LIFE AS A HOUSE
WRITTEN BY MARK ANDRUS
FADE IN:
A clock alarm SOUNDS over TITLES on BLACK. We HEAR someone
clearing congested lungs, coughing up phlegm; a slight crash
STOPS both the cough and the alarm.
EXT. GEORGE'S BEACH SHACK - MORNING
The cottage is a tiny, peeling paint rat-trap set dead center
on a small ocean front cul-de-sac, surrounded by four massive
post-modern mansions.
INT. GEORGE'S BEACH SHACK BEDROOM - MORNING
GEORGE NELSON, 42, squints and shivers as the spotty morning
light and ocean breeze enter through an open window. Bold
waves crash against the cliffs outside the room. A five-foot
wide stack of hand hewed beams are piled pyramid style,
making movement in the room next to impossible. George
stands shirtless in underwear and coughs again. He steps
over a pile of tools and stands at the window, facing the
sea. A happy sounding tune by Guster, "WHAT YOU WISH FOR,"
begins with the lyrics: 'Woke up today, to everything gray
and all that I saw just keeps going on and on...'
EXT. WEBBER'S HOUSE - MORNING
The post-modern house is three-levels of concrete and glass.
INT. SAM WEBBER'S BEDROOM - MORNING
SAM is sixteen with spiky black hair, a nose ring, two
earrings and painted black nails. The song continues with:
'...sweep all the pieces under the bed, close all the
curtains and cover my head.' Sam looks wasted as he climbs
out of bed and rummages through his dresser, retrieving an
empty bottle of prescription drugs; he tosses the bottle. He
walks to a desk where a half-built model of a house sits
unfinished and squeezes glue into a plastic bag and sniffs
it. Sam enters the closet and digs into a pile of dirty
clothes, pulling out the tie to a robe; he knots it around
the closet pole and then twists it once to form a noose. He
slips his neck through the noose and lowers his body; though
we don't see exactly what he's doing below his neck, it's
evident through his jerking arm that he's masturbating.
EXT. BECK'S OCEAN FRONT MANSION - MORNING
COLLEEN BECK, George's next-door neighbor, is a well
maintained blonde in her late thirties. She walks out of the
angular concrete mansion, grabs the paper and walks back in.
INT. BECK'S KITCHEN - MORNING
This is a minimalist kitchen, with pored concrete walls and
stainless steel cabinets.
Colleen drops the paper on the table and walks to the sink to
wash her hands. The SONG CONTINUES: '...If this serenade is
not what you want, it's just how it is...' Colleen appears
distracted for a moment. She walks outside onto the terrace
with wet hands, then bolts back in, breezing through the
kitchen with purpose.
INT. ALYSSA BECK'S BATHROOM - MORNING
ALYSSA is sixteen and perfect with strawberry blonde hair and
white teeth; her head is partially out the bathroom window.
Colleen bursts in, eases Alyssa aside and with effort, sticks
her head out of the same high open window.
COLLEEN
This is ridiculous!
We must not see exactly what they see, but out the window and
almost beyond view, a stream of urine arks out from George
Nelson's beach house bedroom, into the pacific ocean some
twenty-feet below. The piss stops. Colleen bangs her head
trying to get it back inside the house.
INT. WEBBER'S UPSTAIRS HALLWAY - MORNING
ROBIN WEBBER is George's ex-wife, still beautiful at forty.
She herds two boys, RYAN (8) and ADAM (7), down the hall.
ROBIN
Run downstairs and give your dad a hug.
RYAN
Why?
ROBIN
He'll be gone for his birthday.
ADAM
Can we have a party for him while he's
gone?
Robin stops and KNOCKS on a bedroom door.
ROBIN
I hope you're showered and ready for
school!
A loud CRASH stops Ryan and Adam at the top of the stairs.
INT. SAM'S ROOM - MORNING
Robin rushes in and glances around the room for her son.
ROBIN
Sam?!
INT. SAM'S WEBBER'S CLOSET - MORNING
The closet pole and a long line of clothes have been felled
by Sam's dangerous whack-off technique; he's on the floor
with the robe tie still around his neck and a pile of shirts
sprawled over him. The song continues: '...come out come
out, wherever you are, would you do it all over right from
the start, and what you wish for won't come true, you aren't
surprised to love, are you?'
Robin stops at the door, trying to figure out why her son is
sitting in a pile of his own clothes. Ryan and Adam join
her, looking equally perplexed.
EXT. GEORGE NELSON'S CUL-DE-SAC - MORNING
George's dog, GUSTER, is doing his business on the lawn of a
modern day robber baron, DAVID DOKOS, who exits his house
with a briefcase. He hops into his Mercedes and proceeds to
chase Guster straight across his well-manicured grass.
Guster easily escapes death and runs off. George walks out
of his shack as David hops the curb, flips him off and drives
away. George waves goodbye.
GEORGE
Stick it up your ass! Have a nice day.
(glancing around)
Guster!
Guster runs to his side as Colleen rushes out of her house.
COLLEEN
This has got to stop!
GEORGE
He escaped. He's going back in.
COLLEEN
Does it give you some sort of perverse
pleasure to expose your...penis in plain
view of my sixteen year-old daughter?
GEORGE
There are no windows facing
my...exposure.
COLLEEN
George, this is the third time.
GEORGE
The plumber's due out on Friday.
COLLEEN
You'll have to explain that to the
police.
GEORGE
You were the only neighbor I could
tolerate.
COLLEEN
I did warn you.
GEORGE
My life is a warning. I just can't
figure out for what.
Colleen shies away from George's stare; he finally turns and
walks toward the house but stops short as he turns back.
GEORGE (CONT'D)
Colleen, how hard was it for you to get
your head outside that window far enough
to see my dick?
This stops Colleen for a moment; it was difficult. George
walks back to the cottage and locks Guster in before stepping
into an old Ford truck and driving off. Colleen watches him
drive off, then turns to her house and stares.
INT. WEBBER'S DINING ROOM - MORNING
PETER WEBBER, Robin's husband, is a distinguished,
intimidating man with silver hair and an expensive suit.
LOIS, the maid, serves French toast to Ryan and Adam as Robin
sips tea.
ADAM
Sam broke his closet.
Peter glances at Robin, who shrugs.
ROBIN
I don't have a clue anymore. I wish
you'd talk to him. He needs a man.
PETER
His father is a man.
ROBIN
A man he respects.
Sam walks into the room from the hall, outfitted in all black
with kick ass boots.
SAM
Thanks for talking about me behind my
back...useful in court.
PETER
Are you wearing eye shadow?
Adam, Ryan and Robin check out the eye shadow.
SAM
No.
PETER
Take it off.
Sam flutters his eyelids in defiance of his stepfather.
PETER (CONT'D)
Do it now!
SAM
If I walk out the door, who's gonna be
here tonight for the follow through?
Peter hesitates for just a second.
SAM (CONT'D)
Have a nice flight.
Sam's out the door with his eye shadow intact.
RYAN
Queer.
ROBIN
What did you say?
RYAN
Dad said it first.
Robin focuses on Peter, who simply shrugs. Adam stands up,
walks over to his father and gives him a hug.
ADAM
I get chocolate cake for your birthday.
PETER
Are your hands clean?
Adam is quick to back away from his father and lick the
fingers of one hand.
INT. COMMUTER TRAIN - MORNING
George is resting his head against the glass window as he
stares out at the blighted landscape leading to downtown Los
Angeles. A sudden pang tightens his face; he presses his
hand against his stomach and closes his eyes.
EXT. LAGUNA BEACH HIGH SCHOOL - MORNING
Sam is alone at the back of the parking lot, sitting on the
hood of an old Saab, smoking as two boys, JOSH and MAREK,
both seventeen, park a Porsche and pull Alyssa Beck (George's
peeping neighbor) and another girl out of the backseat.
MAREK
Dude, nice look.
Sam simply nods as Marek and the other girl laugh at his all
black garb, earrings and eye shadow.
ALYSSA
I saw your dad this morning.
Sam drops his cigarette and stomps it out as he stands; his
face lightens as Alyssa waves before walking away.
JOSH
Been thinking?
SAM
No.
MAREK
Forget him!
JOSH
Two hours a week for three-hundred cash.
The whole summer. Do the math.
(as a dig)
They consider that a hatchback or a
station wagon? Oh, that isn't yours
anyway, is it?
Josh raises his eyebrows and smiles before walking away. Sam
faces the Saab and kicks the bumper as hard as he can.
Suddenly, a boy (COREY) bolts up from the back seat.
COREY
I was in total REM, man!
INT. DOWNTOWN LOS ANGELES HIGHRISE - LATE MORNING
The architectural firm of Benson and Feinsilber occupies the
entire fortieth floor; George Nelson is their sole model
maker. Rather than offices, most of the space is open,
segmented only by portable low walls. Along the outer walls,
below the long line of windows, is a shelf filled with
amazingly intricate models. George is alone in a cubicle of
his own, cutting polystyrene with a hot wire. STEVEN GARDNER
rounds a corner with a velocity that makes George flinch.
STEVEN
Done...close to done?
GEORGE
I'm doing the grass.
STEVEN
Fuck the grass. Who said grass?
Steven exits as quickly as he entered, but as soon as George
goes back to work, Steven pops his head back in.
STEVEN (CONT'D)
Burke bided out the Berlin Plaza. Did he
tell you?
GEORGE
I was going to start Monday.
STEVEN
He likes the look of the computer models,
anyway. You take too long.
(beat)
After you mow the grass, would you mind
bringing the house to my office? I have
a presentation to make.
George simply stares as Steven nods and leaves.
EXT. HIGH SCHOOL CAFETERIA ATRIUM - LUNCHTIME
Sam is by himself, his eyes closed, listening to music
through headphones as Alyssa stops to stare; she visually
scans him head to foot, appearing slightly perplexed as a
friend passes.
FRIEND
I wouldn't make a habit of it.
ALYSSA
Okay.
The friend walks on; after a beat, Alyssa does too.
EXT. TOP OF THE WORLD PARK - EVENING
In the distance, the sun colors the sky a blinding orange as
it sets. A Range Rover with blackened windows is parked
behind a Porsche. 'TINTED WINDOWS,' an up-tempo tune with a
hand clapping by the Pansy Division, begins: 'A bed would be
a treat/But all we've got is this backseat/Tinted windows are
a beautiful thing.'
Through the front windshield, we can see Marek sitting in the
passenger's seat with his eyes closed.
ANOTHER VIEW
Josh, Marek's friend, is sitting on a bench in the park
behind the cars. 'A dark secluded spot/In a deserted parking
lot/Tinted windows are a wonderful thing.'
Suddenly, the passenger door on the Rover opens and Marek
climbs out, brushing his hair with his hands before casually
checking his zipper. He closes the door and the car speeds
away. Josh walks to Marek and wordlessly they climb into the
Porsche and drive off.
EXT. GEORGE NELSON'S BEACH SHACK - DAY
George is shirtless in his front yard, hand hewing a twenty
foot beam. One strong, long pull and a thin shaving flutters
to the ground; Guster nabs it and starts to chew.
GEORGE
You'll crap real logs if you keep eating
wood.
Guster appears unconcerned as he awaits a new shaving.
ALYSSA (O.S.)
Hi, Mr. Nelson.
George glances up, wipes the sweat from his forehead as
Alyssa walks toward him in white shorts and a tee shirt.
ALYSSA (CONT'D)
Sorry I got you into trouble.
GEORGE
I'll survive.
George goes back to works and Guster taste tests shavings as
Alyssa searches for something else to say.
ALYSSA
Does Sam have any friends?
George stops and looks up; he has no idea how to answer.
GEORGE
He must.
ALYSSA
He seems lonely.
GEORGE
Are you his friend?
ALYSSA
No.
GEORGE
Why?
ALYSSA
Marilyn Manson...and I guess he's into
guys. I hate nose rings. And the blue
eye shadow thing really isn't working.
George is totally confused, unsure most of the answer, but
before he can question her, a police car pulls to a stop;
OFFICER KURT WALKER steps out.
KURT
Thought I'd run over the list.
Officer Walker removes a pad from his pocket and flips
through to find his place.
ALYSSA
This is such a street of whiners.
KURT
From Tuesday to yesterday, not including
Monday or today. Okay...Mrs. Dokos is
repeatedly running over her lawn. The
Corliss' have attributed the increase in
rat population in their environs to the
state of your...structure.
ALYSSA
IPO's caused the rat population on this
street.
Officer Walker focuses on Alyssa.
KURT
And of course the Beck's, with the...
ALYSSA
It could have been a squirt gun.
KURT
(to George)
You've been good this week.
GEORGE
You forgot David Dokos and Tom and
Barbara.
Kurt stuffs his pad back into his pocket.
KURT
Mr. Dokos calls animal control for Guster
and I was out here on the other.
(pointing to the plane)
Do you mind?
George hands him the plane and Kurt begins to work the wood.
ALYSSA
Are you guys' friends?
KURT
We've known each other since grade
school.
ALYSSA
I mean, but did you both go camping on
weekends? Listen to music? Masturbate
together? Talk on the phone?
George doesn't answer and Kurt keeps working.
KURT
Hunted rabbit in the hills.
Alyssa stares at George, disappointed.
GEORGE
I aimed high.
KURT
We just weren't very much alike, I guess.
I don't know.
(casually; to George)
I liked your dad more than I liked you.
ALYSSA
I wouldn't want you as a friend.
KURT
George just never really...aimed that
high. Even with not hitting a rabbit. I
knew you were doing that, by the way.
That's why I stopped doing it with you.
You were no fun. It was always like you
were frightened. Quiet and boring.
Kurt is beginning to perspire as he shaves food off the beam
for Guster.
ALYSSA
Funny how he's the architect and you're
just a loud mouth cop.
KURT
He builds models for architects. His
dad, on the other hand, was the real
deal. Designed and built the coolest
houses I've ever seen.
GEORGE
Was bankrupt and dead before I was
twenty.
KURT
Left you this place.
GEORGE
It was in my name so he wouldn't lose it.
He stole it from everyone that deserved
it by putting me on title.
KURT
Do you know what I'd give to have this!
Forget how I got it! I can't afford dirt
in this town. I live in Riverside,
Goddammitt And you get to piss in the
ocean.
Kurt stops working and steps back.
KURT (CONT'D)
Your kid was down around Diver's Cover
again, smoking pot. I didn't write him
up...told him I wouldn't tell you...
GEORGE
Thanks for telling me.
KURT
At least your father tried, George.
Kurt walks to his car and drives off. There's a moment of
awkwardness with Alyssa. George walks into his house leaving
Alyssa with Guster.
INT. WEBBER'S KITCHEN - AFTERNOON
Robin is sitting at the kitchen counter, cutting carrots;
through the French doors, she's able to watch Ryan and Adam,
along with a few friends, play in the pool.
GEORGE (O.S.)
I could be anyone.
Robin jerks with fright as half the carrots roll to the
floor.
ROBIN
Then why do you stay you?
George picks up the carrots and washes them in the sink.
GEORGE
You should lock your doors.
ROBIN
Ring the bell before you try the door.
George bites into a carrot as Robin starts chopping again.
ROBIN (CONT'D)
Did Sam call to tell you he wouldn't be
over this weekend?
GEORGE
You let him pierce his nose?
Robin snatches the carrot from George's hand and chops it up.
ROBIN
Lock the door behind you.
GEORGE
Where is he?
ROBIN
Where he always is.
George takes Robin's hand and removes the knife.
GEORGE
Not that I don't trust you.
As George lets go, Robin holds on; he appears surprised by
her grip of his wrist. Robin's eyes well with tears.
GEORGE (CONT'D)
I should have knocked.
George is clearly not comfortable with his ex-wife's hold of
him, with her tears.
ROBIN
What kind of a mother can't stand her
son?
George jerks his arm away from her grip.
GEORGE
I don't know.
INT. WEBBER'S UPSTAIRS HALL - AFTERNOON
George is tense and he walks to Sam's door and KNOCKS.
GEORGE
Why aren't you coming in for the weekend?
(beat)
Sam?!
Nothing. George tries the door - it's locked. Frustrated,
he walks back down the hall and down the stairs.
INT. WEBBER'S KITCHEN - AFTERNOON
Outside, the boys are engaged in a raucous version of Marco
Polo. Robin is at the sink; she holds her hair back with one
hand and splashes water on her face with the other. George
walks by outside, carrying a ladder.
EXT. WEBBER'S BACKYARD - AFTERNOON
Ryan is the first to notice George.
ADAM
Marco!
RYAN
What are you doing?
ADAM
I'm not cheating! I'm not looking!
Robin wipes her face with a hand towel as she rushes out.
ROBIN
What are you doing?
GEORGE
He doesn't answer.
The boys have stopped playing; Adam opens his eyes.
ROBIN
He never answers.
GEORGE
Why does he have a lock on his door?
ROBIN
Because he put the lock on! Do you think
I told him he could have a nose ring?!
Why do you ask me everything you should
ask him!? I don't know anything,
anymore!
The boys line up against the edge of the pool and watch
George extend the ladder against the house and climb.
ROBIN (CONT'D)
You climb up there and tell him what he
can and can't do. Take him for the
summer, okay? Whip him into shape. Cut
his hair. Make him smile. Let him hate
you for a while!
(sadly)
You're too late for heroics, George.
George lops a leg over the railing and steps onto the bedroom
balcony. He peers into the room through the sliding glass
door and tries to open it (locked) before removing the screen
to the small open window beside it. He climbs in.
INT. SAM'S ROOM - AFTERNOON
Sam is asleep on his bed in his underwear, wearing
headphones. On the floor is an aerosol can of whipping
cream. George picks up the can and tosses it in the trash.
He focuses back on his son with his nose ring, earrings, blue
eyeshadow and thin, pale white body. Sam is soundly asleep.
George gently removes the headphones from his son's head;
drum heavy music surges from the small, padded speakers.
GEORGE
You need every brain cell you've got.
A KNOCK on the door stirs Sam more than his father's voice.
SAM
(half-asleep)
Leave me alone!
Sam's eyes are still closed as he shifts onto his side.
George opens the door; Robin is weak and weepy.
ROBIN
I don't know what to do, anymore. Take
him. You take him.
(hostile)
You're such a good father.
George walks out of the room, around Robin and down the
stairs without a word. Sam stirs at the sound and sits up to
confront his mother.
SAM
What are you doing in my room?
ROBIN
I didn't go in your room.
SAM
I locked the door! Get out! I locked
the door! Get out!
EXT. WEBBER'S UPSTAIRS HALLWAY - AFTERNOON
Robin grabs the door and closes it quickly, but doesn't move.
SAM (O.S.)
Stupid bitch! Liar! I locked the door!
I don't sneak around your room! Liar!
INT. SAM'S ROOM - AFTERNOON
Sam rushes over to the window and stares down at the screen
and ladder. Ryan, Adam and their friends are still in the
pool, holding onto the coping, staring up at Sam. Sam slams
the window shut and searches for the can of whipping cream.
He gets down on his knees to search under the bed. Standing
and making one more pass of the room, he notices the can in
the trash. He instantly focuses all his rage at the closed
door.
SAM
This is my room! You have no right in
here! This is mine!
INT. WEBBER'S UPSTAIRS HALLWAY - AFTERNOON
Robin is sitting on the floor at the top of the stairs,
staring blankly down at the foyer of this modernist mansion.
SAM (O.S.)
Why can't you all just die and leave me
alone!
EXT. DOWNTOWN LOS ANGELES - MORNING
The traffic is thick and loud and the sky is a blanket of
brown as George makes his way down a sidewalk mixed with
professionals and panhandlers. Suddenly sick, George rushes
to the side of a building and vomits.
INT. BENSON, KIDDLER, FEINSILBER AND ASSOICATES - MORNING
George wipes a clump of wet paper towel against the vomit
stain on his cuff as he walks through the pockets of cubicles
to a large enclosed office. A SECRETARY smiles as she stands
up from her desk and opens the door.
SECRETARY
Good morning.
GEORGE
Is there a...
He holds out the wad of wet paper towels, but before he can
say trashcan, BRYAN BURKE stands up from behind his desk.
BRYAN
George, have a seat! I've got juice.
INT. BRYAN BURKE'S OFFICE - MORNING
George steps in and the secretary closes the door to the
office. Bryan approaches with his arm outstretched, but
George can only raise the paper towels.
GEORGE
A bird caught me.
Bryan grabs a trashcan and holds it up; George tosses the
ball into the trash and sits down.
BRYAN
Orange juice...croissant?
Bryan motions with his hand as he sits.
GEORGE
I'm good, thanks.
BRYAN
What are you on?
GEORGE
Pardon me?
BRYAN
how much weight have you lost?
GEORGE
Oh...nothing. Thirty pounds. I just
haven't been very hungry.
BRYAN
How's your wife?
GEORGE
When we divorce a decade ago, she was
very, very angry.
(beat)
Now she's just hostile.
Bryan nods and laughs as he takes a chunk of croissant and
chews as he talks.
BRYAN
Right...she married...what was he?
GEORGE
He buys and sells the world.
BRYAN
Peter Webber! Right. Quite the
spotlight on that guy.
GEORGE
I did tell you, didn't I? That I'd be
ready to start the Berlin model today?
BRYAN
Well, that's sort of...you're sure you're
not hungry?
Bryan is anxious as he holds up the rest of the croissant.
George shakes his head "no". Bryan tosses his croissant into
the trash can and leans forward.
BRYAN (CONT'D)
This isn't me.
(beat)
We can show clients endless options,
change anything in a matter of hours on
the computer. But you won't change.
GEORGE
Typing and clicking myself to renderings
isn't why I started building models.
BRYAN
All of us are typing and clicking,
George. Whether we want to, or not.
GEORGE
I'm not.
BRYAN
Which is why we bid out a quarter of our
projects. It doesn't make a lot of sense
anymore to want what we don't have and
don't want what we do.
George glances around the office, angered by the thought he's
being fired.
GEORGE
I've been here twenty years.
BRYAN
Maybe that's too long.
GEORGE
(hopeful)
Maybe...?
BRYAN
That's too long.
George nods as he stares at Bryan.
BRYAN (CONT'D)
Listen, they decided on a week a year
severance, but I got them to twenty-six.
That's six months salary, George.
Medical and everything for six months.
You can learn all you need to on the
computer long before that. Maybe find a
job closer to home.
Bryan is rattled by George's blank stare. He takes his glass
of orange juice and sits back in his chair, taking a sip, all
the while keeping an eye on George.
GEORGE
My wife left me because I wasn't...very
emotional. I kept trying to explain that
my father sucked all the emotion from me.
Drunks do that, sometimes. Make their
kids afraid. Make them unwilling to
express themselves.
Bryan knows he's supposed to say something, he just can't
seem to figure out what.
BRYAN
Oh.
GEORGE
How old are you?
BRYAN
Forty.
GEORGE
We were probably in school together. You
went to Berkley?
Bryan lights up at the sound of his Alma matter.
BRYAN
Class of eighty-six! I didn't know you
were there.
GEORGE
I was a sophomore when I got the call my
parents were dead.
This is not the direction Bryan had hoped the conversation
was headed.
GEORGE (CONT'D)
My dad had a blood alcohol level of .18.
A little high. Drove right into oncoming
traffic. Killed my mother with him. A
lady in another car. Hurt her daughter.
A five-year old girl. I think about her
still.
Bryan wants this to end. He leans forward with a whisper.
BRYAN
Listen...maybe I can get you a year.
GEORGE
I hate this job.
BRYAN
What are you talking about? You love
your job.
GEORGE
From the day I started...to today. Can't
stand it.
Bryan is perplexed as George stands.
BRYAN
Then it sounds like I'm doing you a
favor.
GEORGE
It may sound that way, but I react out of
fear. My life has nothing to do with
what I like or don't like. You haven't
been listening, have you?
BRYAN
I didn't know there would be a quiz,
George.
GEORGE
For everything.
BRYAN
Well, I feel better about this now.
GEORGE
Good. I was hoping for that.
Relieved and not understanding anything about irony, Bryan
stands and extends his hand. George shakes Bryan's hand
without malice.
GEORGE (CONT'D)
I've got one favor to ask.
BRYAN
What can I do for you, George?
GEORGE
I built my first model here when I was
twenty. There are hundreds of them on
shelves around the office. Twenty years
of my life. I was wondering if I might
be able to pick a few to keep, to take
home? Only the ones that really mean
something to me.
Bryan recoils slightly from the request.
BRYAN
Oh, well...those are...I mean, we don't
get to keep our work. I could maybe ask
them if you could choose one. But, you
know, frankly George, you were the best.
Computer models can't begin to match the
beauty you gave yours. They're a part of
this firm. They inspire me. I go out
there and sometimes just stare at
something I've designed. It amazes me.
I would miss that too much.
(beat)
Look, I may be going out on a limb, but
you go out there and look them over,
every single one of them and pick the one
you like the best and take it with you.
Just run it by me first, just in case,
you know...but I'm sure it'll be okay.
GEORGE
Thank you.
BRYAN
Well, it's the least I can do.
GEORGE
Yes, it is.
George nods and leaves. Bryan looks lost and guilty again.
INT. BENSON, KIDDLER, FEINSILBER AND ASSOICATES - MORNING
George walks around the maze of cubicles back to his own. He
finds an empty box and starts to pack. Against a wall, a
large rack is filled with spools of architectural plans.
George pulls one of the plans down, rolls it out and detaches
the wooden spool. Without warning and with a fury hard to
fathom, he proceeds to bat and smash a shelf of beautifully
rendered models. Heads pop up in other cubicles as George
walks out of his own and armed with a frightening rage,
methodically attacks model after model resting on shelves
just below massive plate glass windows that frame downtown
Los Angeles. Steven Gardner, who asked for his model without
grass, rushes to within feet of George as he witness his
creation deconstruct into shards of cardboard and plastic.
STEVEN
Mother of God! Not my house!
George stops for a second to focus on Steven, but Steven is
smart enough to run. George continues on with the business
of disassembling his work.
VOICE
Oh, please, please, no!
The plea is instantly followed by a pathetic low whine.
George works up a sweat as he whacks model after model;
portions of plastic walls or window splatter the office as
though bombed in war. Bryan Burke's secretary inches as
close as she dares.
SECRETARY
Uh...Mr. Burke would like a word with
you, George.
George lowers his stick as he faces her.
GEORGE
Oh...okay.
SECRETARY
In his office. When you're able.
GEORGE
Thank you.
With that, George finishes what he began only minutes prior:
the complete and utter destruction of every model displayed
on every shelf in the office, save one. Workers huddle
together, collectively moaning and moving en mass from the
mayhem. George picks up the sole surviving model in his arms
and cradles it carefully as he walks into Bryan Burke's
office.
INT. BRYAN BURKE'S OFFICE - MORNING
Bryan cowers behind his desk as George enters with his model
in one hand and the long wooden stick in the other.
GEORGE
I'll take this one, if that's okay?
It takes Bryan a few aborted attempts to answer before he
simply nods.
GEORGE (CONT'D)
Thank you for going out on a limb and
allowing me one.
Bryan nods again, then quivers as George steps forward, leans
the stick against the desk and extends his hand.
GEORGE (CONT'D)
You're a great architect and a miserable
human being.
Bryan winces as he extends his hand. They shake hands and
George grabs hold of the stick again.
BRYAN
Thank you.
George walks around the desk and bashes in a model hidden on
the floor, one that Bryan had obviously wanted to save.
BRYAN (CONT'D)
Oh, fuck!
George drops the wooden spool and walks out of the office as
Bryan garners the courage to stand.
BRYAN (CONT'D)
You're not even an architect and you're a
miserable human being.
George turns around only long enough to answer.
GEORGE
You're right. You win.
George closes the door behind him. Bryan stares down at the
remains of the model; he gets down on his knees and carefully
gathers up the pieces.
EXT. DOWNTOWN LOS ANGELES - MORNING
George is sweating as he walks with his box of personal items
under one arm and the model under the other. Dizzy, he stops
for a moment and tires to orient himself, glancing one way,
then the other before staggering back and pressing himself
against the building for support. Sweat beads and drops from
his nose and chin as the song, 'ACROSS THE UNIVERSE' begins
by The Beatles. George sets the box down but clings tightly
to the model as he closes his eyes.
'Pools of sorrow, waves of joy are drifting through my open
mind, possessing them, caressing me...'
George drops face first to the cement, crushing the model
beneath him.
MONTAGE AS THE SONG CONTINUES
George is probed and poked by doctor after doctor. An
ultrasound test followed by a CT scan, followed by a MRI
results in more tests.
A flexible tube is slid down George's throat as dye is shot
into his body. 'Sounds of laughter, shades of life are
ringing through my open view, inciting them, inviting me...'
A long blunt needle is shoved into George's side for a biopsy
of his pancreas. X-rays are lit and highlighted as doctors
ponder the specks, the disease.
Finally, George is opened up; nearly bloodless slice through
skin, muscle and fat reveals death. 'Limitless undying love,
which shines around me like a million suns, which calls me on
and on across the universe...'
George is wheeled down a long hall to the critical care unit.
'Nothing's going to change my world, nothing's gonna change
my world...'
INT. HOSPITAL ROOM - EVENING
George tries to sit up, but falls back as he closes his eyes,
opens his eyes, closes his eyes.
FEMALE VOICE (O.S.)
That took care of the pain?
George opens his eyes again as an attractive NURSE enters
with a tray of food.
GEORGE
I could kiss you.
The nurse smiles as she lifts the cover off the dinner.
GEORGE (CONT'D)
No food. I'm painless.
She raises George's bed.
GEORGE (CONT'D)
What would you do if you had three or
four months to live?
The nurse glances over at the other patient in the room,
who's sleeping, before answering in a soft voice.
NURSE
I'd eat a lot of red meat.
GEORGE
Good for you.
The nurse smiles as she sits down beside the bed. She fills
a spoon with corn and aims it for George's mouth; he accepts
the good will, chews and swallows.
NURSE
What would you do?
GEORGE
I'd build a house.
George takes another spoonful of food.
NURSE
What kind of house?
GEORGE
You know what mortise and tenon is?
The nurse shakes her head "no".
GEORGE (CONT'D)
I've got every part of it ready. It's
like a jig saw puzzle...all in pieces
now, just waiting to make sense. I've
been through design and review...the
planning commission, city council.
She feeds George another small spoonful of food.
NURSE
No one's really said four months is all
you have, have they?
GEORGE
Stage four pancreatic cancer. They
haven't even pretended to offer
treatment. You tell me, when would you
start eating red meat?
NURSE
Can you build a house in four months?
GEORGE
I can die trying.
The nurse rests her hand for a moment on George's cheek.
NURSE
Good for you.
GEORGE
I haven't been touched in years.
Suddenly alarmed by her emotion, the nurse removes her hand
and stands back away from George.
NURSE
I'm sorry, I don't know what that was.
GEORGE
A handshake, or you know, someone pats
you on your back through clothes.
Doctors, people who have to touch you.
But not by people who want to.
NURSE
No. A friend... your mother? Everybody
gets touched by someone they love.
GEORGE
Isn't that weird? I mean, I dated a
little bit after my divorce, for four or
five years. Six years. I know when my
son was younger...maybe when he was ten
or eleven even, he'd run up and wrap his
arms around me.
George suddenly stops to catch his emotion. The nurse checks
the door before walking back to George; she brushes back his
hair with both hands, then fingers the curves of his ears,
finally resting her thumbs on his lips.
NURSE
Oh God, I'm married.
Feeling guilty, she flees the room, waking the other PATIENT.
PATIENT
I'm hungry.
GEORGE
I'm touched.
EXT. SAN JUAN CAPISTRANO TRAIN STATION - AFTERNOON
George is resting, eyes closed, sitting on a bench with his
box and the remnants of the model beside him. A black Range
Rover pulls to a stop with a HONK. George stands to gather
his things as Robin steps out of the car, yelling.
ROBIN
I called everyone, everywhere! You just
vanished! You could be dead!
GEORGE
Thanks for waking me up. Picking me up.
You're loud today.
ROBIN
You're inconsiderate and absolutely
devoid of emotion!
GEORGE
You're the most beautiful woman I have
ever known in my life.
Robin is stumped for a second, confused by the words.
ROBIN
What?
GEORGE
I'm not talking just physically. Even
your anger is perfect.
Robin climbs back in the car and slams her door shut.
INT. ROBIN'S RANGE ROVER - AFTERNOON
George sets his box in back and climbs into the front seat as
Robin takes off. He closes his door as she runs a stoplight.
GEORGE
I didn't think you'd know I went missing.
ROBIN
You didn't think someone from your office
would call and tell me you wrecked the
entire building and threatened people
with a baseball bat?!
GEORGE
A blueprint spool.
ROBIN
Where have you been for a week?!
GEORGE
Four days. I left to think.
ROBIN
What did you do with your dog?
GEORGE
Kurt's been feeding him.
ROBIN
But you can't call me while you think?
GEORGE
I wasn't thinking. Look, I'm sorry I
didn't think to call you while I
thought...I think.
George raises his eyebrows, wanting just the slightest give
from Robin. She glances at him, but won't yield.
GEORGE (CONT'D)
I need to talk to you.
ROBIN
Why would they tow your truck?
GEORGE
I was parked in day parking.
ROBIN
Why call me?
GEORGE
I'm going to tear down the shack and
build my house.
ROBIN
You've been saying that for twenty years.
While we were dating, you said it.
GEORGE
There's nothing anymore to stop me.
ROBIN
Money?
GEORGE
Severance pay. And I'm going to cash in
my life insurance policy.
ROBIN
How many years did I live with your beams
and boards? First in the garage, then in
the living room. We're going to do it,
Robin. Next year. Next year. Salvaged
floorboards from a house in Pasadena.
Doors from a church in New Hampshire...
GEORGE
I love those doors.
ROBIN
Where will you live?
GEORGE
The garage.
ROBIN
Look, I wasn't serious about you taking
Sam, so you don't have to get into any
actual construction to get out of it.
GEORGE
When's school over?
ROBIN
Friday...God, I hate the thought of him
home all day.
GEORGE
I'll be by Saturday to pick him up.
ROBIN
He doesn't want to spend the weekends
with you anymore.
GEORGE
Not for the weekend. For the summer.
Robin scoffs.
ROBIN
You and Sam are going to live in a garage
without plumbing for the summer?
GEORGE
The garage is plumbed. I'll put in a
toilet. We'll survive.
ROBIN
Thank you for at least sounding sincere.
GEORGE
Sounding? I need help. He's cheap
labor.
ROBIN
One of you would end up dead.
GEORGE
At least we'll have a house to show for
it.
ROBIN
Forget it, really. I'll survive.
GEORGE
I want him with me.
ROBIN
No, you don't. Trust me.
George rests a hand on the back of her neck.
GEORGE
I want Sam for the summer.
Robin furrows her brow for a moment and glances at George.
It takes a while for her to answer.
ROBIN
Okay.
George rests his hand on Robin's cheek for a moment, as the
nurse had done with him. Robin turns her head and bites his
finger.
GEORGE
Hey, hey!
ROBIN
I'm married.
George nods as he mock nurses his finger.
INT. HIGH SCHOOL HALL - AFTERNOON
Sam is walking with Corey, who's wiry and wan with a red
nose.
COREY
The whole summer, man. Party in Tahoe.
SAM
I don't know.
COREY
It'll just be my brother the dweeb on
weekends. All we gotta do is sand and
paint the cabin, dude.
(boasting)
My dad's gonna let me use the boat and my
charm is gonna let me use my rod. Income
village is the place to hook up with
hump.
SAM
I'll ask.
COREY
Hey, it beats letting town folk go down
on you for the summer.
Sam stops which stops Corey. Sam glances around to make sure
no one's listening.
SAM
I never said anything. I haven't done
anything.
COREY
I know what the deal is. Josh is a pimp.
I'm not stupid.
SAM
You don't know what the deal is. There
is no fucking deal.
Sam walks away pissed that Corey knows what the deal is.
EXT. GEORGE'S SHACK - MORNING
George is shirtless, the stitches still fresh on his side; he
carries/drags his mattress into the garage. Alyssa walks
from her house to the garage and peeks in.
INT. GEORGE'S GARAGE - MORNING
George is making his bed, which is not easy because Guster is
curled up on it. The one car garage is not dry-walled and
the cement floor is clean but stained.
ALYSSA
Hi, Mr. Nelson.
George steps away from the bed, slightly rattled by Alyssa.
GEORGE
Alyssa.
ALYSSA
Why have you put a toilet and a bed in
your garage?
GEORGE
I'm living here while I build another
house.
ALYSSA
Is that legal?
Alyssa sits down on the bed beside Guster and starts to
bounce up and down. George takes another step back.
GEORGE
Don't you have school?
ALYSSA
Nope.
Alyssa lies down on the bed, lifting the sheet to her nose.
ALYSSA (CONT'D)
Are these clean?
George is alarmed. Guster licks Alyssa's ear.
GEORGE
What's today?
ALYSSA
Monday.
George bangs his head with his hand and starts to search the
room.
GEORGE
My keys.
ALYSSA
What's that?
Alyssa reaches out and slides a finger down his scar.
GEORGE
Nothing. I cut myself.
George pats down his pockets.
GEORGE (CONT'D)
I had them in my pocket.
ALYSSA
I'm not shaving my legs or pits this
summer, I've decided.
George opens the drawers of a small desk and a chest, not
paying attention to Alyssa as she raises her leg and runs her
hands down the stubby skin.
ALYSSA (CONT'D)
Paula Cole isn't a vertical kisser.
George dabs his keys from the floor beside the chest.
GEORGE
Make the bed for me, would you? I gotta
run.
George turns around to Alyssa's leg up and a great view of
her underwear.
|
AJÁNLOM AZ OLDALT
