MAN
No, they're not.
 
The man slowly reaches over and opens the passenger side door, and a bird suddenly flies out, surprising them.  The door swings shut again.
 
MAN
Must have driven off that dirt road up there.  It's been sitting here for years.
 
WOMAN
It's so horrible.  Why would they have an accident and then just leave their car to rot?
 
The man opens the door again.
 
MAN
Maybe because they're still in it.
 
Inside, we see the skeletal remains of the driver on the seat and steering wheel.
 
CROSSFADE TO WHITE:
 
INTERTITLE: 
 
WILLIAM AARON JAFFE 1951-1975
 
CROSSFADE TO WHITE:
 
INT. OLIVIER'S STUDIO CLASS - DAY
 
Olivier patrols the room as students make still art drawing of a set of marionette heads.  Piano music plays in the b.g.
 
CLAIRE (O.S.)
Okay, I'm fading.  I can't even keep my eyes open.  I need to get a cup of coffee.
 
RUSSELL (O.S.)
You fell asleep while we were on the phone last night.
 
CLAIRE (O.S.)
I did not.
 
She laughs.  We now see that they are standing side by-side as they draw.
 
RUSSELL
Yeah, I was talking for like thirty minutes straight, I was thinking, ah, it's so good to get these things out, and then... (makes snoring sound)
 
CLAIRE
I'm sorry.  I haven't slept in like three nights.  I've been devouring this Camile Claudeau biography.
 
RUSSELL
Do you remember me telling you that my brother is getting married on Saturday?
 
CLAIRE
Yes, to the woman with no chin.
 
RUSSELL
That's right.  So I didn't totally bore you.  I know it's kind of a-- kind of last minute, but I was thinking maybe, if you weren't doing anything, um, I mean, if it wouldn't be completely painful for you, to come with me.
 
CLAIRE
Um--
 
RUSSELL
It's not a date, it sounds like a date, but it's not.
(beat)
Okay, it's a date.  You'd be my date.
 
CLAIRE
Sure.  I mean, why not.  Of course I'll go with you.
 
RUSSELL
Okay, it got weird, didn't it?  And I did it.  I hate life.  Claire, I really like our friendship, and I would never--
 
Olivier clears his throat.
 
OLIVIER
What's with the chitty-chat?  Hmm?  You can focus on your work, or you can gossip like old blind women.  It's your decision.
 
He comes around to view their work.  He looks at Russell's first.
 
OLIVIER
Finally, you draw what you see, not what you think you see.  I like it.
 
He looks at Claire's drawing.
 
OLIVIER
Claire, you and I should talk.
 
Claire and Olivier approach his desk.
 
CLAIRE
Look, everything I do sucks today, I know, I just--
 
OLIVIER
This isn't about your work.
 
The conversation continues, muffled, from Russell's POV.  Russell looks on, unhappily.
 
CLAIRE
Thank you.
 
OLIVIER
Of course.
 
CLAIRE
Thank you.
 
Claire heads back to her easel, beaming.
 
CLAIRE
You're not going to believe this, Olivier just asked me to be his assistant, and I start tomorrow.
 
Russell is clearly not pleased.
 
RUSSELL
I don't believe this.
 
CLAIRE
God, I feel like I just won something.  I never win anything.
 
RUSSELL
Me neither.
 
INT. FUNERAL HOME, CASKET WALL - DAY
 
Nate and David meet with Jaffe's ex-wife and her husband.
 
WIFE
Um, I guess any of these would be fine.
 
HUSBAND
Honey, you actually have to pick one.
 
WIFE
Chris, please, how the hell am I supposed to know what kind of casket Will would want?  I mean, he disappeared over 25 years ago, and I can hardly remember how he took his coffee.
 
DAVID
I myself like the Deluxe Aegean.  It's a little on the high end, but it's very calming, it's like a slow lulling ride on-- On the Aegean, I guess.
 
WIFE
I need to sit down.
 
NATE
Take your time.  There's no hurry.  We know how hard this is for you.
 
She sits.
 
WIFE
He um, went out for a newspaper one day and never came back. So I figured he deserted me, which made sense, because we were one of those horrible got-married-too-soon-for-all-the-wrong- reasons couples.  Now I find out, he didn't run away at all, he died in a freak accident.  What am I supposed to do with all these years of feeling like he deserted us?
 
HUSBAND
Honey, we don't even need to do a funeral.  It's just an empty ritual.
 
DAVID
Actually, the closure it provides is quite powerful and quite healing.
 
WIFE
The strange part is where they found him.  In that canyon, it was ten miles from where we lived back then. 
 
NATE
Uh, well, maybe he got lost.
 
WIFE
Right, looking for a newspaper on a dirt road in the middle of nowhere.  Do you think he was seeing someone else?
 
She looks at Nate.
 
NATE
I don't know.
 
DAVID
He could have been.
 
HUSBAND
Diane, let's just make a decision on the casket and get out of here.
 
WIFE
Will was Jewish, so I suppose...
 
DAVID
(disappointed)
The Samson.  It's plain cedar.  Got it.
 
 
INT. FUNERAL HOME, KITCHEN - DAY
 
Ruth is getting a box off the top shelf of the cubbards.
 
She opens the box and removes a mouse trap from inside.
 
 
INT. FUNERAL HOME, BASEMENT - DAY
 
Claire is holding a box as Rico washes down a body.
 
CLAIRE
I can finish out the week if you need it, it's no problem.
 
RICO
Claire, you got another job, go do it.
 
CLAIRE
It's just --It's an amazing opportunity, to learn from Olivier Castro-Stahl, and maybe even help him with his art, and-- just do something meaningful, instead of just-- you know?
 
RICO
Fine.  You know what, I wasn't crazy about you doing pick-ups and deliveries anyway.  We have enough actual employees here.  We shouldn't have to pay somebody extra.
 
CLAIRE
Okay. Thanks. 
 
She's about to leave, then turns back.
 
CLAIRE (CONT'D)
Oh, wait, this is for you.
 
RICO
Is that a good-bye gift?
 
CLAIRE
No, it's a box of bones I just picked up from the coroner.  William Jaffe.  Here, catch.
 
She acts as if she's going to toss him the box, and then stops.  The box of bones rattles.
 
CLAIRE
Just kidding.
 
He takes the box and Claire leaves.
 
 
INT. FUNERAL HOME, OFFICE - DAY
 
Rico is pitching an idea to Nate and David.
 
NATE
I'm not sure this is such a good idea.
 
RICO
No, no, it's perfect.  Look, we were saving some by using Claire, but we can save serious money with an apprentice.  I've crunched the numbers.
 
DAVID
You can crunch numbers?
 
RICO
Of course I can.  Look, it's free labor, we just have to give him a place to live, he gets credit for mortuary school, and we don't have to pay him butkiss, as Mr. F used to say.  Well?
 
NATE
I don't know, I think this house is already gettin' a little crowded.
 
DAVID
You mean with your wife and baby?
 
NATE
I'm just saying, how do we know someone will even want the job?
 
RICO
I've got five seniors from Cypress lined up dying to interview today.
 
DAVID
I think we should do it.
 
NATE
All right, fine.
 
RUTH
Isn't someone going to ask me how I feel about this?  After all, since none of you actually live in the house any more, I'll be the one who will be forced to co-exist with a complete stranger who could kill me in the middle of the night.
 
NATE
You know, she's right, it's not fair to her.
 
RiCO
Mrs. F., we can save up to ten thousand dollars a year according to my projections.
 
RUTH
I don't want loud rock music in this house.
 
RICO
No rock music, got it.  So, you guys want to take a look at some of the resumes they faxed over.
 
DAVID
Are you kidding?  I'm dying to.
 
David and Rico look at the resumes as Nate and Ruth exit into...
 
INT. FUNERAL HOME, FOYER - CONTINUOUS
 
NATE
You know, Mom, you don't have to be a martyr all the time.
 
RUTH
I agreed to it for you.  You need to make more money now that Lisa's a stay at home.
 
NATE
A what?
 
RUTH
A stay-at-home mother.  Lisa told me that's what they're called now.  What a terrible expression, like you have some bracelet on your foot that will ring if you leave the house.
 
NATE
Lisa's going back to work.
 
RUTH
Of course she is, when Maya goes to kindergarten.
 
NATE
Uh, why are you holding a mousetrap?
 
RUTH
I found a box of them.  Remember when we had that mouse infestation years ago.
 
NATE
Those things are so cruel.
 
RUTH
Mice have germs.  They deserve to die.
 
 
INT. AUDITORIUM - NIGHT
 
David is rehearsing with the chorus and DENNIS, the director.
 
CHORUS
Because it's June
June June June June
Just because it's June
June June
Ju-ju-ju-ju-ju-ju-ju-ju
Ju-Ju-June!
Ju-ju-ju-ju-ju-ju-ju-ju
Ju-Ju-
Ju-Ju-June!
 
DENNIS
Okay, well, let's just hope bad rehearsal means good show tomorrow night.  Good night everybody.
 
The chorus members start to disperse.
 
DENNIS
David.
 
David approaches.
 
DAVID
What, was my solo awful.
 
DENNIS
No, no, no, no, it's good.  It is.  Um, But I think you need to stop trying to make it so... um, perfect.
 
DAVID
Oh, okay.
 
DENNIS
Just try to be more relaxed with it, okay?  Okay, great, well, we'll see you tomorrow night.
 
Dennis exits, as fellow chorus members Terry and Patrick approach.
 
PATRICK
Hey, David.  We're going out for a drink.  It's only going to be a --
 
DAVID
A drink!  Yes, absolutely.
 
 
INT. SPORTS BAR - NIGHT
 
David, Terry and Patrick stand at the bar as guys play foosball nearby.  It's a busy night.  Music plays, and patrons, especially the foosball players are audible in the b.g.  It's a typical heterosexual bar scene.
 
DAVID
Dennis can kiss my lilly-white ass.  I mean, it's not like it's the Met!
 
PATRICK
Hey, he's just trying to-- I mean, your solo is a little-- it's--
 
DAVID
What?
 
TERRY
It's prissy!  It's like a little girl's doll house, it's like a kitty cat greeting card, like a puffy white cutesy pie.
 
DAVID
Thanks, Terry.  I get the point.  God, I was just trying to make it sound pretty.
 
TERRY
That's the point here.  Don't.  Sing from someplace real.
 
The guys playing foosball suddenly grunt and shout.
 
TERRY (CONT'D)
God, when did I become four hundred years old.
 
PATRICK
On your last birthday party.  Not that you would remember anything from that night.  He was actually trying to convince this guy that he used to be in cirque du soleil.  Here, show him the coming-down-from-the-trapeze look.
 
Terry suddenly assumes a comical, highly theatrical pose and expression.  Patrick and David are amused.
 
PATRICK
I have to go to the bathroom.  I'll get a check so we can get out of here.
 
Patrick exits.  David and Terry are left standing at the bar.
 
TERRY
This one is obsessed with Trading Spaces.  We're lucky we got him this long.
 
David looks uncomfortable and finishes his drink.  Terry slides down the bar toward him.
 
TERRY (CONT'D)
Look, I know I'm not supposed to say anything, but I will.  I feel weird not acknowledging it.
 
DAVID
What?
 
TERRY
You know, It.  How we know each other.
 
DAVID
From chorus?
 
TERRY
Fine, just pretend, whatever.
 
DAVID
I don't know what you're talking about.
 
TERRY
From the bathroom at Sears, it was what? seven or eight years ago, you jerked me off, the second stall, the security guy almost caught us.
 
DAVID
Honestly, you're confusing me with someone else.
 
TERRY
Oh, come on, you checked me out in automotive supplies, I followed you into home appliances, we met up in the second floor John where everybody--
 
DAVID
This wasn't me.
 
TERRY
Oh, please.  Fine, be that way.
 
Patrick returns with the check.  The music throbs, filling the void in the conversation.
 
David puts money on the bar.
 
DAVID
Is that enough?  Do you need more?
 
PATRICK
I think forty is too much.
 
TERRY
So, David, is your boyfriend coming to the concert tomorrow?
 
DAVID
Yeah, he's supposed to.
 
TERRY
I can't wait to meet him.
 
 
INT. NATE'S APARTMENT - NIGHT
 
Nate is assembling some piece of furniture as Lisa reviews bills at the desk.
 
NATE
Goddammmit!
 
LISA
Aren't there instructions?
 
NATE
Just a page of hieroglyphics showing nothing that came in this box.  What are you doing?
 
LISA
I'm circling problem purchases on the VISA bill.
 
NATE
Problem purchases?
 
Lisa gets up and approaches Nate.
 
LISA
Things we bought that maybe we didn't need or we could buy less of.
 
She hands him the bill.  He looks at it.
 
NATE
You mean things I bought.  What are these smiley faces?  Good purchases?
 
LISA
No, I was just doodling.
 
NATE
I don't see why these are problem purchases.  This is lunch with David.  I had to eat.
 
LISA
You didn't have to spend fifty-five dollars.  What did you have?
 
NATE
A couple sandwiches.
 
LISA
This country is insane.  What about this one?  You dropped eighty dollars at Book Soup.  I guess you haven't heard of libraries.
 
NATE
Libraries are depressing.
 
LISA
Nate you're not single anymore.  You can't keep spending like you are.
 
NATE
Okay.  I'll try to cut down.  You know, until you get back to work.
 
LISA
Um, actually, I'm holding off looking for another job.
 
NATE
Really?  For how long? 
 
LISA
I don't know.  We'll see.
 
NATE
Because my Mom seems to think it's til Maya is in Kindergarten.
 
Lisa looks flustered.
 
NATE (CONT'D)
(angry)
This is not a decision you can make without me.
 
LISA
Okay.
 
Lisa gets up and goes back to the desk.
 
Nate watches her, as we hear Maya crying in the background.
 
 
INT. DAVID AND KEITH'S APARTMENT - NIGHT
 
Keith is sitting on the sofa, reading, as David enters.  Light music plays.
 
KEITH
Hey, it's a late rehearsal.
 
DAVID
Yeah, we just-- you know, the concert's tomorrow night, so--
 
KEITH
Oh, yeah, what time should I be there?
 
DAVID
Uh, Seven thirty.
 
KEITH
I don't get off until nine at the earliest.
 
DAVID
You can't make it?
 
KEITH
David, please don't try to make me feel guilty.  I did everything I could to change my schedule, but--
 
DAVID
I understand.  It's okay, really.  You can come to the next one.
 
KEITH
Well, just twist the knife in deeper.  I'm gonna talk to Frank about this.
 
David comes over and sits next to Keith.
 
DAVID
Keith, you really don't have to come.  It's not a big deal.  I'm not angry.
 
KEITH
Really?
 
David nods.
 
KEITH (CONT'D)
Thank you, for being so aware that this isn't about you. 
 
They hug.
 
KEITH (CONT'D)
We really are making progress.
 
They separate.
 
KEITH (CONT'D) 
You know, this is really fucked up.  Missing your concert for this lame-ass job.  I should just call in sick.
 
DAVID
No, don't.
 
KEITH
I don't get it.  How did my life become so fucking meaningless.  I used to make a difference.  Used to protect people's lives.  Now I just protect their stuff.
 
DAVID
Work isn't everything.  I give you some meaning, don't I?  You give me meaning.
 
KEITH
Of course.  But we can't be everything for each other, David, I mean that's, that's just not possible.
 
FADE TO WHITE:
 
ACT II
 
FADE IN:
 
INT. FUNERAL HOME, FOYER - DAY
 
A young man, ARTHUR, enters, carrying a single suitcase.  There is no one there to greet him.
 
INT. FUNERAL HOME, BASEMENT - DAY
 
Rico is working on an elderly woman's lips as Arthur stands, holding the suitcase.
 
RICO
I'll be done in a few minutes, Arthur.  You're a little early.
 
ARTHUR
Actually, I was a lot early, so I walked around the block for a while.  An elderly woman, who was almost completely bald, told me to get off her lawn. 
 
He sets down the suitcase.
 
ARTHUR (CONT'D)
May I ask you a personal question?
 
RICO
You can ask.
 
ARTHUR
Why did you choose me over the other applicants?  I'm only asking because I'm always looking to improve my interview skills.
 
Rico stops his work.
 
RICO
Fair enough.  It was between you and Judy Lindamen.  But we just thought you would fit here better. 
 
ARTHUR
Based on?
 
RICO
Well, uh, you know, there was something in the way you talked about your, uh, your grandmother.
 
ARTHUR
My great Aunt Perl. 
 
RICO
Oh.
 
ARTHUR
She was a very special woman.  I barely knew my parents.  They burned to death in a fire when I was five.  
 
RICO
Oh, I'm sorry.
 
ARTHUR
My Aunt Perl gave up everything for me.  She home-schooled me.
 
RICO
Yeah, yeah, you seem a little... home-schooled.
 
Rico looks back at the woman's body in front of him.
 
RICO
Ah, shit.  These collagen lips are such a bitch.
 
Arthur looks offended.
 
RICO (CONT'D)
I'm guessing your Aunt Perl didn't like cussing, huh? 
 
ARTHUR
Not one bit.  She would have tarred me for that kind of language.
 
Ruth enters from the back.
 
RUTH
Rico, have you--
 
RICO
Oh, Mrs. F, this is Arthur Martin, our new apprentice.
 
RUTH
Hello.
 
Arthur waves.
 
RUTH (CONT'D)
Excuse me, have you seen Nate?  Lisa's looking for him.
 
 
EXT. ATOMIC RECORD STORE - DAY
 
Establishing shot.
 
 
INT. ATOMIC RECORD STORE - CONTINUOUS
 
Nate browses for CDs as music plays.  He picks something out.
 
 
INT. ATOMIC RECORD STORE - MOMENTS LATER
 
Nate is at the counter making a purchase.
 
CASHIER
That'll be fifty-two ninety.
 
Nate hands her his credit card.
 
NATE
Here you go.
 
The cashier swipes it and the machine beeps.
 
CASHIER
Oh.  I have to talk to my manager. 
(shouts)
I need credit approval.
 
They wait for a beat.
 
CASHIER
This CD is so great for taking diet pills and cleaning your bathroom.
 
They wait another beat, awkwardly.
 
Then the manager walks in.  It is Lisa.  She glares at Nate incredulously.
 
LISA
What are you doing?
 
NATE
Uh...
 
LISA
Do you even listen to me when I talk or do you just hear static every time I open my mouth? 
 
NATE
I'm--
 
LISA
How on Earth do you expect Maya to go to college?  You're throwing everything we have together away for fucking Beck? 
 
JUMP CUT TO:
 
INT. ATOMIC RECORD STORE - DAY
 
The cashier is holding a receipt out to Nate.
 
CASHIER
Just sign here please.
 
NATE
Um, you know what, I don't, I don't, I don't want these, I changed my mind, so can we just cancel this purchase?
 
The cashier punches some buttons and swipes the card again, then hands it back to Nate.  Nate exits, head hung low.
 
 
INT. OLIVIER'S OFFICE - DAY
 
Claire paces in Oliver's office - a large studio space.  We hear voices distantly.
 
She approaches his desk, pages through his sketchbook, then notices a green toothbrush in a mug on the desk. 
 
She picks it up and studies it, curiously.
 
We hear footsteps approach.
 
She raises the toothbrush to her nose and sniffs.
 
OLIVIER (O.S.)
Come on Claire!
 
Olivier enters, startling Claire.  She hides the brush behind her back.
 
OLIVIER
The early worm catches things.
 
CLAIRE
Okay, where's your studio?
 
She casually leaves the toothbrush on his desk, nonchalantly.
 
OLIVIER
In my house.  Why is that your business?
 
She puts on her jacket.
 
CLAIRE
Isn't that where we're going?
 
OLIVIER
No, we're going to the Century City Mall. 
 
CLAIRE
The Mall?
 
OLIVIER
The best mall in the world.  I used to like Livingston Mall when I taught at Rutgers, but then Bamberger's went out of business and it all went straight to hell.
 
CLAIRE
Wait, you need an assistant to shop?
 
OLIVIER
I need an assistant to drive me.  My license was taken away by a jack-booted fascist.  I don't know why I'm always persecuted.  But it's always been so.
 
CLAIRE
So, I'm your driver?
 
OLIVIER
Yes, can we go now?  Brentanos is having a sale.  And if I ever catch you with my toothbrush again, you're dead meat.
 
Olivier exits.  Claire grabs her sketchbook and art supplies and follows.
 
 
INT. FUNERAL HOME, CASKET DISPLAY ROOM - DAY
 
Nate enters and heads into...
 
 
INT. FUNERAL HOME, OFFICE - CONTINUOUS
 
Nate passes through the office area.  We hear David's voice speaking softly in the next room.  Nate slows down as he's about to enter...
 
 
INT. FUNERAL HOME, WISTERIA ROOM - CONTINUOUS
 
David is speaking with a young man.
 
DAVID
Ah, this is my brother Nate, Nate this is Tom Jaffe.  William Jaffe's son.
 
NATE
I didn't realize he had a--  So sorry for your loss.
 
They shake hands.
 
TOM JAFFE
I was only few months old when he-- when it happened.  I never even knew him.
 
They sit down on the sofa.
 
DAVID
Tom was just dropping off some of his father's belongings.
 
TOM JAFFE
Seems kind of strange, considering that there's no real body.
 
DAVID
Well, in situations like your father's, we find it helps to put some of his belongings to rest also.
 
TOM JAFFE
Well, I hope this'll do.
 
He holds up a small, old green suit jacket on a coat hanger.
 
DAVID
Was your father a little person?
 
TOM JAFFE
No, no, this was the only suit of his that my mother could find.  It was in some box his family had.  It's from his bar-mitzvah.  Oh, and there's this.
 
He takes a white Linda Rondstadt shirt out of his bag.
 
TOM JAFFE
It was in the same box.  It either belonged to him or my uncle.  My mother thinks she remembers my father liking Blue Bayeau.
 
He hands the shirt to Nate, who studies it.
 
TOM JAFFE
Well, I'm gonna get fired if I'm not back by two, so that's all.
 
Nate is still studying the shirt, lost in thought.
 
DAVID
Well, yes, we'll see you tomorrow afternoon at the funeral.
 
Tom Jaffe stands, shakes hands with David and exits.
 
David sits back down.
 
DAVID
What's wrong with you?
 
NATE
Can you imagine being so calm about your father's death?
 
DAVID
Well, he probably thinks of his step-father as his real father.  As he should.
 
NATE
He doesn't know anything about his Dad.  Not a thing.  He has no idea whether he even liked Linda Rondstadt.
 
DAVID
Do you know if our Dad liked Linda Rondstadt?
 
NATE
As a matter of fact, I do.  I cleaned out his record collection and there's a copy of Heart Like a Wheel in it.
 
David shakes his head and exits.
 
 
INT. FUNERAL HOME, KITCHEN - DAY
 
Ruth shows Arthur the contents of the cabinets.
 
RUTH
Here are the teacups and these are dinner plates.  And those up there are for casseroles.  And these are the cereal bowls.  Please feel free to use any of the dishes.
 
She pauses, awkwardly.
 
ARTHUR
Is there one I shouldn't use?
 
RUTH
It's silly.  That one used to be David's special yellow bowl.  He would get upset when anyone else used it.  But I'm sure he won't mind any more.
 
She closes the cabinet.
 
ARTHUR
Let's not take the chance.  We'll keep it out of rotation.
 
RUTH
Thank you.
 
She opens another cabinet.
 
RUTH
Now, you see the chart I made?  Each meal time is divided into two shifts.  One for each of us.  So we never have to suffer the awkwardness of both eating at the same time.
 
ARTHUR
Thank you.  That's very thoughtful.
 
RUTH
We just sign up each day for the one we want.
 
ARTHUR
So my dinner can be from six to seven, or from seven to eight.
 
RUTH
Exactly.  Which do you want tonight?
 
ARTHUR
I'll take seven.
 
Ruth clearly looks disappointed.
 
ARTHUR (CONT'D)
Actually, I'll take six.
 
RUTH
Oh good.  I had a late lunch.  Just use that pen there to initial it.  Of course other people in this house obviously also use the kitchen.  If you want to make a schedule with them too, feel free to use my system.
 
Arthur looks at her and nods as he initials his time spot.
 
RUTH (CONT'D)
Laundry facilities are in here.
 
She exits in the back porch area.
 
RUTH (CONT'D)
Now, Sunday nights are off-limits to you.  I'm very sorry, but that's when I do my linen. 
 
Arthur looks back at her and answers through the kitchen window.
 
ARTHUR
Yes, ma'am.  I understand completely. 
 
 
INT. RUTH'S BEDROOM - DAY
 
We hear Arthur and Ruth approaching the doorway to Ruth's bedroom.
 
ARTHUR (O.S.)
I should write down that part about never aiming the shower head at that part of the tile.
 
Ruth appears in the doorway and continues down the corridor.
 
RUTH
No need.  It's all in the little booklet that's hanging by the sink.
 
Arthur appears in the doorway and stops and lingers.
 
ARTHUR
What a lovely room.  Such warm light. 
 
Ruth reappears.
 
RUTH
It does the trick.
 
She shuts the door.
 
 
INT. ARTHUR'S BEDROOM - DAY
 
Arthur is reading a note as he stands by the dresser.
 
ARTHUR
Second drawer sticks unless you lift as you pull.
 
He lifts and pulls open the second drawer.
 
ARTHUR (CONT'D)
Thank you.  That's very kind.
 
Ruth is taken aback by his politeness.
 
RUTH
All right then, that's the end of the tour.  You're on your own now.
 
ARTHUR
Thank you.
 
She shuts the door and leaves.
 
Arthur sets his suitcase on the bed and looks around at his new abode.
 
 
INT. FUNERAL HOME, OFFICE - DAY
 
Nate opens a file drawer and removes a file.
 
He goes to the desk and types on the computer.
 
We hear a door open and close, then footsteps.
 
BRENDA (O.S.)
Nate?
 
We see Brenda standing in the doorway.
 
NATE
Oh my God.  What are you doing here?
 
BRENDA
Ah, I should have called first.  I was afraid you'd--  I need to talk to you. 
 
Nate snorts.
 
BRENDA (CONT'D)
It won't take long.
 
Nate sits, unresponsive.
 
BRENDA (CONT'D)
I wouldn't ask if it wasn't important.
 
NATE
I don't know, I've got a lot of errands I have to run today.
 
BRENDA
Uh, can I come with you?
 
There's an awkward pause.
 
BRENDA (CONT'D)
Please?
 
 
EXT. VINE AUTO - DAY
 
A black hearse pulls into the garage.
 
NATE (O.S.)
Seems like I just got this smog-checked last moth.
 
Nate and Brenda step out of the car.
 
BRENDA
You know I called you, when I first got back into town, couple-a months ago.  I hung up when you answered.  I just wanted to make sure that you're alive.  I'm sorry.  After everything we went through, to not even know if you're alive, that's sad.  But apparently your surgery was a success, right?
 
NATE
Yeah.  Well, the AVM ruptured in the middle of it and all hell broke loose, but they fixed it.
 
BRENDA
Thank God.
 
 
EXT. HIGHWAY - DAY
 
Claire's green hearse speeds by.
 
OLIVIER (O.S.)
Use your fucking signal, woman! 
 
 
INT. CLAIRE'S GREEN HEARSE - CONTINUOUS
 
Claire drives as Olivier yells out the window.
 
OLIVIER
You can go up my ass!
 
Claire looks at Olivier, surprised, as the radio plays.
 
OLIVIER (CONT'D)
Claire.  I once had an affair with an older married woman.  Her name was Astra.  Movie star.  Did you know that?  Have you ever committed infidelity?
 
CLAIRE
No, not yet.  But some day, hopefully.
 
OLIVIER
Infidelity is not funny Claire.  It's tragic.  All betrayal is tragic.  I was twenty-one when we first met.  The radio was playing "I wear my sunglasses at night."  Such an insipid song.  But now it always makes my heart feel squished. 
 
Claire looks at Olivier, trying to pierce the meaning of this conversation.
 
 
EXT. VINE AUTO - DAY
 
Start on a CLOSE-UP of a photo of Maya.
 
BRENDA (O.S.)
Oh, she's beautiful. 
 
NATE (O.S.)
Yeah.
 
Brenda hands the photo back to Nate.
 
NATE
She's the best fuckin' thing that ever happened to me.
 
They're standing side-by-side, leaning against a red car with a smashed hood.
 
Nate puts the photo away.
 
NATE (CONT'D)
So, what's going on with you?
 
BRENDA
Oh, went to Santa Fe for awhile, I was in Austin, Texas, couple weeks in Tahoe, hated it.
 
NATE
Yep.  What were you doin' there?
 
BRENDA
Just trying to find a place that'll make me feel better.
 
NATE
Are you still livin' in Venice?
 
BRENDA
I'm staying at my Mom's right now. 
 
NATE
How's that?
 
BRENDA
It's the hardest thing I've ever done in my life.
 
A repair guy approaches from behind.
 
REPAIR GUY
Okay.  Bad news, your car didn't pass.  I can fix it, but I'll need about half an hour?
 
NATE
All right.
 
The repair guy leaves.
 
NATE (CONT'D)
Well that just fucks up my whole afternoon.
 
BRENDA
You know, I saw a place up the street.  We could, uh, get a drink.
 
 
INT. RESTAURANT - DAY
 
Nate and Brenda sit at a table in a vacant restaurant.
 
BRENDA
So what's your life like?  Married, father?
 
NATE
It's great.  It's really great.
 
BRENDA
I'm glad.  You so deserve to be happy.  After everything you've been through.
 
NATE
I mean, it's hard sometimes, you know.  Relationships aren't easy. 
 
BRENDA
Really? (sarcastic)
 
NATE
You just have to work at it every day.  Can't expect everything to be perfect all the time.  Can't get shaken when it isn't.  And if there's a moment when I feel like I'm in prison, I just have to think about all those moments when it feels safe.  And remind myself that those moments outweigh the prison moments. 
 
BRENDA
Being alone is the prison.  Just thinking about yourself, just being trapped in this fucking vortex of always watching yourself, which I suppose is okay, if you're interesting.  The truth is, nobody's that interesting. 
 
NATE
(quietly)
Yeah.
 
BRENDA
Yeah, listen to me.  Let's talk about movies or something.
 
NATE
Sorry, I haven't seen a movie in like a year. 
 
Waiter stops by.
 
WAITER
Anything else?
 
BRENDA
No.
 
NATE
Just the check.
 
He clears his throat and looks at his watch.
 
NATE (CONT'D)
Ah, fuck.
 
Nate sighs.
 
NATE (CONT'D)
So, Bren, what's this little catching up session all about?
 
BRENDA
I'm not sure.  Actually, I am sure.  This is so difficult.  I apologize for having sex with other people while being in a committed relationship with you.  For not showing up to our shared reality by altering my consciousness with various substances.
 
NATE
But you already apologized-- Ah, you're making amends.
 
BRENDA
I hate that word.
 
NATE
Still doin' the whole twelve step thing?
 
BRENDA
I'm doing a lot of different things.  My life is... complicated right now. 
 
NATE
Yeah, well, whose isn't?
 
The waiter sets the check on the table.  Brenda reaches for it.
 
NATE
No, no, let me.
 
Nate takes the check.
 
BRENDA
Oh.  Thanks.
 
He looks at the bill and slides his credit card into the bill holder.
 
 
INT. CLAIRE'S CAR - DAY
 
Claire and Olivier are still driving.
 
OLIVIER
I don't even know if she's alive now.  All I know is, before I met Destra I was consumed by this passion to create, a passion I seem to have lost.
 
Claire sighs.
 
OLIVIER (CONT'D)
I was never really in love with her, you know. 
 
CLAIRE
Of course you were.  You ripped a jasmin bush out of the ground for her and put it in her car. 
 
OLIVIER
No, no, no, no.  I had had my first real success and all eyes were on me, what was I going to do next?  I was a coward.  I focussed on another person.  I could have been great.  So can you.  If you get lonely, have sex.  But if you meet somebody who you think means something to you, you're doomed. 
 
Claire thinks this over.
 
 
EXT. SUBURBAN STREET - DAY
 
Keith sits in his security patrol car listening to music.
 
He adjusts the sun visor, then adjusts it back, clearly bored.
 
A voice comes over the radio.
 
RADIO
Car thirty-eight, car thirty-eight, are you receiving?
 
Keith answers.
 
KEITH
Yeah, go ahead.
 
RADIO
Alarm going off at 5636 Fremont Place. 
 
KEITH
Got it, I'm on my way.
 
He starts the car and takes off.
 
 
INT. RUTH'S BEDROOM - DAY
 
Ruth is sitting on her bed, staring straight ahead, hands in lap.  We hear the sound of crickets.
 
She looks at the clock.
 
The clock shows 6:56.  It slowly changes to 6:57.
 
Ruth goes back to sitting and staring.
 
 
EXT. SUBURBAN HOUSE - DAY
 
Keith pulls up in his security car.  Police and another security car are already parked outside.
 
We hear the radio dispatcher from the police squad car.
 
DISPATCHER
We have a 432 on Alameda, Code 3.
 
Keith gets out of the car and runs to the front door.
 
VOICE #2 ON RADIO
Yeah, this is 1-enemy-2, we read you, ETA 4 minutes.
 
A police officer appears from inside just as Keith approaches.
 
OFFICER #1
You're a little late.  Insider job.  Must have known the owners were away.  Went straight for the jewelry upstairs and the cash box in the library.  Real neat and clean.
 
A second POLICE OFFICER and a security guard, DION CORELLI, come out the front door.  The officer passes by Keith, heading to their car.
 
OFFICER #1
Uh, you boys sure you're gonna be okay closing up by yourselves?
 
KEITH
Yeah, I think we can handle it.
 
The cops laugh and walk away.
 
DION
Fucking cops.  Huh, Think they're such hot shit.  Hey, Dion Corelli.
 
He shakes hands with Keith.
 
KEITH
Keith Charles.
 
DION
You were hopin' for some action, right? 
 
KEITH
Yeah, guess so.
 
DION
Yeah, I know that feeling.  Hey, how about I buy you a drink? 
 
Keith looks at him.
 
 
INT.  AUDITORIUM - NIGHT
 
The L.A. Gay Men's Chorus performs.
 
CHORUS
It started out like a song.
We started quiet and slow with no surprise
And then one morning, I woke to realize
We had a good thing going.
 
DAVID'S SOLO
It's not that nothing went wrong.
Some angry moments, of course.  But just a few.
And only moments, no more, because we knew.
We had this good thing going
 
CHORUS
And if I wanted too much
was that such a mistake at the time?
You never wanted enough, all right cup, I'm okay...
 
Terry looks at David and smiles.  David looks back.
 
 
INT. NATE AND LISA'S BEDROOM - NIGHT
 
Nate is bandaging Lisas finger.
 
NATE
You sure that's comfortable.
 
LISA
I don't know when I got so clumsy.  I never used to be this way.
 
NATE
I think it's too tight.
 
LISA
No, it's fine.  Really.  It was so strange.  I put my finger right on that nail when I heard you coming up the stairs.  I mean, I'd seen it sticking out of the wall, but--
 
NATE
Why didn't you tell me about it?  I would have fixed it.
 
LISA
It was almost like somebody pushed me.  Like some kind of invisible person wanted to hurt me.  And earlier in the day, I twisted my ankle coming down the stairs.  I was looking for you for something.  It was around four.  Couldn't find you anywhere.
 
NATE
Well, I went out for a drink.  With Brenda.
 
LISA
Why?
 
NATE
She just showed up.  I was running some errands.  She came along. 
 
LISA
Getting a drink is an errand?
 
She looks disgusted and walks away.
 
LISA
What did she want?
 
NATE
To apologize for being such a crazy bitch when we were together.  Actually it was pretty decent of her.
 
Lisa looks at Nate accusingly.
 
NATE
What?  Lisa, it was just one beer.
 
LISA
Yeah, well, I really don't appreciate finding out about it after the fact.  It's no big deal, but next time, if something like this happens, please tell me first before you go do it.
 
NATE
Well, what am I supposed to do?  Come ask permission?
 
LISA
No.  But you could have said, hey, I want you to meet my wife, then introduce me, and said you're going to go catch up with an old girlfriend.
 
NATE
You're right.  I'm sorry.
 
 
INT. SUBURBAN HOUSE - DAY
 
Dion is pouring Keith a drink.
 
DION
Relax guy, the owners are in Antigua.  They're not gonna mind.
 
KEITH
We shouldn't be doin' this.
 
DOIN
Come on.  You deserve it.  It's not like we're gonna get caught.  We're the only ones who could catch us. 
 
Dion laughs as he hands the drink to Keith.
 
The salute and drink it down.
 
KEITH
This is some place.
 
DION
Yeah.  I bet the people who live here don't even appreciate it. 
 
KEITH
Probably not.  No one appreciates what they have.
 
DION
Especially the ones who have more of it.  Fuckin' rich people. 
KEITH
Ah, what can you do?
 
DION
Don't you just ever want to...
 
He reaches toward a table and tips over a miniature vase.
 
They laugh.
 
DION
That felt so good.
 
Keith looks at a ssmall statuette on the side table next to him.
 
DION
Go on.
 
Keith tips it over.
 
DION
Yeah.
 
Suddenly, Dion throws his glass into the fireplace.
 
KEITH
What the hell are you doin', man?
 
DION
Let's fuck this place up.  Come on, those idiot cops didn't even check in here.  We'll go to town and say the robbers did it.  Let's just break some shit.  Teach those greedy rich fuckers a lesson.
 
KEITH
You're crazy. 
 
DION
Come on, guy.  You know you want to.
 
Suddenly, he knocks the lamp off the table.
 
As he does so, Keith tackles him to the ground.
 
DION
Cut it out.
 
Keith starts pummelling Dion and slamming him into the ground.
 
DION
Cut it out, cut it out.  Okay, okay, okay, okay. 
 
Keith stops.
 
DION
Jesus.
 
Dion lays there on the floor, Keith hovering over him, both breathing heavily.
 
 
INT. RECEPTION AREA - NIGHT
 
Dennis talks to David at the reception party after the performance.
 
DENNIS
You did a great job tonight, David.
 
PATRICK
You were amazing.
(to Dennis)
Can I borrow you for five seconds?
 
DENNIS
This is where Patrick makes me go over every syllable he sang. Describing why each was so unique and wonderful.
 
Dennis and Patrick walk away, leaving David alone.
 
David eyes Terry across the room, gets up his nerve, and approaches.
 
DAVID
Hey, Terry.
 
TERRY
Where's your boyfriend?
 
DAVID
He had to work.  Okay, it was me.  In the Sears bathroom, you know. 
 
TERRY
Honey, I know it was you.  I never forget a... face.
 
DAVID
God, it feels so good just to say it.  I don't know why I didn't just admit it yesterday.  It just seems so...
 
TERRY
Sleazy, repressed, not that pretty. 
 
DAVID
Yeah, something like that.  That time for me was so difficult.  I mean, really difficult.  And I tried so hard to compartmentalize that part of my life, but you can't--
 
TERRY
Sweety, you don't need to explain it to me. 
 
DAVID
I don't know why things should have to be so hard for people.
 
TERRY
I think just because we make them that way.  So, you ever jerk off anyone else in the chorus?
 
DAVID
Of course not.  You?
 
TERRY
A couple.
 
David laughs.
 
 
INT. SURBURBAN HOUSE - NIGHT
 
Keith has Dion pinned to the floor.
 
KEITH
So if I let you up, no more crazy stuff?
 
DION
No sir.
 
Keith gets off Dion.
 
Dion starts to get up.
 
DION
Aw, holy shit, man, ahh.  You didn't have to play so hard.  I was just blowing off a little steam.
 
KEITH
Get your things and get out of here.
 
DION
You ever a cop?
 
KEITH
No.
 
DION
Yeah.  Well, whatever you are, you got a lot of shit to deal with.
 
He leaves.  Keith remains in the empty house. 
 
He sets everything back the way it was.
 
 
FADE TO WHITE
 
ACT III
 
FADE IN
 
INT. SLUMBER ROOM - DAY
 
Many people, including the Will's son, ex-wife, and her husband, are gathered for Will's viewing.  An elderly man speaks before the crowd.
 
ELDERLY MAN
I could always talk to Will because he was my best buddy.  So my wife said, why don't you pretend that he's here, what would you tell him?  So I thought, what the hell, I'll give it a try.
 
He turns to a large photograph of Will displayed near the coffin.
 
ELDERLY MAN (CONT'D)
So I say, Goddamn you Will, I'm mad at you.  You're not getting bald, befuddled, and flabby like the rest of us old tired married folk.
 
We see Nate and David standing at the back of the room.  David is falling asleep.
 
ELDERLY MAN (O.S.)
Ah, you had the right idea though.  Cut out while you're in your prime.
 
Nate gives David a nudge.
 
DAVID
Hangover.
 
NATE
What trouble did you boys get into last night?
 
DAVID
None.  Keith had to work.  I had a concert.
 
NATE
You did?  Why didn't you tell anyone?
 
DAVID
Next time.  I'm going to go lay down for a few minutes.
&nbs
p;
NATE
All right. 

David exits.
 
Nate listens as the eulogy continues.
 
ELDERLY MAN
You're glad, you're not like us, tied to the old ball and chain, unable to do whatever we want when we want, like you always did.
 
 
INT. NATE AND LISA'S BEDROOM - DAY
 
Lisa is folding laundry on the bed, when she notices a receipt in Nate's jeans pocket.
 
She takes it out.  It is the bill from Nate's "beer" with Brenda.
 
She looks at it, thinks about it, sits on the bed, and then starts crying.
 
 
INT. RUTH'S BEDROOM - DAY
 
Bettina is trying on earrings while Ruth sits on the bed.
 
BETTINA
Why do you look so sad?  I won't be gone forever.  I'll be back from Montana in a month or so.  As soon as I can get Marci out of jail and into some sort of counseling.  Which I'm sure she'll resist.  Always does.
 
RUTH
Does your daughter have these episodes often?
 
BETTINA
Pretty often.  She's a real nut job.  But what can I do, I'm her Mom?  She really needs me.  Oh, God, kids are such a drain.  They'll really suck you dry if you let 'em.
 
RUTH
My kids don't need me.  Not at all.
 
BETTINA
Thank your fuckin' lucky stars.  So where's that coffee you promised me?
 
Ruth looks at her watch.
 
RUTH
Can you wait seven minutes?
 
BETTINA
Um, not really.
 
 
INT. FUNERAL HOME, KITCHEN - DAY
 
Arthur is boiling water for tea.
 
Bettina and Ruth watch him from...
 
 
INT. TOP OF THE STAIRS - CONTINUOUS
 
The teapot is whistling.
 
RUTH
(whispering)
This isn't right.  Get up.
 
BETTINA
No.
 
Arthur removes the teapot from the stove and pours his tea.
 
BETTINA
I love spying. 
 
RUTH
Well, I don't.
 
BETTINA
Sure you do.  Everyone does.  We're all voyeurs at heart.  We're just dying to see everybody else's fucked up weird private shit. 
 
Arthur takes his tea to the table and sits down.
 
He scratches his neck weirdly.
 
Ruth hugs Bettina.
 
RUTH
I'm going to miss you so much.  I had so much fun with you.  I'd never crouch here and spy on Arthur with anyone else.
 
BETTINA
Doll, you gotta learn to make your own fun.
 
They look at Arthur eating.
 
BETTINA
He's not exactly what I'd call "eye candy"
 
Arthur makes a strange face as he swallows.
 
BETTINA
(in a low voice)
Uh oh, I think I just swallowed my tongue.
 
Arthur looks around, uncertain who said that.
 
Bettina and Ruth laugh.
 
 
INT. SLUMBER ROOM - DAY
 
Nate stands in the back of the room as Diane speaks to the gathering.
 
DIANE
And I know that everything that happens happens for a reason.  I only wish that Will could have known his son, Tom.  There's so much he could have taught him.
 
Suddenly, TOM appears at the back of the room next to Nate.
 
TOM
That's a load of bull shit. 
 
DIANE (O.S.)
Of course, Will wasn't much...
 
TOM
Look at my kid, he turned out fine.  He didn't need a fuck up like me to stick around.  Me driving off the side of that road that night was the best thing for everybody involved.  Seriously, Diane and I, we had a shit relationship which totally would have screwed up that kid.  Just like you and Lisa and gonna screw up Maya. 
 
NATE
Fuck you.
 
TOM
You just wanna stay in this to prove what a good guy you can be.  Not because you love Lisa.
 
NATE
This isn't just about me, you fucking idiot.  There are other lives at stake.
 
TOM
Don't give me that shit. You are so fucking trapped. 
 
NATE
Yeah?
 
TOM
Yeah.
 
NATE
Well, who isn't?  The only way not to be trapped is to not have anything. 
 
TOM
You look me in the eye and tell me sometimes you don't want to get in your car and just start driving and never look back.  Come on.  I dare you.
 
Nate just stares at him.
 
JUMP CUT TO:
 
 
INT. SLUMBER ROOM - DAY
 
TOM is suddenly gone, and Nate is standing there by himself.  Diane is still speaking.
 
DIANE (O.S.)
But of course, he did manage to pull off one big trick.  he made himself disappear for twenty-five years.  
 
 
INT. SCHOOL HALLWAY - DAY
 
Russell approaches Claire as she heads to class.
 
RUSSELL
Claire!
 
She keeps walking.
 
RUSSELL
Claire!
 
She turns and looks at him.
 
RUSSELL
Hi.  I've been calling your name.  You didn't hear me?
 
CLAIRE
No, sorry, I was totally in my head. 
 
RUSSELL
Did you get my message from last night? 
 
CLAIRE
Oh, no, I got in really late.
 
RUSSELL
That's okay.  It's about my brother's wedding.  Um, get this, there's a rehearsal dinner. 
 
CLAIRE
Russell, maybe it's not such a good idea for us to, you know, date.
 
RUSSELL
That is so weird that you'd say that.  That's so weird that you say that, cause I was just thinking the same thing.  And I didn't want to say it cause I thought it'd sound crazy being the one who started this whole thing. 
 
CLAIRE
So, you're okay, you know, just staying the way we are.
 
RUSSELL
Totally.  Totally. 
 
She searches his face for the real answer.
 
RUSSELL
Yes.
 
CLAIRE
Great.  I have to get this stuff to Olivier.
 
Russell watches her walk away, sadly.
 
 
INT. RUTH'S BEDROOM - DAY
 
Ruth is sitting on her bed again, waiting.
 
The clock shows 1:07.
 
She looks at the clock, and then back again.
 
 
INT. KITCHEN -  DAY
 
Arthur is cooking something on the stove.
 
He notices Ruth standing in the doorway.
 
ARTHUR
Oh, I'm sorry.  Did I read the chart wrong?  I thought you initialed the late lunch.
 
RUTH
I did.  I just got hungry.  Is that okay?
 
ARTHUR
Of course.  I'm glad to have the company.
 
Ruth steps into the room.
 
ARTHUR
Would you like a little frittata?
 
RUTH
I would love a little frittata?
 
Suddenly, there is a metal clanking sound.
 
Arthur and Ruth both move toward the corner of the kitchen.
 
They stand and stare at the mouse trap, which has caught a mouse.
 
ARTHUR
I was just fooling around.  I never dreamed it would actually work.
 
RUTH
They work, they definitely work.
 
ARTHUR
I feel so terrible.  It wasn't even my cheese. 
 
RUTH
That's okay.
 
ARTHUR
On the other hand, they have germs.  They really do deserve to  die.
 
 
INT. DAVID AND KEITH'S KITCHEN - DAY
 
David is fully dressed, making lunch, as Keith enters in a bathrobe.
 
DAVID
You just waking up?
 
KEITH
No, I was up.  I went back to sleep again.
 
Keith pours a cup of coffee.
 
KEITH
Why are you home for lunch?
 
DAVID
I wanted to see you.  Thought you'd be home before me last night.  I waited up for awhile, but I must have fallen asleep.  What time did you get in?
 
KEITH
Late.
 
DAVID
I thought your shift ended at eleven.
 
Keith sits down with his coffee and the Want Ads.
 
KEITH
It did.  I just drove around, needed some time to think about things.
 
DAVID
Like what?
 
KEITH
This job was supposed to be temporary, but it's really starting not to feel that way.  Last night I realized, I need to make a move and do something different.
 
DAVID
What made you realize that?
 
KEITH
It's just time.  How was your concert?
 
DAVID
It was, um, it was great.  I really wish you could have been there.  But I totally understand that you couldn't be. 
 
 
EXT. DESERTED ROADWAY - NIGHT
 
A lone car come speeding toward us, loud rock music blaring from the stereo.
 
 
INT. NATE'S CAR - NIGHT
 
Nate is driving, the same music blaring from the stereo.
 
He takes a long drag on a cigarette, then looks at TOM in the passenger seat.
 
TOM looks back at him.
 
Nate howls.
 
He sticks his head out the window and howls again.
 
The singer sings "Not Dead Yet"

Tom and Nate howl together.
 
EXT. NATE'S APARTMENT - NIGHT

Nate is standing outside, smoking a cigarette.  The previous scene is what he's fantasizing in his head.
 
He shakes his head, takes a drag, and looks around at the quiet darkness around him.
 
As the crickets chirp, he goes back inside and turns off the lights.
 
FADE TO WHITE
 

END OF EPISODE