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Exposition Last edited by JAMESSLX, on 01/16/2009. 0 comments. More scene info.

INT. GRAY HOUSE- BRENDA'S ROOM — DAY, RAIN

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BRENDA GRAY, a eighty-six year-old woman, lays on her death BED. Unseen medicinal equipment BEEPS, and pumps air into Brenda's lungs. Her eyes are exhausted, her body frail. An African-American HAND appears, holding two white TABLETS, and a red CAPSULE. The hand puts the PILLS into Brenda's MOUTH, and then provides a GLASS of water to get them down. BRENDA swallows them. She sighs a raspy breath.

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BRENDA (RASPY)

Bring them back.

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INT. SUNSHINE REHABILITATION CENTER- DAY ROOM — DAY, OVERCAST

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ADELE GRAY, a thirty-eight year-old woman, sits on a starchy COUCH, smoking a CIGARETTE, her hair is short and black, and staring mindlessly into the camera. She wears a red SWEATER-DRESS. She is in rehab, and behind her is a YOUNG GIRL sobbing into her fists.

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INT. FINCH HOUSE- KITCHEN — DAY, SUNNY

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VIOLET FINCH, a 47-year-old woman, toothpick thin, catalog-casual, with hair that never moves and a thin face. She has a manicure of red finger nail polish, she sips a GLASS of red wine, and flips through the Joy of Cooking COOKBOOK. She looks into the camera with quiet desperation.

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EXT. GRAY TRAILER — EVENING

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There is a small, tattered, silver TRAILER. About fifteen feet from the trailer, is a gray-green POND, furnished with BEER BOTTLES, USED CONDOMS, and CIGARETTE BUTTS. On the edge of the pond is a PORCH CHAIR, in it sitting is STEVEN GRAY, a tired, and unattractive, 43-year-old philosopher wearing a dirty flannel SHIRT, and drinking BEER. PENELOPE LINKLATTER, an overweight Latin woman who rubs the neck of STEVEN, who ignores her.

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INT. GREGORY's OFFICE — MORNING, OVERCAST

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GREGORY GRAY, a 51-year-old man with a gray stubble, and a professional-looking brown SUIT. He writes notes on a pad of PAPER, as a WOMAN talks inaudibly on a CHAISE LOUNGER. He adjusts his GLASSES.

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INT. GRAY HOUSE- BRENDA's ROOM — DAY, RAIN

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FIONA MONEVATA, Brenda's African-American hospice wears a white UNIFORM, and flips through an ADDRESS BOOK, a PHONE by her side. BRENDA sleeps in her bed, the BEEPING continues. FIONA's FINGERS walk through the pages of the ADDRESS BOOK, until she finds an entry which she wanted. She sighs, and punches the number into the PHONE.

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INT. ADELE's APARTMENT- LIVING ROOM — NIGHT

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ADELE sits on her couch, reading "MADAME BOVARY" by Gustave Flaubert. She smokes a CIGARETTE, a MUG of coffee next to her. She flips on the TELEVISION, and "GENERAL HOSPITAL" is on.

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ADELE

Oh, God.

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She flips off her TELEVISION, and begins to walk away from the COUCH. The phone RINGS, so she doubles back to the COUCH and grabs her phone.

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ADELE (INTO PHONE)

Hello?

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FIONA (THROUGH PHONE)

Is this Adele Gray?

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Fiona pronounces 'Adele' 'Adalay.' Adele says her name as it is meant to be read in the next line: A-del.

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ADELE

Adele.

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INTERCUT: When Fiona speaks, the camera sees her sitting in her CHAIR, as it was seen before when she called Adele. BRENDA sleeps. When Adele speaks, the camera sees her standing in the center of her living room, talking on the PHONE, smoking a CIGARETTE.

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ADELE (CONT'D)

Who is this?

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FIONA

My name is Fiona, and I'm your mother's hospice.

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ADELE

Did something happen?

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FIONA

No, no. Nothing like that. Your mother's condition isn't bettering, and I fear she doesn't have much longer left on this Earth. She's ... Your mother's been asking for her children to come visit.

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ADELE

Listen, I don't --

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FIONA

There may not be another chance, Ms. Adele.

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ADELE (CONT'D)

I can't. I have a job. I don't have the money either to fly out to God knows where.

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FIONA

She'll be happy to finance your trip.

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ADELE puts her head in her hands, and sighs.

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ADELE

I know this sounds like I'm being a horrible person, but I can't come visit my mother. Where is she?

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FIONA

Old Crow, Canada.

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ADELE

Oh, this is just ... great. Great.

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FIONA

There may not be another chance, Ms. Adele.

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ADELE

Stop saying that! I know.

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An awkward beat.

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ADELE (CONT'D)

I know that I am yelling at my mother's hospice who is doing a lot for our family, and I appreciate it. I just ... can't come out to Old Crow, Canada, and it's hard to have that shoved down my throat.

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FIONA

I don't intend to impose this on you. Your mother needs her family around her right now.

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ADELE, defeated, stubs her CIGARETTE out.

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ADELE

I guess ... I guess I could come out for a few days.

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FIONA

That is great! I will get you a ticket as soon as I call your siblings.

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ADELE

Super.

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ADELE hangs up, and Fiona disappears. ADELE lights up a new CIGARETTE. She puts her PHONE. On second thought, ADELE picks up her phone, and takes out the BATTERIES.

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ADELE (CONT'D)

God damn.

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INT. FINCH HOUSE- BATHROOM — NIGHT

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VIOLET, wearing a frilly, floral NIGHTGOWN down to mid-calf, stands in front of a large MIRROR, slathering her wrinkled arms with LOTION. She swipes her hair behind her EAR, and then undoes this action. ALAN FINCH, her husband, a tired lawyer who appears to have no emotions, enters wearing a navy blue pair of PAJAMAS.

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VIOLET

We're having dinner with the Henson's tomorrow. I set it up when I had lunch with April today.

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ALAN

Okay.

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VIOLET (CONT'D)

By the way, did you like the pasta primavera I made tonight? It's a new recipe. I got it from April, actually.

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ALAN

It was fine.

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VIOLET grabs her TOOTH BRUSH from a tooth-care HOLDER. The TOOTH PASTE is absent.

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VIOLET

We need tooth paste. And garlic salt, I noticed we were low today.

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ALAN

I'll pick some up on my lunch break.

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The phone rings. VIOLET disappears out of the room.

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INT. FINCH HOUSE- MASTER BEDROOM — NIGHT

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VIOLET walks into the room briskly. The room is all gray, and blue, clean, like the rest of the house. VIOLET answers the phone.

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VIOLET

Hello? ... Yes, this is her. May I ask who is calling? ... Oh, hello, it's nice to meet you. ... Is she alright? ... Oh.

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INT. FINCH HOUSE- BATHROOM — NIGHT

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ALAN brushes his teeth, staring into the MIRROR. VIOLET enters, her eyes glazed over.

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ALAN

What?

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VIOLET

I have to visit my mother in Old Crow, Canada.

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INT. GRAY TRAILER- BEDROOM — NIGHT

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STEVEN wearing a white MUSCLE SHIRT, and his UNDERWEAR leans back on his BED, flipping through channels. The door opens, and in walks PENELOPE, smoking a CIGARETTE, and wearing a MAID'S UNIFORM.

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STEVEN

Hey.

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PENELOPE

What is that smell?

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STEVEN

How was work?

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PENELOPE

It was fine, I went into stranger's rooms and wiped their piss of their toilet seats. What the hell reeks in here?

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STEVEN

I don't smell anything.

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PENELOPE

It smells like ... burnt something.

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STEVEN

Burnt beans?

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PENELOPE

That's it! That's what I smell! Now, part two, why the hell does it smell like burnt beans inside?

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STEVEN

Some beans were caked on the bottom of the pan when I cooked other beans so, the ones on the bottom like festered.

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PENELOPE

Fucking great. Do we have any Febreze?

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STEVEN

Febreze is expensive, Penelope, we can't just keep it on hand!

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PENELOPE (CONT'D)

Jesus Christ. I'm going to shower.

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STEVEN (PLAYFUL)

Can I join you?

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PENELOPE

How incredibly romantic, it smells shit in here, I'm sweaty and exhausted.

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A beat.

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PENELOPE (CONT'D)

Just watch TV. I'll be out soon.

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PENELOPE exits. Their PHONE rings loudly.

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PENELOPE (O.S.)

Would you get that, Steven?

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STEVEN takes no action, and PENELOPE emerges a couple RINGS later in her BRA.

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PENELOPE

Fuck, Steven, I ask you to do one thing.

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PENELOPE answers the phone.

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PENELOPE (CONT'D)

Hello?

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INT. GRAY TRAILER — TIME LAPSE

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Upon Penelope's 'hello', it is a smash cut to PENELOPE standing in the center of Steven and her's TRAILER, opening an overhead STORAGE COMPARTMENT, and pulling out LUGGAGE. STEVEN is trying to resist her, pushing the LUGGAGE back into place in storage.

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STEVEN

I am not going!

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PENELOPE

Yes, you are, Steven.

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STEVEN

I'm not three, you can't --!

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PENELOPE

Then why are you acting like you are? Fake some family loyalty, or something, 'cause we are going out to Old Crow.

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STEVEN

Just the name of that city should tell us that we should stay here. It's better here! I swear! It's so much better here! Penelope, stop pulling out luggage, I swear to God!

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PENELOPE

I don't give a flying --!

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STEVEN

I know! I'm the asshole again! You don't give a shit that I don't want to go, but if you knew the background with my mother, you'd understand, and you'd stop making me feel so crappy that we're not going!

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PENELOPE

Then, tell me. Tell me your deep, dark, scary past with your mother, so I don't make you feel 'crappy'!

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STEVEN

I don't want to get into this right now.

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PENELOPE

You never want to get into anything! It's like you're scared of reality! You're always scribbling in that little notebook of yours!

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STEVEN

What I do with my time is my fucking business!

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PENELOPE

You're right! It is your business! But it becomes my business when I'm busting my ass at work, and you're here, trying to be the next Nietzsche!

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STEVEN turns around, and slams his fist against the wall.

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PENELOPE (CONT'D)

Do you want to drive or should I?

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STEVEN (MUMBLING)

God dammit.

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PENELOPE

You drive me freakin' crazy sometimes.

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INT. GREGORY's OFFICE — EVENING

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GREGORY, looking exhausted, sighs, and flips through a FILE. He sits at his DESK. A gorgeous receptionist named CHERRY enters.

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CHERRY

Dr. Gray, what are you still doing here?

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GREGORY

Going over Ms. Linden's file. She's showing some manic depressive behavior.

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CHERRY

Sounds fun. Y'know, I could probably make this even more ... fun. If that's possible.

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CHERRY saunters over to GREGORY, who stands up, grabs her, kissing her, and lays her over the FILE he studied so furiously minutes before. They make love, until ...

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INT. GREGORY's OFFICE — NIGHT

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SMASH CUT to Gregory's OFFICE hours later, GREGORY wakes up suddenly, his encounter with Cherry was all a dream, and he sighs, when he realizes this. He wipes the sleep off of his face.

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GREGORY

God damn.

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INT. FINCH HOUSE- JEAN'S BEDROOM — NIGHT

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JEAN leans back against her BED, listening to her iPOD so loud it blares from outside of her head. A JOINT is in between her fingers. She exhales a big drag of SMOKE. The door opens timidly, and VIOLET enters. JEAN does not hear her, but VIOLET tugs one of her iPOD EAR BUDS out of her ear, and JEAN scrambles, stubbing her JOINT out on the carpet, and kicking it under the BED.

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VIOLET

What were you doing in here?

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JEAN

Nothing. I just, uh, ... you scared me.

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VIOLET

I have to talk to you.

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JEAN

Why? What about, I mean?

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VIOLET

My mother is not doing so well right now.

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VIOLET waits a moment to let JEAN apologize or soothe her, but JEAN does not.

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VIOLET (CONT'D)

And, uh, she asked me -- us -- to come and visit her in Old Crow, Canada.

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JEAN

Oh.

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VIOLET

And we're going to leave tomorrow morning. So, I was coming in to let you know, and to let you pack.

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A beat.

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VIOLET (CONT'D)

What's that smell in here?

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JEAN

I don't smell anything.

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VIOLET

It's sort of fresh-smelling.

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A train hits Violet in the stomach.

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VIOLET (CONT'D)

Jean, have you been smoking marijuana?

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JEAN

No, Mom!

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VIOLET

Empty your pockets.

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JEAN reluctantly pulls out a couple RECEIPTS, a ten-dollar BILL, and ... a LIGHTER.

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VIOLET (CONT'D)

Jean. What is this?

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JEAN

Are you so fucked in the head you have to ask what a lighter is?

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VIOLET

Don't use that language, Jean.

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JEAN

Well, fuck! Fuck, fuck, fuck --!

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VIOLET

Stop it, Jean!

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JEAN

Why should I?

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VIOLET

Because I am your mother!

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JEAN

No, you're not! I didn't come from you! You're a deodorant commercial!

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VIOLET's eyes tear up, and she stick her FINGERS in them so fast, she doesn't want her daughter to see her being human. She heads to the DOOR.

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VIOLET (CALLING)

Alan!

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ALAN appears in the doorway, VIOLET silently distraught in the corner. JEAN goes to her MIRROR, and begins doing her HAIR.

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ALAN

What is it?

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VIOLET

Jean. She's smoking marijuana.

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ALAN

Jean?

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JEAN

Yeah?

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ALAN

Is your mother telling the truth?

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JEAN

I have no idea what she's talking about.

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ALAN

Vi? Are you sure?

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VIOLET offers Jean's LIGHTER to ALAN, who takes it and sighs.

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VIOLET

That was in her pocket.

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ALAN

Jean. This is ... how could you do this to yourself?

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JEAN

What I want to do is my decision! You don't get to disapprove of my choices. Especially her!

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VIOLET

I can't handle this right now, Alan. Will you talk to her please?

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INT. FINCH HOUSE- BATHROOM — NIGHT

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VIOLET enters, fresh from Jean's room. She is distraught. Alan's voice and Jean's voice can be heard arguing. VIOLET leans against the SINK, and begins to silently sob. She holds her head in her hands, and just lets go. She becomes a mess, a silent mess, however, she checks herself constantly for noise control.

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ALAN (O.S.)

Is this the great plan for your life, Jean? Smoke pot, and hang back at our house? Not happening. You have to clean up your act, Jean.

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JEAN (O.S.)

You think when I grow up, I plan to live here? With her?

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VIOLET runs to the SINK, and washes her FACE off. She looks in the MIRROR for any signs of her sobbing, and it is clear of any signs. She exits the bathroom.

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EXT. HIGHWAY — OVERCAST, EARLY MORNING

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The sky is a dark blue, the air cold. A small flurry of SNOW comes down. The Finch's 2005 LINCOLN TOWN CAR appears, painted red, streaking down the otherwise deserted highway.

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INT. FINCH LINCOLN TOWN CAR — MORNING

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ALAN drives, entirely focused. VIOLET stares out the window at their surroundings. JEAN sits in the back, listening to her iPOD, there is LUGGAGE all around her.

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VIOLET

What did you say to her after I left?

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ALAN

That marijuana wasn't a life choice. Not in our house.

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VIOLET

Thank you.

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JEAN tugs one EAR BUD out.

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JEAN

Hey, could we get there any slower?

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ALAN

Turn your music back on.

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JEAN

When you're eighty-nine and have a vagina, you can drive like this, but now? I'm pretty sure you have a penis, but, hey, that's not first-hand. And aren't you like fifty?

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ALAN

Turn your music back on. Now. We don't deserve this treatment, young lady.

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JEAN

Okay, Alan. No need to tweak.

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JEAN replaces her EAR BUD. VIOLET shuts her eyes.

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INT. AIRPLANE- COACH — NIGHT

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ADELE sits on the aisle SEAT. She does nothing, staring off into space. There is an ELDERLY WOMAN sleeping next to her. ADELE reaches into her bag, and pulls out a pack of CIGARETTES. She gets up, and goes to the bathroom.

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INT. AIRPLANE- BATHROOM — NIGHT

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ADELE enters, propping herself up on the SINK. She reaches up to the SMOKE DETECTOR, tears it out of the ceiling. She breaks a FINGERNAIL in doing so, examining it, before continuing. She pulls a RED WIRE from the back of the DETECTOR. She pulls out the PACK OF CIGARETTES, and plucks one out, lighting it.

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INT. 1970 GRAN TORINO — AFTERNOON

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The air bakes inside a tacky, teal GRAN TORINO, owned and driven by PENELOPE, a distraught STEVEN sitting beside her.

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STEVEN

It's not too late to turn around, Penelope. Please. I'm asking you to please pull a semi-dangerous U-turn, and go back to the trailer. Please, Penelope.

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PENELOPE

I know that you think I'm butting in on a family that I know nothing about. Well, okay, I don't know what your family is all about, but I know what the meaning of family is, and that's being there for your family. Your mother needs you, and has been asking for you, and she may not be here much longer, so we're going to go. Okay?

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STEVEN

I'm so fucking sick of people saying 'may not be here much longer' or 'be on this Earth a lot longer', just say that she will die! People die!

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PENELOPE has no response, just pulls a PACK of cigarettes from her back pocket, and lights ONE.

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INT. GREGORY's OFFICE — NIGHT

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GREGORY leans back, and sighs. His PHONE rings.

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GREGORY (ON PHONE)

Hello?

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FIONA's VOICE

Is this Mr. Gregory Gray?

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GREGORY

Yeah, who's this?

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FIONA'S VOICE

Fiona Monevata, your mother's hospice. Did you get my message?

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GREGORY

No. Did something happen?

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FIONA'S VOICE

She wants you here. Her condition isn't bettering, to be perfectly honest, and she's been talking about how she needs to see her children again.

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GREGORY

Damn ... I -- I will leave as fast as I can.

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EXT. GRAY HOUSE — DAY, SNOW

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A light snow drifts down from the sky, sort of like ash from a volcano. The HOUSE is narrow, and pale blue. A couple WINDOWS scattered around. The Finch's LINCOLN TOWN CAR appears in the DRIVEWAY. JEAN, ALAN, and VIOLET exit the car slowly, all of them pausing to appreciate the house.

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INT. GRAY HOUSE- FOYER — DAY

JAMESSLX - on 01/18/2009

The foyer is spacious, and unused. JEAN, ALAN, and VIOLET enter. There is no human reaction, just the medicinal BEEPING.

JAMESSLX - on 01/18/2009

VIOLET

Hello? Anybody here?

JAMESSLX - on 01/18/2009

FIONA appears, wearing a white OVERCOAT, a DRESS underneath.

JAMESSLX - on 01/18/2009

FIONA

Hello Ms. Adele!

JAMESSLX - on 01/18/2009

VIOLET

No, no, no, I'm not Adele. I'm Violet Finch, this is my husband, Alan, and my daughter, Jean.

JAMESSLX - on 01/18/2009

FIONA

I'm sorry for the mistake. Ms. Brenda is actually awake now, she's 'bout to eat. Would you like to join her?

JAMESSLX - on 01/18/2009

VIOLET

Sure.

JAMESSLX - on 01/18/2009

FIONA

Can I get you all something to eat? Alan? Jean?

JAMESSLX - on 01/18/2009

ALAN

Whatever your making Brenda will be fine.

JAMESSLX - on 01/18/2009

FIONA

Does blended pancakes, with maple syrup drizzled on top appeal to you?

JAMESSLX - on 01/18/2009

ALAN

I'll stick with a ham sandwich, if that's okay.

JAMESSLX - on 01/18/2009

FIONA

I'll whip that up. And for you, Jean? Violet?

JAMESSLX - on 01/18/2009

JEAN

I'm not hungry. I'll be upstairs, 'cause I assume that's where my room will be.

JAMESSLX - on 01/18/2009

FIONA

Smart as a whip. Upstairs to your left, we've got a room ready for you.

JAMESSLX - on 01/18/2009

JEAN (FAKE ENTHUSIASM)

Fabulous!

JAMESSLX - on 01/18/2009

JEAN disappears.

JAMESSLX - on 01/18/2009

VIOLET

I'm sorry about her. She had some trouble waking up this morning. And for food, I'll just have a Caesar salad.

JAMESSLX - on 01/18/2009

FIONA

Just head on in on your mother, I'll be in with lunch in a sec.

JAMESSLX - on 01/18/2009

INT. GRAY HOUSE- BRENDA'S ROOM — DAY

JAMESSLX - on 01/18/2009

VIOLET, ALAN, and FIONA enter. FIONA gestures to BRENDA, who lays in bed, an untouched SANDWICH on the NIGHTSTAND to her right. She looks stubborn, even in rest. FIONA disappears to the kitchen. ALAN stays in the DOORWAY, as VIOLET timidly approaches her mother.

JAMESSLX - on 01/18/2009

VIOLET (QUIETLY)

Mother?

JAMESSLX - on 01/18/2009

BRENDA (COMING TO)

Violet? Is that you?

JAMESSLX - on 01/18/2009

VIOLET

Yeah. We came out to visit you.

JAMESSLX - on 01/18/2009 2 versions.

BRENDA

That's so nice! I'm glad to see you!

JAMESSLX - on 01/18/2009

VIOLET

We're glad to see you.

JAMESSLX - on 01/18/2009

BRENDA

Where are your brothers and sisters?

JAMESSLX - on 01/18/2009

VIOLET

I am not sure. They're probably on their way.

JAMESSLX - on 01/18/2009

BRENDA

I'm just so happy you came all the way out here!

JAMESSLX - on 01/18/2009

VIOLET

Absolutely, mom.

JAMESSLX - on 01/18/2009

BRENDA

Who is that man in the doorway, Vi?

JAMESSLX - on 01/18/2009

VIOLET

That's Alan Finch, my husband. You've met him before. We have a daughter, Jean. She's upstairs, not feeling so well.

JAMESSLX - on 01/18/2009

ADELE bursts in.

JAMESSLX - on 01/18/2009

ADELE

Mom, I need cab fare.

JAMESSLX - on 01/18/2009

BRENDA

Adele? It's so good to see you! You all came so far! Weren't you in California?

JAMESSLX - on 01/18/2009

ADELE

Steven lives in California, I live in Seattle. Cab fare. Cabs here are expensive as shit, wiped me out!

JAMESSLX - on 01/18/2009

BRENDA

Talk to Fiona about paying your taxi cab driver.

JAMESSLX - on 01/18/2009

ADELE

Okay. Hi, Violet, Alan. Didn't notice you guys.

JAMESSLX - on 01/19/2009 2 versions.

ADELE leaves as abruptly as she came.

JAMESSLX - on 01/18/2009

BRENDA

My children are all here!

JAMESSLX - on 01/18/2009

VIOLET

Steven and Greg aren't here yet, but they're coming.

JAMESSLX - on 01/18/2009

ADELE comes back in, windblown and looking tired.

JAMESSLX - on 01/19/2009

ADELE

Fiona is paying my cabbie, who smelled like egg rolls and sugary body odor. He was a slurpie Indian. How are you doing, Mom?

JAMESSLX - on 01/19/2009

BRENDA

I'm doing good. No complaints.

JAMESSLX - on 01/19/2009

ADELE

Are you going to eat that sandwich, Mom?

JAMESSLX - on 01/19/2009

BRENDA

You don't have to worry whether I eat or not, Addy.

JAMESSLX - on 01/19/2009

ADELE

I wasn't. I'm hungry.

JAMESSLX - on 01/19/2009

VIOLET

Adele, that was inappropriate. If you want food, talk to Fiona.

JAMESSLX - on 01/19/2009

ADELE

Okay, Bree. I'll be right back, Mom.

JAMESSLX - on 01/20/2009

ADELE leaves.

JAMESSLX - on 01/20/2009

BRENDA

Could you get me a glass of water, Vi?

JAMESSLX - on 01/20/2009

VIOLET

Sure.

JAMESSLX - on 01/20/2009

ALAN

You can stay, Vi. I'll go get it for her.

JAMESSLX - on 01/20/2009

ALAN leaves. VIOLET seats herself on the edge of Brenda's BED.

JAMESSLX - on 01/20/2009

BRENDA

Is everything okay?

JAMESSLX - on 01/20/2009

VIOLET

I should be asking you that question, Mom. You've got all this medical stuff. It almost makes me wish I'd stayed in medical school.

JAMESSLX - on 01/20/2009

BRENDA

You don't have to worry about me.

JAMESSLX - on 01/20/2009

ADELE comes back in, holding a large SANDWICH.

JAMESSLX - on 01/20/2009

VIOLET

What kind of sandwich is that?

JAMESSLX - on 01/20/2009

ADELE

Cheese, lettuce, ranch.

JAMESSLX - on 01/20/2009

VIOLET

Are you staying strong with vegetarianism?

JAMESSLX - on 01/20/2009

ADELE

Yeah. I miss steak, but it's fine otherwise. They have tofu and shit.

JAMESSLX - on 01/20/2009

VIOLET turns back to BRENDA, sullen.

JAMESSLX - on 01/20/2009

ADELE (CONT'D)

What the fuck's wrong with you, Vi? You've been totally Clarence Thomas-ing it since you came in. You haven't told me you disapprove of me smoking, or my hair, or my clothes. It's weird.

JAMESSLX - on 01/20/2009

VIOLET

I'm really tired. I'll prepare a rant and get back to you later.

JAMESSLX - on 01/20/2009

ADELE

When are Greg, and Steven coming?

JAMESSLX - on 01/20/2009

VIOLET

I don't know, I haven't talked to them.

JAMESSLX - on 01/20/2009

BRENDA

They are coming, aren't they?

JAMESSLX - on 01/20/2009

VIOLET

Yeah, of course, Mom.

JAMESSLX - on 01/20/2009

ADELE

Don't tell her that, we can't say for sure. You haven't talked to them, and your making her promises.

JAMESSLX - on 01/20/2009

BRENDA

Don't talk about me like I'm not here.

JAMESSLX - on 01/20/2009

VIOLET (IGNORING BRENDA)

If Fiona got a hold of them, they'll come.

JAMESSLX - on 01/20/2009

ADELE

That's two whole things in one. If Fiona got a hold of them is a big, goddamn 'if.' Secondly, you don't know them, Steven's fucked three ways, and he may not come, Greg probably will, but only stay a couple hours, because he doesn't like getting thrown into things. Okay? So, stop making Mom promises, you know you can't keep.

JAMESSLX - on 01/20/2009

BRENDA

Stop talking about me like I'm dead already.

JAMESSLX - on 01/20/2009

VIOLET

Stop saying these things, Addy. It's inappropriate --!

JAMESSLX - on 01/20/2009 2 versions.

ADELE

Fuck your 'inappropriate.'

JAMESSLX - on 01/20/2009

BRENDA

Let's not fight. Please?

JAMESSLX - on 01/20/2009

ADELE

Fine, fine. Whatever.

JAMESSLX - on 01/20/2009

INT. GRAY HOUSE- UPSTAIRS BEDROOM — DAY

JAMESSLX - on 01/20/2009

JEAN lays on a freshly made BED, listening to her overused iPOD. She rolls off the BED, and lands on the GROUND, next to her BACKPACK. She opens up a side COMPARTMENT, and pulls out a small baggie of MARIJUANA. There is only some CRUMBS left in the BAGGIE. She sighs, her face folding up.

JAMESSLX - on 01/20/2009

JEAN

Oh, shit.

JAMESSLX - on 01/20/2009

INT. GRAY HOUSE- KITCHEN — DAY

JAMESSLX - on 01/21/2009

FIONA slices LETTUCE, tossing them in a large, glass SALAD BOWL. She adds other ingredients: PARMESAN CHEESE, GREEN PEPPERS, etc. ALAN enters, holding an almost-gone GLASS of WATER. ALAN wipes his eyes, and notices FIONA.

JAMESSLX - on 01/21/2009

ALAN

Hi, Fiona. This is Brenda's glass, where should I put it?

JAMESSLX - on 01/21/2009

FIONA

By the sink is good.

JAMESSLX - on 01/21/2009

ALAN

Alright ...

JAMESSLX - on 01/21/2009

FIONA

How's it going in there? I saw you listening.

JAMESSLX - on 01/21/2009

ALAN

They all are sort of scrambled right now. I mean, we're a family. We have problems. Every family has problems, don't they?

JAMESSLX - on 01/21/2009

FIONA

I couldn't say. My mom is my only family.

JAMESSLX - on 01/21/2009

INT. 2008 TOYOTA PRIUS — DAY, OVERCAST

JAMESSLX - on 01/21/2009

GREGORY, in the same SUIT he was in last night, drives along Brenda's ROAD with tired eyes. The HOUSES along the road are remarkably similar, narrow and tattered. GREGORY looks at a SCRAP OF PAPER, and matches it mentally to BRENDA'S HOUSE. He parks on the ROAD, Violet's CAR in the driveway, along with FIONA's STATION WAGON. GREGORY gets out of the car.

JAMESSLX - on 01/21/2009 2 versions.

EXT. GRAY HOUSE — DAY

JAMESSLX - on 01/21/2009

GREGORY walks around his CAR, taking his LUGGAGE out of his TRUNK. He begins walking to the front DOOR. ADELE emerges, shattered, a CIGARETTE bouncing around in her lips.

JAMESSLX - on 01/21/2009

GREGORY

Addy! I haven't seen you in so long! What are you doing outside?

JAMESSLX - on 01/21/2009

ADELE

Violet. Violet is ...! I can't stand her! I've been here thirty seconds, and I'm already smoking! She's such a freakin' bitch!

JAMESSLX - on 01/21/2009

GREGORY

Do you want to talk about it?

JAMESSLX - on 01/21/2009

ADELE

Don't try and psychoanalyze me right now, Gregory! Just go inside.

JAMESSLX - on 01/21/2009

INT. GRAY HOUSE- FOYER — DAY

JAMESSLX - on 01/31/2009

GREGORY enters the foyer, dropping a SUITCASE on the floor. VIOLET appears, and hugs him.

JAMESSLX - on 01/31/2009

GREGORY

Hey, Vi. How are you? What's up with Adele by the way, she was very charming?

JAMESSLX - on 01/31/2009

VIOLET

Oh, she's just been charming all day. I'm good.

JAMESSLX - on 01/31/2009