Épisode Un séjour à la montagne S03E06 - Six Feet Under Saison 3

ACT I
 
FADE IN
 
EXT. STUDIO LOT - DAY
 
A bill board advertising the television pop psychologist, Dr. Dave, and his hit show, "Making Love Work," towers over the studio lot and clusters of fans and prospective audience members below.
 
A PRODUCTION ASSISTANT herds the group. 
 
PRODUCTION ASSISTANT
Okay, ten o'clock audience, listen up.  Please have your questions ready for Dr. Dave on your yellow question cards.  You must have your question card filled out with your question before you enter the studio.  Thank you.
 
KAREN and two other middle-aged female friends compare questions as they wait.
 
WOMAN #1
What's yours say, Karen?
 
KAREN
How can I stop feeling so competitive with my mother-in-law?
 
WOMAN #2
I think I've heard that one before.  Try to make it more specific.
 
KAREN
How can I stop feeling so competitive with my chain-smoking bitch of a mother-in-law?
 
WOMAN #1 laughs
 
PRODUCTION ASSISTANT
I do not have any pens.  If you need a pen, please ask someone near you for a pen,
 
WOMAN #1
Come on, read yours.
 
WOMAN #2
Oh, okay.  I feel that I should be happy because I have everything but I'm not happy and that makes me feel guilty on top of it all and then I hate myself.
 
KAREN and WOMAN #1
Awwww.
 
WOMAN #1
Well, I wanna write, I love you Dr. Dave.  Is that crazy?   You think he'll get mad at me.
 
KAREN and WOMAN #2 cackle.
 
KAREN
Is he married?
 
WOMAN #1
Karen just asked if he was married.  Where do you live?  In a hole?  Of course he's married.  And he's very sensitive and loving with the kids and he wants to make love only when you do and he never ever passes gas. 
 
WOMAN #2
You're bad
 
Karen looks down at her question card and notices a drop of blood, and then another.
 
PRODUCTION ASSISTANT
We'll be entering the studio in approximately one minute.
 
Karen touches her nose, which is bleeding.
 
WOMAN #1
Oh, Jesus, it's time
 
PRODUCTION ASSISTANT
Please have your bags ready to be inspected by security.
 
KAREN
Do you have a Kleenex?
 
WOMAN #2
I think I do.
 
WOMAN #2 retrieves a kleenex from her purse and gives it to Karen.
 
Karen blows her nose in it.  More blood comes out.
 
KAREN
Oh, I might need another Kleenex.
 
WOMAN #1.
Honey, bend down, don't let it get on your suit.
 
PRODUCTION ASSISTANT
Please assemble single file as you go through the metal detector.
 
People begin to move into a line.
 
WOMAN #2
We're going.
 
PRODUCTION ASSISTANT
The studio is now open.
 
WOMAN #1
The studio is opening now.  Come on.
 
Karen remains standing in place, holding the kleenex to her nose.
 
KAREN
I gotta dry up.  And a wins--
 
Karen suddenly leans over as more blood comes out.
 
WOMAN #2 hands her her whole pack of tissues.
 
WOMAN #2
Here, keep the pack.  Should I call someone?
 
KAREN
You go on.  I'm sure this is gonna stop.  Just save me a seat up front.
 
The tissue held to her nose is quickly turning red.
 
WOMAN #1
Okay, great.
 
WOMAN #1 and #2 move toward the door.
 
WOMAN #2
Do you want my cell phone?
 
KAREN
Go on, you'll miss the best seats.
 
WOMAN #1 and #2 head in.
 
Karen suddenly leans over
 
KAREN
Oh.
 
The Production assistant notices Karen, holding the bloody wad of tissues, for the first time.
 
PRODUCTION ASSISTANT
Wow, Ma'am, are you--?
 
Karen suddenly collapses.
 
The production assistant sighs.  She casually reaches for her radio and speaks into it.
 
PRODUCTION ASSISTANT
We got a situation here.
 
CROSSFADE TO WHITE
 
INTERTITLE: KAREN POSTELL PEPPER, 1964-2003
 
CROSSFADE TO WHITE
 
 
INT. FUNERAL HOME, BASEMENT - DAY
 
Rico brushes the hair of a very large, heavyset man, who is lying on two stretchers arranged side-by-side, covered with a sheet.
 
Nate noisily enters with another body on a stretcher.
 
RICO
What you got?
 
NATE
Coronor said she died of a nosebleed.  Isn't that wacked?  Losing that much blood through your nose.
 
RICO
Not as uncommon as you might think.  You know, your Dad and I actually had a couple of these back in the day.  She was probably born with a deviated septum, and at some point, like maybe high school, they fixed it.
 
Rico unzips the body bag to view Karen's face.
 
RICO
Oh, yeah.  And they gave her a cute little nose while they were at it. 
 
NATE
Hmm.  Yeah, that could be a nose job.
 
RICO
You know, sometimes plastic surgery creates this scar tissue, which can end up choking a major artery until it finally just explodes one day. 
 
NATE
Jesus, we're all just walking time bombs.
 
Nate zips her back up.
 
RICO
You can park her in the freezer for now.  My large friend is going to need both tables until we can casket.  Oh, hey, that triple-X come in from Appleby yet?
 
Nate is moving Karen into the freezer.
 
NATE
Uh, nope.
 
RICO
Shit.  Well, let me know where you're gonna be in a couple of hours.  It's gonna take a few of us to transfer this guy. 
 
NATE
Can't man.  Taking off early.  Goin' away for a couple-a days.
 
RICO
Oh, yeah?  Where to?
 
NATE
Camping.  Finally.  You know, in Seattle, I used to go camping every other weekend.  There's nothing I love more than just gettin' away with my backpack, tent, where there's nobody. 
 
RICO
Yeah, sounds nice.
 
NATE
Yeah, well.  You know, Lisa decided she wanted to come, bring Maya, so we're all going.  Plus some friends of ours and their kid.  You and Vanessa ought to get away sometime.
 
RICO
Yeah, well, every weekend since Vanessa's Mom died we're at her house, cleaning out all her stuff. 
 
NATE
How's Vanessa holdin' up?
 
RICO
This is her Mom, I guess, doesn't talk about it a whole lot, I mean, what's there to say, really?  Oh, dammit, where the hell did my new Mousse go?
 
Nate stands there a moment, then leaves.
 
 
INT. NATE AND LISA'S APARTMENT - DAY
 
Maya sits in her baby walker as Lisa packs.
 
LISA
We're gonna have so much fun baby girl.  The skies aren't smoggy there so you get to see real stars.  Not the fuzzy, invisible LA stars.  And you get to play with Spencer.  Smell your first camp fire.  Should we bring your baby dead-head one-sy?  Or is that too obvious?
 
Nate enters with a bag from the bookstore.
 
LISA (CONT'D)
Hey honey.
 
NATE
Hey.
(to Maya)
Hey, how you doin?
 
He kisses Maya on the forehead.
 
He sits on the bed, opens the book and read from it.
 
NATE
So listen to this.  "Hikes near Hungry Valley: Difficult."
 
LISA
Think we need more than one spatula?
 
NATE
"Be sure to catch the insense scenery from atop Suicide Rock, which received its name when a native American princess threw herself off the rock rather than be separated from her lover." We gotta see this.
 
LISA
You never know, bring the book, just in case.
 
Nate looks at her.
 
NATE
You check the tent bag, make sure I have the stakes?
 
LISA
We rented a tent cabin.
 
NATE
Yeah, I know.  I know.  Just in case we wanna sleep out one night.
 
LISA
With Maya?  You can't sleep on the hard ground with a baby.
 
NATE
Well, of course you can.  This is the way everyone used to live.  Going to the land of the Chumash.  Think native Americans had tent cabins?
 
LISA
Well, they clip bars, but we're bringin' those.  Plus we have to see what Todd and Dana want to do.
 
NATE
Just because we're sharin' a cabin doesn't mean we have to do everything with them.
 
LISA
Well, if we could afford our own...
 
NATE
How does that apply? 
 
LISA
Nevermind.  I'm just glad we finally have couple friends.
 
Nate read something in the book.
 
NATE
Oh, you're shittin' me. 
 
LISA
What?
 
NATE
Dear springs trail starts right where we're staying.  Leads right to Suicide Rock.
 
LISA
Let me pack your books.
 
She reaches for the bag.  Nate grabs it back.
 
NATE
You mind if I look at them for a couple more minutes?
 
Lisa looks shamed.
 
 
INT. FISHER KITCHEN - DAY
 
Arthur is seated at the table while Ruth stands at the counter.  He sneezes.
 
RUTH
God bless you, Arthur.
 
ARTHUR
Thank you.
 
He pulls a hankerchief out of his pocket and blows his nose into it.
 
Ruth looks at him.
 
RUTH
Isn't that wonderful. 
 
ARTHUR
What's that?
 
RUTH
Your hankerchief.  It's such a lovely custom.  Shame it's fallen by the wayside. 
 
She sets her plate on the table and sits next to Arthur.
 
Arthur returns to reading the paper.
 
ARTHUR
Oh, darn it all.
 
RUTH
What's wrong?
 
ARTHUR
Silent Running was playing at the two-dollar theater over the weekend.  I missed it. 
 
RUTH
I don't believe I know Silent Running.
 
ARTHUR
Phenomenal film.  Science fiction, but quite overlooked in the genre.
 
RUTH
Oh.
 
ARTHUR
It's about a botanist who's marooned on a space freighter.  His only companions are three little robots that look like TV sets.  He names them Huey, Duey, and Louie.  They play poker with him. 
 
RUTH
It sounds adorable.
 
ARTHUR
Oh, they are.  Quite lovable indeed.  And yet, benign.  Obedient.  Much like television itself.  Perhaps the writer's comment on how technology can be controlled and used effectively for humankind.  Perhaps not. Staring Bruce Dern.  With music by Joan Biaz.
 
RUTH
I used to love listening to her. 
 
ARTHUR
Oh, well.  I'll see it another time.
 
He turns the page.
 
Ruth stands up.
 
RUTH
Need more coffee?
 
ARTHUR
No, I just filled it.
 
RUTH
Of course you did.
 
She walks to the counter.
 
 
INT. CLAIRE'S BEDROOM - DAY
 
Russell is adding blue highlighting to Claire's hair.  A recently cast plaster sculture resembling a termite mound rests on the table, next to a classical bust with its head reversed.
 
RUSSELL
This is gonna look hot, hot, hot, baby.
 
CLAIRE
I did blue hair in like 8th grade, you know.
 
RUSSELL
But that was sincere blue hair.  This is a comment on blue hair.
 
CLAIRE
Or maybe it was more magenta.  Maybe this is my first blue hair.  Tin foil thingy?
 
RUSSELL
Yah.
 
She hands him a sheet of tin foil as he passes her a brush.
 
CLAIRE
Make sure you're taking it from the same place as the other side, so it's even at least. 
 
Russell wraps a clump of hair in tin foil.
 
RUSSELL
Well, if it's too even, it looks like you're trying too hard.
If it's hap-hazard, it's more like "fuck you".
 
CLAIRE
Mmm.  Not too uneven.
 
The door opens and David leans in.
 
CLAIRE
Oh, good.  The "Enter without Knocking" sign I put out there is clearly legible.
 
DAVID
I'm only up here because Rico said you took some of my brushes without asking.
 
CLAIRE
Russell, this is my brother David.
 
RUSSELL
Hi.
 
DAVID
Hey.
 
He holds out his hand to shake.  Russell holds up his gloved hand, indicating "no."
 
RUSSELL
Sorry, I'm blue.
 
DAVID
I understand.  I work with dangerous chemicals myself.  Claire, we use this brush to spread velvetone on people's faces. 
 
Claire looks at Russell.
 
CLAIRE
Sorry.  I should have told you you were using something with dead people on it. 
 
RUSSELL
I ain't scared of no dead people.  Anyway, it's your hair.
 
CLAIRE
My hair's not scared of no dead people.  My hair was raised with dead people.  
 
RUSSELL
All right, well, we're done. 
 
He holds the brush out to David, who takes it.
 
RUSSELL
We got fifteen minutes. 
 
David notices the bust on the table.
 
DAVID
Oh, this is great.
 
RUSSELL
Liar.  It sucks. 
 
DAVID
It doesn't suck at all. 
 
CLAIRE
First of all, you're crazy.  It's totally perfect.  Second, all Olivier says all day long is, "Look at Russell's work people.  Russell's work is pulsating.  It's making me hard."
 
Russell laughs.
 
DAVID
Your teacher says that?
 
CLAIRE
Yeah, but it's not like harrassment.  It's more like a comment on harrassment.
 
DAVID
Well, I'm going downstairs.  Nice to meet you Russell.
 
David retreats and exits.
 
CLAIRE
When do we rinse.
 
RUSSELL
Oh, ass.  I forgot what time we started.
 
CLAIRE
Oh, ass!
 
 
EXT. CAMPSITE - DAY
 
Nate and Lisa pull up to the campsite in their green car.
 
 
INT. TENT CABIN - DAY
 
Lisa sets their bags on a cot as Nate carries Maya's car seat in.
 
LISA
It doesn't smell too bad in here.
 
NATE
Yeah.
 
LISA
Maybe we can push a couple of beds together.  Ah, but then Maya might fall through the middle.  Maybe we can push a bed against the wall.
 
Nate takes a six pack out of one of the bags.
 
NATE
Just one six pack?
 
LISA
We're not gonna be drinking the whole time.
 
NATE
Well, of course not the whole time, but Todd likes his beer and I like to have a few. 
 
LISA
Sure he drinks, but he doesn't drink drink.
 
NATE
Yeah, I know he doesn't drink drink, but between him and me, we'll go through a six-pack just tonight minimum.  Isn't that the point, sit around the campfire and get a buzz?  Didn't you tell me to bring my weed?
 
LISA
So, if you have your weed, why do you need the beer?
 
NATE
Maybe because I like to seriously unwind and kick back and forget about the fact that I spend my day surrounded by death. 
LISA
To tell you the truth, all I really care about is that you don't smoke cigarettes.  Not out here where the air is so pretty.  I already pretend like I don't know you smoke at home. 
 
NATE
I appreciate your pretending. 
 
LISA
Not out here.  I hate the smell of it on your clothes. 
 
NATE
Deal.
 
TODD (O.S.)
Hey!
 
NATE
Hey!
 
TODD, DANA and their daughter SPENCER enter the tent cabin.
 
TODD
All right.
 
Nate and Dana embrace.
 
NATE
Hey.
 
LISA
Hey.
 
Lisa and Todd embrace.
 
TODD
How ya' doin?
 
NATE (O.S.)
How are ya?
 
Spencer greets Maya.
 
Nate and Todd shake hands.
 
TODD
How are you?
 
NATE
I'm good.
 
TODD
Wanna help me get the cooler out of the car?  We brought a ton of beer.
 
NATE
Yeah.  Absolutely.
 
Todd and Nate exit.
 
DANA
So, uh, which bed do you want?
 
LISA
What's your preference?
 
DANA
One that doesn't have scorpions in it.
 
 
EXT. CAMPSITE - DAY
 
Todd and Nate walk to the car.
 
NATE
Listen, I was thinking tomorrow we could check out Suicide Rock.
 
TODD
Oh, what a great fuckin' hike that is, I was up this winter by myself a couple times.  Don't see it happening this trip though.
 
NATE
Why not?
 
TODD
Well, with the kids. 
 
NATE
Well, just you and I can go up.
 
TODD
Nah.  Dana wouldn't be into me takin' off.  We should go up there another time if you wanna check it out.
 
They reach the car, grab the cooler, and head back to the tent.
 
NATE
Come on.  We're here now, dude.  I'm sure we can get a couple hours. 
 
TODD
How long you two been married, brother?
 
 
INT. FUNERAL HOME, HALLWAY - NIGHT
 
Ruth knocks on the door to Arthur's room.
 
ARTHUR (O.S.)
Come in.
 
Ruth opens the door.
 
Inside, we see Arthur sitting on his bed.
 
ARTHUR
Please, please enter.
 
We see now that Ruth is holding a Blockbuster videocasette.
 
RUTH
Oh, I don't need to come in.  I just wanted to tell you that I was running errands out at the Mall over on Western, you know, the new mall, that just opened, more of a mini-mall but with underground parking.  What do they call those?  I pulled in to see what they had done with it, and low and behold, they had a video store, and I got "Silent Running."  
 
She laughs.
 
 
INT. FUNERAL HOME, LIVING ROOM - NIGHT
 
We see a CLOSE-UP of the television screen, showing a scene from Silent Running.
 
A man speaks to a robot.
 
MAN
Now, Huey, you're going to plant the tree, and Duey, you're going to dig the ditch.  We're gonna do it right here on the side of the hill.
 
We can see that Arthur and Ruth are both sitting on the couch, watching the show, a large bowl of popcorn occupying the empty seat between them.
 
ARTHUR
He has to teach them everything.
 
 
EXT. CAMPSITE - NIGHT
 
Todd, Dana, Nate and Lisa sit by the campfire.
 
TODD
UU.  Stands for Unitarian Universalist.  But its about as nonreligious as a religion can be. 
 
LISA
That would be nice.  Not a place that preaches, but a place where we can be with other people like us.
 
TODD
Right, not big God thing, or crosses or dripping blood and shit.  Exactly.  Just people getting together. 
 
NATE
Anyone want to catch a buzz?  I got my bullet in the tent.  Should I go get it?
 
TODD
Sure, I might have a hit.
 
DANA
Yeah, go ahead grab it.
 
NATE
All right.
 
He heads into the tent.
 
LISA
How often does Jesus come up? 
 
TODD
Pretty rarely.  But whenever he does, they always remind us he was black. 
 
LISA
Right.  As opposed to the Brad Pitt Jesus America tries to sell us.
 
DANA
Jesus wasn't black.
 
LISA
Yes he was.  Everyone was black then.
 
Nate comes back.
 
NATE
Okay.
 
DANA
Of course.
 
Nate lights up the pipe and takes a hit.
 
He passes it to Lisa.  She frowns at it and passes it on to Dana.
 
LISA
No thanks.
 
Dana looks at the pipe.
 
DANA
Uh, well, I'm not going to have any if you're not going to.
 
She passes it to Todd.
 
TODD
Really?
 
DANA
Yeah.
 
TODD
Well, if you're not going to have any, then I guess I'll pass for now too.
 
NATE
Oh, great, now I'm the only one who's stoned.
 
They all laugh.
 
He takes another hit.
 
 
INT. LIVING ROOM - NIGHT
 
Arthur and Ruth are watching TV.
 
"Silent Running" is coming to an end.  The final music plays, and the credits appear on screen.
 
MUSIC SOUNDTRACK
"Losing his innocence in the stars."
 
The popcorn bowl is empty and is now sitting on the table.  Arthur and Ruth seem to be sitting closer than before.
 
Ruth picks up the popcorn bowl.
 
Arthur reaches for the remote and clicks a button.
 
Suddenly the screen changes to the image of a man kisses a woman's bare breast.  It is some kind of hard-core cable sex video.
 
WOMAN'S VOICE (ON TV)
Oh, yeah, baby.
 
Ruth drops the popcorn bowl and switches on the light.
 
WOMAN'S VOICE (ON TV)
Come on, fuck me harder, do it.
 
Arthur fumbles with the remote to turn it off.
 
They are both horribly embarassed.
 
RUTH
If I don't get the dishwasher running soon, I'll never do it. 
Do you have anything for the dishwasher.
 
Arthur drains the last drops of drink from his glass.
 
ARTHUR
My glass.
 
He hands her the glass.  They part and head in separate directions.
 
FADE TO WHITE
 
ACT II
 
FADE IN
 
EXT. CAMPSITE - DAY
 
Lisa stirs the campfire with a stick.  Dana sits beside her.
 
DANA
It's so great to be out of the city.
 
LISA
I know.  Wouldn't it be cool to totally have to live off the land?  To really be a part of nature instead of just looking at it? 
 
She places the cooking grate over the fire, then walks over to the picnic table.
 
DANA
Not that cool.  I'm getting my "I-need-my-Starbucks" headache.
 
Lisa sets the kettle on the grate and hands Dana a metal mug.
 
 
EXT. PATH - DAY
 
Todd and Nate are gathering firewood.
 
NATE
I guess in the past I dated a lot of crazy girls.
 
TODD
uh huh.
 
NATE
Needy attention suckers.
 
TODD
Yep.
 
NATE
Artists slash writers slash psychos, always this whole drama thing where if I say something, she might take it the wrong way.
 
Todd laughs.
 
NATE
It's like I'm walking through this mine-field of her childhood.  Like there should be a sign, you know, caution unexploded Daddy issues, every-fuckin-where.
 
TODD
Yeah.  I've been there.
 
NATE
Nah, but Lisa's different, you know.  She knows all that bullshit fairy tale stuff isn't real anyway.  Working through it, wanting to.  It's probably the first adult relationship in my life. 
 
TODD
I don't know.  Ours is more like, we can't keep our hands off each other.  She just loves to bang.
 
Nate reflects on this for a moment.
 
 
EXT. CAMPFIRE - DAY
 
Lisa and Dana drink coffee from tin mugs.
 
LISA
Sometimes, I feel like when we're having sex, he secretly hates me.
 
DANA
That's not possible.
 
LISA
Not conscious, not like he knows it on any level.  I know it's stupid, but I really feel like that sometimes. 
 
DANA
Well it is stupid, because you're a beautiful, amazing woman, you're the mother of his child, so why would he hate you? 
 
LISA
I know, it's crazy. But sometimes, it's like there's this unspoken thing between us. 
 
DANA
Unspoken what?
 
LISA
I don't know.  Yeah, I'm the mother of his child, so he has to Madonna-fy me.  Or maybe I'm just mad at the whole world because my orgasm thing is screwed up. 
 
DANA
Since you had Maya?
 
LISA
You've heard of this?
 
Dana nods.
 
LISA
Something is different and it's freaking me out. 
 
DANA
Yeah, it took me like a couple of months to be able to come after Spencer was born.
 
LISA
Well, I can come, but only like half the time, and half as intense.  Could childbirth have reorganized me in some way?
 
DANA
I've heard that, but I'm sure it'll get better.  So what do you do?  Do you just say, you know, it's not happening tonight, so you're on break, hun?
 
LISA
No.
 
DANA
Please don't tell me that you fake it.
 
LISA
Of course not.  Well, okay, maybe I do exaggerate here and there.
 
They laugh.
 
 
EXT. HILLSIDE - DAY
 
Nate and Todd carry firewood back to camp.
 
TODD
But realizing, you know, everything has happened in my life, so I could be ready for this.
 
NATE
Yeah, it's like your heart is outside your body and you can see it for the first time.
 
TODD
And knowing that all of it -- all of it -- it's all been about her.
 
NATE
Yes.  God Yes.  I feel the exact same way about Maya.
 
TODD
No, I was talking about Dana.
 
 
EXT. CAMPSITE - DAY
 
Lisa and Dana are cleaning their mugs as Spencer and Maya play on a blanket.
 
DANA
Oh, I don't know, our thing-- it's incredibly hostile.  He's got the dirtiest mouth.  Oh, I love it.
 
LISA
Like what?
 
DANA
Like what what?
 
LISA
The dirty talk, what does he say?
 
DANA
Children in the vicinity.
 
LISA
Whisper.  Just tell me one.
 
DANA
It just sounds so stupid out of context.  Oh, okay, like, "Oh, baby, I wanna cum on your tits."
 
Lisa laughs.
 
DANA
You see, it's so stupid.
 
In the foreground, we see a snake slithering onto the campsite, approaching the children.
 
Maya begins to cry.
 
Lisa suddenly sees the snake.  She drops her dish.
 
LISA
Oh, my God.  There's a snake.
 
Todd and Nate come running into the campsite and set down their sticks, as Lisa and Dana gather up the kids
 
Nate takes a stick and approaches the snake.
 
NATE
I got it.  Don't make any noise.  And don't move.
 
The snake hisses at him.
 
Nate jumps.
 
LISA
Nate!
 
Nate clobbers the snake with the stick repeatedly.
 
Then he picks up a stone and smashes the snake again repeatedly.
 
Lisa, Todd and Dana all watch, uncomprehendingly as Nate goes beyond killing the snake to mutilating it.
 
Lisa approaches.
 
LISA
What did you do that for?
 
DANA
Is it dead?
 
TODD
That's way past dead.
 
LISA
You okay?
 
TODD
That's not cool man.  The snake's not poisonous.  It's a gopher snake.
 
NATE
I don't care what kind of fucking snake it is.
 
He stands up and shouts.
 
NATE
Ah!  Fuck!  Goddammit!
 
He jumps on a rock.
 
NATE
Do any of you fuckers wanna go for a fuckin' hike?  Come on!
 
They all look at Nate, uncomprehendingly.
 
Nate shouts again
 
NATE
Ah!
 
 
INT. OLIVIER'S CLASS - DAY
 
Olivier strolls along the table, surveying the students sculptures.
 
He stops at the first one.
 
OLIVIER
Mediocre.
 
The next one.
 
OLIVIER
Redundant.
 
The next.
 
OLIVIER
Terrible.
 
And the next.
 
OLIVIER
Blah, blah, blah.
 
He comes to Russell's bust with the reversed head.
 
OLIVIER
Hm.  Elephant art.
 
The class chuckles.
 
OLIVIER
Does anyone know what elephant art is? 
 
The class goes silent.
 
OLIVIER
A term the fluxists invented.  My Dad was a Fluxist.  Does anyone know what a fluxist is?
 
No one responds.
 
OLIVIER
Fuck that.  Why doesn't anyone know what elephant art is?  Who are you people?  Don't you guys read?  This is elephant art. My head is on backwards.  I feel like my head is on backwards.  Yes, we get it.
 
He arrives at Claire's piece, the termite mound.
 
OLIVIER
Termite art.  Look at me Claire.
 
She barely turns.
 
OLIVIER
Tiny, beautiful termite art.  Termites work secretly at night.  But they can tear down a house as fast as an elephant can.  But they don't stomp.  They infest.  Good job.
 
 
INT. FUNERAL HOME, BASEMENT - DAY
 
Arthur is working on the big guy's eyebrows, while Rico supervises.
 
ARTHUR
Like that?
 
RICO
Exactly.  Just a slight touch.  You don't want to go all Joan Crawford on him. 
 
ARTHUR
No, I certainly don't.
 
RUTH (O.S.)
Hello!  Arthur!
 
Ruth appears in the doorway with the videocassette.
 
RUTH
Is it okay with you if I return this?
 
ARTHUR
Don't keep it for me.
 
RUTH
Good, well, I'll take it back then.
 
She turns to leave, and then turns back.
 
RUTH
There's nothing else you'd like me to pick up while I'm there, is there?
 
ARTHUR
Not that I can think of.
 
RUTH
Okay, then.  There's leftover blintzes in the fridge, if you get hungry.  Either of you. 
 
ARTHUR
Thank you.
 
Ruth leaves.
 
RICO
Hey, don't think, just because you're living here, you have to do things with the munsters up there.
 
ARTHUR
I don't think that.    
 
RICO
I mean, you know, take a load off, Arthur.
 
There's an awkward pause.
 
RICO
Okay.  Now, big and small's viewing is tomorrow morning.  You ever work with a triple-X casket before? 
 
ARTHUR
Not quite this size.
 
RICO
This is what we call advanced casketing techniques, 101.  See, the viewing is tomorrow, but we're going to lay him out upstairs tonight, because this is not the type of thing you wanna be worrying about the morning of. 
 
Arthur leans down to tweezer the eyebrows further.
 
 
INT. CLAIRE'S BEDROOM - DAY
 
Russell sulks on Claire's bed as she stands by the window.
 
CLAIRE
I thought it was great.
 
RUSSELL
That's not the point.  Everybody makes crap sometimes, but what's with the big need to humiliate me?
 
Claire lays down on the bed by Russell.
 
RUSSELL
I mean, I don't do well with this kind of thing.  You know, I don't need somebody telling me that I suck.  Particularly in front of people who for a fact, suck way worse than I do.  I mean, did you see what's her name, Levine's stupid fucking mermaid?  I mean, how can you grow as an artist if you don't have the freedom to fail now and then? 
 
CLAIRE
I failed.
 
RUSSELL
No, he likes yours.
 
CLAIRE
Really?  Because that wasn't that clear to me.
 
RUSSELL
Fuck it.  What difference does it make?  The world's gonna be blown to smithereens any day now.
 
Claire brushes the greasy long hair out of Russell's face.
 
Then she kisses him affectionately on the lips.
 
CLAIRE
We just kissed.
 
She kisses him again.
 
RUSSELL
We just kissed again.
 
They start to make out.
 
 
INT. TENT CABIN - DAY
 
Nate scratches his head as he reads a book.  Lisa lays on a cot with Maya, reading a magazine.
 
LISA
Nate, go hike.
 
NATE
Don't you wanna come with?
 
LISA
I have my magazines.
 
NATE
You're sure?
 
LISA
Go.
 
NATE
All right.  I'll only be an hourish or two-ish.
 
He grabs his backpack and is about to exit the tent, when he turns back.
 
NATE
Okay.  I just want to make sure you're not saying go ahead and hike, when what you really mean is, stay here and help me with the baby, or else, I'll really hate you.
 
LISA
Now is the perfect time.  I have my magazines.  Maya is mellow.  Go.
 
NATE
All right.  Thanks honey.
 
He kisses her on the forehead.
 
NATE
Bye honey.  I'll see you.
 
He kisses Maya on the lips, then exits.
 
 
EXT. HILLSIDE - DAY
 
Nate hikes up the hillside.
 
 
EXT. RESTING SPOT - DAY
 
Nate tokes up at a resting spot on the hillside.
 
 
EXT. FURTHER UPHILL - DAY
 
Nate hikes further up the hillside.
 
 
EXT. ROCK BY A TREE - DAY
 
Nate stops and rests at a rock by a tree.  He drinks from his canteen.
 
 
EXT. TOP OF THE HILL, SUICIDE ROCK - DAY
 
Nate climbs up the last craggy steps to reach the hilltop.
 
When he arrives, it looks like he's on top of the world.  The view is incredible.
 
 
EXT. SUICIDE ROCK - DAY
 
Nate rests his backpack on the rocks and sits to admire the view.
 
We hear birds crowing in the distance.
 
He leans back, puts his hands behind his head, and closes his eyes.
 
 
EXT. HILLY CREST - DAY
 
At the crest of the hill, we see a lone figure appear.
 
It is another hiker, approaching the top of Suicide Hill.
 
 
EXT. SUICIDE ROCK - DAY
 
As Nate rests, the other hiker arrives.
 
It is BRENDA.
 
She laughs.
 
BRENDA
Oh, my God!  No fucking way!  What in the world are you doing up here?
 
NATE
We're on a camping trip.  Me and Lisa and--
 
Brenda laughs.
 
NATE
We're down at the end of Deer Springs turn.  What are you doing here?
 
BRENDA
I'm at a B&B down in Hungry Valley with some friends.  They're right behind me a little ways.  I don't believe this.  It's like fate, huh?
 
Nate sighs.
 
BRENDA
So, how are you doing?
 
NATE
Uh, at this moment, not great, to be perfectly honest.  I think it's really weird that you're up here right now.
 
BRENDA
I am hiking with my friends, who are right behind me.
 
NATE
Yeah?
 
BRENDA
Yeah.
 
NATE
Friends, huh?  What are their names?
 
BRENDA
Frank and Douglas.
 
NATE
You think I can't tell when you're lying to me.
 
BRENDA
Whoa.  What's with the paranoia?  What, are you high?
 
NATE
Are you stalking me now?
 
BRENDA
Don't flatter yourself.
 
NATE
You're fucking stalking me.  You followed me and my family up here.  What the fuck do you want from me, you crazy fuckin' bitch!
 
BRENDA
Oh yeah, I'm crazy, wooo hooo!  Crazy, scary, crazy, psycho, right?
 
She barks at him, then laughs.
 
NATE
Tell me the fuckin' truth. 
 
BRENDA
I needed to talk to you. 
 
NATE
Yeah, well, we already talked.
 
BRENDA
And Claire said that you were up in Kern County, so, you know, I came up here on the off chance--
 
NATE
Wait a minute, were you watching me while we were camping?!
 
BRENDA
No, no, no, nothing like that, no.
 
Nate grabs her by the shoulders and shakes her.
 
NATE
Dammit, stop bullshitting me. 
 
BRENDA
Nate, I miss you.  So much.  Don't you miss me?
 
NATE
No, I do not.  I do not miss you.
 
BRENDA
Yes, yes, you do.  You think about me.  I know you do.
 
NATE
No, this is not gonna happen.  This is not gonna happen, all right.
 
He tries to push her away, but she clings to him.
 
BRENDA
Kiss me.  Just kiss me once.  Just once baby, and then we're done.
 
They kiss passionately, then hug.
 
BRENDA
Oh, yeah.  Oh, remember that feeling?  Flowing into each other like water. 
 
NATE
Look, I can't.
 
He tries to push her away.
 
BRENDA
I can't live without you, I can't, I won't.
 
NATE
Well, you're going to have to.
 
He finally succeeds in pushing her away.  Now, she's standing on the highest point of Suicide Rock.
 
BRENDA
I'm so sorry.  Sorry for everything. 
 
Suddenly, she turns and dives off of Suicide Rock.
 
Nate falls down on the rock, reaching after her, shouting.
 
NATE
BRENDA!!!!
 
JUMP CUT TO:
 
 
EXT. SUICIDE ROCK - DAY
 
Nate suddenly wakens from a dream, laying on the rock.
 
He looks at his watch, grabs his bag, and heads back.
 
 
EXT. FUNERAL HOME - NIGHT
 
Establishing shot.
 
 
INT. CLAIRE'S BEDROOM - NIGHT
 
Claire and Russell lay in bed.
 
RUSSELL
I'm kind of embarassed to admit this to you.  That was my first time.
 
CLAIRE
Shut up!  Oh, my God.  Oh my God, I did that to you? 
 
RUSSELL
Well, the first time.
 
CLAIRE
So technically that was your first and second time?
 
RUSSELL
Uh huh.
 
CLAIRE
That's impressive.
 
RUSSELL
Uh huh.
 
CLAIRE
I would've thought it was your fifth or sixth time.
 
RUSSELL
I feel really safe with you Claire.
 
CLAIRE
You are really safe with me.
 
Suddenly there's a really loud noise downstairs.
 
They both sit up in bed, alarmed.
 
CLAIRE
What the fuck was that!
 
 
INT. ARTHUR'S BEDROOM - NIGHT
 
Arthur is sitting in bed, reading. 
 
He closes his book and runs downstairs.
 
 
INT. SLUMBER ROOM - NIGHT
 
Ruth descends the stairs, crosses the adjacent areas and arrives at the Slumber Room, where Arthur is standing.
 
RUTH
Goodness
 
We now see that the very large man that Rico and Arthur were preparing earlier is laying face down on the floor.
 
ARTHUR
Rico's going to have my behind.
 
 
INT. HALLWAY, OUTSIDE CLAIRE'S ROOM - NIGHT
 
Arthur knocks continuously on Claire's door.
 
ARTHUR
Claire!  Claire!  Claire!
 
Claire finally opens the door.
 
CLAIRE
What!
 
ARTHUR
I'm sorry.  I can see you are entertaining.  Hi.  And I wouldn't ask if this weren't a genuine crisis.  David's not here.  Nate's camping.  I'm gonna need your help.
 
He suddenly runs off.
 
Then as suddenly comes back.
 
ARTHUR
And would you mind also asking your friend, too, please.
 
He bolts down the hallway.
 
Claire looks back at Russell.
 
CLAIRE
Stay here.
 
Claire goes to investigate.
 
 
INT. SLUMBER ROOM - NIGHT
 
Claire and Ruth both stand by the body.
 
Arthur enters the room.
 
ARTHUR
Claire, please, go get your friend.  Ruth, wait right here.  I'll be right back.
 
RUTH
You have a friend in the house?  The boy with the tattoo?
 
CLAIRE
Another one.
 
RUTH
Oh.
 
CLAIRE
I'm not bringing him down here.
 
Arthur wheels the gurney into the slumber room.
 
Russell comes running down the stairs.
 
CLAIRE
Russell, you really don't need to be here.
 
ARTHUR
Yes, he does.
 
Arthur lays the board next to the body.
 
RUSSELL
It's okay.  I'm cool.  Hello, Mrs. Fisher.
 
RUTH
Oh, I know you.  Nice to see you again, Russell.
 
ARTHUR
Now, dead weight is the hardest kind of weight to move.  I am gonna need the strength of everyone here. 
 
RUSSELL
Just tell me what to do.
 
ARTHUR
We don't have much time.  His facial cartilage is collapsing as we speak.  Now our first concern is rolling our friend over here onto the board. 
 
They all prepare to push the body.
 
ARTHUR
On the count of three, One, two, three.
 
With much effort, they roll the fat guy over.
 
ARTHUR
Well done.
 
RUTH
He doesn't look too bad.
 
The man's nose is clearly smushed.
 
Arthur moves the gurney into place.
 
ARTHUR
Now, I want you to position yourself at a corner.
 
RUTH
Is this corner okay?
 
ARTHUR
Yeah, we're simply going to lift the board onto the gurney so I can get it downstairs.  On the count of three, you're going to give it everything you've got.  Everything.  Lift with your legs.  One, two, three.  Lift.
 
They all struggle to lift the body. They get it about half way there before they lose it and it falls back on the floor.
 
ARTHUR
I guess that didn't work.
 
RUSSELL
Okay.  I'm starting to get a little freaked out now.  Just a little.
 
RUTH
Claire, I'm sorry I raised you around so much death.  And that your friend had to see this.
 
INT. SLUMBER ROOM - LATER
 
The body is on the gurney.  Arthur sits next to Ruth, talking to Rico on the phone.
 
ARTHUR
The cranial facial work is a little tricky, but I'll do what I can before you arrive in the morning.  Of course, I'll wait for your assistance before I waste-- Yeah, I think that's a good good idea, and again Frederico, I am so sorry about what happened.  No, it couldn't have happened to anyone, I shouldn't have let it happen on my watch.  I'm sorry.  Okay.  Sorry.
 
He looks into the phone.
 
ARTHUR
Sorry.  Sorry.
 
He hangs up.
 
RUTH
Well.  I think I'm going up to make some hot cocoa.  Would you like to join me for a cup?
 
ARTHUR
Thank you, but this requires my immediate attention.  I suspect I'll be pulling an all-nighter.
 
RUTH
I can bring it down to you.
 
ARTHUR
Chocolate makes me queasy.
 
RUTH
Okay, then.  Tea?
 
ARTHUR
No.  Really.  Nothing.
 
Arthur wheels the body away.  Ruth heads toward the stairs.
 
FADE TO WHITE
 
ACT III
 
EXT. CAMPSITE, OUTSIDE TENT - DAY
 
Nate and Lisa sit near the opening of the tent.
 
Dana and Todd appear from inside.
 
DANA
Hey, Spencer'll be asleep for about an hour.
 
TODD
If she wakes up, just give her the Thomas the Tank Engine thingy, and we promise, if you guys want to take a private nature hike later, we'll watch Maya.
 
DANA
It's really only fair.
 
NATE
Very fair.
 
LISA
Have fun.
 
Todd and Dana run off to the woods together.
 
LISA
I hate couples like that.  Always letting you know how great their sex life is. 
 
NATE
Yeah.  I kinda think they doth protest a little too much, you know what I mean.
 
LISA
Like sex is everything, sex is everything.  She's always talking about it like it's the glue.
 
NATE
Right.
 
LISA
But what happens when someone gets throat cancer or diarrhea?  And you have to see the real person?  
 
NATE
Yup.
 
LISA
Then you have to be able to, whatever, help them into their electronic cart or make them their vitamin drink and still love them, even though no one feels sexy.
 
NATE
Yeah, but it's so much more than just--
 
LISA
"Todd and I have the greatest sex in the whole world.  I just love it when he comes on my tits."  Please.
 
NATE
She said that?
 
 
INT. OLIVIER'S CLASS - DAY
 
Olivier plants himself in his seat as the MASSEUSE starts to work on him.
 
OLIVIER
Okay, I'm ready.
 
MASSEUSE
You're knotted up back here.
 
OLIVIER
Um hm.  Yes. 
 
Claire and Russell stroll in with their blue hair.
 
OLIVIER
Oh, so now you're both going through your blue period.
 
Claire and Russell take their seats.
 
OLIVIER
Don't get mad at me Fisher.  If Russell has something to say to me, he can say it.
 
MASSEUSE
How's my pressure?
 
OLIVIER
Go deeper.
 
CLAIRE
God, why is he suddenly turning into such an asshole?
 
RUSSELL
Ignore him.
 
CLAIRE
Well, you ignore him too, okay?  It's just hair.  I don't understand what the big deal is.
 
OLIVIER
Oh fuck elephant termite whatever.  I mean, I already forgot who's the elephant and who's the termite. 
 
CLAIRE
It's not that, Olivier, it's just, what the point of trying to humiliate people?
 
RUSSELL
I was the elephant.
 
Olivier gets out of his chair.
 
OLIVIER
And why do you even give a shit?
 
RUSSELL
Because you're my teacher and I respect you.
 
Olivier comes over to their table.
 
OLIVIER
Don't you fuckin' respect me.  I'm an idiot, see?  I'm not God.  Don't you ever respect anyone except your fuckin' self.
 
He walks away from them.
 
OLIVIER
(under his breath)
Fuckin' babies.
 
Russell opens his drawing pad.
 
 
INT. FUNERAL HOME, LAUNDRY ROOM - DAY
 
Ruth empties the dryer and sifts through the laundry.  Inside she finds one of Arthur's handkerchiefs.
 
Claire enters, on her way out.
 
CLAIRE
Hey, Mom.
 
RUTH
Hello dear, I washed your sheets.
 
Claire eyes the hanky, which Ruth is folding.
 
CLAIRE
What's that?
 
RUTH
Arthur's hankerchief.
 
CLAIRE
You're doing his laundry for him?
 
RUTH
It must've gotten mixed into my things.
 
CLAIRE
(disgusted grunt)
That's gross.
 
RUTH
It's just a hanky.
 
CLAIRE
I know, and hankies are gross.  I mean, first of all, the word is gross.  "Hanky"
 
RUTH
It's just a word.
 
CLAIRE
And second of all, hankies themselves are gross.  A snot-covered rag that sits in your pocket all day.
 
RUTH
That could be fine.
 
CLAIRE
Take it out, don't know where the snot is, it could be anywhere.  Put it back in your pocket and save it for later.  I mean, Mom, not all progress is bad.  There's Kleenex, hello.
 
Claire exits.
 
Ruth sighs and finishes folding the hanky.
 
 
INT. ARTHUR'S ROOM - DAY
 
Ruth enters Arthur's room with the laundry basket.
 
She sets the basket on Arthur's bed, the approaches the dresser.
 
She opens the top drawer, which contains sets of neatly folded socks, hankerchiefs and underpants.
 
She sets the hanky that she folded on the pile in the drawer.
 
Then she takes it back out, softly unfolds it, raises it to her face and sniffs.
 
She seems to whisper something inaudible into the hanky, and then puts it away.
 
 
INT. SLUMBER ROOM - DAY
 
Claire slouched in a chair and talks on the phone as David cleans up after the viewing.
 
CLAIRE
I know.
 
She laughs.
 
CLAIRE
Now you're just trying to be cute.  You're getting me hot.  Of course I do.  Moreso now than ever.
 
David comes by, wearing rubber gloves as he cleans.
 
CLAIRE
(to David)
Mom's vacuuming my room.
 
David walks away.
 
CLAIRE
(to Russell on the phone)
I gotta go, okay? 
(laughing)
Shut up, no I'm not.  I'm not, I'm not, stop it. 
(she laughs)
I'm hanging up.  Good-bye.
 
She hangs up.
 
DAVID
You and Phil back together?
 
CLAIRE
Phil?  No, Russell.
 
DAVID
The gay one?
 
CLAIRE
What?
 
DAVID
Russell, the guy in your room the other day.
 
CLAIRE
What makes you think he's gay?
 
DAVID
Oh, we can smell it on each other. 
 
CLAIRE
David!
 
DAVID
Um, let's see, you told me he was.  You referred to him as my gay friend Russell, I believe.
 
CLAIRE
Oh.
 
DAVID
He's not any more?
 
CLAIRE
No, he never was.  I was just confused.
 
David comes over and sits down.
 
DAVID
Claire, listen.  When I was in high school, I dated girls. 
 
CLAIRE
We're in college.
 
DAVID
And when I was in college.  And after college.  I didn't know what I was and while I was trying to figure it out I kept going back and forth in my mind--
 
CLAIRE
You don't get it.  Okay, there's no back and forth with Russell.  He's never been gay.  I was just assuming.  He's never been gay.  He's never had sex with anyone before me. 
 
DAVID
okay, my mistake.
 
Claire leaves.
 
CLAIRE
I hate this fucking house.  I don't get cell reception anywhere, my mother's in my fucking room.
 
David remains, sitting there.
 
 
INT. DAVID AND KEITH'S BEDROOM - NIGHT
 
David is in bed as Keith enters in a bathrobe.  He undresses.
 
DAVID
At what age did you completely stop sleeping with women?  I mean, I know when you first slept with that boy, but did you overlap after that?
 
KEITH
Yeah.
 
He gets into bed.
 
DAVID
There were like ten years when I wasn't sure.  Or I was sure, but I didn't want to be sure, and I was with some women pretty seriously.'
 
KEITH
Well, Jennifer.
 
DAVID
Yeah. 
 
KEITH
I was with a ton of women.  I liked fucking women.
 
DAVID
Yeah, I know.  You told me.  What I mean was, I did this whole emotional deal with girls.  Women.  Like, "Honey, I could really think about spending the rest of my life with you.  I don't know.  Buy some land in California.  Build a house.  Design it ourselves.  What about Willem for a boy and Cocoa for a girl?  Or Willem and Max if we have twin boys, or if we have twin girls Cocoa and Clementine?"
 
KEITH
Are you sure they didn't know you were gay?
 
DAVID
No, they didn't even suspect, they thought I was their man, they looked right back into my eyes.   All the while, I was just trying that guy on to see if I could make it fit. 
 
They look at each other, then David picks up the remote and clicks on the TV.
 
We here sounds of hardcore gay fucking on the television.
 
 
EXT. CAMPSITE - DAY
 
Lisa steps gingerly out of the tent and approaches the picnic table, where Nate, Todd, and Dana are sitting and drinking coffee.
 
LISA
She's done. 
 
TODD
Great.  You guys wanna take your turn?
 
NATE
Uh, well, we're leaving today.
 
LISA
We should pack.
 
DANA
oh, you can pack later.  Go take the hour.
 
TODD
Yeah, go on.
 
LISA
If she wakes up...
 
DANA
She'll be fine.  Go, guys, have fun.
 
NATE
What do you say?
 
Lisa waves to them as she and Nate head to the woods.
 
Dana and Todd remain behind.
 
DANA
She can't come, you know.
 
Todd laughs.
 
TODD
Really?
 
DANA
Really.
 
 
EXT. PATH THROUGH THE WOODS - DAY
 
Lisa and Nate walk along the path.
 
LISA
Pretty.
 
NATE
Yeah.  You want to, uh--
 
LISA
Oh, not really.  I'd, uh, be afraid to take my clothes off.  Something could crawl on me.
 
NATE
We're not really Todd and Dana are we?
 
LISA
What's that supposed to mean?
 
NATE
Well, I was just acknowledging, I guess, that the reasons we're together aren't the same as--
 
LISA
Say it.
 
NATE
What, there's nothing to say.
 
LISA
Say it, Nate.  What are you with me?  What are you even here for? 
 
NATE
What, you mean on this trip?
 
LISA
Why did you marry me?  You think Maya and I need you?  You don't want this.  I mean, you want your daughter, but you don't want me, do you? 
 
NATE
Jesus, I can't fuckin' say anything!
 
LISA
You can't say hurtful things, no, and it's totally hurtful to suggest that we're only together because of Maya. 
 
NATE
Lisa, I am not trying to hurt you, that was just me thinking something, open my mouth, say it, you know, how friends do?  But in order for me to be able to do that with you that would mean you'd have to like me.
 
LISA
Oh, that's stupid. 
 
NATE
No it's not, Lisa, think about it.  The second I say something that doesn't fit into your fuckin' fairy tale idea of how--
 
LISA
Hey, this is no fairy tale.  That I know.
 
NATE
You made a story about us, you cast me in this role.
 
LISA
You cast yourself in that role.
 
NATE
Making the mother of my child happy is a role?  I don't think so, okay?  But you, you have this totally narrow path I can walk on, where I'm on your fuckin' leash, no smoking, two beers a night, no smoking pot without prior written approval.
 
LISA
Smoke your fuckin' lungs out.
 
NATE
I don't give a shit about smoking, Lisa, I give a shit about being myself.  About saying what I need to say, or even what I accidentally say, and not have you fuckin' freak out on me, okay?
 
LISA
I'm sorry, then.
 
NATE
Fuck.
 
There's a pause as they both calm down.
 
Lisa quietly approaches Nate.
 
LISA
I'm sorry.
 
Nate faces her.
 
LISA
Kiss me. 
 
NATE
What?  No, come on Lise--
 
LISA
I want to get better at this.  Help me okay?
 
NATE
Okay.
 
He kisses her.
 
The kiss becomes passionate.
 
NATE
Take your jeans off.
 
LISA
Here?
 
NATE
Lay down on that rock.
 
LISA
That rock is hard and cold.
 
Nate takes his jacket off and lays it on the rock.
 
NATE
There, lay down on that.
 
Lisa lays down, and Nate lays on top of her.  They look each other directly in the face.
 
NATE
Close your eyes.  I'm gonna fuck you on the rock.  But first, I'm gonna make you scream, so that everybody back at camp can hear you.  And then, when you're exhausted, and you're laying here, calming down, I'm gonna fuck you, right here, on this rock.
 
Then Nate slides down, and pulls down her jeans.
 
Lisa opens her eyes, then closes them again.
 
 
INT. NATE AND LISA'S CAR - DAY
 
Nate and Lisa are driving home.
 
LISA
There were a couple of times back in Seattle when we had sex like that.  Once, when you came home from some party, at that costume designer's house, who worked for Seattle Rep, what was her name? 
 
NATE
Tessa.
 
LISA
Right.  She had just broken it off with you, and you were so drunk and pissed, and you came home, and we ended up having the most amazing sex I'd ever had in my life.
 
Maya makes a gurgling noise and Lisa looks at her in the back seat.
 
LISA
The other time was the night after you ran the marathon for the first time and that girl you met from Portland was supposed to come over and celebrate.  But she never showed up. 
NATE
Lise, it's all behind us.
 
LISA
I know, I'm--  It's nice now, that it's just us.  I love you, Nate.  God, I've loved you for such a long time.
 
NATE
I love you too hon.
 
FADE TO WHITE
 
END OF EPISODE