Épisode Brèves retrouvailles S03E07 - Six Feet Under Saison 3

ACT I
 
FADE IN
 
INT. HOSPITAL ROOM - DAY
 
Brenda jolts awake, having fallen asleep at the side table in her father's hospital room.
 
Margaret Chenowith, seated at Bernard's side, raises his hand to her face.
 
Bernard, in bed, aspleep, takes a breath. 
 
Billy sits at the end of the bed, his back to his father.
 
Brenda absent-mindedly opens a Get Well Card and reads it.
 
CROSSFADE TO WRITE
 
INTERTITLE: Bernard Asa Chenowith, 1939-2003
 
FADE IN
 
INT. NATE AND LISA'S APARTMENT - DAY
 
Nate holds Maya while Lisa prepares to leave.
 
LISA
Pediatrician's number is by the phone, teething biscuits are on the counter, I left two bottles of milk in the fridge, and five more in the freezer.  
 
NATE
You must be proud
 
LISA
I kind of am.  Sore, and I'm proud.  Are you totally sure you guys are going to be okay today?
 
NATE
Honey, believe it or not, I know what I'm doing.  Have fun, go to your cooking zoo. 
 
LISA
It's a food show.
 
NATE
Whatever.  You and Dana go have a good time.  You've earned it.
 
Lisa grabs her bags and says goodbye to Maya.
 
LISA
Bye baby girl.  Be good to your Daddy.  Hmmm.
 
She kisses Nate.
 
LISA
Bye.
 
NATE
Bye.
 
Lisa heads for the door, then stops and turns.
 
LISA
Oh, I feel guilty leaving her with you all day today.
 
NATE
Honey, it's okay, we'll be fine.
 
Lisa looks at him.
 
NATE
What?
 
LISA
You never really thought you'd have a wife and a kid, did you?
 
NATE
I never thought I'd be a funeral director either.
 
LISA
Love you.
 
NATE
And we love you.  Go.
 
Lisa finally leaves.
 
Nate talks to Maya.
 
NATE
Well, what do you want to do today.  Well could fill some things up, then dump em out.  Maybe then we can poop.  What do you say?
 
 
INT. FUNERAL HOME, ARTHUR'S ROOM - DAY
 
Ruth sits on Arthur's bed, swaying to some mild electronic music, while Arthur sits at his desk, by the computer, which displays graphics in keeping with the music.
 
RUTH
Arthur, you wrote this music?  You actually wrote it yourself?
 
ARTHUR
Not exactly.
 
RUTH
You are so multi-faceted.
 
ARTHUR
Not really.  It's just a theme by WC but I've developed it, somewhat, put a drum beat underneath it.  Just for fun.  It's nothing much.
 
RUTH
Arthur, that's amazing.
 
ARTHUR
It's nothing.  Really.  Anybody could do it.
 
RUTH
No, it really is, you're a very talented young man. 
 
The music suddenly stops.
 
RUTH
Where's the button to make it play again?  I love that little tune, it's so haunting.
 
ARTHUR
Actually, Ruth, I need to get going. 
 
RUTH
So soon?
 
ARTHUR
I thought I might take a run this morning.
 
RUTH
I didn't know you ran, Arthur.
 
ARTHUR
Well, I haven't ever before, actually.  But I thought I might give it a try.  I seem to have gained some weight lately.
 
RUTH
But you look fine.   
 
ARTHUR
Thank you.
 
RUTH
People and their weight nowadays, it's such a strange fascination.  I see you all the time around the house and you look fine, just fine. 
 
ARTHUR
Thank you.
 
RUTH
Well, I should...
 
She gets up to leave, then turns.
 
RUTH
Tell me, where are you going to run?
 
ARTHUR
Pardon?
 
RUTH
Where are you going to run?
 
ARTHUR
Oh, Pan-Pacific Park.
 
RUTH
Pan-Pacific Park, by the tarpits?
 
ARTHUR
Yes, they have a little path there.  For running.
 
RUTH
Oh, well.  That's perfect for you then.  Good, well, have fun.  And thank you for sharing your music with me Arthur.  It's very rhythmic. 
 
She finally leaves.
 
ARTHUR
Okay, so long.
 
He shuts the door.
 
He hits the button on the computer to play the music again, and begins to undress.
 
He takes off his shirt and trousers and stares at himself in the mirror, patting his gut.
 
 
INT. FUNERAL HOME, KITCHEN - DAY
 
Nate unfolds the paper and starts to read.
 
NATE
Fuck!
 
INTERCUT WITH:
 
INT. BUSY HALLWAY, CONFERENCE CENTER - DAY
 
Lisa walks along the corridor, talking to Nate on the phone.  In the background, we hear various food show announcements broadcast over the PA system.
 
NATE (on phone)
Listen, Lisa, I've got some bad news.  Brenda's Dad died.
 
LISA
What?
 
NATE
Brenda's father died.
 
LISA
Oh, shit.
 
NATE
I was wondering if it'd be okay with you if I--
 
Claire enters the kitchen noisily draining the last drops of a drink through a straw.
 
NATE
Can you make a little more noise with that straw?  I can barely hear myself think.
 
CLAIRE
Funny.
 
LISA
What?
 
NATE
I was wondering if it was okay with you if I went to his funeral.
 
LISA
Of course.
 
NATE
It's just, you know, she was there with me when my father died, it just seems I should check in with her at least.
 
LISA
Then go.  You totally should. 
 
NATE
You're sure?
 
LISA
Yeah.
 
NATE
Okay.
 
LISA
So you'll leave Maya with your Mom.
 
NATE
Oh yeah yeah yeah, I'll figure it out.
 
LISA
Just remember to not give her any more cheese, cause she's already a little constipated. 
 
NATE
Gotcha.
 
LISA
And tell her to go easy on the nuts, I don't want her to get buck teeth.
 
NATE
I love you.
 
LISA
Love you too.
 
NATE
You havin' fun?
 
LISA
Not yet.  Bye bye.
 
NATE
Bye.
 
Nate hangs up.
 
CLAIRE
Brenda's Dad died?
 
NATE
Yeah.
 
CLAIRE
Sucks.
 
NATE
Yeah.  Funeral's up in Malibu in a few hours.  Where's Mom?
 
CLAIRE
I don't know.  She just left.  Said she needed a new gardening hat.  She seemed kind of weird.
 
NATE
How can you tell when Mom's weird?
 
CLAIRE
Good point.
 
NATE
So how about it, can you watch Maya for me today?  Twenty bucks.
 
CLAIRE
I can't.
 
NATE
Well, why not?
 
CLAIRE
Russell and I are going to the art store.
 
NATE
Claire?
 
NATE
Nate?  You know this isn't the matrix.  The rest of us who don't have babies, we're real. 
 
Claire gets up and leaves, saying:
 
CLAIRE
Watch my baby, watch my baby, Jesus Christ.
 
Nate remains sitting at the table, with Maya in the high chair.
 
NATE
Fuck!
 
 
INT. FUNERAL HOME, OFFICE - DAY
 
Nate sits at the desk with Maya.  He hangs up the phone just as Rico walks in.
 
NATE
Fuck.
 
RICO
What's the matter? 
 
NATE
Nothing.  I thought I could drop Maya off with Todd and Dana's nanny for awhile, but... guess not.
 
RICO
You should give Vanessa a call.
 
NATE
Vanessa?
 
RICO
Yeah, yeah, she's at home with the boys today.
 
NATE
Well, you think she'll be okay with it?
 
RICO
Of course, she loves babies.
 
NATE
Well, it'll only be a couple of hours.  I'll drop her off, pick her up. 
 
RICO
Do it.
 
NATE
All right, thanks.
 
Nate is about to get up.
 
RICO
You'll have to pay her.
 
Nate is surprised.
 
NATE
Well, sure.
 
RICO
Great.
 
 
INT. DAVID AND KEITH'S LIVING ROOM - DAY
 
Keith is putting on his jacket as David enters.
 
DAVID
Keith, tell me you're not really planning on wearing that?
 
KEITH
What's the matter with it?
 
DAVID
What's the matter with it?  It covers up all your good big parts.
 
KEITH
My good big parts.
 
DAVID
Yeah, take that thing off and go put on something better, maybe your silver DKNY T-shirt. 
 
KEITH
Is this brunch or a fashion show?
 
DAVID
I want everyone to be jealous of my beautiful boyfriend.  Is that okay?  I have like, two things going for me in this world, and you're one of them.
 
KEITH
What's the other one?
 
DAVID
All right, one.
 
Keith smiles.
 
DAVID
Anyway, you knew that sweatshirt was a bad idea when you put it on.
 
KEITH
I guess.
 
Keith heads toward the bedroom, passing by David.
 
DAVID
You're so willful sometimes.
 
Keith grabs David by the ass.
 
KEITH
Oh yeah? 
 
DAVID
Yeah.
 
KEITH
Well, we could just skip the brunch.  Stay here.  I could be willful all afternoon.
 
Keith kisses David on the lips.
 
DAVID
You make a very strong case. 
 
They kiss again.
 
DAVID
But I really want a Mimosa.  Sorry.
 
David slips away.
 
KEITH
Your loss.
 
 
INT. PAN-PACIFIC PARK - DAY
 
Arthur jogs sluggishly along the path.
 
He arrives at some steps and stops.  He coughs nastily and blows his nose and hawks into his hanky.
 
He stretches his leg on the rail as some runners pass, then continues on.
 
ARTHUR
Off we go.
 
Nearby, Ruth in sunglasses and gardening hat, peers from behind a large tree trunk, apparently stalking Arthur.
 
 
EXT. RICO AND VANESSA'S HOUSE - DAY
 
Nate knocks on the door with Maya in his arms.
 
Vanessa answers
 
VANESSA
Hi!
 
NATE
Hi.
 
Nate enters into...
 
 
INT. RICO AND VANESSA'S HOUSE - CONTINUOUS
 
Nate and Vanessa stand in the foyer, each holding a baby.
 
VANESSA
It's so cool you're leaving the baby for awhile.
 
NATE
But you're sure it's all right.
 
VANESSA
Yeah, it's perfect.  It breaks up the day.
 
NATE
What's that smell?
 
VANESSA
Oh, that's pudding.  I tried to make rice pudding, but the milk was weird.
 
We can hear cartoon voices coming from the TV.
 
VANESSA
Oh, come on in.
 
Nate and Vanessa move into the living room.
 
VANESSA
The place is a total mess.  I was just starting to clean when you called.  It's so hard to pick up with two kids, you know.
 
Vanessa sets Augusto in his crib and gives him a toy.
 
NATE
Yeah, I could imagine.
 
Vanessa picks up all the toys scattered about the room.
 
VANESSA
I don't think you can.  I know it seems like having two kids would just be twice as hard, but it's like, it's like three times or four times as much to do.  I don't know how that is, to do the math, somehow it all adds up. 
 
NATE
Of course.
 
VANESSA
But you're lucky you just have one.  And Lisa's such a good Mom.  I'll bet you she does everything right.
 
NATE
She's uh good yeah.
 
VANESSA
Cause I get so tired sometimes I could almost cry.
 
There's some noises from the cartoon on the TV.
 
VANESSA
And whatever happened to Barney?  Remember when it was just Barney?  Things were simpler then.  Um let me just go put this stuff down, then I'll take her off your hands, okay? 
 
She goes in the other room. 
 
Nate looks around.  It's a mess.
 
Augusto starts to cry.
 
 
INT. ART SUPPLY STORE - DAY
 
Claire and Russell prowl the aisles, hand-in-hand.
 
CLAIRE
Oh man, I could get so totally broke in this place.
 
RUSSELL
Every time I come here I feel like Augustus Grumm in the chocolate room.  You know what I'm talking about? 
 
CLAIRE
Oh yeah.  When I was a kid, those Umpa-Lumpas used to freak me out.
 
RUSSELL
Whenever it was on, my Mom would make us watch it, and I would cry every time.  It was like she didn't even care.
 
CLAIRE
Parents are freaks.
 
RUSSELL
I felt so bad for Charlie.  He's so poor.  Mother's a fucking nightmare.
 
Claire picks up a tube of paint.
 
CLAIRE
Wow.
 
RUSSELL
What?
 
CLAIRE
It's Cobalt Blue.  Just think, this is the natural part of the Earth that's this color blue. 
 
RUSSELL
Like Olivier said.
 
CLAIRE
Yeah.  It's an element, and you just like add oil to it, and you can make pictures with it, it's so like cave-peopley, I love it. 
 
RUSSELL
You should buy it.
 
CLAIRE
Yeah, right.  I'm not really a painter.  I'm not gonna spend, what?  Fifty Bucks!  It's a little tube of paint. 
 
She puts it back.
 
CLAIRE
If I'm gonna paint, I'll just buy the cheap, five dollar shit.
 
Russell picks it up.
 
RUSSELL
No, you should get it.
 
CLAIRE
No way.
 
RUSSELL
No, get it.
 
CLAIRE
No.
 
RUSSELL
Then I'll get it for you.
 
CLAIRE
No, I don't need it, come on.
 
RUSSELL
Get it.
 
CLAIRE
No.
 
RUSSELL
Okay, Jesus, sorry.
 
He puts it back.
 
 
INT. FUNERAL HOME, OFFICE - DAY
 
Rico is seated at the desk as Nate enters with Maya.
 
RICO
Hey, what are you doing back here?
 
NATE
Uh, to tell you the truth, I don't really know.  What's up with Vanessa?
 
RICO
Nothing.
 
NATE
You sure?
 
RICO
Uh, yeah.  I mean, she's been down in the dumps since her Mom died, but other than that, why?
 
NATE
Well, I don't know, Rico, I got there and, uh, I don't know how to put this, but, she had this really intense energy going on, and there's no way I could have left Maya there.
 
RICO
You didn't feel safe leaving Maya at my house.
 
NATE
No, that's not what I'm saying.
 
RICO
Then what the hell are you trying to say?
 
Arthur enters in his sweaty jogging outfit.
 
ARTHUR
Hello gentlemen.
 
RICO
Hey look who decided to come back to work.
 
ARTHUR
Do you need someone to watch Maya today? 
 
NATE
Um
 
ARTHUR
Cause I love infants.  They smell so sweet. 
 
Rico gives Arthur a weird look.
 
NATE
Uh, no Arthur, I'm okay. I'm gonna just take her with me, but thanks.
 
ARTHUR
Never hesitate to ask.  I used to watch my cousins all the time.  And they were Mormons. 
 
NATE
Mormons?
 
ARTHUR
Yeah.  Okay, I'm gonna wash up and get to work.
 
Arthur exits.
 
NATE
Listen Rico, I'm sorry man.
 
RICO
You don't need to apologize, Nate.  Hey, I was just trying to do you a favor.
 
NATE
Well, thanks.
 
RICO
No, thank you.
 
 
EXT. FUNERAL BY THE SEA - DAY
 
MARVIN CHENOWITH, Bernard's brother, speaks before the assembled family and friends - at the quiet spot by the ocean where Nate and Brenda were supposed to be married.
 
Brenda, Margaret and Billy sit in the front row.
 
An urn of Bernard's ashes rests by the podium.
 
MARVIN
So let it be said of me when I am gone.  He lived by the light of the ten thousand things. His heart, starry sparks, was thus sustained.  Love and meaning passed through him and fled to carry joy from dark to dark, was joy enough for him.  The man is dead.
 
Margaret laughs inappropriately out loud.
 
Marvin gives the podium over to Billy.
 
BILLY
I just have some pictures.  This first one is of Dad and me in the backyard standing next to my hole to China. 
 
Brenda laughs and whispers something to her mother.
 
BILLY
I was five years old, trying to dig a hole to China.  He never ever told me I couldn't actually get to China.  He just kept digging with me until I got bored.  It was a good day.  The second one is of the whole family with Dad at the APA conference in 1984.  They gave him an award and he got up there and made all these jokes about Jimmy Carter needing Adlerian therapy. 
 
Some laughs in the crowd.
 
BILLY
I didn't get the jokes.  I was proud of him that night.  I was proud that he was my Dad.  This last one. 
 
He pauses, struggling to find the words.
 
BRENDA
(quietly)
Come on, Billy.
 
BILLY
It's just a really good picture.
 
The small orchestral musical group begins to play as Billy takes his seat.
 
 
INT. TERRY'S HOUSE - DAY
 
Terry greets David and Keith at the door.
 
TERRY
Hey, welcome to my humble abode and lair. 
 
David hands Terry a house-warming gift.
 
DAVID
Sorry, we're a little late.
 
TERRY
Oh, fuck that.  You guys are the calvary.  Your timing is perfect.  Keith, it's great to meet you.
 
KEITH
Thanks for having us over.
 
TERRY
You kidding, the pleasure is all mine.  Hey, everybody, it's David and Keith.
 
EVERYBODY
Hi!
 
TERRY
So come on in, come on in. 
 
He leads them into the kitchen area.
 
TERRY
Have a Mimosa, grab some quiche, quiche is in quotes, by the way, I'm not a total idiot.  Oh, just remember, whatever you do, don't look Trixie in the eye.
 
KEITH
Who's Trixie?
 
TERRY
My little pooper dog.
 
He gestures toward the small dog cowering under the table.
 
TERRY
You are my little pooper, aren't you? 
 
David and Keith both look at her.
 
TERRY
Don't!  Don't look her in the eye.  She'll freak out and poop.  I'm talking spraying poop, like dun-dun-dun-da-dun.
 
He makes a spraying gesture at them.
 
David laughs.
 
TERRY
Don't even look at her.
 
KEITH
You bet.
 
TERRY
By the way, we're playing "leading ladies"
 
He reaches behind both of them and slaps a sticker on their backs.
 
TERRY
Best of luck.
 
KEITH
He just put somethin' on my back.
 
Keith tries to take it off, but David stops him.
 
DAVID
No, no, it's a game. Leading Ladies. 
 
David grabs a Mimosa.
 
DAVID
See everybody has a leading lady on their back, and you have to figure out who you are by asking yes-or-no questions.  Am I this, am I that.
 
Keith sighs.
 
DAVID
Come on, you can decide to have a rotten time, or you can decide to have fun. 
 
KEITH
You sound like a camp counselor.  All right.  I'll have fun.  Let me see who you are.  Oh, that's good.
 
 
EXT. HILLSIDE, AFTER VIEWING - DAY
 
Attendees are leaving, saying their best regards.
 
Marvin talkes to Margaret.
 
MARVIN
I hope that poem was satisfactory, Margaret.  I seem to remember Bern liking it. 
 
MARGARET
And I seem to remember Bern thinking you were an absolute asshole.
 
BILLY
Mom, chill.
 
MARGARET
Billy, your uncle Marv is here, for his own complicated reasons, he deserves to have his own complicated experience.  Oh, now thank you Marv, it was a perfect poem, you did your duty, you can now get the fuck out of here.
 
BILLY
Sssh.
 
MARVIN
Brenda.  Billy.
 
He shakes Billy's hand.  Then Marvin departs.
 
MARGARET
He never forgave your father for being a success.  Or giving up Hannuchah. 
 
Nate wanders in with Maya in the stroller.
 
MARGARET
Nate!
 
NATE
Hey, Margaret.
 
Brenda is having a conversation with another man.  She turns at the sound of Nate's voice, surprised to see him.
 
Nate hugs Margaret.
 
NATE
So sorry to hear about Bern. 
 
MARGARET
No, Nate, please, don't give me that funeral home shit now.  Did Brenda call you?
 
NATE
Uh, no, she didn't. I read it in the paper.
 
MARGARET
And you just came here under your own steam?
 
NATE
Yeah, I guess so.
 
MARGARET
Oh, that's so strange.
 
NATE
Hey, Billy.
 
They shake hands.
 
BRENDA
Hey.
 
NATE
Hey.
 
MARGARET
We're going to be over at the condo later.  Just the family, you know, just a little dinner, I think, right, Billy?
 
BILLY
Yes, yes, mother, it's already taken care of.
 
MARGARET
Tragedy, it's the one thing our children are really good at.  I mean, my children.
 
BRENDA
It's okay Mom.
 
BILLY
Can you join us?
 
NATE
Uh, thanks, but I probably need to get back to the house.
 
BRENDA
You can stick around for a little bit, though?
 
NATE
Yes, sure.
 
BILLY
uh, let's get out of here, Mom.
 
Billy and Margaret leave.
 
BRENDA
Don't leave.
 
NATE
I won't, I won't.
 
Brenda and Nate part.  Nate pushes the stroller toward the sea.
 
 
INT. SLUMBER ROOM - DAY
 
Arthur is vacuuming as Ruth enters.
 
RUTH
Oh, Arthur, hi!
 
Arthur switches off the vacuum.
 
ARTHUR
Hi, Ruth.  Did you have a good time stalking me this morning?
 
RUTH
What you are talking about?
 
ARTHUR
Oh, please.  If you like following people so much, why don't you join the CIA?  Or the moonies!
 
He rips the hat from her head.
 
ARTHUR
Or why don't you go to the actual fucking moon and mind your own moon business, you Freak!
 
He throws the hat back at her.
 
 
JUMP CUT TO:
 
Arthur switches off the vacuum.
 
ARTHUR
Hi, Ruth.  Did you have a good morning?
 
Ruth looks shaken.
 
RUTH
Oh, yes, Arthur, thank you.  It was wonderful.  Thank you so much for asking.  I'll be right back.  I have to go upstairs, my hair feels funny.
 
She turns and heads up the stairs.
 
ARTHUR
Okay.  Bye.
 
He switches the vacuum back on.
 
 
INT. TERRY'S HOUSE - DAY
 
David is talking with Terry and Patrick, while Keith sits across the room talking with some woman.
 
TERRY
Keith seems like a lot of laughs.
 
PATRICK
Oh, stop.  He's just a little out of his element, right?
 
DAVID
Completely.  I love that he even came.  This is so not his type of thing.
 
TERRY
What's his type of thing?
 
DAVID
I don't know.  He likes to cook, work out, he loves old movies, he's probably doing very well over there.
 
 
INT. TERRY'S HOUSE - DAY
 
Keith is talking with a woman.
 
WOMAN
So tell me, am I in "Black Widow"?
 
KEITH
I don't know.
 
WOMAN
Am I known for my figure or my face?
 
KEITH
Turn around, let me see this thing again.
 
The woman turns.  Her sticker says "Gretchen Mol"
 
KEITH
I don't know.
 
WOMAN
Am I an Oscar winner?
 
KEITH
I don't know.
 
WOMAN
Am I blond?
 
KEITH
I don't know.
 
WOMAN
Are you really gay?
 
KEITH
Yeah, I'm really gay.
 
There's a funny sound and then people saying "OOh"
 
TERRY
Dammit, Linda, don't look Trixie in the eye.
 
MALE VOICE (O.S.)
You should put that dog down.
 
 
EXT. LEDGE BY OCEAN - SUNSET
 
Nate sits on a rock, with Maya in her stroller nearby.
 
Brenda approaches.
 
NATE
Hey.
 
BRENDA
Baby's first funeral?
 
NATE
Hardly.
 
BRENDA
Yeah.  I guess not. 
 
NATE
How are you holding up?
 
BRENDA
Let's not talk about me or my dead father.  For thirty seconds, anyway.
 
NATE
Okay. What do you want to talk about?
 
BRENDA
Tell me something about Maya.
 
Brenda crouches down and looks at her.
 
BRENDA
Oh, she's beautiful.
 
NATE
Oh, she discovered the telephone the other day.  It's become, like, her favorite new toy.
 
BRENDA
Yeah?
 
NATE
Yeah, she accidentally speed-dialed by neurologists office yesterday.  Two minutes later, she thought she had a stroke victim on the other end of the line.
 
BRENDA
I can't believe you came.
 
NATE
Of course I came.
 
 
INT. FUNERAL HOME, BASEMENT - DAY
 
Rico talks on the phone as he stands next to body on a table with an arm amputated above the elbow.
 
RICO
Hey, Vanessa.
 
VANESSA
Hey.
 
RICO
Hey, I-- I just talked to Nate, and he told me he came by.
 
INTERCUT WITH:
 
INT. VANESSA'S HOUSE - DAY
 
Vanessa lays on the couch with a newspaper, talking on the phone.
 
VANESSA
Yeah, he did.
 
RICO
What happened?
 
VANESSA
I don't know.   Listen, don't tell him I said this baby, but he seemed kind of out of it. 
 
RICO
You sure nothing else was the matter?
 
VANESSA
Rico, you remember how paranoid you were the first year with Julio?  We wouldn't leave him with anybody?  Baby, that's just the way good parents are.
 
RICO
So, um, so you're feeling okay?
 
She rubs her eye.
 
VANESSA
Yeah, I feel fine.
 
We see Julio and Augusto sitting at the kitchen table and eating, silently.
 
RICO
You're sure?
 
VANESSA
Rico, just come home, okay, because the kids, they're just bouncing off the walls.
 
RICO
Right, I'll-- I'll be home soon.
 
VANESSA
Okay.
 
RICO
Okay, bye bye.
 
VANESSA
Bye.
 
Rico hangs up, and pauses, thinking over this conversation.
 
 
EXT. LEDGE BY OCEAN - SUNSET
 
Brenda and Nate sit and talk.
 
BRENDA
It was three months from the day the doctor told him he had it til the day he died.  Three months.
 
NATE
Stomach cancer's fast that way.
 
BRENDA
Gastric cancer's really the technical term.  It was everywhere.  It was all up and down his alimentary canal.  It was fun learning all the jargon.
 
NATE
I know what you mean.  I never even knew I had a mendula oblongata.  Now I could draw it for you.  Along with everything else in my head.
 
BRENDA
Do you have a scar?
 
NATE
Is that a rhetorical question?
 
BRENDA
Can I see it?
 
Nate
Sure.
 
Nate turns, shows her the back of his head, and traces a line across it.
 
Brenda parts his head along the line to reveal the scar.
 
BRENDA
Wow.
 
Suddenly, she starts crying.
 
NATE
Bren, it's okay.  I'm okay.
 
BRENDA
Yeah, I know.  It's my father's funeral, I'm emotional.
 
She gathers herself.
 
BRENDA
You know this is the place where we were supposed to be married.
 
NATE
I know.
 
 
INT. TERRY'S HOUSE - DAY
 
The party continues.
 
TERRY
Has every leading lady in the room found herself yet?
 
PATRICK
I'm Christy McNichol, but I think that's always been painfully obvious.
 
DAVID
I'm Madonna.
 
PARTY GUY #1 (O.S.)
Of course.
 
PARTY GUY #2 (O.S.)
I'm Barbara Stanwick
 
PARTY GUY #3 (O.S.)
Louise Fletcher
 
WOMAN
Um, Keith doesn't know who he is.
 
PARTY GUY #4 (O.S.)
Oh, really?
 
KEITH
Shit.
 
TERRY
Get over here.  Get over here.
 
Keith approaches, reluctantly.
 
Terry gestures for Keith to turn around.
 
His sticker says "Jeanne Tripplehorn"
 
PARTY GUY #5 (O.S.)
Oh, yeah, that's an easy one.
 
TERRY
Okay, okay.  Go ahead and ask us however many questions you want.  We're here to help.
 
KEITH
All right, am I dead or alive?
 
TERRY
You're alive.  I think.
 
KEITH
Am I blond or brunette?
 
PARTY GUY #6
Brunette.  I think you were blond for awhile, but it was so wrong.
 
DAVID
Keith, we saw her in Chalet Gourmet with Ben Stiller.
 
KEITH
I remember Ben Stiller.
 
DAVID
Come on, you know this, he knows this.  Remember when we walked out on Timecode? 
 
KEITH
Yeah.
 
DAVID
She was in that. Mickey Blue Eyes?
 
PARTY GUY #6
Basic Instinct.
 
PARTY GUY #7
Water world.
 
TERRY
Yes, yes, Water World.
 
The whole crowd agrees and begins mumbling "Water World"
 
Suddenly, the whole party turns into a group of prep school girls in their uniforms chanting "Water World, Water World"
 
JUMP CUT TO:
 
INT. TERRY'S HOUSE - CONTINUOUS
 
Keith looks around.  He feels cornered and isolated as a "loser."  The room is silent.
 
KEITH
I have no idea.
 
TERRY
Okay, the man doesn't know, the man doesn't know.
 
Terry approaches Keith and removes the sticker, then shows it to him.
 
TERRY
Jeanne Tripplehorn.  Who wants a Margarita?
 
David looks sadly at Keith.
 
Patrick consoles Keith with a tap to the shoulder.
 
PATRICK
It's a stupid game anyway.
 
Keith and David make eye contact.  David feels badly for him.
 
 
EXT. CLIFF EDGE - DAY
 
Brenda and Nate continue to talk.
 
BRENDA
Watching him die.
 
NATE
Yeah.
 
BRENDA
Was like watching somebody get washed out to see, only they're sitting right there in bed.  A wave comes, takes them a little away.  Another wave comes, takes them a little away.  Every wave is a day.  Little by little, off they-- off they go.  Can I tell you something? 
 
NATE
Sure.
 
BRENDA
I don't want to put you in a weird position.
 
NATE
I'm already in a weird position.  I live my whole life in a weird position.
 
BRENDA
I missed you.  Through this. 
 
NATE
I missed you too.  I mean, it's not I don't know how much being with you changed me.  How much you woke me up as a person.  I wouldn't be who I am today if I'd never met you.  I certainly wouldn't floss every day, that's for sure.
 
BRENDA
You've been keeping up with that?
 
NATE
After every meal. 
 
Brenda inhales, long sigh.
 
BRENDA
You changed me too. 
 
NATE
Yeah, how so?
 
BRENDA
You're the first person I've lost, where it really cost me something.  That's why I haven't been with anyone since.
 
NATE
No one?
 
BRENDA
It's too scary, that I'll go screwing it all up again.
 
NATE
Yeah, you'll find somebody.
 
BRENDA
That is so not the answer.  You know what I think?
 
NATE
About what?
 
BRENDA
I don't know, about life.
 
NATE
What?
 
BRENDA
I think it's all about timing.  I think timing is everything.
 
NATE
I think you might be right.
 
 
EXT. PUBLIC PARKING LOT BY THE BEACH - DAY
 
Establishing shot.  Claire's hearse is parked in the lot.
 
 
 
INT. BACK OF CLAIRE'S HEARSE - DAY
 
Russell hands Claire a box as a present.
 
CLAIRE
What's in here?
 
RUSSELL
Just open it.
 
CLAIRE
Am I forgetting some weird anniversary or something?  Like our 17-week anniversary or something?
 
She opens it.  It's the tube of Cobal Blue paint.
 
CLAIRE
Oh, my God.  You're such a freak.  When did you even get this?
 
RUSSELL
Magic.
 
CLAIRE
What am I even gonna do with this, you dumb ass.  This costs fifty bucks.
 
RUSSELL
I don't care what you do with it.  I just wanted you to have it.  I have a theory that every now and then a person should get what they want when they want it.  It keeps you optimistic.
 
CLAIRE
Good theory, but I've never been optimistic, so.
 
RUSSELL
Well, maybe it's time to start. 
 
CLAIRE
It's a lot of money, though, Russell.
 
RUSSELL
So what?  Money only fucks up art anyway, right?  And I'd rather be poor and see you happy. 
 
Claire comes over and lays next to him, and looks him in the eyes.
 
RUSSELL
What?
 
CLAIRE
Nothing.  I have to be careful now, right. 
 
RUSSELL
No, no.
 
He kisses her forehead.
 
CLAIRE
Yes, I do.  I should be careful I don't get too used to this.
 
RUSSELL
Go ahead.  Get used to it.  I dare ya.
 
CLAIRE
Do you ever talk to Olivier about us?
 
RUSSELL
No.  You?
 
CLAIRE
No.
 
RUSSELL
Why not?
 
CLAIRE
No reason, I guess, I guess I just want certain things that are just ours, you know.
 
RUSSELL
This is-- this is just ours.
 
CLAIRE
Cool.  Thank you for the paint.
 
RUSSELL
Any time.
 
She kisses him and they hug.
 
 
INT. FUNERAL HOME, SLUMBER ROOM - DAY
 
Ruth dances and sings as Arthur plays the organ.
 
RUTH
Girls in white dresses with blue satin sashes.
Show flakes that stay on my nose and eye lashes.
Silver-white winters that melt into spring
These are a few of my favorite things.
When the dog bites.
 
Arthur makes a biting sound.
 
RUTH
When the bee stings.
When I'm feeling sad.
 
We notice Nate watching and holding Maya in the background.
 
RUTH
You're really good.
 
ARTHUR
Thank you.
 
RUTH
I simply remember my favorite things
And then I don't feel so bad.
 
Ruth notices Nate.
 
RUTH
Oh, hello dear.  We're having a little sing-along.    
 
NATE
I can see that.
 
RUTH
Arthur's really quite talented.  You probably don't know it, but he writes his own computerized music, and plays the old songs too. 
 
NATE
That's great.
 
RUTH
Isn't it?  It's so unexpected.  Arthur runs too.  You two should run together.
 
NATE
Maybe we will sometime. 
 
RUTH
He used to play as acompanyist with L.A. Ballet Company.
 
NATE
Yeah, look, Mom, I'm gonna head home, I'm just checkin' in.  Claire said you seemed a little out of it this morning.
 
RUTH
No, I'm wonderful.  But thank you for being concerned.  How was the funeral?
 
NATE
It was okay. 
 
RUTH
That poor girl's family has gone through so much. 
 
NATE
I know.  Life, it comes and gets you, doesn't it?
 
RUTH
It certainly does.
 
Maya makes a noise.
 
RUTH
Night, baby.
 
She gives Maya a kiss.
 
NATE
All right, we'll see you later.
 
Nate approaches Arthur.
 
NATE
Arthur?
 
Arthur stops playing.
 
ARTHUR
Yeah.
 
NATE
From now on, don't go running or whatever, before you find out from Rico what he needs done for the day, all right?
 
ARTHUR
Oh, I hope it wasn't a problem.
 
NATE
No, no, no.  It wasn't.  Just, uh, keep in touch with him.
 
ARTHUR
I will.
 
NATE
Thanks.
 
RUTH
Bye.
 
Arthur starts playing again as Nate and Maya exit.
 
RUTH
(singing)
Blue colored ponies have smooth apple strudel.
 
 
INT. TERRY'S HOUSE, BATHROOM - DAY
 
David is taking a very long piss as Keith enters.
 
KEITH
Are you ready to get out of here?
 
David sighs
 
DAVID
Not really.
 
KEITH
Okay, then I'm gonna go.
 
DAVID
No, Keith, we can leave.
 
KEITH
Or I can stay if it's just gonna be a little while longer.
 
DAVID
Well, actually, I think it's gonna be another few hours.  These guys take their brunches very seriously.
 
KEITH
Then I'm gonna go.
 
DAVID
No, I'll go now too.
 
KEITH
No, it doesn't have to be that way.  Really, David, I'll just go.
 
DAVID
Seriously?
 
KEITH
Yeah, I got things to do.  Stay, have fun.  You can get a ride with Peter, right?
 
DAVID
Patrick.
 
KEITH
Right. 
 
DAVID
Sure, I guess.
 
KEITH
You're still peeing.
 
DAVID
Yeah, I know.  I had, like, seven Mimosas and way too much coffee. 
 
Keith kisses David on the cheek.
 
KEITH
See you.  Back at home.
 
DAVID
Okay.
 
Keith exits.
 
David's peeing seemingly stops, then restarts again.
 
 
INT. NATE AND LISA'S APARTMENT - DAY
 
Lisa enters. Nate and Maya are already there.
 
NATE
How was the food show?
 
She takes off and hangs up her jacket.
 
LISA
Oh, it was amazing.  There was this booth, you could taste all kinds of truffles. 
 
NATE
Like chocolate?
 
LISA
Hmmm?
 
NATE
Like chocolate?
 
LISA
No, the mushroom things.  They were like two bucks for a paper-thin slice.  Ah, they were so good. 
 
She sits by Nate and Maya.
 
LISA
Oh, they tasted like chocolate and mushrooms and soy sauce and everything all at once.  It was amazing.
 
NATE
Sounds like it.
 
LISA
Dana was essentially stalked by this guy who was trying to sell her a smoothie franchise.  He followed us around the convention center for like an hour with his little tray of smoothie flavors.  Dana had to finally kind of hit him.  How was your day?
 
NATE
It was, uh, it was okay.  I ended up just taking Maya with me to the funeral, but it all worked out.
 
LISA
You took Maya?
 
NATE
Yeah. 
 
LISA
To see Brenda?
 
NATE
No, Brenda was there, but I didn't have a choice, couldn't find anyone.
 
LISA
Nate, I would have come home and taken care of her myself if I knew you were gonna do that.
 
NATE
Why?
 
LISA
Uh.
 
Lisa takes Maya out of Nate's lap and puts her in the crib.
 
LISA
Did Brenda hold Maya?
 
NATE
No, she was asleep practically the whole time.
 
LISA
Did she look at her?
 
NATE
Well, yeah.
 
LISA
Did she touch her?
 
NATE
Uh, I guess, yeah.
 
LISA
Oh, God, so you swear she didn't hold her?
 
NATE
Yes, I swear, but would it really matter that much if she did?
 
LISA
Do you care about me at all?
 
NATE
Of course I do.  You and Maya are the most important things in my life.
 
LISA
Then don't let your old girlfriends hold our baby.
 
NATE
I didn't, so what's the problem?
 
LISA
It's not that complicated, Nate.  Anyone who knows that other people exist would have already figured it out.
 
NATE
You think I'm still in love with Brenda?  I'm not, believe me.
 
LISA
You went to her father's funeral.
 
NATE
Yeah, after checking it out with you.  You said it was okay.
 
LISA
Well, why do you keep spending time with her?  Why can't you just let her go?
 
NATE
Whatever Brenda and I had, it's over. 
 
LISA
Bull shit.
 
NATE
And it doesn't take anything away from what you and I have now.
 
LISA
That's bull shit.  You know why, Nate, cause when you come back from spending time with her, you're different.
 
NATE
What are you talking about?  How am I different?
 
LISA
Well, you're more "you" like you used to be.
 
NATE
Yeah, well, I wish you were more "you" like you used to be.
 
LISA
I haven't changed at all.
 
NATE
Yes you have.  You used to have a life, you had friends, you had a job, you didn't spend every waking moment focussing on what's wrong with me, how I'm constantly disappointing you.
 
LISA
I'm gonna take a walk.  I brought this for you.
 
She tosses something at him.
 
NATE
What is it?
 
LISA
Truffles.
 
Lisa crosses to the door and grabs her keys.
 
NATE
Lise, Come on--
 
LISA
Just give me some goddamn space.
 
She exits.
 
 
INT. MARGARET'S CONDO - DAY
 
Brenda and Billy sit on the sofa.  Brenda is staring at the urn on the table.
 
BRENDA
Too weird. That's the man who gave us life, who influenced us more than any other man ever did, and probably ever will, and now he's just dirt in a jar.
 
BILLY
I hated him for so long.
 
BRENDA
He did the best he could.  We all did.
 
She slides down, lifts the lid on the urn and looks inside.
 
BRENDA
Hey, Daddy.
 
BILLY
Bren.
 
Brenda reaches in and touches the ashes.
 
BRENDA
Wow.
 
She replaces the lid on the urn.
 
BRENDA
This is what Nate faces every day.
 
Margaret enters from the dining room.  Brenda slides back onto the sofa and sits.
 
MARGARET
I suppose now we have to do something with your father's goddamn ashes.
 
BILLY
Well, it is kind of traditional.
 
MARGARET
I can't face that.  Not yet.
 
BRENDA
You don't have to.  He's in no hurry.
 
MARGARET
I know.  You've never felt so much like my children before.  Having your father around always took the edge off that sensation, I think.  But I look at you both now, and you're both so mine. 
 
BRENDA
Thanks.
 
She frowns and looks at Billy in confusion.
 
Margaret sits on the sofa, directly in front of the urn, and sets her half-empty wine glass beside it.
 
MARGARET
When you were little children, Bren, you used to start everything you said to us with an "And" or a "But".  You'd say, "And Mom, Can we go to the store?" or "But Dad, when we were talking before, you said".  You always started with a conjunction like that, and then Billy, when you started talking, you did the same thing.  He learned that from you, Bren.  Your father used to say, living with you two was like listening to the longest sentence in the history of the universe.  And now there's no one to hear it but me.
 
 
INT. ARTHUR'S ROOM _ NIGHT
 
Arthur dictates into a microphone, connected to a cassette recorder.
 
ARTHUR
Dear Carl and Cameron, Greetings from cousin Arthur.  A babysitting opportunity passed me by today, and left me thinking of you two fellows.  I hope you're enjoying spreading the Gospel in Kansas City.  My internship is coming along swimmingly.  There's a dear, charming woman here at the funeral home, who's very kind.  And attentive.  Well, I suppose that's all there is.
 
He switches off the cassette recorder, pauses, then switches it on again.
 
ARTHUR
P.S. Keeping in touch would be a lot easier if you got an e-mail account. 
 
He switches off the recorder again.
 
 
INT. RICO'S HOUSE - NIGHT
 
Rico and Vanessa sit at the dinner table talking.
 
RICO
Vanessa?
 
VANESSA
Yeah.
 
RICO
Hey, I was just thinking, maybe, um, maybe it's time for you to see a doctor or something.  You know, get some medicine.
 
VANESSA
For what?
 
RICO
For, uh, I don't know, your mood.
 
VANESSA
My mood, is exactly how it oughta be, Rico, when your mother dies, you're allowed to be upset.
 
RICO
For how long?
 
VANESSA
For however long it takes.  Uh, listen, Julio's parent-teacher conference is Monday at four, are you gonna be able to make it?
 
RICO
I'm just worried about you.  You know that, right?  I'm just trying to let you know that, uh, I'm here for you.
 
VANESSA
Are you gonna be able to make it?  Because if you can't, I can cancel it, or change it, or something.
 
RICO
Yeah, I'll be there.
 
VANESSA
Okay, thank you.
 
Vanessa exits.  Rico remains, frustrated by her reluctance to talk.
 
He playfully pushes a toy ambulance off the end of the table.
 
 
EXT. NATE'S APARTMENT - NIGHT
 
Establishing shot.
 
 
INT. NATE'S BEDROOM - NIGHT
 
Nate lays awake, as his wife and Maya sleep.
 
He looks up, and the flickering image of Bernard standing there appears before him.  Some sort of flickering light is projected onto Bernard.
 
BERNARD
You don't have to worry about Brenda. 
 
NATE
I'm not worried about her.
 
BERNARD
You don't have to worry about Brenda.
 
NATE
Oh.
 
BERNARD
You found your happiness, Nate.  She'll find hers.  It's just a matter of time.
 
NATE
What if I haven't found mine?
 
Bernard doesn't respond.  The flickering light and Bernard disappear, and Nate is left along is his bed, with his wife and daughter.
 
FADE TO WHITE
 
END OF EPISODE