INT. BOOKSTORE - LOCAL MALL - MORNING (DAY 1) Inside, a large, mostly worshipful CROWD has gathered to see ROGER COMSTOCK (55), a husky right-wing radio host, on his promotional tour. COMSTOCK (with gusto) And let me conclude that it is within everyone's power to save America. Moral debasement won't be the norm if we don't let it! Homos won't walk among us if we don't want it! Feminazis won't run the country if we fight for it! This is our America! Join me in preserving it! The audience claps wildly, as Comstock bows. He then pauses to wipe his forehead, looking weezy and red-faced. COMSTOCK (CONT'D) Now for some questions from the audience. An ASSISTANT brings over a BOWL of pre-written QUESTIONS. Comstock selects one, as in a lottery. COMSTOCK (CONT'D) (reads) "Roger, I find you so much smarter and better than those bozos in Washington. Will you ever run for elective office?" (smirks) Well thank you, Mom. The audience laughs. COMSTOCK (CONT'D) I'm working on it, folks. Depends on how the book sells. He reaches for another question and looks at it. His face grows redder. COMSTOCK (CONT'D) Well, well, our first dissenter. (reads, half-mocking) "Mr. Comstock, how can you live with yourself? You are quite frankly the most hateful man I have ever laid eyes on. The God you claim to be working for isn't the one I believe in, and He will strike you down." The audience "ooohs." Comstock is now breathing heavily. His arm shakes as he wipes his brow. COMSTOCK (CONT'D) (irritated) Well first, pal, I don't know what God you believe in, but it's not the God of the Bible. Second, am I really hateful, or am I damn tired seeing of what's mine get stripped away and given to the undeserving?! Do you even know what's happening in America now?! Do... Comstock loses consciousness and collapses against a BOOK PYRAMID. The BOOKS spill all over him as he hits the floor. FADE TO WHITE. A TITLE CARD FADES IN AND OUT, in BLACK LETTERING: Roger Norris Comstock June 16, 1947 -- November 3, 2002 FADE IN: INT. FUNERAL HOME - PREP ROOM (DAY 2) DAVID gingerly unzips a BODY BAG halfway, then stares at the CORPSE of Comstock. DAVID In my dreams, his nostrils were bigger. NATE (coming over) What? DAVID And they could shoot fire. He also had a nifty set of horns. NATE (o-kaay) You've been dreaming about this man? DAVID Nightmares, actually. You would, too, if you heard some of what he said on the radio. NATE I just avoid talk radio. There's enough to get angry about without some nut whose mommy didn't love him to stir up shit. DAVID His favorite targets were anyone who's had sex in the past twenty years and enjoyed it. Unless you were gay; then he really got nasty. NATE (remembering) Wait -- was it him who came up with the Adopt a Gay program? DAVID (nods) Befriend, Mend, and if all else fails, End? NATE God, I should have refused to let his people sign a contract. DAVID You didn't know. Plus you've been kind of distracted lately. Nate misses the concern in David's tone. NATE Almost wish Kroener were still here to steal this from us. Sounds like just their type. DAVID Big and flashy, full of empty, soulless worshippers. God, who even told them to come here?! NATE Mom. DAVID (surprised) Excuse me? NATE Our mother spoke to Mr. Comstock's widow. INT. FUNERAL HOME - KITCHEN (DAY 2) RUTH stands in front of the sink, massaging a DISH. CLAIRE enters, searches around in the fridge. RUTH Don't you have class? CLAIRE Life drawing. But it's not for three hours. RUTH That seems a little unstructured. CLAIRE So? It's not like I'm gonna go jump off a building in my spare time. RUTH (indignant) Did I suggest such a thing? CLAIRE Not yet. RUTH I wish for once you would stop putting words in my mouth! CLAIRE Then could you stop treating me like I'm three?! RUTH Maybe when you stop behaving like it! CLAIRE You are so weak. Fed up, she turns to leave. RUTH Claire, wait. You're right. You're at the age where I should speak to you on a more adult level. CLAIRE Thank you. They look at each other. RUTH (blurts) I killed a man! INT. FUNERAL HOME - PREP ROOM (DAY 2) Nate and David as before. DAVID (angry) I can't believe her. NATE Let it go, David. DAVID Thinking she can just take over and put us in this incredibly awkward position. NATE She was trying to help. DAVID Goody for Mom! Well I can't do it. NATE Do what? DAVID This. Provide the soap box for these people. NATE We are not providing any soap box. It is just a funeral. DAVID Oh sure. And Matthew Shepard's was "just a funeral." I've spent most of my life kow-towing to these sickos, and I won't do it anymore more! Nate smiles a little, liking this ballsy David. NATE So you want us to tear up the contract? DAVID If that's what we have to do! NATE And you don't think they'll sue? DAVID They... might. He looks discouraged. Nate's CELL PHONE rings from a stool. Nate picks it up. NATE Hello? (beat) Lisa? (beat) Oh Jesus... (then) I'll be right over. Nate hangs up the phone. DAVID What happened? NATE Lisa got in some freak accident with a yoga position, and she needs my help. DAVID Freak accident? Nate pantomimes the position. DAVID (winces) Ooh. NATE I'm gonna head over. You'll be all right? DAVID Yeah, yeah, I'll be fine. INT. FUNERAL HOME - KITCHEN (DAY 2) David now sits at the table, looking overwhelmed. He and Claire try to comfort an inconsolable Ruth. RUTH (recounting) I started listening, and I got angrier and angrier... and I had to let him know that the world isn't like that. DAVID Mom, what happened wasn't your fault. RUTH Yes it was! I wrote that question. I made him angry. DAVID He was already angry. RUTH But I made things so much worse. DAVID He had a heart condition. His doctor had advised him not to tour. RUTH He might still be alive if it weren't for me! And then I met his very nice wife and his lovely daughters, and I thought: no man with hate in his heart could have that sort of family. DAVID Mom, I understand your pain. (emphatic) But believe me when I say you had nothing to do with this. RUTH I just feel so responsible. CLAIRE What you gave him was no worse than what he got from his radio callers. DAVID She's right. Really. RUTH At least his family didn't hold it against me. DAVID Wait -- you told them? RUTH You think I'd keep it on my conscience? DAVID I was kind of hoping you would, yes. RUTH David! DAVID Couldn't you have at least cleared it with us first?! RUTH I can't believe you! DAVID Mom, the last thing we need is for them to hang your misplaced guilt over our heads. RUTH Oh I see. This is all about Fisher and Sons. God forbid we let a little human kindness get in the way of reputation! DAVID Human kindness? You killed Mr. Comstock! RUTH Thank you, David! I so needed to be reminded of that -- again! DAVID Well the truth hurts! Ruth stands abruptly. RUTH I've got some reflecting to do. I'd rather not do it in the presence of such negativity. I'll see you both later. She walks out in a huff. CLAIRE Wow, she really offed a guy. Didn't think she had it in her. DAVID Claire, she did not "off" him! CLAIRE So? She was still a million times more ballsy than usual. Wish I'd been there. Beat. DAVID (admitting) Yeah, me too. INT. LISA'S HOUSE - LIVING ROOM (DAY 2) Nate stands over LISA, who lies on the couch in an awkward half-pretzel position. NATE 'Fraid you won't be performing in a ballet recital anytime soon. LISA Nate, I don't need a doctor, I'll be fine. NATE We'll leave that for the emergency room to decide. LISA This has happened before. As long as I just relax and embrace the pain, I should be good as new in a few hours. Or days. NATE Days?? LISA At worst. NATE This has happened before? LISA Sometimes. I just get so in touch my power center, I just forget everything around me. NATE Laws of gravity included. LISA You should try it, Nate. It would help you work through some of your tension. NATE (uneasy) What do you mean tension? I'm not tense. Lisa gives him a look that says she knows otherwise. LISA I called you here because of Maya. This is the first time this has happened since she was born. NATE (nods) Right. No way you can look after her like this. LISA To be honest, I wasn't sure you would want to take care of her. NATE (defensive) Lisa, I'm her father. I've accepted it. I want to help. LISA Oh I know, I know. I just meant whether you were ready. NATE (understanding) Look, I've never felt so good. The ADM's completely behind me, and look -- (points to his hair) All grown back. LISA Nate -- NATE (emphatic) I can handle it, Lisa. Lisa looks at him critically. LISA It's not behind you, I can tell. NATE What? LISA You're still afraid. You just hide it from them, don't you? NATE (more uneasy) No I don't. Lisa takes his hand and squeezes it, as the sounds of ambulance sirens grow louder. INT. LAC-ART CLASSROOM - (DAY 2) TWENTY STUDENTS stand at easels, sketching FOUR NUDE MODELS in total silence. At the loud crack of the door, the entire class turns to see Claire sneaking in. CLAIRE (mutters) Sorry... crisis at home. She slips over to her assigned EASEL. Students keep eyeing her as she sets up. Once she's finished, she turns and sees -- The entire class staring at her. Standing motionless. Just staring as though they can see right into her. Even the models are staring. Claire looks down and sees that she is completely naked. Horrified, she covers herself with her arms and looks in vain for clothing. The stares are unwavering. Claire shuts her eyes to block them out. When she opens them -- everything is normal. The students are focused on sketching the models. Claire draws shaky lines on her sketch pad. INT. DAVID AND KEITH'S - LIVING ROOM - (NIGHT 2) KEITH sits on the couch, oblivious, as David talks to FEDERICO on his CELL PHONE. DAVID (irritated) Yes, Rico, for the last time. (beat) I know it's a big funeral. (beat) The biggest funeral of the year, I know. But you can handle it. (beat) I wouldn't say you were an equal partner. (beat) Just... we'll talk about it tomorrow, okay?? INT. FEDERICO'S HOUSE - CONTINUOUS (NIGHT 2) FEDERICO (eager) Okay. Bye. He hangs up the phone, turns to VANESSA, and punches the air. FEDERICO YEEEEEEESSSSSS!!! VANESSA (pleased) Told you those bastards would start taking you seriously! INT. DAVID AND KEITH'S - CONTINUOUS (NIGHT 2) David lays aside his phone. DAVID Well that's settled, at least. If Rico takes charge of the funeral, that means Nate and I won't have to. KEITH He ever done a funeral? DAVID He took the licensing exam, against my advice. But otherwise, no. KEITH So you're giving some huge-ass responsibility to a kid who doesn't know nothing? DAVID (pleased) Keith, you're paying attention to my workplace issues. That is so great! KEITH (less enthused) Trying to, anyway. DAVID You know I really think the therapy has been helping us. KEITH Yeah, sure. A beat of silence. DAVID So let's keep up the momentum. How was your day? KEITH It was airport security, David. DAVID Yeah, so? KEITH It means things like a man thinking it'd be funny to sprinkle sugar on people's bags and pretend it was anthrax. Forcing us to clamp down until the only thing flying was hate -- but not at him, at us. DAVID (awkward) Wow. Intense. KEITH I swear, it's reached a point where I don't think I can take it anymore. DAVID (tries to joke) But hey, great vacations, right? KEITH (glares) You're not helping. DAVID I'm sorry. Tell me how I can help. Beat. KEITH You can't. INT. FUNERAL HOME - RUTH'S ROOM (DAY 3) Ruth stands alone, looking at ITEMS on her dresser. PAMPHLETS from The Plan, some women's empowerment ICONS, etc. Suddenly, with one violent sweep of her arm, they fall to the floor. Ruth then looks at a copy of The Path lying on her bed. She picks it up and turns a few pages. Her face crumples. INT. FUNERAL HOME - NATE'S ROOM (DAY 3) Nate enters to find Claire standing by the STEREO, listening. MAYA'S CRIB sits nearby. LISA (O.C.) Oga! Oga-ooga-booga-boo! Booga? Goobeee! Boo-boo-gah, gah-gah-boo. Claire cracks up, turns to Nate. CLAIRE This is fucking classic! NATE (smirking) I know. Check this one out. He removes the TAPE and pops in a different one, labeled "Discussion of Social Utopias." Presses Play. LISA (O.C.) Smoopee-woopee-woo! Woopee-smoo poopee! CLAIRE Are they all like this? NATE (nods) Lisa feels that speaking to Maya in her native language helps her in times of stress. Maya doesn't have to feel marginalized by her size or her unfamiliarity with the standard language. CLAIRE So she knows what Lisa's saying? Nate glances toward the crib. NATE Not a clue. Claire takes a tape. CLAIRE I'm keeping one of these. You mind? NATE Nah. You could probably put it to better use. CLAIRE It must be totally cool to have Lisa's place all to yourself. NATE Oh yes, very cool. And freaky. No one there to bug you, but no one to stop you from doing anything wrong. CLAIRE What, afraid you might kill Maya? NATE Only constantly. CLAIRE I bet Mom would so be living there with you if she weren't still going through her crisis. NATE (concerned) Jesus, she's got to let it go. CLAIRE Yeah, well don't tell me that. INT. FUNERAL HOME - RUTH'S ROOM - LATER (DAY 3) Nate walks in and almost trips over The Path lying on the floor, where Ruth has tossed it. He sees her packing up objects. NATE Mom? RUTH (occupied) Yes, Nate? NATE What are you doing? RUTH I'm just cleaning house. Getting rid of useless things. How have you been? NATE Not bad. They're making Lisa stay in the hospital for about a week, which she totally hates, but at least there's no permanent damage. RUTH I should go visit her tomorrow. NATE She'd like that. (then, awkward) And then maybe you could swing by her house, just to make sure things are in order. RUTH I'm sure you're doing a fine job with Maya. NATE (more awkward) It's been a lot tougher than I imagined. RUTH Parenthood usually is. NATE You usually jump at this sort of thing. RUTH (snaps) Well I can't now, all right?! I'm not in the right frame of mind. Nate watches her pack. NATE You're getting rid of your feminist memorabilia. RUTH Yes. NATE Including that topless photo? RUTH Leave that alone! You're not supposed to know it exists. NATE So you'll leave it for the trash collector to find. Ruth looks at him, defiant, but then gives a brief hint of a smile. NATE Mom, that death wasn't your fault. RUTH Maybe it wasn't, Nate. But how blameless am I? Really? She sits on the bed. RUTH (CONT'D) I wanted that man to suffer. And if my road to empowerment is going to lead me to such a dark place, maybe I need to stop and think about what I'm doing. NATE But you can't let it control your life. RUTH Maybe a little control is what I need! Nate looks at her, brows raised. INT. HEARSE (DAY 3) Nate drives home after the visit, with MAYA in the backseat. The freeway is empty, allowing him to focus on his thoughts. He seems unusually nervous. He fidgets a little, glancing from the road, to Maya through the rear view mirror, and back again. Suddenly there seem to be many more CARS around him, zig zagging at high speeds. Nate fidgets harder and starts to sweat. He tries to keep focus as his vision blurs. Just then, looming large in the rear view mirror is a BIG RIG. Nate swerves to avoid being hit, and crashes through the central divider. He gapes in horror as an SUV heads straight toward him from the opposite direction. He doesn't even have time to scream. SMASH CUT TO: EXT. FREEWAY - CONTINUOUS (DAY 3) The HEARSE sits in a ditch beside the empty freeway, fully intact, but driver's side tilted upward. It is eerily quiet. INT. FUNERAL HOME - WISTERIA ROOM (DAY 3) David, Federico, and two distinguished-looking PROMOTERS, JACOB CONRAD (47) and GEORGE WESTLAND (50) listen to a TAPE. COMSTOCK (O.C.) And the saddest thing about today's gays and lesbians is that they can't even be flashy when they're deviant. No more feathers and rhinestones, now it's buttoned-down double-breasted. But still a gay in a suit is like a castrated -- Conrad shuts off the tape. CONRAD (reverent) He was quite a man. Federico just sits there, dazed. David gives him a nudge. FEDERICO Right. Sure. CONRAD With one of the largest fanbases in the West. Which is why we want this to be the Superbowl of funerals. WESTLAND Let the people know he will not be forgotten. David rolls his eyes. FEDERICO (slow, uncertain) Superbowl. Okay. Just let me get some more materials. He leaves. Conrad and Westland turn to David. CONRAD We can trust this flunky of yours, right? WESTLAND (vaguely threatening) Roger was our friend, and we would hate to see him dishonored. DAVID (strained patience) If there are any problems, you're welcome to go elsewhere. CONRAD Oh no, I'm sure we'll be fine. WESTLAND Just the same, he doesn't lead any alternative lifestyles, does he? David grits his teeth. INT. MAN'S BEDROOM (DAY 3) BRENDA lies on the bed while a YOUNGER MAN gyrates on top of her. He's into it, but she's practically limp, not feeling it. Just then her CELL PHONE rings. GUY (gasps) Jesus fuck. BRENDA Just chill, all right? She reaches over and puts it against her ear. BRENDA (CONT'D) Yeah? (beat, horror) Oh my God, Nate? (then) I'll be right over, okay? Okay? I'll be right over. GUY Over where? What the fuck?! Brenda shoves him off of her and frantically gets dressed. GUY (CONT'D) (furious) Jesus, fuck, you don't just cut out in the middle of sex! BRENDA Believe me, only one of us will feel the difference. INT. ENTRY WAY - CONTINUOUS (DAY 3) Brenda rushes out, fully dressed. GUY You are so rude! What the fuck am I supposed to do? BRENDA Try squeezing another word out of your sixth grade vocabulary? GUY But you don't have your car! Brenda jingles some KEYS. BRENDA Yeah I do. She leaves. GUY (realizing) Those are my keys! Fuck! EXT. SAN FERNANDO VALLEY HOUSE - EVENING (DAY 3) Ruth walks up to the door of a well-manicured, upper-middle class house. She stands at the doorstep then, after a moment of hesitation, knocks. MAGGIE COMSTOCK (51) a matronly woman, opens the door. They gaze at each other. MAGGIE (not unfriendly) Mrs. Fisher. RUTH Hello, Mrs. Comstock. Beat. MAGGIE Won't you come in? EXT. MECHANICS - EVENING (DAY 3) Brenda stops the guy's CAR right out front, in prime view of the HEARSE, which has a severely bashed-in FRONT BUMPER. She gets out and looks at it, horrified. INT. MECHANICS - WAITING ROOM - CONTINUOUS (DAY 3) A shell-shocked Nate sits alone in one of the chairs, staring at the floor. Brenda rushes in. BRENDA Nate? She comes over and touches the SMALL BANDAGE on his forehead. BRENDA (CONT'D) How bad are you hurt? NATE (quiet) It's nothing. BRENDA You should be at the hospital. Why the fuck aren't you at the hospital? NATE I was. They found nothing wrong. BRENDA You could be bleeding inside, did those assholes even bother to lift your shirt? NATE (hint of a smile) I didn't want them to get any ideas. BRENDA You're hilarious. NATE It was just a blown-out tire, Bren. Sent me skidding off the road into a ditch. Good thing my car has this impossibly long hood, that took most of the damage. BRENDA (quiet) God, it was like this total mind rush back to our accident. NATE Yeah. I know. They look at each other, intense. BRENDA Over the phone, you were just sobbing like a little girl. NATE I know, how lame was that? BRENDA I thought someone died. NATE So did I. He reaches down, and for the first time Brenda sees Maya asleep in her CAR SEAT. Nate rubs her hand with obvious tenderness. Brenda watches, feeling uncomfortable and out of-place. INT. COMSTOCK HOUSE - LIVING ROOM - EVENING (DAY 3) Ruth sits in a cheerful, floral-painted living room that looks like it sprang out of a Family Values pamphlet. She gazes at PICTURES in a PHOTO ALBUM. Beside her are SARAH (24) and ALICE COMSTOCK (18). Maggie comes in with a tea tray. MAGGIE Roger's radio personality was just a costume he wore. He was actually a very generous, decent man. Ruth stares at pictures of the Comstock family, including what appear to be several GRANDCHILDREN, playing sports, on family trips, at school and church functions. Close-knit and happy. MAGGIE (CONT'D) And I know conservative gals like me are supposed to be locked away birthin' babies, but he had this bizarre notion of letting me work. RUTH Yes, you told me. (to Sarah and Alice) And you girls are in college? SARAH (corrects) She is. I teach deaf immigrant kids how to sign. RUTH How nice. She bursts into tears. The Comstock women exchange looks. EXT. LISA'S HOUSE - EVENING (DAY 3) Brenda drives Nate and Maya up to the curb. They park, and sit in awkward silence for a moment. NATE Thanks for the ride. You want to come in? BRENDA I should really return this to the guy it belongs to. (recalls earlier) Okay. INT. LISA'S HOUSE - CONTINUOUS (DAY 3) Nate has returned from putting Maya down. Brenda sits in a chair. NATE So you're dating again. BRENDA (slightly icy) Yuh-huh. NATE Who's the lucky guy? BRENDA Someone who's none of your business. NATE (let's not start) Bren, please. BRENDA (fine) Just the sort of random loser you'd find on any LA street corner. Nate looks vaguely disappointed by her choice. BRENDA (an edge) So you live with Lisa, huh? NATE I'm just taking care of the house while she's recovering from an injury. BRENDA You're not dating? NATE No. Brenda gazes at him. Imagines. INT. LISA'S HOUSE IN SEATTLE (PREVIOUS YEAR) Nate having sex with Lisa, who is not shown. Completely into it, exhilarated. SMASH CUT TO: INT. LISA'S HOUSE - CONTINUOUS (DAY 3) Brenda's face is now clouded. BRENDA I have to go. NATE Go? You just sat down. BRENDA I have a million things to do. Nate tries to grab her hand. BRENDA (resists) Nate -- NATE Just hold on. BRENDA What the fuck is wrong with you? NATE I just want to talk! Like friends! Can't we just talk? BRENDA Friends? You are such a cliche, Nate. NATE I've barely spoken to you since you came back to LA. What's so wrong about wanting to know about your life?! BRENDA Because you'll just throw it back in my face by comparing it to yours! NATE What the hell are you talking about? BRENDA Forget it. INT. COMSTOCK HOUSE - EVENING (DAY 3) Ruth is still crying. The women watch with growing concern. MAGGIE Mrs. Fisher... RUTH Ruth, please. MAGGIE Ruth. Are you out of your mind? RUTH What? Oh! (wipes tears) I'm sorry. You're the ones who should be like this. It's just, I came to you for help. The women look surprised. MAGGIE Ruth, we said we forgive -- RUTH No. Not that. You see, I was like you once. Brought up to be proper and to follow God's plan, but it wasn't enough for me. The next words are painful for her. RUTH (CONT'D) I wanted to be more liberated. But everything I've done toward that end has only caused pain and grief. I had an affair while my husband was still alive. I shouted obscenities at total strangers. My last boyfriend got his legs broken! (beat) Not by me. By the mafia. But still, it's like a domino effect. MAGGIE (another attempt) Ruth... RUTH And now this, with your husband. I've tried to be assertive and independent and it's left me as distant from my family as ever. And it's making me afraid of myself. She looks earnestly, even desperately, at the women. RUTH (CONT'D) Please, help me. ALICE How? RUTH You're strong women. You lived with a man with very conservative views without going crazy. Teach me to be like you. Teach me to feel content inside, please. The women watch her with vague fear and compassion. EXT. LISA'S HOUSE - EVENING (DAY 3) Brenda heads toward the car. Nate follows. NATE Could you fucking talk to me straight, for once?! BRENDA Maybe when you quit being so fucking dramatic! NATE Oh fine, just make excuses and evade, until -- BRENDA I've got some stranger's dick inside me. Is that what you were gonna say? NATE (stricken) Fuck you! BRENDA What did you want to hear, Nate? That I'm Brenda 2.0? That going to sex therapy changed me?! She turns and looks at him coldly. BRENDA (CONT'D) I'm still the same person who wasn't allowed to be with you when you were in the hospital. The one with no prospects because of some fucked-up book written about her when she was young. NATE I know that. BRENDA (angrier) So if you want to use me as some yardstick to compare how far you've come, noble Nate the Survivor with your shiny new life's mission as a dad, then go shove it up your fucking self indulgent ass! She locates the KEYS in her purse and jams them into the CAR LOCK. NATE (quiet) Brenda, I need you. Brenda struggles with the keys. BRENDA You do not need me, Nate. NATE Yes I do. (then) I've tried to stop thinking about you, but I can't. I just need to be with you. BRENDA Page seventy-four of The Idiots Guide to Wooing Your Ex. NATE (more emotional) Look, the ADM is still fucking with me, all right? Brenda turns, concerned. NATE (CONT'D) I mean it's gone, but sometimes I still lose control, like today. The doctors say I'm healing, but what the fuck do they know? I need someone who can just ride through the bullshit with me, and I love you. I've missed you. BRENDA (quiet, emotional) Nate, shut up. Nate steps forward and puts his arms around her. Brenda sinks her face against his shoulder. BRENDA You wouldn't let me before... I couldn't help you... Nate's embrace deepens. NATE You can now. FADE TO WHITE. FADE IN: INT. LAC-ART BUILDING (DAY 4) Claire is heading outside when JUSTIN (20), one of the models from life drawing, rushes toward her. JUSTIN (friendly) Hey, Red. How come you were late to our last class? CLAIRE (not in the mood) Because I couldn't take staring at your man boobs for three hours. (then) I told you, crisis at home. JUSTIN That go for the class before that as well? CLAIRE (glaring) What's your point? JUSTIN Nothing. I've just been watching you. CLAIRE God, you're a pervert. JUSTIN Right, I flash my ass for an audience every week, and I'm the pervert. EXT. COURTYARD - CONTINUOUS (DAY 4) CLAIRE So what's your brilliant observation? JUSTIN That you're afraid of nudity. CLAIRE Because...? JUSTIN I don't know. Some think naked bodies are ugly. Others see nudity as vulnerability. CLAIRE And others are so used to seeing naked dead people, it's totally lost all meaning. As she says this, Justin kicks off his SHOES and takes off his JACKET. He reaches down to pick his shoes up. CLAIRE What are you doing? JUSTIN It's hot out. He pulls off his SHIRT. CLAIRE (half-laughing) Are you undressing in the quad? JUSTIN Why not? CLAIRE It's... She looks around, trying not to act too embarrassed. JUSTIN It's just clothes, Claire. I take them off all the time. CLAIRE Yeah, but here? JUSTIN Why not? He stands still, unbuttons his PANTS so they fall to his ankles. Claire looks between him and the PASSING STUDENTS who are staring in his direction. She tries not to seem too interested. CLAIRE So great. Are you, like, trying to prove a point, or something? Justin tosses his UNDERWEAR into a nearby tree and stands before her, buck naked. An audience grows around them. JUSTIN (to Claire) You should try it sometime. Seriously. INT. FUNERAL HOME - WISTERIA ROOM (DAY 4) David walks in, hears shouting. DAVID Oh geez... Federico is with Conrad and Westland. FEDERICO (pissed) Oh, I'm sorry! Next time I'll just book space at the Notre Dame! CONRAD (angry) We need the largest venue there is! FEDERICO Why stop there? I can get the pope to deliver the eulogy! I can resurrect Martin Luther to be a pall bearer! David debates whether to intervene. Finally conditioning gets the better of him DAVID (interrupts) Gentlemen. He drags Federico away. INT. FUNERAL HOME - PREP ROOM - MOMENTS LATER (DAY 4) Federico pulls away from David. FEDERICO You just made me look like an idiot! DAVID Oh, I think you're doing quite a nice enough job of that yourself! FEDERICO We're a small business! They can't just have everything they want! DAVID (curt) They can as long as they can pay! They signed a contract and they own us. FEDERICO (offended) You don't think I know that? DAVID Apparently not! FEDERICO I'm not going to do everything like you, you know! DAVID You could at least follow basic procedure! FEDERICO Maybe you're afraid I'll do too well. As in "better than equal partner" well! DAVID To do that, you'd have to be an equal partner, which you're not! FEDERICO Look, if you think you can do business better, by all means. He gestures at David, who looks seriously tempted to take over. But remembering the client, he declines. DAVID No. It's your funeral. FEDERICO That's right. So no interference. EXT. LAC-ART ADMINISTRATION BUILDING (DAY 4) Claire and Justin leave the building, Justin dressed once more. CLAIRE (amused) God, you can't even rebel properly at this school. JUSTIN It's like they know looking the other way will take the fun out of it for you. CLAIRE So what childhood trauma made you do this, anyway? JUSTIN (quiet) My step-father used to hit me. Claire looks stunned. She was joking. JUSTIN (CONT'D) He'd leave big bruises down my back. And I always used to hide it behind these big sweaters and stuff. Until one day I was like, why should I be the one hiding? So the next time my parents had company over, I came in, and... He pantomimes dropping clothes, and Claire laughs. CLAIRE And? JUSTIN They all freaked. And I got kicked out of the house. CLAIRE Shit. JUSTIN It didn't matter, though. It was still the best day of my life. The first day I didn't want to kill myself. ON CLAIRE, touched that he's shared this with her. INT. CHURCH - WOMEN'S RELEASE MEETING (DAY 5) Ruth sits with the Comstocks and several other WOMEN in a circle of chairs, holding each other's hands in prayer. WOMEN Amen. The leader, FRANCINE SHELDON (46) stands. FRANCINE (sugary) I could do that all day, couldn't you? Anyway, for those who are new, hello! We have these weekly meetings to be each others' support, work through frustration, and... WOMAN (in unison) Avoid temptation. FRANCINE That's exactly right! Ruth nods, feeling encouraged. FRANCINE (CONT'D) We've all been down a dark road in our lives. For some, it involved being so in love with a certain Australian actor that we tailed him at eighty miles an hour for three hours, restraining order be damned. (beat, embarrassed) But the point is, we have each other and Jesus to help us through it. She walks over to where Ruth is sitting. FRANCINE (CONT'D) Since Ruth is new, I thought we could share some of our experiences with her. A SALLOW-FACED WOMAN raises her hand. S.F. WOMAN I wanted to get a Master's Degree in Visual Arts, but my husband said I should stay home. So I set his hair on fire. (then) I have since learned that my loved ones' needs come before worldly pursuits, always. RUTH Maybe if you and he had just... The other women clap loudly around her. Then Alice raises her hand. She looks at Ruth, a little shy. ALICE When I was a senior, I got pregnant and dropped out of high school. I took so many drugs, I wound up miscarrying and almost died. But thanks to the love of Jesus, I was spared. ON RUTH, touched and surprised by this. INT. LISA'S HOUSE - MAYA'S ROOM (DAY 5) Maya squirms in her crib, as one of LISA'S TAPES starts to play. LISA (O.C.) Geeeeoooooo! Geeeeeeeeoooo! Goo boo! Boo! INT. LISA'S HOUSE - LISA'S ROOM - CONTINUOUS (DAY 5) Nate and Brenda lie curled up together in bed, post-coital. BRENDA (startled) The fuck? NATE (explains) "Round Table on World Hunger" is timed to play every day at this time. It's just Lisa's baby talk. BRENDA I thought she was wigged out on painkillers and having an out-of-body experience. Brenda smiles, her tension with Nate behind her for the moment. She leans over to kiss him, and they share an intimate look. Then -- NATE (re: Lisa's tape) That's it. I'm turning off this crap. BRENDA Thank you. INT. LISA'S HOUSE - MAYA'S ROOM - CONTINUOUS (DAY 5) Nate makes a beeline for the TAPE PLAYER. Brenda hovers in the doorway. BRENDA (gentle, but pointed) So when will you tell your mom and David about your fender-bender? Nate shuts off the tape. NATE When I can trust they won't have a fit and insist I be hospitalized. BRENDA Or until you next insurance bill? NATE Yep. He walks over to the crib, looks down at Maya. NATE They went into overprotective overkill after my procedure. (content) Besides, there's too much to think about already. You, me, how we're going to live our lives. Brenda smiles and joins him at the crib. But when she looks at Maya, her expression darkens. EXT. OUTDOOR MALL (DAY 5) Claire stands by the women's restroom, holding an EMPTY SHOPPING BAG and watching the people around her. A COUPLE kisses each other hungrily. A HOMELESS MAN watches everyone from the curb. TWO POLICE OFFICERS drink coffee. TEENAGERS talk loudly at a food court. Suddenly Claire is naked. Everyone stops their activity and stares at her. This time Claire stares back at them, trying to keep calm. Then the laughing starts. Loud, cruel, vicious, unceasing from every corner. Claire cringes, and then -- She is fully-clothed again. She looks at the shopping bag, her courage blown, and leaves. INT. FUNERAL HOME - PREP ROOM (DAY 5) David is at work on a CORPSE and ranting on the phone to Nate. DAVID (re: Rico) He then accuses me of feeling threatened by him being a partner. NATE (O.C.) But you are threatened by him. We both are. DAVID I know! But that's not why I've been hovering. INT. LISA'S HOUSE - MAYA'S ROOM - CONTINUOUS (DAY 5) Nate diapers Maya with about as much finesse as he can muster. Intercut between him and David. NATE So what if this funeral is sub standard? You can't worry that they won't recommend us to their friends. DAVID We don't want them thinking we did it on purpose. That between us and Mom, we're out to "get" them. (stubborn) Besides I'm a funeral director, I do good funerals. I should never have punted my responsibility to someone else. NATE Is Rico so bad? DAVID Well gee, when he isn't off running a million errands for his family, or dragging his feet on every aspect of preparation, he's just swell! NATE (re: the diaper) Christ, there's like five pounds of shit in here. DAVID What? NATE Sorry. DAVID Oh no problem Nate, this is just your job. You know, the one you're supposed to be at instead of playing Mr. Mom. NATE (annoyed) I will be over. All right? DAVID Some of us know to leave our personal lives at home. NATE (sensing bitterness) How are things with you and Keith? DAVID Awful. It's reached a point where I dread leaving work because I have to go home and not talk to him. Nate nods, knowing there was something else behind David's funeral fervor. DAVID (CONT'D) I swear we're turning into you and Brenda. Nate grows uneasy. NATE Funny you should mention Brenda... INT. CHURCH - WOMEN'S RELEASE MEETING (DAY 5) The formal part of the meeting is over, and Ruth and the other women mingle about, getting REFRESHMENTS. Ruth sees Alice, goes over to her. RUTH You know I think this group is exactly what I need. Everyone is so positive here. Alice smiles shyly at her. RUTH (CONT'D) Thank you, and your family, for bringing me. ALICE We could see you were a good person, Ruth, just lost. That's how I was until I met Roger. He was the one who told me to go back to school. RUTH So Roger wasn't your father? Alice looks embarrassed. ALICE Oh, no... RUTH (understanding) It's okay. Even if he wasn't your birth father, I'm sure you loved him just as much. Relieved, Alice nods. RUTH (serious) If I can help you or your family in any way. ALICE You could help us move. We'll be living with a friend of Roger's soon. As she says this, the smile on Alice's face fades. INT. GROCERY STORE - CHECKOUT COUNTER (DAY 5) Brenda walks up, not in a good mood. She lays several BOTTLES OF LIQUOR on the counter. CASHIER (bland) I.D. BRENDA Excuse me? CASHIER You're purchasing alcohol. I need to see some identification. BRENDA Not even in my wildest fantasies do I look young enough to be underage. Beat. CASHIER I.D. Pissed, Brenda produces her wallet. INT. FUNERAL HOME - PREP ROOM (DAY 5) Nate has joined David, but instead of working, they're arguing. NATE (angry) I'm not asking you to say anything so just bug off, all right? DAVID (chooses his words) Nate, you know how I like Brenda... NATE You do not! DAVID Okay, I don't! (then) Your relationship with her was all drama. I just think you're not in a place right now where you can get hurt again. Nate gestures at his SCAR. NATE Because of this, you mean? DAVID Because you're a human being! NATE David, you don't get it. It'll be different this time. DAVID What about Lisa? NATE I don't love Lisa! DAVID So, she's still had way more of a positive impact on you. NATE (insistent) Brenda and I actually talked, David. She hated that she couldn't be there for me after the procedure. She wants to help me and I want to let her. DAVID Because God knows you need so much helping! NATE What's that supposed to mean? INT. GROCERY STORE - CHECKOUT COUNTER (DAY 5) As Brenda waits for the cashier to ring her up, she sees a FATHER in line behind her, holding a YOUNG BABY. He coos and makes silly faces at it, causing the baby to smile. Neither sees Brenda charging at them with a LIQUOR BOTTLE until it's too late. ON BRENDA, savagely whacking at both father and baby off screen, seemingly out of her mind, yet fully aware. CASHIER (O.C.) Ma'am?! SMASH CUT TO: INT. GROCERY STORE - CHECKOUT COUNTER - CONTINUOUS (DAY 5) Brenda stands at the counter, as before. Annoyed, the cashier points downward. Brenda looks and sees that she knocked over one of her bottles, which now lies shattered on the ground. INT. FUNERAL HOME - PREP ROOM (DAY 5) David and Nate, as before. DAVID (serious) Nate, you've been this walking ghost the past few months. Slacking off work, acting disconnected from everyone. Hell, Lisa's accident was almost a blessing because it forced you to take some responsibility. Nate absorbs this soberly. DAVID (CONT'D) What I can't figure out is why. (beat) Are you scared you might really die this time, or are you sorry you didn't? NATE (winces) Geez, David. DAVID I had to ask, okay? NATE (uneasy) Of course I want to live. God, why wouldn't I? DAVID I'm glad to hear it. Now I'd just like to see it. NATE And you think Brenda would hold me back? Before David can answer, Ferderico's voice rises up from off screen. DAVID Not again. He rushes away, leaving Nate alone. INT. FUNERAL HOME - WISTERIA ROOM - CONTINUOUS (DAY 5) David motors on in, bracing for impact, and finds -- Federico and Comstock's men LAUGHING. FEDERICO Seriously, I promise you, my father was buried in that coffin. I would never give you anything but the best. CONRAD Well son, from the way you described your father, it'd be an honor. At "son," David assumes a look of surprise. FEDERICO He was a great man, just like Mr. C. The three men talk comfortably, like old pals. David looks unhappy. INT. GAS STATION WOMEN'S RESTROOM (DAY 5) Claire's SHOPPING BAG sits on the floor, this time filled with clothes. EXT. GAS STATION WOMEN'S RESTROOM - CONTINUOUS (DAY 5) The door opens. Claire's arm pokes out, then Claire herself. She hides her unmentionables from view, but is otherwise naked. She creeps away from the bathroom. From her POV, there are no witnesses. Suddenly a faint SOUND OF APPLAUSE is heard. Her path is lined with PEOPLE cheering and tossing CONFETTI, like at a marathon. In front of her is a FINISH LINE. Yet as Claire keeps moving, the finish line remains at a distance, and the CROWD changes. The cheering turns to angry taunting. Everyone Claire has ever known is there, mocking her. Finally she turns and runs. SMASH CUT TO: EXT. GAS STATION WOMEN'S RESTROOM - CONTINUOUS (DAY 5) Claire stands there, having moved maybe five feet from the door. She turns to go back in the restroom, only to find it locked from the outside. Claire tugs on the door handle in vain. CLAIRE Shit. (beat) SHIT! INT. GAS STATION - CONTINUOUS (DAY 5) A PATRON glances out the window. PATRON (stunned) Whoa... EXT. CHURCH - AFTER MEETING (DAY 5) Ruth, the Comstocks, and the other women are filing out. Francine comes over to Ruth and takes her hand. FRANCINE Ruth, I'm so glad you'll be with us from now on! You'll be at our movie night, won't you? RUTH (pleased) I wouldn't miss it. FRANCINE It stars Tom Cruise, my new dreamboat! Just then a CAR pulls up to the curb. SARAH (to Maggie, Alice) There's Christopher. MAGGIE We have to go, ladies. We'll see you later. Ruth watches as the three Comstock women walk over to the car. CHRISTOPHER (50), a respectable-looking man, gets out. He greets all three women warmly. Too warmly. As Ruth watches him pinch Sarah's rear, she almost misses -- FRANCINE Is that girl naked? INT. FUNERAL HOME - KITCHEN - LATER (DAY 5) Claire sits at the table with Nate and David, fully-clothed and equal parts mortified and enraged. CLAIRE I am so fucking gonna kill Justin! NATE (playful sympathy) Who's Justin? DAVID (same) How come we haven't heard of him before? CLAIRE He's the sadistic slimeball who put me up to this. Said it'd "free" me, or some bullshit. NATE (to David) Looks like someone has a crush. CLAIRE Fuck off! I do not! Nate and David exchange a "She does, too" look. NATE Come on Claire, it was one display of public nudity out of the hundreds this city must see every day. DAVID Yeah, it's not like some pervert saw you and took pictures. CLAIRE (horrified) Oh thanks! Just then Ruth enters, stormy-eyed. RUTH Young lady, we need to discuss what you did this afternoon. CLAIRE (eye roll) Mom, it was just -- RUTH No! Not a word while I'm talking! (sits down) Claire, I don't know what possessed you to run around without clothes, but it ends now! CLAIRE It was like for twenty minutes and barely anyone saw me. What's the big deal? RUTH The big deal is that my women's group saw you! The big deal is that I will not have you thinking that flaunting your body is the only way to attract men. CLAIRE (disgusted) God, this was never about sex! RUTH Then what was it?! CLAIRE Getting over the cliche that you should be afraid of your body just because showing it makes you vulnerable. This had nothing to do with you. RUTH Except that it reflects badly on me as a parent! NATE (firm) Let's keep it in perspective. No one got hurt. CLAIRE (to Ruth, angry) The only reason you care is because you're been sucking up so hard to those Stepford women so they won't charge you with murder. DAVID (eye roll) Which, for the thousandth time, you didn't do. Ruth tosses her hands in the air, disgusted. RUTH The depths of this family's insensitivity just amazes me sometimes. Claire, Nate and David exchange "God, not again" looks. RUTH (CONT'D) Have you any idea what I'm going through? Did you ever once think I could use your support? NATE (irritated) We do support you, Mom. Just not when you torture yourself for things beyond your control! DAVID Or when you "atone" by embracing the same offensive values you spoke out against! RUTH (indignant) I have not! DAVID (pained) Yes you have! You've turned a blind eye to everything Comstock stood for! That is way worse than what Claire did. RUTH I'm just supposed to ignore what I've done, is that it? Until I become someone I can't live with? DAVID Like you can live with being a hypocrite?! NATE Mom, you spoke out and had a setback. It happens to everyone. RUTH Not to me! NATE (challenging) What's the real problem, then? Are you're afraid of becoming a bad person? Or just a different person? Because that would be a hell of a lot scarier, since you'd be making choices without knowing if they'll go as planned. DAVID So before you go lecturing us, take a hard look in the mirror. Ruth looks at her children, stubbornly trying to keep out their logic, but not succeeding. RUTH (resolute) All I know is that since I stopped pushing so hard to be heard, I haven't felt so peaceful. I want to hang on to that feeling. DAVID Until the next loudmouth bigot comes along. CLAIRE Fuck that Comstock guy. I should have saved my naked walk for his funeral. DAVID Excuse me? CLAIRE (liking the idea) I could still do it. It would freak everyone out. DAVID You are not streaking at Roger Comstock's funeral. CLAIRE Oh come on. Like you wouldn't do it if you had an ounce of balls. DAVID You won't streak at that funeral if I have to wrestle you down myself! CLAIRE (pissed) And Mom's the hypocrite? Fuck all of you, I'm sick of this. She stands up and leaves abruptly. RUTH So am I! She leaves, too. NATE (pleased) Wow, this really charged me up. I haven't felt so good in ages. DAVID (angry) Bully for you, Mopey Boy. Then you can stand with me at the funeral! INT. FUNERAL HOME - RUTH'S ROOM (DAY 6) Ruth opens her closet and looks at the BOXES OF OBJECTS she had packed on the floor. She kneels down and opens one box, gazes at what's inside. INT. LISA'S HOUSE - MAYA'S ROOM (DAY 6) Nate walks around the room, CELL PHONE to his ear. He gets a recorded message and hangs up, irritated. Just then, Maya makes a gurgling sound from her crib. Nate turns to find her sitting up and looking at him. Smiling, he goes over and picks her up. FADE TO WHITE. FADE IN: INT. DOWNTOWN CATHEDRAL - COMSTOCK FUNERAL (DAY 7) And suddenly it's the big funeral day. A LARGE CROWD fills up all of the pews and the side seats. At the front is a STAGE, where Conrad now stands at the PODIUM, the other handlers lined up in chairs behind him. A JUMBO SCREEN projects his image to the people in the back. INT. CATHEDRAL - OUTER CORRIDOR - CONTINUOUS (DAY 7) David and Nate stand and watch. NATE Rico did good. DAVID He did have some help. (grudging) But yeah. NATE Looks like Vegas in there. (sly) Claire should feel right at home. DAVID Don't even joke. NATE Come on, you know she was just making an idle threat. DAVID She can be unpredictable. I'm not taking chances. INT. CATHEDRAL - COMSTOCK FUNERAL - CONTINUOUS (DAY 7) Ruth sits toward the back of the crowd as Conrad addresses them. CONRAD I'm not gonna mince words. Roger Comstock was a visionary. Destined to lead us all out of the wilderness of debased standards and moral darkness! ON RUTH, sitting toward the back, soberly taking this in. CONRAD (O.S.) Away from women, drunk with too much freedom, indulging in sex and discarding the unborn like outfits from last season! The audience applauds around her. CONRAD (CONT'D) Away from homosexuals bent on destroying the sanctity of marriage and tearing apart American families! ON DAVID, who gets a really sour, weary expression. CONRAD (CONT'D) He wanted us to reclaim this country from the enemy! We have to keep up the good fight! This is our country! The country our Founders built, not theirs! More applause. Suddenly there's an EXPLOSION. The jumbo screen goes up in flames, sending Conrad and the other handlers running. The audience screams and heads for the exits, until the only one left sitting is Ruth. Her hair whipping around her, she stares straight ahead, Carrie-like. SMASH CUT TO: INT. CATHEDRAL - COMSTOCK FUNERAL - CONTINUOUS (DAY 7) Ruth sits as she was before, gazing at Conrad, stricken by her thoughts. CONRAD We need to take our message to every person in America who will listen! And those who don't listen? We'll make them listen! ON THE AUDIENCE, clapping wildly. Suddenly a pink blur streaks past them, quelling the applause. Everyone turns to gawk not at Claire, but at David. Naked as the day he was born, he runs up the middle aisle, gleeful and gloating. DAVID Look everyone! Sex! Sex! Non-marital sex! Run away! He begins gyrating around, Elvis-like. DAVID I'm... too sexy for my body... too sexy for my body... CONRAD (from the podium) Young man, you are an absolute disgrace to this ceremony! DAVID Disgrace? You're looking at one hundred percent prime-grade homosexual, baby! CONRAD I want you to leave immediately! David saunters up to him, his nude image projected on the jumbo screen. DAVID (hushed) Come on, you've been giving me the gayest looks since we first met. Conrad's demeanor softens. CONRAD (vulnerable) You noticed? DAVID Who here hasn't? Conrad smiles with relief, and leans forward to kiss David full on the mouth. The audience starts to cheer. INT. CATHEDRAL - OUTER CORRIDOR - CONTINUOUS (DAY 7) David snaps out of it, still fully-clothed. CONRAD (O.S.) Roger taught us how to cleanse, how to drink from the pool of light... David sighs and looks at his watch. EXT. CEMETERY - LATER (DAY 7) Ruth stands alone, watching the mourners drift around Roger Comstock's freshly-filled GRAVE. She then sees Maggie come toward her with Christopher. MAGGIE Ruth, thank you for coming. RUTH It was my pleasure. (embarrassed) Not literally, but... MAGGIE Have you met Christopher? Christopher, Ruth Fisher. CHRISTOPHER Ah, the famous Ruth. I've heard a lot about you. RUTH (flustered) Oh yes. I saw you a couple of days ago, in your car. CHRISTOPHER And by coincidence, I happen to be headed there right now. Can I give you a lift? RUTH No, no. My family runs the funeral service, I'll be leaving with them. Christopher leaves. MAGGIE He has been so good to us. RUTH Yes, I heard you're moving in with him. MAGGIE We're getting married. Beat. RUTH That... seems a little sudden. Your husband was just laid in the ground, for heaven's sake. MAGGIE I know. But we have to move on. RUTH Shouldn't you think about this? What about your daughters? How well do you know him that you can trust him? Ruth looks toward the car and sees -- ON ALICE, SARAH, and CHRISTOPHER Alice has her arms wrapped around Christopher and her head leaned against his back. Sarah stands in front of him, strokes his hair, and leans in to kiss him on the lips. ON MAGGIE AND RUTH Ruth looks at Maggie, stunned. Maggie wears a deadpan expression. Suddenly Ruth gets it. INT. FUNERAL HOME - EVENING (DAY 7) David watches gloomily as Federico mills around from guest to guest, shaking hands and talking warmly. He retreats downstairs. INT. FUNERAL HOME - PREP ROOM - LATER (DAY 7) Federico walks in and sees David. His expression becomes sullen. FEDERICO Yo. He starts to collect his things together to go home. DAVID (awkward) Rico? I... wanted to be the first to congratulate you. You did a great job. FEDERICO You aren't the first. Not by a long shot. David tries to maintain his cool. DAVID Look, Rico, if I ever made you think you weren't funeral director material, it was wrong of me. Okay? FEDERICO (insincere) Thanks. David grits his teeth, decides to leave it. Except: DAVID (angry whisper) Of all the funerals you had to get right! FEDERICO What? DAVID You know what these people are, you know what they believe, and still you treated them like royalty! FEDERICO Isn't that what you do for a client? DAVID They want my kind dead, Rico! FEDERICO I just did what you or Nate would have done! DAVID Nate and I wanted nothing to do with this funeral! FEDERICO Exactly! You had your chance to make a big old statement against them and you passed on it! I just tried to treat them with dignity, the way I was taught. And now it's over. All right? David can't fight the logic, no matter how hard he tries. Federico heads toward the door. DAVID (quiet) You still agree with them, don't you? Federico stares at him. DAVID (CONT'D) About being gay, that it's evil. Seeing them didn't change your mind? Beat. FEDERICO Why would it? David looks at him murderously. Federico leaves. INT. COMSTOCK HOUSE - ENTRYWAY - EVENING (DAY 7) Maggie opens the door to find a stone-faced Ruth. RUTH Alice and Sarah aren't your daughters, are they? MAGGIE Ruth, please. If you could just -- RUTH No I cannot "please just"! I want to know exactly whom I've been feeling guilty for. A beat, then Maggie waves her in. INT. COMSTOCK HOUSE - LIVING ROOM - LATER (DAY 7) Ruth sits with the Comstock women. SARAH We never said we were Maggie's daughters, Mrs. Fisher. You just assumed. MAGGIE I am Roger's widow, by law. ALICE We're his widows in spirit. RUTH (softly) Concubines? MAGGIE (uneasy) We prefer a more modern term. Ruth tries to wrap her mind around this discovery. RUTH Why? MAGGIE (hesitant) Roger and I couldn't have children. And he was the sort of man who got bored doing the same thing over and over. So when we met Sarah and Alice through a community outreach, he invited them to stay with us. For three years and counting. SARAH He helped me through school. My son and I were living in a homeless shelter when we met. RUTH And all he asked for in return -- ALICE (quickly) It wasn't like that, Mrs. Fisher. Roger was very gentle, and none of us had to share a bed or anything. Except for when he wanted a twosome... Ruth goes pale. MAGGIE (firm) We're a family now. We couldn't imagine being separated. RUTH Or you don't know how. The women stiffen. RUTH (CONT'D) (to Maggie) But you were married. Why did you...? MAGGIE (hard) Because I was still alone. And nothing on earth feels more degrading than that. INT. LISA'S HOUSE - LIVING ROOM - EVENING (DAY 7) Brenda has just arrived. She drapes her things on the couch and sits down beside Nate. NATE I called you, like, fifty times. BRENDA (playful) Wow, we're already back to smothering. NATE Seriously, where were you? BRENDA I was out shopping. Think you can handle it? NATE No problem, just wanted to say hi. BRENDA I was out fucking guys. NATE (disbelieving) Uh-huh. He then takes a good look at Brenda's expression. NATE Jesus. (beat) Why?! BRENDA (crushed) I don't know! Because I didn't want to kill babies! NATE (mind blown) What?! BRENDA Because I knew I would do one or the other, all right?! NATE What kind of fucked-up logic is that? BRENDA I can't be a mother, Nate. NATE Maya's got a mother. BRENDA Um yeah, and you're her father. Which means I would be more than just a fucking stranger to her. NATE (sneering) You couldn't just point her toward the T.V.? BRENDA You don't get it, Nate: I don't think I'm ready to be back in a relationship and neither are you. NATE (angry) No, I think I am, but you're choosing to shrink away from the hard stuff, like you always have. BRENDA Which is my point! I've still got to face my own shit, and I can't do that and be responsible for someone else. NATE You wouldn't just "be responsible." I would have helped you, too. We could help each other. BRENDA (sad) Nate, neither of us knows enough about who we are to give that kind of support. NATE (disgusted) Well I won't wait until you've fucked twenty guys to decide. Get out. BRENDA Nate, would you please --?! NATE No! INT. COMSTOCK HOUSE - LIVING ROOM - EVENING (DAY 7) The room has grown quiet. RUTH Does anyone else know besides Christopher? MAGGIE The others in our community are aware of our arrangement. They understood it as part of their deal for keeping Roger. RUTH Deal? MAGGIE We told you Roger wore a costume -- as a very talented performer. Half of what he said, he didn't even believe, but he sure got people to listen. Mr. Conrad paid him very well for it. RUTH (shocked) You mean he wasn't acting on his own? The Comstocks' stoic faces reveal the answer. RUTH (CONT'D) (growing outrage) Did he even care at all whom he was hurting? Did you care? Silence. INT. LISA'S HOUSE - LIVING ROOM - EVENING (DAY 7) Nate and Brenda are still at it. Brenda remains seated while Nate is standing. BRENDA Nate, don't you think I wanted this to work?! NATE (cold) No, I really don't. BRENDA God, I love you! I want to be there for you! NATE Until it's inconvenient! BRENDA But you're a father. Did you even think about what that means?! Nate turns away, stares off into space. BRENDA (CONT'D) You'll be finding out about yourself and going places you never expected. It'll be hard enough without coping with my baggage. Long beat, as Nate considers this. NATE (quiet) You're right. He sits back down on the couch. NATE (CONT'D) God help me, you're right. Brenda can't even smile. NATE (CONT'D) (realizing) I've got this second chance now, and I've been so afraid that I won't know how to use it, I haven't been doing anything. (beat, sad) And I've been using you to forget. Just like before. Nate and Brenda sit, not looking at each other. Neither wants to face the painful reality before them. BRENDA So now what? NATE I don't know. BRENDA Will we ever...? NATE (shrugs) Not until we stop being fucked up. They look at each other. NATE (CONT'D) (corrects) Or at least less fucked up. BRENDA I feel like we should have a ceremony, or something. So it's less awkward. Nate leans over and gives Brenda a parting kiss on the cheek. INT. COMSTOCK HOUSE - LIVING ROOM - EVENING (DAY 7) Ruth stands abruptly. RUTH (disgusted) I don't think I want to hear any more. I have go. Now Maggie stands, eyes blazing. MAGGIE Mrs. Fisher, how dare you pass judgement on us. RUTH How dare I? How dare you lead me on! You actually made me believe you were better. SARAH You made us into what you wanted. MAGGIE We try to maintain good, conservative values. Since Roger's death, all we've wanted is to deal with our loss, but no! You had to force your neurotic self on us until we let you into our inner circle. Well it stops now! Ruth looks at Sarah and Alice. After some hesitation, Alice nods along with the other Comstocks. RUTH (sad) I'm sorry, but it can't. Someone should know about this. Ruth turns to leave. Maggie moves to block her. MAGGIE (toneless) Dont. We'll sue. RUTH For what? MAGGIE Wrongful death. We could keep you tied in court for months. Do you want that, Mrs. Fisher? Ruth looks at her incredulously, then laughs loudly with sudden realization. RUTH Go ahead! Its not like I really killed him! She brushes past Maggie and heads toward the door. INT. JUSTIN'S APARTMENT - LIVING ROOM - EVENING (DAY 7) Claire and Justin are on the couch, fully-clothed, discussing Claire's nude adventure. CLAIRE (embarrassed) By now some pervert's probably got pictures of me all over the Internet. JUSTIN Nah, sounds too tame. (reassuring) Don't worry: I freaked my first few times out, too. He passes Claire a JOINT. Claire takes a puff. CLAIRE You were so right. About the hiding. (hesitant) Like, my whole life that's all I've been doing. I thought once I was past all that fake bullshit in high school, I could just be myself. But it hasn't happened. She looks at Justin, vulnerable. CLAIRE (CONT'D) You knew what I was about before I did. How? JUSTIN I don't know. From the first day I modelled in your class, I could just tell -- that you were like me. CLAIRE So how do I get out? I mean, besides engaging in full-frontal nudity? Justin looks as though he's going to tell her, but instead they lean in close and start to kiss. The kissing quickly intensifies into more. The door suddenly opens. YOUNG WOMAN (O.S.) Justin, honey! I'm back early! INT. DAVID AND KEITH'S - LIVING ROOM - EVENING (DAY 7) David enters, looking like a wreak. The room is dark. DAVID Keith? No answer. David dumps his things on the couch, then sits down and stares into space. INT. FUNERAL HOME - KITCHEN (NIGHT 7) Claire walks in to find Ruth seated at the table. Wary, she looks through the fridge. RUTH Claire? I wanted to apologize for the way I treated you. Claire turns around to face her. RUTH (CONT'D) You were just doing that nudity thing to express your individuality, which is never an easy thing. It's something I still need to learn. I'm proud of you. CLAIRE (stunned) Thanks. She takes a seat at the table. CLAIRE (CONT'D) (admitting) But actually, I just did it to impress a guy. RUTH Oh. Okay. CLAIRE Then I found out tonight he had a girlfriend. She saw us together and totally started whaling on him. He's probably still trying to pull his dick out of his ear. (then) The sad part is, I still kind of like him. RUTH (smiles faintly) That's understandable. (beat) Just as long as you promise never to arrange for a threesome. CLAIRE (o-kaay) Sure. They sit in comfortable silence. EXT. BILLY CHENOWITH'S CAR (NIGHT 7) Brenda walks to the curb, feeling the effects of several drinks. She opens up the passenger side door, pushes aside an EMPTY SHOPPING BAG, and sits down beside Billy. BRENDA (re: bag) Shopping at Nordstroms, now? BILLY (ignores the question) What happened to you? BRENDA (tired) Just drive. Anywhere. INT. LISA'S HOUSE - LIVING ROOM (NIGHT 7) Nate sits with Maya curled up in his lap, going through a PHOTO ALBUM. He points to a photo of a younger NATHANIEL standing beside a FIVE-YEAR-OLD. NATE You see this? This is a picture of me and your grandpa. The baby touches it with vague interest. Nate smiles at the memory. NATE (CONT'D) He used to take me to Venice Beach, before your uncle David was old enough. We brought a bunch of rocks, and all day we tossed them into the water, trying to make them skip. It was one of the few times I really spent alone with him. (then) God, I hated it. He flips the page. NATE (CONT'D) (weary amusement) And someday, you'll have memories of me that you'll hate, too. I'll make sure of it. EXT. CEMETERY (DAY 8) Ruth walks up to Comstock's grave alone, carrying a small BOUQUET OF FLOWERS. She stands there, gazing at his headstone for a moment, before laying them down. She leaves, feeling lighter. INT. DAVID AND KEITH'S - KITCHEN - EVENING (DAY 8) David sits at the table eating, alone. He leafs through the PAPER, then stops at an article that reads: ROGER COMSTOCK'S BOOK TOUR TO RESUME IN HIS ABSENCE. The subhead reads: FIRST STOP TONIGHT, AT THE WELL-LIT CAFE. As David stares, a slow smile spreads across his face. INT. DAVID AND KEITH'S - LIVING ROOM - LATER (DAY 8) David's clothes lie in a pile on the floor. David buttons up a trench coat all the way to his chin. He heads toward the door, then spies a ROSE IN A VASE on the kitchen table. David takes it, holds it between his teeth, and with an evil grin, departs. FADE TO WHITE. END CREDITS