â™ª ("COLD LITTLE HEART" BY MICHAEL KIWANUKA PLAYS) â™ª
I'm trying to decide whether I'm happy or sad.
BONNIE CARLSON: None of us really see things as they are.
We see things as we are.
MADELEINE MACKENZIE: This is Jane Chapman. She's new here.
-Hi. -Welcome!
You're... so nice.
This is Monterey. We pound people with nice.
-(CHUCKLES) -To death.
-(CAMERAS CLICK) -â™ª (DRAMATIC MUSIC PLAYS) â™ª
An autopsy is still being conducted
to ascertain the exact cause of death.
The injuries were many, and they were severe.
We're talking multiple broken bones.
There's clearly a lot of bad blood in this community.
Someone hurt Amabella.
This could get ugly.
Ticking bomb. I'll leave it at that.
You're dead in this town.
So I take it that Ziggy's father isn't exactly a good guy.
Where is he?
No, I know that I'll never be over it.
Something had to be wrong.
We have this... dirty secret.
When are you gonna leave him, Celeste?
RENATA KLEIN: I'm now one of those people
I swore I would never turn myself into.
She can't just let us all get along--
(YELLING) I said, "Thank you!"
You don't want anyone getting hurt, do we?
-You threatening me? -JANE CHAPMAN: They bully.
It's human nature. They grow out of it.
Sometimes, they don't.
MADELEINE: Sometimes, I'm just holding onto
this idea of perfection so tight,
something has to give.
-(GASPS) -(TIRES SCREECH)
(WHISPERING) We all do bad things sometimes.
â™ª (MUSIC SLOWLY INTENSIFIES) â™ª
(SCREAMS)
â™ª ("COLD LITTLE HEART" BY MICHAEL KIWANUKA PLAYING) â™ª
â™ª Did you ever want it? â™ª
â™ª Did you want it bad? â™ª
â™ª Oh, my â™ª
â™ªIt tears me apart â™ª
â™ª We can try to hide it â™ª
â™ª It's all the same â™ª
â™ª I've been losing you â™ª
â™ª One day at a time â™ª
â™ª And I know â™ª
â™ª In my heart In this cold heart â™ª
â™ª I can live or I can die â™ª
â™ª I believe if I just try â™ª
â™ª You believe in you and I â™ª
â™ª In you and I â™ª
â™ª (MUSIC ENDS) â™ª
(WAVES CRASHING)
(HEART BEATING)
(BEATING SPEEDS UP)
MARY LOUISE WRIGHT: Celeste. Celeste!
(CELESTE WRIGHT SCREAMS)
(PANTING) Oh my God.
(SIGHS) I just...
I was having a nightmare.
Oh. Shouldn't they be awake?
CELESTE: Oh my god. Oh...
Yeah. Josh. Max. Up we go. We overslept.
C'mon, c'mon, c'mon. Let's go. We're in a rush.
-MARY LOUISE: Come on, soldiers. -CELESTE: Quick, quick, quick.
-Morning, Grandma. -CELESTE: Protein bar breakfast
in the car.
(CHUCKLES) Your favorite.
MARY LOUISE: I have to go to town. I can drop you off.
Oh... Thanks, Mary Louise.
What was it about?
Your nightmare.
Oh, it was stupid.
Nothing, really.
You said "rape."
What?
Something about a rape.
Huh.
-(FAINT BUZZING) -(SIGHS)
Can I have some water, please?
(SNIFFLES)
(SIGHS)
-(BUZZING CONTINUES) -(EXHALES)
â™ª And I don't give a damn About my reputation â™ª
â™ª ("BAD REPUTATION" BY JOAN JETT PLAYS) â™ª
â™ª Never said I wanted To improve my station â™ª
â™ª And I'm only doin' good When I'm havin' fun â™ª
â™ª And I don't have To please no one â™ª
â™ª And I don't give a damn 'Bout my bad reputation â™ª
-â™ª Oh, no â™ª -â™ª No, no, no, no, no, no â™ª
Okay, I'm putting this in your small pocket, okay?
ZIGGY: Yep.
â™ª ...My reputation â™ª -(SINGING) â™ª Reputation â™ª
(YELLING) First day of school!
(SEAGULLS SQUAWK)
JOSH WRIGHT: Stop! Hey, Max, you idiot!
Hey, hey, boys come on. Keep it down, would you?
I can't hear myself think.
MAX WRIGHT: Then just don't think, Mom.
-JOSH: Give it back, you idiot! -Hey!
-Stop! -Give it back!
MARY LOUISE: (YELLING) Hey! Quiet!
Fine young men
don't suddenly become fine young men
all of sudden in a whoosh, you know.
(CLEARS THROAT)
It starts with being fine young boys.
And part of being a fine young boy
is listening and respecting your mother.
She works so hard for you.
That's why the sun shines on her so.
Thank you, Mary Louise.
MADELINE MACKENZIE: I have two showings,
I have Abigail's college advisor,
not to mention all this scrutiny.
-It's just gonna be a day. -What scrutiny?
MADELINE: Ed, this is the first day of school.
We have to earn our good-mom badges all over again.
"Has she gotten fatter over the summer?
Does she look older?" These questions get asked, Ed,
and we all get judged all over again.
It's a complete double standard 'cause if a dad shows up,
they're like, "Wow, there's a dad here.
He's involved." But with the moms...
(SCOFFS) it just makes me wanna blow.
CHLOE MACKENZIE: Boom!
MADELINE: Oh my god. Chloe. Goddammit!
-(CROSSING GUARD BLOWS WHISTLE) -Just right there. I need to get right there.
-Chloe-- -(HONKS HORN)
Could you please turn it down?
Let second grade begin.
â™ª ("I'LL BE AROUND" BY THE SPINNERS PLAYS) â™ª
â™ª This is our bump in the road
â™ª Love's last episode â™ª
â™ª There's nowhere to go â™ª
â™ª Oh no â™ª
â™ª You made your choice â™ª
â™ª Now it's up to me â™ª
â™ª To bow out gracefully â™ª
â™ª Though you hold the key â™ª
â™ª But, baby â™ª
â™ª Whenever you call me I'll be there â™ª
â™ª Whenever you want me I'll be there â™ª
â™ª Whenever you need me I'll be there â™ª
-(BELL RINGS) -Welcome back to our wonderful,
wonderful Otter Bay.
Gosh, I always so love the sound of that.
Let's all say that together, shall we?
ALL: Wonderful, wonderful Otter Bay.
-Here we go. Now, gang... -â™ª (PIANO BEGINS JAUNTY TUNE) â™ª
since we ask our children to sing this song every year,
I think it's high time we sing it with them,
so everybody let out their inner otter,
and sing along.
ALL: (SINGING) â™ª Otter Bay â™ª
â™ª Otter Bay, it's the best plac Of them all â™ª
Very impressive. We're in the key of F, Madeline.
ALL: (SINGING) â™ª To start our day â™ª
â™ª When we rise up with a snort
(SNORTING)
â™ª With dance and song And sport â™ª
(SNORTING)
â™ª Oh, to be a little otter In the bay â™ª
Yes! Oh, you got my otter heart going! Thank you!
Warren. (CHUCKLES)
Really pushing the school spirit this year, aren't you?
Well, it's my otter blood, Madeline.
-Hi, Madeline Martha Mackenzie. -Lisa Coolidge.
Anyway, it was a beautiful service, Warren.
WARREN NIPPAL: (LAUGHS) Well, thank you, Madeline,
I like to think of it more as an assembly.
A service is for when someone dies,
you know, like a school fundraiser.
You're not seriously gonna go there, are you?
My hope is that you don't go there, Madeline.
Now, let's remember a lot of last year's mishigas
were lovingly stirred up by you.
MELISSA: Anybody want a red velvet?
-Melissa! -Cupcake?
MADELINE: I'll take one for each thigh.
MELISSA: Absolutely.
I don't even like to chew. I just shove 'em down.
Maybe you can give one to Warren so he can shove it too.
WARREN: (CHUCKLES) And we're off.
-MADELINE: Bonnie. -It's a classy crop of moms,
these ones. Those gluten-free?
MADELINE: Tahoe was good?
Uh, yeah, it was good. Nathan caught a lot of fish.
Wow.
BONNIE CARLSON: And I hear you're selling houses like crazy. That's very cool.
Oh my gosh, in Monterey, it is like printing money.
I should have done this years ago.
-I'm gonna go find Skye. -Okay.
Okay. Are you two fighting?
Uh, no. Actually, I almost wish we were.
No, she's... she's been acting like that for a while now.
Acting like what?
Shut down. Like, withdrawn.
Oh, you mean you're not having sex.
Okay, don't forget that Abigail has
-her college counselor meeting at 2:00 p.m. -Yeah, yeah, I got your--
I got your emails. Six of them this morning.
-Good. Thank you. -This is her future, Nathan.
Nice to be back.
I'm told that my daughter, Amabella,
is going to be in your class. So exciting.
Yes, very nice to meet you.
Um, she has an IQ of 152. Genius level, right.
That's a very high number. Life's about give and take.
I expect you to take care of my daughter.
Pay special attention. And, again, welcome.
Um, oh, oh, oh. (CHUCKLES) And...
my Amabella was bullied last year.
I mean, in like, biting and choking.
So, we're gonna make sure that doesn't happen again.
-(BAND PLAYS) -RENATA KLEIN: Oh.
Oops. Sorry.
Sorry.
Here's my problem with the whole meditation thing.
It's like you shut out the world,
but you also shut out your friends,
which is a little bit weird.
And also, does she look funny? Something's not right.
-Are you talking about Bonnie? -Uh-huh.
Like, she's off. But she was off before she went to Tahoe.
Unplugged is one thing,
but unhinged is a total other thing.
-(HORN BLARES) -Hey! Asshole! Hey!
-Oh, hon. -Why are you cutting me off?
-Honey. The horn. The horn. -Dick! I just think we--
Oh, yeah, sorry.
Once I lean in, you know how I am.
-CELESTE: Indeed. -I think we need to talk to her
and see where her head is at.
-CELESTE: Do you? -Do you want to get a coffee?
By the way, did you see Renata
getting up that new teacher's ass?
I thought she was gonna have to pull out her snorkel.
CELESTE: Easy. I'm gonna go to the ladies' room;
-can you get me an Americano? -MADELINE: Will do.
-Hey, Bruna. -BRUNA: Hey, Madeline.
MADELINE: Wow, do you sell weed? It smells like weed over here.
-Keep the change. -BRUNA: Thank you so much.
-Can I get an Americano -(DISTANT CHATTER)
and a bran muffin?
-...that's a thing? -MADELINE: Mary Louise?
-Hi. Madeline. -MARY LOUISE: Hi.
-Madeline! -Yes.
-So nice to see you again. -I'm Celeste's friend. Yes.
How have you been?
Good, good. The kids are good. How are you?
I can't complain.
Actually, I can.
My son is dead.
But Celeste tells me that you continue to be so helpful
with her and the boys and...
She should just get a proper housekeeper.
-You're very short. -(SCOFFS) Excuse me?
I don't mean it in a negative way.
MADELINE: Oh. (CHUCKLES)
Maybe I do.
I find little people to be untrustworthy.
(CHUCKLES) My apologies. It's just that I'm...
I pride myself on being a very good judge of character,
but you have always presented such a difficult read.
You know, you seem like a nice person.
Loving. But also, you strike me as a wanter.
-A-- A wanter? -Mm.
You know...
there are people in-- in life who content themselves
with what they have, and then there are others
who just... just want.
I'm not a wanter.
Oh, you don't have to take it personally.
Anyway, I'm a wanter myself.
You know what I want? I want Perry back.
I wanna know what happened that night.
And I-- I'm very tempted to ask you,
but I doubt I would get the, uh...
the truth, would I?
Your son lost his balance and he fell.
Yes, that seems to be the company line.
Depending on whose company you keep.
Mary Louise.
Madeline and I were just... talking.
MADELINE: What the hell was that?
That was a very strong position.
And I didn't like it!
Welcome to my life.
-(CARTS CRASH) -Sorry.
Whoa. Hi!
Tori.
Sorry, I didn't recognize you at first.
Yeah, I had my breasts done.
Oh.
Yeah, it's fabulous.
I always felt a little self-conscious, you know.
About your breasts?
-My nose. -Oh.
Now, nobody notices it so much.
Everybody notices these though. And that pisses Joseph off.
So... uh...
Well, I'll see you around.
(CHUCKLES)
(MAN TALKING INDISTINCTLY ON LOUDSPEAKER)
DR. AMANDA REISMAN: How long does she plan to stay?
Well, she comes and goes.
It's a short hop from San Francisco.
She's been...
-a really big help. -Mm-hmm.
I mean, I'd be lost without her.
So what brings you?
It's been a while.
(CHUCKLES)
(SIGHS)
I've had some nightmares starting up of late that, um...
I mean, may be triggered
by the beginning of the school year.
I think I still...
-associate that place with... -How could you not?
Last night was...
It was a beauty.
Perry and I were in... the in-vitro facility, and...
it was all so sweet, and-- and suddenly, I...
I turned into a monster.
I was strangling him. I was lifting him up, and I--
I-- (SIGHS)
It was... beyond disturbing, and I-- I...
a little exhilarating.
Hmm...
Is that-- Do you see yourself as a monster?
I guess I still feel...
-responsible. -For...?
For the accident.
I mean, if I'd left him when I should have--
We should have never been together that night,
and he might still be alive.
That I chose that night of all nights to leave him
and to tell him and...
Even in death, his message lives on.
-What message? -That you're to blame.
You're always to blame.
You're not.
-Are you getting out? -(SCOFFS)
-Are you seeing anyone? -No.
That part of me is still dead, I suppose.
First thing's first: get the boys' lives back on track,
that's the priority.
Seeing their mom happy could help there.
So, you're saying for my life to go on successfully,
-I need to be with a man? -No.
But the freedom to be with one, maybe.
You're still married, Celeste, and the husband is dead.
(TALKING INDISTINCTLY)
(PANTING)
NATHAN CARLSON: Where've you been?
I told you I was running.
That was like two hours ago, I've been calling you.
BONNIE: Sorry.
Honey.
I just thought it might be that you hated Tahoe,
but since we've been back...
Come on.
BONNIE: I need some space, Nathan. I told you.
Just let it be.
JANE CHAPMAN: He's my favorite in the whole aquarium.
It's a red octopus, and watch.
The closer he gets to the kelp, he'll change his color
so that he camouflages with his environment.
-CHILD: Cool. -Look. You see him right now?
-CHILD: Yeah. -He's changing color.
You guys want to know a fun fact about octopus?
-ALL: Yeah! -It's kinda weird.
-You can handle it? -Yeah.
Okay, females contain deadly venom,
and sometimes, they'll kill and they'll eat the males
-after they mate with them. -CHILDREN: (GROAN) Ew!
JANE: (CHUCKLES) I know.
SARAH: Why is it the prettier something is,
the more dangerous? Like with snakes and spiders.
That's a great question. I wish I knew the answer to that.
-COREY BROCKFIELD: One second, okay? -You're so observant.
Sometimes, pretty colors are to give a fair warning
so other animals know they need to keep a safe distance.
GIRL: Oh.
There you go.
(INDISTINCT CHATTER)
NATHAN: How you doing?
Good. You?
Not really, no. Bonnie.
I mean, she's gone missing in mental action.
The whole summer, truth be told.
Hey, man, could I--
could I ask you a big favor?
Could you maybe take her out to lunch?
Um--
Listen, you've always been better to talking to women
than I have and, you know, you certainly got Madeline
in a way I never could.
I mean, I think you might be able to get her to open up.
You know, you have your little way.
All I'm getting is pushback at every turn.
I swear to God, if I signed up for this bullshit,
I'd still be with Maddie.
-I mean-- I don't mean-- -Oh, no, no.
Um, look, Nathan...
I'm no expert on marriage or anything.
I mean, something tells me if you're seeking out
the husband of your ex-wife to, like,
lead the communication charge with your new one...
Why do you always have to be so snide?
-I don't mean to be snide. -No, you don't mean to be,
it just comes natural. It's like you're a snide fuck.
That's what you are. You're a snide fuck.
You know, Nathan, maybe instead of just talking to Bonnie,
you should embrace some of her interests.
-Her interests? -Yeah.
She won't even let me embrace her.
-Okay. -Yeah, you're snide.
-You're a snide fuck. -What?
-Whatever. -Come on.
Snide fuck.
â™ª ("WHAT BECOMES OF THE BROKENHEARTED" BY JIMMY RUFFIN PLAYS) â™ª
â™ª As I walk this land Of broken dreams â™ª
(PHONE RINGING)
-â™ª I have visions-- â™ª (CUTS OFF -Hello.
-JULIETTE: (OVER PHONE) Mrs. Klein? -Juliette.
Hey, honey. I'm pulling in. Can you--
-(PHONE VIBRATING) -can-- wait.
Hold on one second. Hold on-- Hello?
MADELINE: This is why I talk about being nice.
Hey. No, I can't--
MADELINE: What do you think?
MAN: I love the view.
Oh, sorry, I'm on the phone.
Yeah, I thought Tahoe was supposed
to be about decompression too,
but she seems like she's on Mars.
-Maybe she's using. -WOMAN: Excuse me.
Yeah, just a second.
And I am beating myself up
that I told Jane I liked her bangs.
Can you get off the phone, please?
Hmm?
Oh, let me call you back.
â™ª ("IT'S MY HOUSE" BY DIANA ROSS PLAYS) â™ª
Yeah, what can I do for you?
RENATA KLEIN: I mean, I can't deny it.
â™ª It's my house And I live here â™ª
JOEL: Good, right there.
â™ª It's my house And I live here â™ª
Beautiful, come on down. Good. Eyes up this way. Gorgeous.
I'm so tired of those shots of women.
I mean, they're in power, right?
They own banks and they're all, like, demure. Bullshit.
JOEL: Back to the ocean.
GORDON KLEIN: What's all this?
RENATA: Hey! The photoshoot. Women in power.
I thought they wanted just, uh... office shots.
No, um, they're doing house and, uh, office.
GORDON: You look nice.
JOEL: Here we go. Look at me.
â™ª And I live here â™ª
(MINIATURE TRAIN WHISTLE BLOWS)
â™ª It's my house And I live here â™ª
So she has a 3.8 GPA,
and she has done charity work with human trafficking.
She also has an internship coming up--
Uh, Stanford has an admit rate of under ten.
Princeton and Williams the same,
and since she doesn't have legacy going for her--
Any of these schools would be lucky to have her.
-She's an excellent candidate-- -MADELINE: Candidate is,
-I think, the wrong-- -Honey.
What? Don't "honey" me. She has a 3.8 GPA.
She has a 1350 on her SATs,
but we're gonna get that number up
because she has private tutoring coming up, so I feel--
I don't even want to go to college.
(SCOFFS)
I mean, she's just-- she's just nervous.
-She doesn't mean that. -I do mean it.
I don't want to go to college.
(CHUCKLES)
It feels so good to say that out loud. (SIGHS)
Okay, Abigail, honey. You're going to college.
The planet is dying, Mom,
but God forbid I don't study Lysistrata? It's bullshit.
Do you know what kids do at college?
They drink. They fuck. They mull over a sex change.
I'm not going.
All right, you're going to college.
-I'm not going to college. -Whoa, whoa, whoa.
If you wanna go, you know, you should go.
You should go to college.
Hey, no, I know how to make any situation about me.
This is not that. This is about you
-and your future, Abigail. -NATHAN: Abby.
-ABIGAIL CARLSON: I'm not going. -I'm so sorry.
Where did she go?
I--
-Did you know about this? -No, I swear.
You were with her all summer in Tahoe,
and you knew nothing about this?
-Madeline, I didn't know. -And what about Bonnie?
Did she know about this "fuck college" plan?
Bonnie's left the building.
Unbelievable.
You know if she doesn't go to college,
she won't have a life.
She'll just be serving Big Macs and French fries, and that'll be her life.
-Is that what you want for her, Nathan? -Stop, stop. Stop yelling at me.
-Stop yelling at me. -What? You know you bear some responsibility here, right?
-NATHAN: I do? -You're her father.
-NATHAN: Oh, okay. -This is her senior year,
she's on the cusp of her life,
and you let it go all to shit in Tahoe!
Don't-- You just hit me. You just hit me.
Because you deserve it!
-(WIND RUSTLES) -(WAVES CRASH)
But honestly, Ed, if she doesn't go to college,
what's she gonna do? Go into retail?
Oh, let me call you right back.
Mary Louise?
-Hey, Maddie. -Oh, Madeline. Hello.
What's going on?
Well, I thought I might look for a small flat here in town,
so that I could help out with the boys
but not quite be so underfoot.
(CLEARS THROAT)
-MADELINE: Oh, I see. -Do you work here?
-Yes. -Do you handle rentals?
I do, actually. Oren and I both do, yes.
I see you're wearing heels.
Yes.
Um, Oren, do you mind if I just have a minute with Mrs. Wright?
Of course not. You're in wonderful hands.
MADELINE: Thank you.
Mary Louise, I realize that you're still grieving,
and that you've been through
a tremendous amount of heartbreak,
but I don't care for the way you spoke to me before.
It was rude, and I didn't deserve it.
No, you didn't. Um, I apologize.
Well, thank you.
MARY LOUISE: The truth is, it had nothing to do with you.
When I was in boarding school, I had-- I had a best friend,
or so I thought,
who revealed herself to be quite treacherous,
and, uh, caused me a lot of pain.
So... she was just an itty-bitty little thing
with a big, bubbly personality that, um...
was designed to hide...
that she was utterly vapid inside.
You remind me so much of her
that I suppose I punish you for that.
That's wrong of me, and I apologize.
-Oren. -OREN: Yes. Sorry.
I'm sure Oren will address all of your concerns.
MARY LOUISE: Okay.
-Where did we leave it? -(CHUCKLES)
â™ª ("MYSTERY OF LOVE" BY SUFJAN STEVENS PLAYS) â™ª
â™ª Oh, to see without my eyes â™ª
â™ª The first time That you kissed me â™ª
â™ª Boundless by the time I cried â™ª
â™ª I built your walls around me
â™ª White noise What an awful sound â™ª
â™ª Fumbling by Rogue River â™ª
â™ª Feel my feet Above the ground â™ª
â™ª Hand of God deliver me â™ª
-â™ª (MUSIC CONTINUES THROUGH EARBUDS) â™ª -Oh!
â™ª (MUSIC ENDS) â™ª
(CHUCKLES) That probably looked weird.
Yeah.
(BOTH LAUGH)
Are you on the spectrum?
-(BOTH CHUCKLE) -Are you?
Um, I'm--
-Yeah, most likely. -(BOTH CHUCKLE)
-Well, I don't think I am, but-- -A little advice,
you probably don't wanna act weird and shit in public.
We do a lot of kids' events at the aquarium, and parents have a thing
about entrusting their kids to psychos.
(CHUCKLES)
Noted. Got it. Thank you.
The way people talk in this town,
I don't need to tell you.
You don't need to tell me? What does that mean?
You're one of the Monterey Five, right?
Monterey Five?
You were there the night the guy fell.
Wh-- Where did you here that?
Someone at work. I'll see you around.
Yeah.
JANE: It was just the way he said it.
RENATA: How exactly was that?
Like we all have scarlet letters on our backs.
-Oh, please. -We're kidding ourselves
if we think people have stopped talking.
Yeah, but people talk. It's--
I think we're all being a little bit paranoid, you guys.
I think people have moved on,
and the police definitely moved on.
-Well, we don't know for sure. -Yeah--
No, I talked to Susie Burke. Do you know Susie from IBM?
Yeah.
She's a good friend of Detective Quinlan.
-Oh. -I mean,
like, really good friend. Gossip for another day,
but she told me that she heard Quinlan say, like,
the case isn't "closed" closed, but they've got nothing.
-Mm-hmm. -CELESTE: Good.
Good.
-We're good. -Okay.
CELESTE: Yeah, good.
(BELL RINGS)
MADELINE: Where were you?
We were waiting for you at the beach.
Oh, yeah. Something came up.
MADELINE: Yeah?
What?
Are you all right?
-Do you care? -Do I care?
What's going on?
I killed someone.
-Remember? -Yes.
It's heavy.
Are you-- I mean, are you angry at me for some reason?
I'm angry with myself.
If I had just told the truth, I would have gotten off,
but you said he slipped,
and everyone else joined in the fucking chorus.
-That was to protect you. -Yeah, thanks a lot.
You know, I can't talk to my husband.
Or my kid.
I have to just swallow it all.
You can talk to us.
We're here for you. All of us.
Well, it hasn't really felt like that.
Well, I'm sorry, but you've been in Tahoe.
It's not like you can put that shit on Gmail.
-Like, what am I supposed to-- -NATHAN: Hey.
Hey. Bye, Maddie.
Little Miss Sunshine, right?
MADELINE: Listen, I'm sorry I pushed you.
There you go, I said it.
(SIGHS) Okay, um, I need to talk to Abby. Is she here?
NATHAN: Abby!
â™ª ("THE RIP" BY PORTISHEAD PLAYS) â™ª
â™ª As she walks in the room â™ª
â™ª Scented and tall â™ª
â™ª Hesitating once more â™ª
-â™ª And as I take-- â™ª -â™ª (MUSIC ENDS) â™ª
So... what was that all about?
I just don't think college is for everyone, that's all.
MADELINE: Okay.
So why is not for you?
Well...
Starting with the cost. It's really expensive.
So, I'm assuming that if you're gonna abandon
that plan to go to college, you have another plan--
I do.
What is it?
-It's to work for a startup. -Oh, my God.
Specifically, one that builds
for-profit housing for the homeless.
-Excuse me? -ABIGAIL: Yeah.
And unlike, you know, the privatized shams
like banks and credit card companies,
ours will make money while actually helping people.
This is something real?
I've been offered a position to start in June.
-You cannot be serious. -I'm gonna take it.
You cannot mortgage your future
over some sort of short-term plan.
ABIGAIL: I'm not doing that!
Well, then, what are you doing?
There are four million homeless people in America,
the average age being nine years old,
-and I-- -I don't give a fuck!
I don't care about fucking homeless people.
What?
That is not what I meant.
I do care about homeless people.
I just think you can give money to some charity
while you actually attend college.
-I'm not going to college. -Yes, you are.
Give me one good reason what I should--
It's non-negotiable.
You are going to college because I said so,
and because you're not thinking straight--
Because you said so?
-Yes, because I said so. -What do you know?
You didn't go to college.
That's exactly why you're going.
Exactly.
Because you will have no life!
(DOOR SLAMS)
(SIGHS)
â™ª ("THE FADE OUT LINE" BY PHOEBE KILLDEER AND THE SHORT STRAWS PLAYS) â™ª
Can't you just tell her it's time to go?
CELESTE: The boys love her. I mean, they love her.
And she's... she's a big help, she really is.
So what's up? I'm guessing you don't need my help
on how to handle a mother-in-law.
Why are you not cashing the checks?
JANE: (SIGHS) I don't know.
CELESTE: Come on, Jane. Why?
It's rape money. You know I can't do that.
Ziggy's entitled to it.
He's part of Perry's estate.
Do you ever hate me? Just a little bit.
How could I hate you?
Because I slept with your husband.
I mean, I didn't-- You know what I mean.
He raped you.
But I knew he was married. I mean, I didn't know
he was married to you, but... somebody.
No. I don't blame you for anything.
JANE: I think I would if I were in your shoes.
Celeste, for a man to commit adultery,
he-- there-- there has to be another woman,
and, you know what, more times than not, she's complicit.
I was complicit. Not in the end, but...
definitely in the beginning.
Are you glad that he's dead?
CELESTE: It's complicated.
(SIGHS)
(GATE BUZZES)
â™ª ("HARVEST MOON" BY CASSANDRA WILSON PLAYS) â™ª
â™ª Come a little bit closer â™ª
â™ª Hear what I have to say â™ª
â™ª Just like children sleeping â™ª
â™ª We could dream This night away â™ª
â™ª (MUSIC CONTINUES IN BACKGROUND)
â™ª (JOSH PLAYS DISCORDANT NOTES) â™ª
â™ª But there's a full moon Rising â™ª
â™ª Let's go dancing In the light... â™ª
MARY LOUISE: Come on, everybody.
Put it away, Max.
Come.
This looks so delicious. Thank you, Mary Louise.
MAX: I thought we were having KFC.
Well, one cannot survive on fast food every night.
(CHUCKLING) We don't have it every night.
MARY LOUISE: You know that they--
they ban these insidious fast food institutions
from some parts of San Francisco.
Do you remember when we walked across the Golden Gate Bridge?
It's red.
(CHUCKLES) You're right, it is red.
(LAUGHS)
Oh, and Dad said he was going to swim to Alcatraz.
(LAUGHS) Oh, yeah.
Sharks would have eaten him, stupid.
No, they wouldn't, idiot.
(SCOFFS)
-CELESTE: Hey! Hey! -Ow!
You could hurt him! What's wrong with you?
I barely touched him.
You stuck him with a fork, Josh. That is unacceptable.
For God's sake.
â™ª (MUSIC CONTINUES QUIETLY) â™ª
I miss Dad.
I know, baby. I know you do.
We all do.
We've still got some recovery ahead of us.
Well, they're grieving, Celeste.
Their father's death is not... (CLEARS THROAT)
something to be recovered from like a cold.
You know, your daddy was the most amazing man,
and you were so lucky to have him.
And it's very unfair and wrong that he died.
And you still feel angry about it, don't you?
I mean, you feel angry that the other kids have their dads.
You don't.
You know, the other day, I was with some friends,
and, um, their sons were not a patch on your dad.
(LAUGHS) Not a patch.
Just-- I felt so angry. (YELLING) Angry!
(QUIETLY) You know, that their mediocre,
spindly, pudgy, balding,
middle-management sons-- still alive--
and my Perry... (WHISPERING) My Perry...
I just-- felt just-- I wanted to scream.
So you know what I did?
-MAX: What? -I did scream.
Wanna hear?
MARY LOUISE: (CHUCKLES) Okay.
(SCREAMS)
Oh!
Oh! Mary Louise! Mary Louise! Mary Louise, please.
What, my grief is too loud for you?
-Oh, Celeste. -Just-- Just-- The boys!
MARY LOUISE: I should be more discrete.
We should scream.
We should scream and beat our breasts
and-- and tear our hair. Don't you feel angry?
N--
MARY LOUISE: You don't?
I'm sorry.
(SIGHS)
(SOBS) I feel so, so alone. (CLEARS THROAT)
â™ª ("ALL APOLOGIES" COVER VERSION BY SINÃ‰AD O'CONNOR PLAYS) â™ª
â™ª In the sun I feel as one â™ª
â™ª In the sun â™ª
â™ª I'm married â™ª
â™ª Married â™ª
â™ª Buried â™ª
(DISTANT WALKIE-TALKIE CHATTER)
We were like animals. We-- We had to save her.
We-- It was like every instinct inside of me
told me that she was--
he was gonna kill her if we didn't help her.
And, um...
I thought he was gonna crush her or kick her ribs in or...
I didn't know what he was gonna do.
And then, he-- Renata or... me, we grabbed him, and then, um...
then he grabbed Jane by the neck.
Yeah, um....
(SNIFFS, SIGHS)
I'm sorry.
(SIGHS)
In your own time...
take a good look.
â™ª (SINISTER MUSIC PLAYS) â™ª
(YELLS) No!
Fucking kill you!
No!
-(PANTING) -MARY LOUISE: Are you all right?
Celeste?
You all right?
You all right, dear?
-Yeah. -Another nightmare?
Yes?
-It's all right. -(SIGHS)
MARY LOUISE: It's all right.
-CELESTE: I'm sorry. -It's all right.
So...
who are we planning to kill?
â™ª ("THE FADE OUT LINE" BY PHOEBE KILLDEER AND THE SHORT STRAWS PLAYS) â™ª
â™ª It's everywhere I look â™ª
â™ª From Las Vegas to right here
â™ª Under your dresser Right by your ear â™ª
â™ª It's creeping in sweetly It's definitely here â™ª
â™ª There's nothing more deadly Than slow growing fear â™ª
â™ª Life was full and fruitful an You could a take a real bite â™ª
â™ª The juice pouring Well over you â™ª
â™ª Skin's delight â™ª
â™ª But the shadow it grows And takes the depth away â™ª
â™ª Leaving broken down pieces To this priceless ballet â™ª
â™ª The shallower it grows The shallower it grows â™ª
â™ª The fainter we go Into the fade out line â™ª
â™ª The shallower it grows The shallower it grows â™ª
â™ª The fainter we go Into the fade out line â™ª
â™ª Did we build All those bridges â™ª
â™ª To watch them thin down To dust? â™ª
â™ª Or blow them voluntarily Out of constant trust â™ª
â™ª The clock is ticking Its last couple of tocks â™ª
â™ª And there won't be a party With weathering frocks â™ª
â™ª The shallower it grows The shallower it grows â™ª
â™ª The fainter we go Into the fade out line â™ª
â™ª The shallower it grows The shallower it grows â™ª
â™ª The fainter we go Into the fade out line â™ª
â™ª Heading deep down â™ª
â™ª We're sliding Without noticing â™ª
â™ª Our own decline â™ª
â™ª Heading deep down â™ª
â™ª We're hanging onto Sweet nothings left behind â™ª
â™ª Deeper down â™ª
â™ª We're all going down â™ª
â™ª Down, deeper down, yeah â™ª
â™ª We are all plunging straight Towards our own decline â™ª
â™ª Without noticing we slide dow Deeper down â™ª
â™ª The shadow grows Without ever slowing down â™ª
â™ª We are heading straight Into the fade out line â™ª
â™ª The shallower it grows The shallower it grows â™ª
â™ª The fainter we go Into the fade out line â™ª
â™ª The shallower it grows The shallower it grows â™ª
â™ª The fainter we go Into the fade out line â™ª
â™ª The shallower it grows The shallower it grows â™ª
â™ª The fainter we go Into the fade out line â™ª
â™ª The shallower it grows The shallower it grows â™ª
â™ª The fainter we go Into the fade out line â™ª
â™ª The shallower it grows The shallower it grows â™ª
â™ª The fainter we go Into the fade out line... â™ª