I

six feet under

(pilot)

w r i t t e _n b y A Ia n Ba I I
 SIX FEETUNDER 05/15/2000 - 1

...
0 INT. COMMERCIAL
SET - DAY {BLACK
& WHITE)

PERKYCOMMERCIAL MUSIC plays as an attrac~ive, June Cleave~-

type MODELgestures toward a shiny black HEARSE on a
pedestal. We're in what seems to be a TV CO:MMERC!AL from the
ea=ly 1960s (even though the hearse itself is the latest
contemporary model.)
ANNOUNCER ( V. 0. )
Presenting the new Millennium Edition XL-
500 Funeral Ca::-::-iage! Sized to
accommodate even the largest caskets, the
XL-500 offers your loved one the very
latest in style and comfort--
The commercial ends abruptly, as if someone switched the TV
off. MUSIC ENDS and the SCREEN GOES BLACK.
We HEAR Bing Crosby singing "I I LL BE HOMEFOR CHRISTMA.S.,,
FADE IN:
EXT. PASADENASTREET- AFTERNOON
LOOKINGDOWNon a quaint, two-lane street lined with small
,~ businesses. CHRISn,1'..AS
DECORATIONSon lamp posts, in store
\.,...~ windows. A SALVATIONARMYSANTAstands on the sidewalk,
RINGING his. BELL. A shiny black HEARSE, just like the one in
the commercial, glides beneath us.
INT. HEARSE
- CONTINUOUS
NATBANl:EL R~TCHCOCK (56)drives, smoking a CIG~.RETTE. A
somewhat severe face, but too weary to be menacing. Bing
Crosby sings "I'LL BE HOMEFOR CHRISTMAS"on the RADIO.
NATHANIEL
(sings along)
I'LL BE HOMEFOR CHRIST--MAS... YOU CAN
PLAN ON ME •..

·A CELL PHONERINGS.
NATHANIEL(cont'd)
(answers phone, businesslike).
Nathan~~l Hitchcock. •
EXT. FUNERAL
HOME
- CONTINUOUS
We're MOVINGslowly past a large, slightly fanciful TWO-STORY.
TUDORHOMEthat's been around for a while. WREATHSon the ·
doors and electric CANDLESin the windows. REVEALan artfully
lit SIGN that reads:

I I CONTINUED)
 SIX FEETUNDER 05/15/2000 - :.
CONTINUED:

RJ:TCHCOCK
AND SONS
Ft:JNERAL DJ:BECTORS
dignified service since 1944

We MOVEaround the building to an empty PARKINGLOT. MOVING

toward AN ILLUMINATEDWINDOW on the second floor:
RUTH (O.C.)
Nathaniel, it's Ruth. Di¢ you take your
blood pressure medication today?
NATHANIEL (O.C.)
(over phone line)
Yes.
RUTH (O.C.)
Don't lie to me.
NATHANIEL ( 0. C. )
I took it. What do you want me to do,
O.D. on it?
RUTH (O.C.)
Oh, and I just realized we don't have any
of that s.oy stuff Nate drinks--

INT. KITCHEN
- CONTINUOUS
CLOSE on a WOMAN'SHANDS: slicing vegetables, grating cheese,
pounding steak, with alarming ferocity and speed.
RUTH (O.C.)
You know, since he gave up milk? I don't
know what it's called.
NATHANIEL ( 0. C • )
(over phone line)
Why not just cut some milk with tap
water? He'll never know the difference.
We PAN up to R'O'l'RHITCHCOCK(55), hunched over the kitchen
counter, holding the phone up to her ear with her shoulder.
Dressed conservatively, but there's a certain earthiness·
underneath.
RUTH
•
-
(not funny)
Look, if you don't want to go, I'll go.
It's not as.if I don't have enough to do
already.
 SIX FEETUNDER 05/15/2000 - 3.

INT. HEARSE
- CONTINUOUS
N~.TH.?I.NIEL
I'm kidding. I'll get some. But it'll
have to be after I pick Nate up at the
airport, I'm running late already ...
He takes a drag off his cigarette.
INT. KITCHEN
- CONTINUOUS
Ruth stops slicing and stands up straight.
RUTH
( into phone)
Nathaniel, are you smoking?.:. Yes, you
are, I heard you ... Look, forget you'll
give yourself cancer and die a slow and
horrible death. You should not be
stinking up that new hearse.
DAV.CD HZTCHCOCK (31) sits at the kitchen table. Equal parts
stuffy and intense, he wears a tie. He looks up from the
magazine he's reading: ModernMortuary.
DAVID
I told you not to let him take it.
RUTH
Like I could've stopped him. He's every
bit as proud of that thing as your fool
brother was of that damn motorcycle he
had in high school. And who still has a
pin in his foot?
( in to phone}
Nathaniel, people want things ta be nice
when there's a funeral. They don't want
their loved ones riding around in
something that smells like an ashtray.

INT· .HEARSE- CONTINUOUS

NATHANIEL
All right,
promise.
I'm quitting
(he doesn't)
right
-
no-...-, I

See you tonight.

Nathaniel hangs up_. He sings along to the RADIO, his
cigarette dangling between his lips. THROUGH THE DRIVER'S
WINDOW we see a BUS approaching at HIGH SPEED, as Nathaniel
pulls into an intersection. He never even sees it coming.
 SIX FEETUNDER, 05/15/2000 - ~4.

EXT. PASADENASTREET
- CONTINUOUS
The BUS SLAMSinto the d=iver's side of the hearse. TIRES
SQUEAL, GLASS SHATTERS, there's a sickening CRUNCHof METAL
BENDING, and then ...
Nothing but the SOUND of Bing Crosby SINGING ..
BING CROSBY
{on radio)
... I'LL BE HOMEFOR CHRIST--111-.S
... IF
ONLY IN MY DREAMS.

INT. KITCHEN - CONTINUOUS

Ruth, still chopping food, nicks her finger. She examines the
cut, frowning.
DAVID
(throws down his magazine)
That new hearse was a total waste of
money. Does Dad really think people
choose a funeral home based on who has
the coolest wheels?
RUTH
I think your father's having some sort of
mid-life crisis. -
DAVID
There was nothing wrong with the old one.•
That money would have been so much better
spent re-paneling the chapel, or adding
coffee bars to the slumber rooms--
RUTH
I'd much rather he buy himself a fancy
new hearse than leave me for a younger
woman. Or a woman my age, for that
matter. Or, heaven forbid, a man, like my
cousin Hannah's husband did.
(shakes her head)
God sure has dealt that poor woman some
blows in this life. •
•
David smiles faintly, gets up and crosses to her.
-DAVID
Mom, can I do anything to help?
\
)

(CONTINUED)
 SIX F..ET UNDER 05/15/2000 - 5.
CONTINUED:

RUTH
No, no, honey, I'm fine. Besides, don'~
you have a viewing tonight? You should
probably be getting ready.
DAVID
Right.
He kisses her on the cheek and exits.
EXT.. LAX- A SHORTTIMELATER
It's just turning dark.
GATE -
INT. _AIF.PORT A SHORTTIME LATER
MOVINGthrough disembarking passengers, we DISCOVERNATE
HITCHCOCK walking next
(35), to BRENDA CBENOw:!TH (32), an
attractive woman dressed in clo~hing with a vaguely hippie-
ish feel. Nate is athletic, charming, and a total scamp.
Brenda picks up on this but doesn't seem to ·care.
NATE
So, I enjoyed talking to you about that
whole Shiatsu thing, I really hope that
pans out for you.
BRENDA
(smiles)
You should let me work on you sometime.
NATE
(already has his card out)
Here's my cell number. I'll be here until
the 29th.
She takes his card and stuaies it.
NATE (cont'd)
( looks around)
Huh. My Dad was supposed to meet me here.
BRENDA
I could give.you a ride.
••
NATE
Oh ... thanks, but I'm sure he'll be here
soon enough.
BRENDA
I wasn't talking about that kind of ride.
I

Nate's a little taken aback, then he grins.

 SIX FEETUNQEB 05/15/2000 - 6.

0 EXT. FUNERALHOME- lJ-.'!'ER

The parking lot is half-filled wi~h cars. Black-clad MOURNERS
file in the front door.

INT. FUNERAL
HOME/SLUMBER
ROOM- CONTINUOUS
An sweet-looking, DECEASEDWOMANlies in state in an·
exoensive white CASKET. Mourners file past, chat quietly in
groups, etc. We FIND DAVID, wearing a suit, a carnation in
his lapel, overseeing. An ELDERLYMANapproaches him.
ELDERLYMAN
You've done a nice job. She looks so
peaceful.
DAVID
(comforting)
Well, she is at peace now.
ELDERLYMAN
If there's any justice in the universe,
she's shoveling shit in hell.
He shuffles away, MtJT':'ERING.David's CELL PHONERINGS. He
pulls the phone from inside his jacket and moves away from
the mourner£ to answer it.
DAVID
David Hitchcock.

INT. CAR- CONTINUOUS

CLA:IU lllTCBCOCX (17)drives. The Jesus and Mary Chain's
"REVERENCE"BLASTS from the STEREO. She shouts into a CELL
PHdNE.
CLAIRE
David, it's Claire. Is Nate there yet?

INTERCUT
WITHDAVIDIN THESLUMBER
ROOM:
DAVID
Nope.
• •
CLAIRE
I thought he was coming in tonight, so we
could do that whole forced Christmas Eve
family thing.
DAVID
Well--

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - 7.
CONTINUED:

0 CLAIRE
Because there are some really excellent
parties that I could be going to.
DAVID
No, it's tonight. Dad's gone to the
airport to pick Nate up. And Mom's in the
kitchen making something really
complicated and resenting it.
CLAIRE
Damn. Okay, I might be a little late--
DAVID
Claire. It's one of the few times a year
we're together.
BACKTNSIDE CLAIRE'S CAR:
CLAIRE
All right, don't get all Norman Rockwell
on J~1e. I' 11 be there. I just have to droo
some stuff off at a friend's house befor~
I head over. Bye.
U She hangs up.
CLAIRE (cont'd)
Fucking boy scout.
EXT. STREETS
- CONTINUOUS
Claire's car, an older model CADILLACHEARSEpainted bright
green, ROARSdown the street.

INT. AIRPORT- A SHORT

TIMELATER
Holiday travelers cross back in forth in
front of us as we
slowly PUSH IN ON A DOORmarked "UTILITY." We begin to HEAR
muffled GROANS from. within. ··--

INT. UTILITYCLOSET- CONTINUOUS

His pants down around his ankles, Nate is.tucking Brenda as
she braces hers.~lf against a janitor's sink.
BRENDA
(breathy)
This is--really--kinda disgusting--
NATE
,/
(ditto)
Disgusting---good or--disgusting--bad?

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - 8.
CONTINUED:

0- BF.ENDA
Oh, disgusting--verv good~-
NATE
I know--you're so fucking hot--
BRENDA
That's so--sweet--
NATE
I'm a--sweet guy--
BRENDA
Fuck me--
INT. KITCHEN
- CONTINUOUS
Ruth takes ~-..POTROASTout of the oven and places it on the
counter, wiping her brow. The PHONERINGS.
RUTH
(answers)
Hello? ... This is Ruth Hitchcock ... Yes,
I'm his wife. What is this about?
l::) PUSHING IN ON HER as she gets the news:
RUTH (CONT'D)
(confused)
What?
She hurls the phone away from he~. She stands completely
still for a moment, then pushes the pot roast off the counter
onto the floor. She kicks it savagely, then starts throwing
pots and pans across the room.
ROOM
INT. SLUMBER - CONTINUOUS
Mourners stand at the casket, gazing solemnly at the woman
inside, then suddenly look up, alarmed, as we HEAR Ruth's
RACKET from the living quarters upstairs.
David smiles nervously, quickly leaves the room .
INT. KITCHEN
- CONTINUOUS ••
David enters.
DAVID
Mom, what the hell is ... ?

He stops abruptly when he sees:

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - 9.
CONTINUED:
i •

A
u HIS POV: Ruth is slumped in the corner amidst various cooking
implements and the pot roast, staring at the floor.
RUTH
There's been an accident. The new hearse
is totaled. Your father is dead.
David leans against the counter, stunned.
RUTH (cont'd)
Your father is dead and my pot roast is
ruined.
DAVID
Oh my God.
(then)
What about ... was Nate ... ?

Ruth stares at him in horror, then scrambles for the phone.

RUTH
They didn't say anything about him. Oh
God, no, not my baby--
INT. UTILITYCLOSET- MOMENTS
LATER

Nate and Brenda are locked in a sweaty, breathless, post-

coital embrace. His pants are still down ar-..iund his ankles.
BRENDA
(grabs his ass)
You carry a lot of tension in your lower
back.
NATE
(grins)
Not as much as twenty minutes ago.
BRENDA
Just so you know, ! never do this.
NATE
Oh, yeah, me neither.
They kiss. ••
NATE (cont'd)
So ... are you ever going to tell me your
name?
BRENDA
(studying him)
Probably not.

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 10_.
CONTINOED:

0 NATE
What? Why not?
BRENDA
(not unfriendly)
Because I'm a realist.
He stares at her, unsure of how to ~espond. A CELL PHONE
RINGS; Nate pulls it from inside his coat.
NATE
Probably my dad, looking for me.
(into phone)
Hey, Dad ... Oh, Dave. Merry Christmas! ...
Of course I'm okay.
(smiles at Brenda)
Couldn't be better, in fact ...
(suddenly stricken)
What?
INT. DORM
ROOM
- CONTINUOUS
Claire sits with some college students, all a couole of years
older than she is. Happy Mondays' "LOOSE FIT" plays on a
~ STEREO. A seductive young man named JORDANlights a PIPE.
'~-cc- Claire watches him warily.
CLAIRE
This is just speed, right? Promise me it
isn't crack. Because I've got to spend
tonight having Christmas dinner with my
demented family and it ·s going to be
1

weird enough without me being high on

crack.
Another student LAUGHS._Jordan shakes his head as he inhales.
JORDAN -
(holding it· in)
It's c:z:ystal meth. Makes eve:z:ything burn
just a little bit brighter, that's all.
{exhaling}
And it makes sex like, totally primal.
He smiles
takes it
at Claire and passes
and inhales.
her .
the pii,e. - A beat, then she--

_CLAIRE
Oh, well. Too late now.

_) A CELL PHONERINGS. Almost all of the students reach for

their bags.

(CONTINUED)
 SIX FEETQNPER 05/1S/2000 - 11.
CONTINUED:

CLAIRE (cont'd}
It's mine.
(into phone)
Hello? ...
(overly bright)
David, hi!
Jordan starts to kiss her neck. She pushes him away.
CU..IRE (cont'd)
So is Nate there yet?
INT. KITCHEN
- CONTINUOUS
Ruth sits at the table, catatonic. David speaks into a phone
as he cleans up the mess she caused.
DAVID
No. He's still at the airport. Claire,
~'ve got bad news ...
He closes his eyes. This sudden, unexpected responsibility is
taking its toll on him.

INT. DORM
ROOM
- CONTINUOUS
PUSH IN ONr.LAIRE'S FACE as the news sinks in. Around her,
the other students pass the pipe.
CLAIRE
Yeah, sure. Okay. I'm on my way.
She hangs up, numb. The other students continue LAUGHINGand
talking among themselves, unaware. Claire stands.
CLAIRE (cont'd)
I have to go.
JORDAN
No fucking way!
(sexy)
.. You're coming back, aren't you?
CLAIRE
(kind of giddy)
I don't think so. My father just got hit
--
by a truck and broke his neck. He's dead.
I have to go pick up my mom and take her
to the hospital to identify his body.
A beat. A couple of other students LAUGH, as if this were a
'
./
joke. Claire stares at them, then she LAUGHStoo .

(CONTINUED)
 SIX FEETUNDER 05/J.5/2000 -
CONTINUED:
...
CLAIRE (cont'd)
I'm not kidding._ This is really
happening.
The other kids STOP LAUGHING.
CLAIRE (cont'd)
(a little hysterical)
And now I'm high on crack!
JORD1'.N
Crystal.
CLJ:..IRE
Whatever! So I guess this whole hellish
experience I'm about co go through is
going to burn just a little bit brighter
now, right? Oh, good! Thank you!
She grabs her coat and exits angrily. A beat.
JORDAN
(re: pipe)
Hey, if she freaks out, nobody k..~ows
where she got this, right?
EXT. HIGHWAY
- A SHORTTIMELATER
An older, banged-up JEEP CHEROKEEROARSby beneath us.
,. NATE ( 0 . C . )
You really didn't have to do this ... I
could have just rented a car.
INT. JEEP CHEROKEE
- CONTINUOUS
'
Brenda is driving .. Nate's in the passenger seat, staring
blankly in front of him.
BRENDA
It's okay. Something tells me you're in
no shape to drive. And frankly, I'm in no
hurry to get to my family's annual
Christmas Eve massacre. •
(off his look, rattles oft,
Parents who stayed.together for "the
children," but really because they love
tormenting each other so much. Manic-
depressive brother who always chooses the
holidays to go off his medication.
Insanely competitive sister-in-law who
has to pick a fight with me every chance
she gets.
(MORE)
(CONTINUED)

.1
 SIX FEETUNDER 05/15/2000 - :.3.
CONTINUED:
BRENDA(cont'd)
...
Oh, and an ancient springer spaniel who's
completely blind and deaf and
incontinent.
(cheerful)
What about you?
Ni.TE
Actually, we're pretty normal. My morn's a
control freak. My brother, wel:, he's a
control freak, too. My sister ... well, ~
left home right after she was born, I
never really knew her that well. She's
kind of wild. Like I was.
BRENDA
(teasing)
Was?
Nate smiles faintly.
NATE
My dad really rode my ass when I was a
kid. I couldn't go rafting because he'd
just buried some girl that drowned. He
buries this dipshit loser who OD'd at a
Flock of Seagulls concert, suddenly I'm
not allowed to go to concerts for a year.
BRENDA
Your father worked in a cemetery?
NATE
Then I pu_rposefully disobey him and get a
motorcycle, and what happens? I wipe out,
the first day. Total the bike filld my leg.
And my Dad couldn't~ any more smug.
INT. HOSPITAL
ROOM
- NIGHT{1982}
NATHANIELHITCHCOCK(at 38), in a black suit, stands looking
down at us. We'r~ i~ a hosp~tal bed; we can see our RIGHT. LEG
IN TRACTION.
NATHANIEL
(Nate's VOICE) •
"Don't you know how dangerous rife is?"

- PRESENT
INT. JEEP CHEROKEE DAY - CONTINUOUS
ON NATE:
NATE
"Any one of us could go at .rn minute·."
( suddenly angry)
(MORE)
(CONTINUED)

_;
 srx FEETUNDEB 05/15/2000 - 14.
CONTINUED:
NATE (cont'd)
How could a man who was so fucking scared
of everything--who never had an accident
or even a speeding ticket in.h~s entire
fucking life--howcould he have a car
wreck? Stupid son of a bitch!
A beat.

BRENDA
Are you mad at him, or the fact that
we're all going to die?
NATE
(stares at her, with distaste)
Are you a shrink?
BRENDA
(laughs)
No. --God, no.
(then, weary)
Both my parents are.
They ~ive along in silence for a while.
BREND.A(cont'd)
(cheerful)
Well, what else do you want to talk
about? The weather? The fact we both just
fucked a total stranger? And that V.c both
lied when we said we never did that?
A beat. Nate turns THE RJ..DIOON.
INT. SLUMBER
ROOM
- CONTINUOUS
Mourners pack the room. We HEAR snippets of conversations:
" ... such a shame she didn't have one last Christmas with her
grandchildren• " ... certainly has ruined the holidays for her
family ... • We MOVE through. the mourners to DISCOVERDAVID.
-PUSH IN ON HIM slowly, as he chats sympathetically, fighting
to keep his feelings inside. Suddenly he SCREAMSas loud as
· he can. People stare at him, shocked, but he just keeps
_J SCREAMING. ..

.- S"MASH
CUT TO:
PUSH IN ON DAVID, once again smiling and chatting with
mourners; what we just saw was what's going on inside of him.

EXT. STREETS- CONTINUOUS

Claire's bright green CADILLACHfil>..RSE
speeds down the street.

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - :1..5.
CONTINUED:

0,
u RUTH
Did you know that before you were born,
funeral homes ran the ambulance business?

INT. GREEN - CONTINUOUS

HEARSE
Claire drives, chewing gum furiously. Ruth sits in the
passenger seat, scaring listlessly ou~ the window.
CLAIRE
Uh ... no.
RUTH
Hearses were the only vehicles that could
transport people lying dO"wn. There was no
medical assistance inside, either, they
were just like taxis.
CLAIRE
(at. a loss)
Wow.
RUTH
Your father used to joke about that.

u (distant)
"Just drive him around the block a few
more times and we won't need to stop at
the hospital."
CLAIRE
Uh ... you're kind of freaking me out.

RUTH
Claire, are you having sex?
CLAIRE
What?
RUTH
Or doing drugs?
CLAIRE
{freaking)
Why are you asking me this now? •
•
RUTH
Your father is dead. I can't even
remember the last time you and I talked
about a,nything important. I need to know
you're okay.
\

{CONTINUED)
 SIX FEETPNPER 05/15/2000 - :6.
CONTINUED:

CLAIRE
(chewing gum really hard)
Oh yeah. Yeah. Be.::.ieve me,. I'm okay. You
know, considering.
INT. SLUMBER
ROOM
- CONTINUOUS
We HEARLIGHT CLASSICAL MUSIC. Mourners converse, comfor~
each other. David stands to the side, trying to contain
himself. A perky JUNIOR-LEAGUERapproaches him.
JUNIOR-LEAGUER
Do you work here?
DAVID
Yes.
JUNIOR-LEAGUER
I wanted to complement you on the music.
David smiles at her benevolently. She smiles back.
JUNIOR-LEAGUER(cont'd)
(flirting)
I've been to three other funerals this
year--cancer, stroke, pediatric leukemia--
end the music is always that same sad
organ music, it reminds me of the soap
operas my- mom used to watch before I
started kindergarten, God, you're
probably too young to remember that--
DAVID'S POV, as she speaks to us directly:
JUNIOR-LEAGUER(cont'd)
--anyway, I so prefer this light
classical, you know, chamber orchestra
stuff, it '.s still spiritual, but doesn't
seem so dated,· or depressing ...
What we HEARher say is suddenly OUT OF SYNCHwith her mouth
moving; it's as if she's been badly dubbed:
JUNIOR-LEAGUER(cont'Q~
Your father is dead. Checked out. Toast.
Six feet under. You know what that means,
don't you?
ON DAVID, confused.

j · BACKON HIS POV of the Junior-Leaguer.

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - 17.
CONT'INCJEO:
.. ;

~
u JUNIOR-LEAGUER{cont'd)
(still OUT OF SYNCH)
You're in charge. This is no longer just
a job. This is your life.
This time, David actually does SCREAM. The ___
Junior-Leaguer
steps back from him, unnerved.
INT. HOSPITAL
CORRIDOR
- A SHORT
TIMELATER
Christmas MUZ~..K plays in the distance. Nate rounds a corner,
carrying his luggage; Brenda is right behind him. Nate spots:
Ruth and Claire seated against a wall. Ruth looks dazed;
Claire is chewing gum furiously and fidgeting.
NATE
Mom!
Ruth and Claire stare up at him blankly. Nate drops his bags
and kneels beside his mother.
NATE (cont'd)
Mom, I'm so sorry.
RUTH
(staring at Brenda)
Who's she?
NATE
(stands)
Oh! This is ... uh ...
(scrambling)
A friend.
BRENDA
Brenda Chenoweth. ·

NATE
Brenda. Chenoweth.
(then)
Brenda, this is my mom, Ruth Hitchcock,
and my sister Claire.
CLAIRE ••
Nate, can I talk to you?
NATE
Yeah, yeah, just a second--
(to Ruth, delicate)
Mom, have you already done the ...

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - 16.
CONTINUED:
t ;

RUTH
I can't. I've seen too manv dead oeoole
in my life. They're work. I won't- se~
your father that way. I need you to do
it.
NJ._TE
Oh.
CLAIRE
Nate, I have to talk to you, please. Now.
It's urgent.
She pulls him around the corner. Ruth stares up at Brenda.
RUTH
So how did you and my son meet?
BRENDA
{without missing a beat)
In cooking class.
AROUNDTHE CORNER, Claire backs Nate up against a wall.
CLAIRE
(whispers urgently)
I have to tell somebody. I'm tweeking.
NATE
Yeah, we're all upset--
CLAIRE
No, I'm high on crystal. I smoked some
with some friends before I got the call.
NATE
(aghast)
You did what!?
CLAIRE
Don't worry, it's the first time. But I'm
having a really bad experience, I can't
tell if it's the_ crystal or Dad being
dead, but ... I'm really scared .
.-
Nate stares at her, then grabs her by the shoulders.
NATE
You cannot do this to me right now.
CLAIRE
Don't be such a narc, we smoked pot
together at Thanksgiving--

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 19.
CONTINtraD: {2)

NATE
Look! I. have to go identify our dead
father's body! I'm sorry you're. having a
bad drug experience! But deal with ~t!
Nate walks away, leaving her shaken. She starts tapping her
front teeth with her fingernails.
INT. MORGUE
- MOMENTS
LATER
Fluorescent lights, a bank of refrigerated BODYLOCKE..~S,etc.
An ATTENDANTin a whice lab coat enters, followed bv a
nervous-looking Nate. The Attendant opens a locker,-pulls out
a SLAB on which lies a dead body covered by a SHEET, which
the Attendant pulls back. Nate tries to be strong, but
there's a sharp intake of breath.
HIS POV: NATHANIELHITCHCOCKlies on the gurney, his neck
broken, multiple lacerations on his face. Suddenly HIS EYES
POP OPEN. He smiles at us.
NATHANIEL
Well;- well . The prodigal returns.
ON NATE, stunned.
BACKON NATHANIEL, seeming to really enjoy this.
NATHANIEL(cont'd)
This is what you've been running away
from your whole life, buddy boy. Scared
the crap out of you when you were growing
up, didn't it? And you thought you could
escape, by not going into the business,
but guess what? Nobody escapes.
CLOSE ON NATE, terrified.

The Attendant stands over Nathaniel as he really is-: dead.

ATTENDANT
Well?
NATE
(a whisper) ••
Yeah. That's him.

INT, HOSPITAL
CORRIDOR
- MOMENTS
LATER
Ruth is still slumped in her chair. Claire paces manically.
1
Brenda leans against the wall, wondering what the hell she's
.: doing here. A shaken Nate rounds the corner.

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - 20.
CONTINO:ED:

NATE
Okay, let's get out of here.
RUTH
How'd he look?
NATE
Dead.
RUTH
Will there need to be a lot of
reconscruction? David's not that skilled
at the really hard stuff. Federico
usually does that, he's quite gifted--
(alarmed)
You don't think we'll have to have a
closed casket, do you? Oh dear. I would
hate to send that message ...

NATE
What message?
RUTH
That we're not equipped to handle a major
restoration, or that we're not proud of
i~ our work ...
CLAIRE
(nervously)
Mom! Can we talk about this later? We
should get Nate home, he's gotta be
exhausted. Let's go.
She grabs Ruth's hand and pulls her away down the corridor.
Nate turns to Brenda. He suddenly·u exhausted.
NATE
Thank-you. You did not have to do this.
BRENDA
Please. I'm just avoiding my own hell.
I'm a big coward.
NATE •
Me too. I don't know if I can nandle it.

BRENDA
Well, you're about to find out.
She studies him for a moment. Finally:
BRENDA{cont'd)
I wish you the best, Nate.

(CONTINUED)
 SIX FEETPNPER 05/15/2000 - 21.
CONTINUED: (2 )

She kisses his cheek, then exits. He watches her go.

EXT·. STREETS- A SHORTTIME L~eTER
Claire's green hearse speeds down the streets.
INT. GREENHEARSE
- CONTINUOUS
Claire drives, Nate is by the window. Ruth sits between them.
NATE
Claire, you're driving too fast.
CLAIRE
This isn't fast. You wanna see fast?
She speeds up significantly.
NATE
(with surprising force)
Pull over!
EXT. STREETS- CONTINUOUS
The green hearse SKIDS to a stop on the side of the road. As
Claire and Nate get out and cross around behind the vehicle
to change sides, he grabs her.
NATE
Listen, do you do a lot of drugs?
CLAIRE
What? No. And it's none of your business.
NATE
Yes, it is my business. You were driving
like a maniac, you could have gotten us
all killed.
CLAIRE
What the hell is this? You are not my
_, father.
NATE
I'm worried about you. • •
CLAIRE
(scoffs)
Oh, yeajl. Right.
(angry)
You split as soon as you could. You don't
even know me. So don't think you can
start telling me what to do.

(CONTINUED)
 $IX FEETPNPER 05/15/2000 - 2--2.
CONTINUED:

She throws the keys at him a.~d crosses around to the

passenger side.
--
INT. FUNERAL - FOYER- A SHORTTIMELATER
HOME
The viewing is over. David sits on the stairs, still in his
suit, ruminating. We HEAR FOOTSTEPSoutside the front door.
David immediately stands, buttoning his jacket, oddly formal.
Ruth and Claire enter, followed by Nate with his luggage.
DAVID
Nate.
NATE
Hey, buddy.
A beat.
DAVID
So where's Dad? Downstairs already?
NATE
No, he's still in the morgue.
DAVID
(disbelief)
You didn't bring him back with you?
RUTH
Oh, dear. That didn't even cross my mind.
We should have taken the van so we could
bring him home. I'm sorry, that was very
stupid of me.
She heads up the stairs, exhausted.
NATE
Nice going, Dave. Like she doesn't have
enough to.feel· bad about right now.
DAVID
(as if to a child)
Things have to be done. Federico is
downstairs, ready to start. Ever..r second
we wait will only make Dad's r~storation
more difficult. But you wouldn't_ know
about that, would you? Bag boy?
NATE
(stung)
I am assistant manager of organic produce
at the highest volume food co-op in
Seattle!

(CONTINUED}
-
 SIX FEETtJNDER 05/15/2000 - 23.
CONTINUED:

CJ
.
.

CLAIRE
(rolls her eyes)
Jesus. Jusc pull your dicks out and
measure them and get this over with.
She heads up the stairs.
NATE
(to David)
What were we supposed to do, jusc throw
Dad in the back of Claire's car?
DAVID
It ll a hearse!
(into phone)
Yeah, I need to schedule a removal ...
Hitchcock, William Nathaniel. Male.
Caucasian. I'll bring the paperwork.
He disappears toward the back of the building. Nate stands
there, angry and helpless. He suddenly spots:
H!S POV: The open white casket in the adjoining Slumber Room.
A beat, then Nate starts toward it.
(~
,_j INT. SLUMBER
ROOM
- CONTINUOUS
FROMINSIDE THE CASKET: Nate looks do'W!lat us, troubled.
INT. CLAIRE'SBEDROOM
- MOMENTS
LATER
CLOSE ON A TV SCREEN: Some cheesy CHRISTMASVARIETY SPECIAL.
Claire sits on her bed, her knees up under her chin, hugging
herself as if cold. She watches the TV, her face blank, numb.
Ruth enters, carrying a sandwich on a plate.
RUTH
I made you a bite to eat.
CLAIRE
!'m not hungry.
RUTH
We have to eat, Claire. We didn'e -
die.
She puts the plate on the bed and exits. Claire's eyes never
leave the TV.
 SIX FEETUNDER 05/15/2000 - 24.

INT. MORGUE
- LATER
The AUDIO from the Christmas Soecial CONTINUESas the morcue
Attendant enters, followed by David, rolling a collaosible
STRETCHERwith a zippered BODYBAG on it. The Attendant opens
the locker, pulls out the slab with Nathaniel on it, and
exits. David hesitates, then removes the sheet from his
father's body. ~rying not to look at his face, he pulls ~he
stretcher next to the slab and UNZIPS the body bag. He pulls
a couple of LATEX.GLOVESfrom his pocket, puts them o~ and
goes about the work of getting his father's body into ~he bag
and onto the stretcher.
FADE TO BLACK.

SET - PAY {BLACK

INT. COMMERCIAL & WHITE}

PERKY COMMERCIAL MUSIC. The same MODELfrom the beginning

gestures toward several industrial-looking PLASTIC CONTAINERS
OF EMBALMING FLUID, artfully arranged on a display .
.ANNOUNCER (V. 0. )
Introducing new DynaTone, the choice of
top embalmers! DynaTone is guaranteed to
leave skin texture bouncy and flexible,
resulting in the velvety look and feel of
actual living tissue--
The commercial ends abruptly, as if someone switched the TV
off. MUSIC ENDS and the SCREENGOES BLACK.
We HEAR ETHEREAL, slightly OMINOUSMUSIC.
FADE IN:

INT., FUNERAL
HOME
- CORRIDOR
OUTSIDE
PREPROOM
- NIGHT
MUSIC CONTINUESas we MOVESLOWLY( from a LOWANGLE) down a
white-tiled HALLWAY,starkly lit by harsh FLUORESCENT
LIGHT,
toward a DOORon which is stenciled:
PREPARATION ROOM
Authorized Personnel Only

As we MOVECLOSER to the door, -

we INTERCUT :-&ith FLASHES of:

INT. PREPROOM- CONTINUOUS

CLOSE on a MAN'S HANDS, pulling on LATEX GLOVES.
CLOSE on the GLOVEDHANDS as they arrange gleaming, surgical
instruments on a tray.

(CONTINUED)
 S'IXFEETUNDER 05/15/2000 - 25.

...
CONTINU'ED:

CLOSE on a GLOVEDH.'?!.NDholding a SCALPELas it MOVESalong

the raised, rounded edge of a fiberglass PP.EPAR.~TION TABLE,
upon which lies a male CORPSE. We can't see his face, but his
hair and coloring is the same as Nathaniel Hitchcock's.
CLOSE on a DRAIN between the corpse's FEET: with~n a steadv
FLOWOF WATERwe see the diluted yet U..'"lIIlistakable crimson ~f
human BLOODreach the drain.
CLOSE on the GLOVEDHANDS, massaging the body to stimulate
circulation, artificial as it is.

CLOSE on the GLOVEDHANDSpreparing a CLEARPLASTIC TUBE with

a frighteningly LONGNEEDLE for insertion into the corpse.
CLOSE on the GLOVEDHANDS as they flick a SWITCHon some sort
of INDUSTRIAL PUMP. We HEARMACHINERY REVVINGUP.
CLOSE on the CLEAR PLASTIC TUBE, MOVINGwith the YELLOWISH
EMBALMING FLUID that's pumping through it.

INT. CORRIDOR
QI,JTSIDE
PREPROOM
- CONTINUOUS
STILL MOVINGtoward the DOOR, which OPENS to reveal:
U IN SLOWMOTION: NATHANIELHITCHCOCK(at 29) stands at the
preparation table, wearing casual early-seventies clothing
and a porkpie hat. He lights ·a CIGARETTE, settles into a
chair with a magazine, propping his feet up on the table
right next to the corpse's feet. A RECORD?LAYER is on a cart
next to the table. Nathaniel spots us and smiles.
A WIDER ANGLE (REAL TIME): E~GHT-YEAR-OLDNATE stands at the
door, solemnly watching his father work. The ETHEREAL,
OMINOUSMUSIC has been abruptly replaced by Sarah Vaughn
SINGING "NICE WORKIF YOU CAN GET IT."
NATHANIEL
Hey there, buddy boy. Come on in.
- Nate doesn't move.
NATHANIEL{cont'd)

Nate approaches
Come on. Say hello to Mr. Bloornb~rg.
·t.he preparation -
tabl_e ten ta ti vely.
NATHANIEL(cont'd)
Nothing to be afraid of, Nate. Mr.
Bloomberg's dead. I'm getting him ready
so his family can see him one last time,
and say goodbye to him. It'll make them
-feel better.

(CONTINOED)
 -------·-
-------- --. -------:--------~

SIX FEETUNDER 05/15/2000 - 26.

CONTINOED:

0- Nate isn't listening, he's staring at ~.r. Bloornberg's OPEN

EYES. An exuberant FOUR-YEAR-OLDDAVID suddenly rushes in,
holding a naked G.I. JOE, pointing it like a gun.

DAVID
Bang!
NATF..ANIE!..
(clutches chest)
Oh! You got me!
David LAUGHSgleefully, points the G.I. Joe at Nate.
DAVID
Bang! Nate! Bang!
But Nate just keeps staring at Mr. Bloomberg. Impatient,
David runs oV-er. to him. Too short to see over the edge of the
table, he stares at Nate, wondering what his brother finds so
fascinating. He starts JUMPING up and down to get a better
look. Nathaniel offers a LATEX GLOVEto Nate.
NATHANIEL
You can touch him if your wear one of
these. Believe me, he won't care.
Nate stares at his father, turns and runs out of the room.
David watches him go, mystified. Nathaniel just CHUCKLES
quietly and takes a drag off his cigarette.
SM.~SH CUT -TO :

INT. PREPROOM
- PRESENT
DAY
CLOSE ON ADULTNATE, expressionless, looking down at:
NATHANIEL'S FACE, dead. He's lying on A NEWERPREPARATION
TABLE, tubes inserted, embalming fluid pumping in. HIP HOP
MUSIC plays on a BOOMBOX nearby ...
A WIDER ANGLE. Nate stands in the doorway, staring ac--his
dead father's face, uncomfortable. A diminutive MANenters
from an adjoining room, wearing a white lab coat over hip
clothes, latex gloves, a surgical mask, and.a Plexiglas face
shield. He's carrying a POLAROIDCAMERA, ~ich he focuses on
Nathaniel's face and snaps a shot. As he pulls the
undeveloped picture out, he notices Nate standing there.
MAN
Nate!

(CONTINUED)
 SIX FEETUND;EB 05/15/2000 - 27.
CONT'INUED:

The Man removes the face shield and pulls down his surgical
mask. This is FEDERXCO(mid 20s), Hispanic and constantly
cheerful. He grabs Nate's hand and shakes i~ vigorously.
NATE
Hey, Rico.
FEDERICO
Really sorry about your dad. But when
your time's up, it's up. Right?
David enters, with a clipboard, in work mode.
DAVID
(re: Nathaniel)
How's he doing?
FEDERICO
Took him a while to drain. I just started
juicing him. So far so good.
DAVID
I really appreciate your corning in on
Christmas Eve, Federico.
(0 Federico starts massaging Nathaniel's limbs.
FEDERICO
Hey. It's the least I could do for Mister
H., after everything he did for me. And
I'm going to be up all night anyway,
putting together all the useless crap
Santa Claus is bringing my kid.
·David pulls on some latex gloves and massages Nathaniel's
limbs along with Federico. Nate watches, uncomfortable.
DAVID
(to Nate}
You need something?
NATE
Uh, no. I just--
David's CELL PHONERINGS. ••
DAVID
(answers)
David Hitchcock ... Hold just a second,
please:
He quickly moves past Nate into the corridor and shuts the
door behind him.
 SIX FEETUNDER 05/15/2000 - 2.8.

0 INT. KE!TE'SAPARTMENT
- CONTINUOUS
A cluttered but tasteful apartment. A table set :or two.
KEITH CHARLES (30s), Af::-ican America.Ii, is on the phone. He
wears sweaty athletic clothes, having just worked out~
KEITH
Just want to remind you, don't eat too
much with your family tonight, 'cause I'm
making something special for dessert ...
INTERCUT WITHDAVIDIN THE OUTSID~THE~RE~ROOM:
CORRIDOR
DAVID
Keith, I'm sorry. I can't make it.
KEITH
(not happy about this)
Why not?
DAVID
Because my father was just killed in a
ca:::- accident.
KEITH
Oh, man. Shit. Okay, what can I do?
DAVID
Nothing, thanks ... but I have to stay
here--
KEITH
Of course. David, I'm so sorry. Listen,
if you need anything, anything, do not
hesitate to call me--
DAVID
Sure.
KEITH
I mean it. Don't pull this "I-can-carry-
the-whole-world-on-my-shoulders" thing.
You need people. You~ people. You do
not have to go through this alon~ .
•
DAVID
I gotta go.
He hangs up, but just stands there.
 SIX FEETPNPEB 05/15/2000 - .., 0
w _,_ •

.. ;

INT. PREPROOM
- CONTINUOUS
CLOSE ON a TILED WALL, MOVINGover POLARO!DS, taoed to the
wall in PAIRS. Shots of CORPSES' FACES, BEFORE AFTER and
restoration. A GLOVEDHANDindicates two pairs of Polaroids,
both with particularly gruesome BEFORESHOTS.
FEDERICO (0. C.)
This is the one I'm most proud of. The
husband got fired, flipped out, shot the
wife point blank in the head, then shot
himself in the mouth.
(indicates "after" shots)
And look at this, huh? Like the bride and
groom on top of a cake.
Nate stares, skeeved. Federico chatters on, oblivious.
FEDERICO (cont'd)
Buried 'em in the same casket, too.
(spots something)
Actually .t.hll is my best work ...
ON THE WALL: Above the Polaroids of corpses is a FRAMED
DEPARTMENT STORE PORTRAITof a pretty Hispanic WOMAN in her
20s, holding a TODDLER.Federico's GLOVEDHANDreaches in ...
Nate stands with Federico as he takes the portrait off the
wall, relieved to be focusing on less gruesome fare.
NATE
Wait a minute. This kid was just born
like last month.
FEDERICO
He'll be four fucking years old in April,
can you believe it? Oh, and Vanessa's
pregnant again.
NATE
You stud.
David watches from the doorway.
FEDERICO ••
(laughs)
It wasn't planned, but you know what?
(re: portrait)
Neither was this one, and he's the best
thing that ever happened to me.
DAVID'S POV: Federico brings the portrait up to his lips and
kisses it tenderly, then hangs it back on the wall.

(CONTINUED)

--
 SIX FEETUNDEB 05/15/2000 - 30.
CONTINUED:

DAVID
(sternly)
Federico, keep an eye on those chemicals,
we don't want him to burn.
Federico hastens over to the table to check on Nathaniel.
INT. KITCHEN
- MOMENTS
L.~TER
Claire paces, scratching her scalp. Nate enters.
NATE
Where ' s Mom?
CLAIRE
She went to bed.
NATE
Was she feeling any better?

CLAIRE
Yeah, Nate, she was on top of the goddamn
world.
She suddenly starts to cry. Nate awkwardly puts his arm
around her. She quickly shakes it off.
CLAIRE (cont'd)
Don't.
(then)
Where's David?
NATE
He's downstairs. Working.
CLAIRE
(skeeved)
On Dad? .
NATE
No, Rico's doing that, but David's
keeping an eye on him. Then he's going
over all the pre-arrangements Dad made.
He said not to wait up for him, we should
just go to bed. .-
CLAIRE
As if that were a viable option.
Nate notices a POST-IT on the fridge, leans in to read it.
·,
\
/ CLOSE on the POST-IT. In tiny, meticulous writing:

(CONTINUED)
--
 SIX FEETUNDER 05/15/2000 - 31.
CONTINOED:
; ;

OJ
_canteloupe
half & half
Soy stuff for Nate

NATE
Want to go to the grocery store?
CLAIRE
(already grabbing her keys)
Anything to get out of here.
EXT. STREETS- A SHORT
TIMELATER
We HEAR Sheep on Drugs ' "MOTORBIKE" as the GREE..'l\lHEA.'P_.SEmoves
slowly down the near-e."!lpty street.
NATE (0.C.)
Is this the best music to listen to when
you're having a bad drug experience?
INT. GREEN
HEARSE
- CONTINUOUS
CLAIRE
I'm not having a bad drug experience. I'm
having a psychotic break. Why are you
driving like a grandmother?
NATE
Uh, maybe because I'm feeling a little
extra cautious, seeing how our dad just
·got mangled in a car accident?

Nate turns the MUSIC OFF. A beat.

CLAIRE
How· long is it going to be like this?
NATE
I have no idea, I_~_ye never done crystal.
., CLAIRE
I'm not talking about the crystal. How
long is it going to be like~? It's
like everything has been replaeed by
like·; some weird, empty version of
itself. _I feel like I'm in the
holographic museum of my life.
NATE
It's called shock. It protects us from
what we're really feeling.
(MORE)

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 32.
CONTINUED:
i i
NATE ( cont 'd)
(off her terrified look}
Sorry.
CLAIRE
Oh my God, whac if this ll what's real,
this hollow, nothing version of realitv?
And what if what we think is reality, -
where everything does seem real, is
really just an illusion?
(then)
Or what if we're like, in hell? And part
of the whole deal is that you don't~
you're in hell?
(then, spiraling)
But if they find out you know, they just
crank up the intensity?
NATE
(stares at her)
Remind me to never do drugs ever again.
INT. GROCERY
STORE- A SHORT
TIME LATER
We HEAR CHRISTMASMUZAK.PANNINGPAST AISLES, we see a gangly
teenage CLERKwearing a Santa hat as he restocks shelves; in
the next aisle, Claire tosses bottles of GATORADEinto a
shopping cart. In the produce section, Nate is thumping
canteloupes when his CELL PHONERINGS.
NATE
(answers)
Hello?

EXT, BEVERLY
HILLSHOME
- CONTINUOUS
A contemporary home, obviously quite expensive. A stylish
WREATH hangs on the front door. Brenda paces in front of it,
sipping from a glass of wine, speaking into her CELL PHONE.
From inside the h9u~e, we HEARpeople ARGUING.
BRENDA
How are your coping skills?
., .
NATE (O.C.)
(over phone line, pleased)
Hey! God, I'm glad you called. ••

Why?

--
I-
 SIX FEETUNDER 05/15/2000 - 33.
; ..

INTERCUT
WITHNATE AT THEGROCERY
STORE:
NA'J;'E
Because ... ! don't know. You, uh ... you
have a ... calming effect on me.
BRENDA
Uh-huh. Are you familiar with the
psychological te:::-m "projection?"
NATE
Are you familiar with the psychological
term "blow me?"
Brenda LAUGHS.
NATE (cont'd)
(seductive)
Come on. You grew up with all that
psychobabble, you rebelled against it
every chance you got. Still do. And that:
includes having sex with strangers in
closets at airports.
BRENDA
~
Oh, you think you're not easy to read?
\_~✓.) Coasting by on your looks and charm isn't
working like it used to, but you have no
idea what else to do, because you've
never had to learn. Any woman with half a
brain looks at a guy like you and thinks,
good for a hot fuck, but believe me.
That's .it_ .
. She switches off the phone, angry, then immediately regrets
it.
AT THESUPERMARKET,
Nate stands there, deflated. A shaky
Claire approaches.
CLAIRE
Can we leave? I really need to take a
shower.

(snaps).
NATE --
Jesus Christ·. Am I not allowed to have
even a single moment to myself?
Rage flashes across Claire's face. She grabs a canteloupe and
hurls it onto the floor, then just stands there, shaking.
She's in trouble, and Nate sees it.

(CONTINUED)

--
 SIX FEETUNDER 05/15/200-0 - 34.
CONTINUED:

u
.
. NATE (cont'd)
Okay. What can I do?
·cLAIRE
(losing it)
Nothing. Nobody can do anything.
She starts to cry, which only makes her angrier. Nate stands
there, waiting. Finally, she hugs him, and allows him to
comfort her. The Clerk approaches.
STORE M.?;NAGER
You'll have to pay for that canteloupe.
CLAIRE
( through tears )
Fuck off.
FADE TO BLACK.
INT. COMMERCIAL
SET - DAY(BLACK
& WHITEl

PERKYCOMMERCIALMUSIC. The MODELgestures toward hundreds of

ROUNDMETALTINS stacked in a pyramid.
ANNOUNCER (V.O.)
Introducing new Wound Filler Deluxe multi-
purpose cosmetic molding putty, m)w
faster-setting and self-sealing, to help
make masking unsightly wounds a breeze--
The commercial ends abruptly, as if someone switched the TV
·off. MUSIC ENDS and the SCREENGOES BLACK.
We HEAR SOUL COUGHING's "SCREENWRITER'SBLUES."
SOUL COUGHING
(on radio)
IT'S FIVE A ..M .... AND YOUARE LISTENING
TO LOS ANGELES.. .
FADE IN:
INT. CAR- EARLY
MORNING
DRIVER'S POV: We're on a deserted
-·
FREEWAYat dawn, MOVING
UNNATURALLY SLOW. A CAR in an adjacent lane SPEEDS past us,
then another. In the distance, a BUS appears, DRIVING the
wrong way, STRAIGHTTOWARDUS, its HEADLIGHTSON.
SMASHCUT TO:

--
 SIX FEETUNDER 05/15/2000 - 35.

INT. NATE'SOLDROOM
- EARLY
MORNING
0 FROMOVERHEAD:Nate lies sleeping, then nis eyes pop open.
"SCREENWRITER' S BLUES" plays on an -~ CLOCRRADIO on the
nightstand. He hits a button on it and the MUSIC ENDS. He
just lies there. From another room, we HEA.~:
RUTH (O.C. l
You want some more coffee?
CLAIRE (O.C.)
(quickly)
No!
Nate SIGHS and gets out of bed.
INT. KITCHEN
- CONTINUOUS
Claire sits at the table, picking at her breakfast. Ruth is
washing dishes at the sink.
CLAIRE
Mom, remember that stuffed dog I used to
have, and I dragged it around until its
ears wore off, and you made new ears out
of a dish towel, and I hated that dog
after that, and I threw it up on the
roof?
RUTH
No.
Nate enters, groggy.
CLAIRE
And then I wanted it back and begged Dad
to go get it, and he said no, if I really
wanted it I never should have thrown_it
up there in the first place.
RUTH
Your father did so many wonderful things
for you, and that's all you can think of
right now?
••
CLAIRE
What? I just remembered it.
RUTH
(yells)
He was a good man!
Embarrassed, she wipes her hands and leaves.

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - 36.
CONTINUED:

0 I'm going
NATE
running.

INT . .PREP ROOM- CONTINUOUS

CLOSE on a ROUND METALTIN marked "WOUNDFl'.LLER." A M."A.N'S
HANDin surgical gloves open the ~in, and, using a plastic
applicator, scoop out a bit of flesh-colored, waxy goo. We
FOLLOWTHE HANDto the now-embalmed Nathaniel Hitchcock's
nearly colorless face, as.the hand works the cosmetic wax
into the lacera~ions on his cheek.
NATHANIEL(O.C.)
oh·, no. You' re doing me?
David sits next to the prep table, wearing a white lab coat,
latex gloves, a surgical mask, and a Plexiglas face shield.
He's working on the face of his father's corpse, which lays
on the prep table. Oddly, a fully dressed Nathaniel also
stands behind David, looking over his shoulder.
NATHANIEL(cont'd)
You're the worse one we've got.
DAVID
(drily)
0 Thanks, Dad.
NATHA."'JIEL
Where's Federico?
DAVID
It's Christmas morning. He's with his
wife and kids. He'll be in later.
NATHANIEL
Couldn't this wait? I don't want you
ruining my face.
DAVID
Little late for that.
NATHANIEL
Not funny.

I need.to
DAVID
·

stay busy right now.

--
NATHANIEL
So reorganize some files. Come up with a
new bookkeeping program. That's what
you're good at. You were never really cut
out for this stuff.

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - 37.
CONTINUED:

0 DAVID
I know. And what did I do with my life? I
went to school to learn exactly how to do
this stuff. Other kids my age we~e going
to frat parties, I was draining corpses
and refashioning severed ears out o: wax.
NATHANIEL
Thank God I didn't lose an ear. I can
only imagine what you'd come up with.
DAVID
And I did i~ all for you. Because I knew
how much it hurt you when Nate refused to
go into the business.
Federico enters, unnoticed by David.
FEDERICO'S POV: David sits, working on a very dead Natha~iel.
There is no other Nathaniel anywhere in sight.
DAVID (cont'd)
I dia it to make you happy, you
ungrateful son of a bitch.
U A beat.
FEDERICO
Uhm, Dave?
David looks up.
FEDERICO {cont'd)
Just wanted to let you know I was here.

EXT.CEMETERY
- A SHORT
TIMELATER
MOVINGpast row after row of HEADSTONES.Nate comes into
view, running fast and hard.
CLOSE ON NATE, his face red and sweaty.

EXT. PASADENA
STREET
- LATER
We're on the same street lined with small~usinesses we saw
at the very beginning. _Exhausted, Nate walks along the
deserted sidewalk. He glances down the street at:
NATE'S POV: A BUS heads toward us, at high speed.
·'\, Nate starts running in· place, watching the bus as it
approaches ... then he suddenly steps out into the street.

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 38.
CONTINUED:
; i

The bus's TIRES SQUEAL, but it's going too fast and it SLAMS
0- INTO NATE, then SKIDS to a stop. Nate c=umples to the ground.
Horrified, the Driver disembarks and approaches Nate.
HIS POV: Nate lies beneath us on the pavement, BLOODslowly
spreading around his head.
NATE'S POV: The Driver stands above us, but we FLOATpast him
toward the sky .. We HEARWINDRUSHINGas we're sucked into a
DARI< TUNNEL. A PATCHOF LIGHT appea:?:""sir.. the distance. We
MOVE toward it steadily, suddenly much FASTER, and before we
know it, we're in ...
INT. MORGUE
- CONTINUOUS
All the body lockers are open. A naked Nathaniel sits with a
few othe:?:" naked DEAD PEOPLE. They're playing cards. He looks
over at us and smiles.
NATHANIEL
We'll deal you in next hand.
SMASHCUT TO:
EXT. PASADENA
STREET - CONTINUOUS
~ Nate stands on the sidewalk, looking down the street. There's
\~J
no bus in sight. Nate pulls his CEL~ PHONEfrom inside his
windbreaker.
CLOSE on the ~ell phone, as he PUSHES the BUTTONS* 6, 9.
Nate holds the phone to his ear. We HEAR:
RECORDED VOICE
(over phone line}
Your custom calling service is working.
However, this feature cannot be used with
the numb~r you are trying to reach--
Nate sighs and switches the phone off. He looks up at the
sky. We HEAR LIGHT CLASSICALMO'SIC.
INT. SLtJMEER - THEFOLLOWING
ROOM DAY
We're looking up at a CEILING painted to rt:iemble a blue SKY,
dotted with fluffy white CLOUDS. PAN DOWNto·Nathaniel lying
in his casket, looking.pink and well-rested. Family and
friends file by to pay their respects. DAVID stands to the
side, overseeing. He greets people kindly, professionally.
DAVID
Thank you for coming ... thank you so much
for the beautiful flowers ...

{CONTINUED)
--
 SIX FEETUNDER 05/15/2000 - 39.
CONTINUED:

LARGEWOMAN
He looks just like he's sleeping.
DAVID
Yes, he does, doesn': he?
LARGE WOM.llli
Your father performed miracles on my aunt
Shirley. Took ten years off her.
(re: Nathaniel)
He looks his age though.
ON NATE M"D CLAIRE, seated on a couch.
CLAIRE
I'm about to jump out of my skin.
NATE
Don't, because I'm just barely holding it
together. Are you still high?
CLAIRE
I can't tell. Am I sweating?

NATE
I know I am.
CLAIRE
This is too fucking weird. It's been
three days, and I'm still trapped in
zombie world.
NATE
Yeah, this is all happening to you.
CLAIRE
(stung)
Fuck off.
NATE
Sorry, but you're not the only one who
wasn't prepared for this. I came home,
expecting to sleep late and chow down on
mom's cooking for six days. And now I
find myself feeling like I'm not" even a
part of this family. Or_ .eDY family ...
(genuine)
My life is totally fucked up, Claire.
CLAIRE
At least you got out of .here.
J

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000~- 40.
CONTINUED: (2 )
; ;

NATE
0 I live in a shitty apartment, which was
supposed to be tempora:-y. I work at a job
which was also supposed to be temporary,
until I figured out what I really wanted
to do with my life, which apparen~ly is
nothing. I have lots of sex but I've
never had a relationship last more than a
couple of months. I don't even have the
self-discipline to floss daily. I've had
four root canals. Four! I'm going to one
of those losers who ends up on his
deathbed saying, "Where'd my life go?"
CLAIRE
(softly)
No you won't.
{then)
You'll be saying, "Where the hell' is the
morphine?"
(off his look)
Just trying to cheer you up.
NATE
I've spent my whole fucking life being
cheerful.
The LARGE WOMAN
who spoke to David. earlier approaches them.
LA.'P..GEWOMAN
I'm sorry about your father ... but he's
in a much better place now.
NATE
You are so right about that.

INT. RUTHANDNATHANIEL'S
BEDROOM
- CONTINUOUS
Ruth stands, looking at herself in a MIRRORover her dresser,
buttoning up a black dress. She glances down at a pair of
CUFFLINKS on the dresser's surface. She picks up one of the
cufflinks and stares at it, her face blank. IN THE MIRRORwe
see Nathaniel sitting on the edge of the bed, watching her .
NATHANIEL ••
I know, Ruth.
Ruth glances at his reflection, uneasy. She puts the cufflink
down.
NATHANIEL {cont'd)
I see what I couldn't see when I was
alive. Or didn't want to.

{CONTINUED)
 SIX FEETUN'OEB 05/15/2000 - 41.
CONTINUED:
. ;

Ruth shuts her eyes.

NATHANIEL(cont'd)
I know everything. -
Ruth opens her eyes. Nathaniel still watches her, smiling.
RUTH
(on the verge of tears)
God damn it.
She turns and leaves the room.
INT. SLUMBER
ROOM
- CONTINUOUS
David oversees the viewing, his face a mask of benevolence
and understanding, until something catches his eye:
DAVID'S POV: Keith Charles walks toward us, wearing a
POLICEMAN'S UNIFORM.
David is not happy to see him.
KEITH
Hey, buddy--
DAVID
· (hushed)
What are you doing here?
KEITH
I just got off duty, I came to pay my
respects to your father.
DAVID
(an edge)
You've never evep met my father.
Keith stares at him.
KEITH
_, . (an edge of his own)
Exactly. And you've met my parents how
many times now? Christ, we spent the
weekend at their house-- ••
David pulls Keith aside.
DAVID
Don't do this to me, Keith. This is not
your high school reunion, this is not the
time to be political--

(CONTINUED)
--
 SIX FEETUNDER 05/15/2000 - 42.
CONTINUED:

KEITH
You think that's why I'm here? To be
political?
DAVID
Keep your voice down!
KEITH
What is this? You can fuck me, but I
can't be a shoulder for you to cry on?
DAVID
I'm not crying.
KEITH
So all that talk about wanting a
relationsh~p, and kids--this is just sex
to you? Because I want more than that.
And I thought you did too.
DAVID
Jesus, do we really have to have this
conversation~?
(then)
Shit, here comes my mother.
Ruth approaches them.
RUTH
I'm so tired.
DAVID
I know, mom. It's exhausting.
An awkward pause. Ruth eyes Keith in his policeman's uniform.
RUTH
Is something wrong?
DAVID
No! Nothing's wrong. This is Keith
Charles. He's a friend of mine. He came
to pay his respects to Dad.
KEITH
I'm glad to finally meet you, Mrs. --
'Hitchcock. I just wish it wasn't under
these circumstances.
RUTH
(to David)
You're friends with a cop?

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 43.
CONTINUED: ( 2)

0 We play
DAVID
racquetball together.
RUTH
Oh.
(to Keith)
Nice to meet you.
( to David)
Take me over to your father now.
David offers Ruth his arm and leads her over to the casket.
ON NATE AND CLAIRE across the room.
CLA:RE
Who's that cop?
NATE
This is so weird. You know, North America
is the only place in the world where they
do this whole open casket thing.
CLAIRE
(stares at him)
Huh. Today's fun fact.
~ ON DAVID AND RUTH, standing at the casket. She holds on to
David tightly as she looks down ·at Nathaniel. Her face
crumples and she stares to cry. David gently guides her off
through a drape, into a another room.
ON NATE J>...ND
CLAIRE, watching .
NATE
What, she's sad, so he has to get her out
of sight?
CLAIRE
They always do that. The minute somebody.
starts to lose it, they take them off
into that· room. It·-makes all the other
people uncomfortable, I guess.
NATE
{angry) • •
This i.s not about the other people!
CLAIRE
Volume.

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 44.
CONTINUED: (3 l
. ;

GD- NATE
When I went backpacking ~hrough Europe,
after I quit school, I went to this
island off the coast of Si~ily called
Stromboli. And on the boat over, there
was this pine box, somebody who had died
who was being returned to the island to
be buried there.
EXT. STROMBOLIEEACE - DAY (1987l
A stretch of BLACK SAND. A hand=ul of OLD SICILIAN MEN AND
WO:MEN,all dressed in black, stand looking out to sea.
NATE (V.O.)
The beaches were black, because the
island was a volcano. ~twas kind of
weird, but ... beau~iful.
A moderate-sized cabin cruiser is moored a couple of hundred
feet off the beach. A couple of men are rowing a ~owboat with
the COFFIN in it toward the beach.
NATE (V.O.) (cont'd)
And these old Sicilians were waiting
there ...
CLOSE ON THE SICILIANS, their ancient faces like crinkled
paper lined with age and experience.
NATE (V.O.J (cont'd)
... dressed all in black, on that black
beach, and I remember thinking, "Wow,
this is so cinematic ... "
The rowboat reaches the beach and the rowers drag the coffin
onto the sand. The old Sicilian women hurl themselves onto it
and start CRYING and SCREAMING.The old Sicilian men look on,
stone-faced.
NATE (V.O.} (cont'd)
And when they got the coffin to the
beach, those women just went apeshit.
Screaming, throwing themselves on it,
beating their chests, tearing a-t•their
hair, making animal noiaes. It was so ...
22-YEAR-OLD NATE watches from the deck of the cabin cruiser.
NATE (V.O.) (cont'd)
... so .ua,l. I mean, I'd been around
'i
J
funerals my whole life, but I had never
seen such ... grief.

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 45.
CONTINUED:
,· ..

NATE'S POV: Across the water, on the beach, the women

continue carrying on.
NATE (V.O.) (cont'd)
And at the time, it really made me
uncomfortable. But now I think it was
probably so much more healthy than ...
INT. SLUMBER
ROOM
- PRESENT
DAY

Nate and Claire, on the couch, in the midst of the viewing.

NATE
(gestures)
... this.
A beat.
CLAIRE
(oblivious)
That cop is cute.
Nate gets up.
INT. SIDE ROOM
- CONTINUOUS
~ Ruth sits on a couch, crying. David sits next to her, holding
a box of Kleenex.
RUTH
Oh, David. David.
DAVID
I know, Mom. It's going to be okay, it
just takes time.
RUTH
I've done a terrible, terrible thing.
DAVID
What?
RUTH
I've done a terrible thing.
• •
Nate enters.
NATE
How's she doing?
DAVID
She's fine.

(CONTINUED)

--
 SIX FEETUNDER osn ..s 12000 -- 46.
CONTINUED:

RUTH
{breaking down)
I'm not fine! I'm a whore! I was
unfaithful to your father! For years!
A beat. Nate and David are speechless.
RUTH (cont'd)
And now he knows! He knows!
NATE
Uh ...
RUTH
(the floodgates open)
I met a man at church, once when your
father didn't come wi~h me ...
NATE
Mom, it's okay.
RUTH
And he invited me for coffee, and he said
he liked my hair--he's a hairdresser, a
widower, well, they divorced before she
died, so technically I guess he's
divorced--
DAVID
This is really not the time--
NATE
Maybe she needs to just get this out.
RUTH
--and he invited me to accompany him on a
hike, + didn't even have the right shoes,
I wore sandals--
DAVID
(to Nate, overlapping)
Yeah, well, I don't want to hear it.
RUTH
--I used to love hiking when I was
younger, and being outdoors--I always
wanted to take you.kids camping but your
father would never leave the business ...
NATE
{to David}
Go back out. I'll stay here with her.

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 47.
CONTINUED: ( 2)

0 DAVID
(an edge)
Wnat are you, a priest?
RUTH
Well, I can tell you, I went camping with
this man from church. Several-times. Told
your father I was visiting my sister,
which, if he'd ever thought to call--
DAVID
( to Ruth)
Can you even begin to fathom the
impropriety of this? Your husband is
lying in a casket out there!
NATE
(angry)
David, she's grief-stricken, okay? Fuck
propriety(
DAVID
(angrier)
Fuck propriety? Fuck you!
He storms out. Ruth breaks down again. Nate comforts her.
INT. SLUMBER
ROOM
- CONTINUOUS
Claire stands, watching:
HER POV: Keith stands at the casket, studying Nathaniel's
face.
Claire takes a breath, approaches him.
CLAIRE.
Did yo~ know him?
KEITH
No ... you?
CLAIRE
He's my father.
••
KE;ITH
You're Claire?
CLAIRE
(thrown)
Uh ... yeah?

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 48.
CONTINUED:
...
KEITH
Keith Charles. I'm a friend of your
brother's.
CLAIRE
Of Nate's'?
KEITH
No. David.
CLAIRE
(baffled)
David is friends with a cop?
A beat.
KEITH
We play racquetball together.
CLAIRE
David plays racquetball together.
David suddenly approaches, agitated.
DAVID
{to Claire)
0 Excuse us.
He pulls Keith aside.
DAVID (cont'd)
You want me to cry on your shoulder?
Fine. My mother just confessed she was
having an affair.
KEITH
Wow.
DAVID
Yeah, with some hairdresser! Who likes to
hike! And now fucking Nate is in there,
playing Mister Sensitive with her, while
her dead husband lies in the next room.
KEITH ••
Okay, just breathe. You're going to
survive this.

(CONTINUED)

--
 SIX FEETUNDER 05il.5/20vv - -:;;.
CONTINUED: ( 2)

-~
\_____) DAVID
Damn straight I'm going to survive this.
I'll be the strong one, che stable one,
the dependable one, because that's what I
do. And everybody around me will fall
apart, because that's what~ do.
KEITH
(after a beat)
Don't you get exhausted, being so hard on
everybody? And yourself?
DAVID
Oh, shut up.-She met him at church!
KEITH
(smiles)
You met~ at church.
David stares at Keith, unable to think of a response.
ON CLAIRE, watching them.
HER POV: David finally smiles, even starts to laugh. Keith
smiles too, puts his hand on David's shoulder and leans into
,,..,, him. It's a comfortable, intimate moment.
\ ...__...)
ON CLAIRE, getting it.

INT. SIDE ROOM

- CONTINUOUS
Nate sits next to Ruth, his arm around her as she cries.
RUTH
These last few years, your father has
been so, so distant, you know how he
retreats inside himself sometimes? Well,
it's like he was living there twenty-four
hours a day.
-NATE
Yeah ...
RUTH
I didn't even realize how lonel¥ .r was ...
or how long it had been since a man
touched me like . that ...
NATE
(uncomfortable)
Well, loneliness is a terrible thing.

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 50.
CONTINUED:
; t

0- RUTH
And now your father sees me, like God
sees me, and he knows everyching. I'm so
ashamed.
NATE
You didn't do it to hurt anybody. You
were lonely. I'm sure Dad forgives you.
She looks up ac him, scricken.
RUTH
And God doesn't?
NATE
Oh, yeah, I'm sure he forgives you too.
She starts crying again. He wraps his arms around her and
rocks her.
NATE (cont'd)
It's okay. Everybody forgives everybody.
For everything.
His CELL PHONERINGS. He attempts to loosen his embrace, but
Ruth clings to him. He hugs her even tighter, as his CELL
PHONEcontinues to ring.

INT. BEVERLY
HILLSHOME
- CONTINUOUS
A state-of-the-art designer kitchen. In another room, we HEAR
people ARGUING. Brenda leans against the center island,
eating gourmet olives out of a plastic tub, her cell phone to
her ear.
BRENDA
Fuck.
She hangs up, loc5ks pensive. Her BROTHERenters, weeping, and
goes to the fridge. He rummages around inside, starts to get
upset when he can't seem to find what he's looking for.
BRENDA.(cont'd)
If you're looking for the olives, they're
right here. • •
She hands him the tub. He exits, still weeping.
FADE TO BLACK.

--
 SIX FEETUNDER 05/15/2000 - .....

. ..
0 INT COMMERCIAL
I SET - DJi.Y(BLACK& WH!TE)

PE;RKYCOMMERCIAL MUSIC plays as the same MODELgestures

toward a display of what seem to be COMMERCIALCHEF'S SALT-
SHAKERS.
ANNOUNCER (V. 0. )
Ashes to ashes and dust to dust? Easy as
pie with the new Franklin Leak-Resistant
Earth Dispenser! Say goodbye to soiled
fingers! Effortless, refined, attractive,
and respectful--

The commercial ends abruptly, as if someone switched the TV

off. MUSIC ENDS a."'ld the SCREEN'GOES BLACK.
PRIEST (0 . C . )
In the midst of life, we are in death.
FADE IN:
EXT. CEMETERY
- THENEXTDAY
CLOSE ON NATE, listening. He's tired, troubled.
PRIEST (0 . C . }
C Of whom may we seek for succor,
thee, o Lord? Who for our sins
but of
art justly
displeased?
PAN from Nate to the other members of his family: RUTH, guilt-
stricken ...
PRIEST (O.C.) (cont'd)
Thou knowest, Lord, the secrets of our
hearts.·
... CLAIRE, looking like she hasn't slept in days ...
PRIEST {O.C.} (cont'd)
Shut not thy merciful ear to our prayer;
but spare us, Lord most holy, O God most
mighty .
. . . and DAVID, stoic.
PRIEST {O.C.) {cont'd)
--
O holy and merciful Savior, thou most
worthy Judge eternal.
··-·
An Episcopal PRIEST reads from The Book of Common Prayer.

{CONTINUED)
 SIX FEETUNDER 05/15/200-0 - 52.
CONTINUED:

PRIEST (cont'd)
Suffer us not, at our last hour, through
any pains of death, to fall from thee.
LONGSHOT of the typical American funeral, as Nathaniel's
casket is lowered into the ground. Tent, flowers, funeral
grass, the whole nine yards. In the foreground, a MAN
watches, his back to us. He wears a Hawaiian shirt and a
porkpie hat.
R....~RSE ANGLE: It's Nathaniel, seated atoo the hearse he was
ar1v1ng at the beginning. He. lights a cigarette, then sips
through a straw from a frothy tropical drink.
The Priest retrieves the Franklin Earth Dispenser we saw in
che commercial and holds it over the grave, shaking dust out.
PRIEST (cont'd)
In sure and certain hope of the
resurrection to eternal life through our
Lord Jesus Christ ...
ON NATE, watching, frowning.
PRIEST (O.C.) (cont'd)
... we commend to Almighty God our brother
Nathaniel Samuel Hitchcock; and we commit
his body to the ground.
NATE
(under his breath)
He looks like he's salting popcorn.
David glares at him, but Nate pays no attention.
The Priest gives the Earth Dispenser to Ruth. As she shakes
it over the grave, followed by Claire and then David:
PRIEST
Earth to earth, ashes to ashes, dust to
dust. The Lord bless him and keep him,
the Lord make his face to shine upon him
., . and be gracious unto him ...
Claire hands the dispenser to Nate. -·
PRIEST (cont'd)
The Lord lift up his countenance upon him
and give- him peace. ..•..
The Priest trails off, waiting for Nate to follow his turn,
but he doesn't. David starts to look concerned.

(CONTINUED)

--
 srx FEETUNDER05/15/2000 - 53.
CONTINUED: ( 2)

/:l ON NATHANIEL,watching, as Brenda's JEEP CHEROKEEPULLS INTO

'---.
../ FR.AME behind the hearse. She gets out and crosses toward us
co watch as well. Unseen by her, Na~haniel checks her out.
Nate crosses to the mound of earth beside the arave, kneels
down and plunges his hand in. He stands, holding a =istful of
dirt, the sleeve of his suit jacket soiled.
Everyone stares, concerned, baffled, and in David's case,
angry. He crosses to Nate and attempts to pull him back. Nate
shakes him off, roughly.
NATE
No. This is real. This is as real as it
gets. And I refuse to sanitize it any
more.
DAVID
This is how it's~--
NATE
Yeah, well, it's whacked. What is all
this stuff, anyway? This stupid
saltshaker, this, this hermetically
sealed box, this phony astroturf around
the grave. Jesus, it's like surgery.
0 Clean. Antiseptic.
(angry)
Business.
He was our father.
DAVID
(quietly)
Please don't do this.
NATE
(overlapping)
You can pump him full of chemicals, and
put makeup on him, and prop him up for a
(air quotes)
"napn in the "slumber room," but the fact
remains: The only father we will ever
have is dead. And that sucks, but it's a
goddamn part of life and you can't really
accept it without getting your hands
dirty. Well, I do accept it, and-! intend
to honor the old bastard by letting the
world see just how fucked up and shitty I
feel that he's dead.
And he angrily throws his fistful of dirt into the grave.
NATE (cont'd)
God damn it!

(CONTINUED)

--
 SIX FEETUNDER 05/15/2000 - 54.
CONTINUED: (3 )
...
An awkward beat.
0 PRIEST
Uh ... Amen.
RUTH
Wait.
Nate and David watch apprehensively as Ruth crosses to the
mound of earth, grabs a fistful and throws it into the grave.
She grabs another ... then another ... throwing them all into
the grave, losing control, GROWLINGlike an animal. Unnerved,
David starts toward her, but Nate holds him back.
NATE
Let her.
Mourners look on, a little stunned, as Ruth continues
flinging dirt wildly into the grave. Suddenly she stops and
SCREAMS, a primal, animalistic scream.
RUTH
Aaaaarrrrrggggghh..rihh!
Ruth screams until she's spent, then just stands there,
gasping for breath. Nate crosses to his mother and wraps his
arms around her. She clings to him, too exhausted to cry.
David is seething. An awkward beat.
PRIEST
(quickly)
The Lord be with you.
MOURNERS
And with they spirit.
PRIEST
Let us pray ...
PRIEST/MOURNERS
Our Father, who art in heaven, hallowed
be thy name ...
Brenda watches, smiling. Behind her, Nat~amiel is also
smiling.
NATHANIEL
(clapping)
Woo-hoo!
ON CLAIRE, watching him, her face blank.

--.
 SIX ;EET UNDER 05/15/2000 - 55.

0 TIMEU..TER
- A SHORT
EXT. CEMETERY
The funeral is over. Nate walks an exhausted Ruth to a car.
David approaches with Federico.
DAVID
Mom, Rico's going to drive you back,
okay? I just want to go over some details
with Nate. We'll be right behind you.
FEDERICO
(offers his arm)
Put her there, Mrs. H.
RUTH
(loopy from exhaustion)
You have such delicate hands, Rico. Like
a statue. Or an illustration in an
antique book. Or one of those little
ceramic hands they use to display
children's gloves ...
Ruth and Federico cross off. David turns to Nate, glaring.
DAVID
You want to be the alpha dog, Nate? Is
that it? Coasting toward mid-life with
nothing to show for it .and now you want
to come back and be the rock for this
family to lean on? Fuck you.
NATE
(stung)
I'm not--
DAVID
(on a roll)
There's a reason behind what we do here.
We provide people with a very important
and sacred service at the darkest time in
their lives--
,, . . ---~
NATE
Yeah, as long as there's no real feelings
expressed! Well, what do you thi~~
happen~ to those feelings? They don't
just go away.
DAVID
Oh yeah,~ tell me about going away.
You abandoned us. You abandoned~- You
had a responsibility to this family and
you ran from it and left it all to me--

(CONTINUED)
 SIX FEETUNDER 05/15/2000 - 56.
CONTINUED:

~-
1-:__J}
NATE
Whoa·. Don't blame me if you' re not living
the life you want, that's nobody's faul~
but your own.
A beat. David studies him coolly.
DAVID
Fine. Just do me a favor, okay? You got
out. Stay out.
We FOLLOWDAVID as he storms off. An officious young
BUSINESSMANCROSSES INTO FRAMEand hurries after David.
BUSINESSMAN
Excuse me, Mr. Hitchcock? Sir? If I could
have just a momenc of your time ...
DAVID
(still walking)
What.
BUSINESSMAN
I'm from the Global Service Corporation.
I'd like to talk to you about the
advantages of joining our family of death
care facilities--
DAVID
I cannot believe this. Get the fuck out
of·here.
BUSINESSMAN
Sir, if you'd just hear me out-·-
DAVID
No. We're not selling. People in this
conununity know us. They trust us.
BUSINESSMAN
We wouldn't change the name of the
business. And of course, we would retain
., -
you as a salaried manager--
David stops and turns to him.
DAVID
--
Look. I really want to hit somebody right
now, and it might a,s well be you. -
The Businessman steps back from him.- David resumes walking.

(CONTINUED)

--
--------~--

SIX FEETUNDER
.
05/15/2000 - 57.
CONTINO'ED: ( 2 )
.;

BUSINESSMAN
(calls after)
I'll call you when you've had some time
to recover from your loss.
EXT . CEMETERY- LATER
-Nace stands with his back to us. Over his shoulder, in the
distance, we see a CEMETERY in overalls
WOR.-r<:ER shovelincr dirt
into Nathaniel's grave. We CIRCLE AROUND NATE until we're on
his troubled face. Brenda walks up behind him.
BRENDA
Hi.

He turns to her, surprised.

NATE
Wow. I never .expected to see you again.
BRENDA
Life's full of surprises.

NATE
You're telling me. How'd you--
BRENDA
Funeral notices, in the paper. It's not
that hard.
They start to walk.

NATE
(awkward)
So how's life?
BRENDA
Well, after spending the holidays with my
family, I'm ready for shock therapy,
which is actually gaining respectability
these days.
(then)
How's life with you?
NATE • •
Oh, great. My father's dead, my morn's
been having an affair with a hiking
hairdresser, my brother holds me
responsible for everything he hates about
his lif~~ and my sister's dabbling in
crack-smoking. I think I.win.
Brenda smiles. They walk along in silence for a moment.

(CONTINUED)
 SIX FEETQNDER 05/15/2000
.
- 58.
CONTINUED:
;

P\ NATE (cont'd)
u You know, four days ago, I was a
relatively happy guy, and now ... it's
like I don't even know-who- that guy was.
His grins fades; he's suddenly too tired to turr. on the
charm. He stops walking.
NATE (cont' di
I'm a fucking mess, if you want to know
the truth. But I think you're already
aware of that.
Brenda studies him, reaches inside her purse, grabs a scrap
of paper and scribbles her number on it.
BRENDA
Well, here's my number. If you ever want
to ... I don't know, have a real date? You
know, where you buy me dinner before I
put out.
Nate takes the number, looks at her quizzically.
··· BRENDA(cont'd)
(shrugs)
Maybe I'm one of those women who meets a
man who seems emotionally conflicted and
has no relationship skills and I figure,
hey, that's for me.
NATE
Uh ... You know I don't even live here,
right? I live in Seattle.
BRENDA
See, that just makes you more attractive.
They continue to walk.
NATE
I'm also a serial rapist and I have ten
nurses buried under my house.
BRENDA ••
You're making me wet.
NATE
Oh, and ~•ma Scientologist.
BRENDA
Marry me.
 SIX FEETUNDER 05/15/2000 - 5.9.

EXT. CEMETERY
- CONTINUOUS
0
CLOSE ON AN ORNATE TOMBSTONE.- PAN DOWN to Nathaniel, in a
swimsuit and sunglasses, lying on a beach recliner under the
tombstone, holding his coconut drink.
Claire leans against an adjacent tombstone, smoking.
CLAIRE
You're really lucky, you know?
NATHAN'IEL
Oh, I know. It was all over, in a second.
I didn'~ have to be afraid of it, I
didn't even have to think about it.
CLAIRE
No more bullshit.
NATHAN'IEL
No more responsibility.
CU.IRE
No more pain.
NATHANIEL
No more boredom.
A beat.
CLAIRE
No more waiting to die.
Nathaniel smiles and raises his drink as if in a toast.
- THATEVENING
INT. KEITH'SAPARTMENT
Keith is sprawled on the couch, reading. His DOORBELL RINGS.
He gets up and opens the door to reveal David, who embraces
Keith and buries his face in his shoulder.
KEITH
, - (softly)
Hey. . . it ' s okay ...
David looks up at him, his eyes filled
we haven't seen from him, then they kiss .. It's a soft,
--
with a vulnerability
romantic kiss that quickly grows in intensity on David's
part. He starts to unbutton Keith's shirt.
KEITH (cont'd)
Whoa, whoa ...

(CONTINUED)
 SIX FEE'T'UNDER 05/15/2000 - 6G.
CONTINUED:
.. ;

~ DAVID
u (urgent)
I need to feel alive. Please.
Keith gives in, and the two men kiss again. The passion
builds, and they start to rip off each other's clothes.
FADE TO BLACK.
HICKEY
Well, this shouldn't take too long ...
FADE IN:
EXT. PASADENASTREET- DAY
An unbelievably sunny day. PEDESTRIANSand BUSINESSPEOPLE
crowd the sidewalks of the same street from the beginning. A
SIGN in one of the windows reads:
HAYES, HJ:CKEY& S:rLVERMAN
ATTORNEYS AT LAW

HICKEY (O.C.)
I, William Nathaniel Hitchcock, a
resident of Los Angeles County,
California ...
INT. LAWOFFICES- CONTINUOUS
Attorney STUARTHICKEY sits at his desk, reading a document.
He's in his fifties, formidable.
HICKEY
... declare this to be my Last Will and
revoke all former Wills and Codicils.
First: To my wife Ruth, I leave all cash,
bank accounts, stocks and bonds, and real
property that are in my name.
ON NATE, DAVID, RUTH& CLAIRE, seated across from Hickey.
HICKEY (cont'd)
Second: I bequeath the company Hitchcock
and Sons Incorporated and all bti~iness
interests attached, as follows ... Fifty
percent to my son David James
Hitchcock ...
Nate glances at Ruth. David remains ambivalent.

i
\. ,,,/

(CONTJ;NUED)

--
 SIX FEETUNDER
.
05/15/2000 - 61.
CONTINUED:
;

A HICKEY (cont'd)
V
And fifty percent to my son William
Nathaniel Hitchcock Junior.
NATE
What?!
Everyone is flabbergasted, but nobody more so than Nace.
David looks at him coolly.
NATE (cont'd)
This is insane. Why would he do that?
RUTH
He loved you.
David suddenly stands and exits angrily.
NATE
Dave--
Nate follows him out. An awkward beat.

CLAIRE
Wow. I guess I don't even rate.
EXT. LAWOFFICES- CONTINUOUS
David comes out of the law offices, followed by Nate.
NATE
David, wait--
David turns to him, seething.
DAVID
What? ·
NATE
Look, I don't want it.

.. I ·• •--•
DAVID
Well. Excuse me while I go contemplate
the irony of that.
• •
He storms down the sidewalk. Nate stands there, still bowled
over. He glances across the street at ...
HIS POV: A scattering of people stand at a BUS STOP. Among
them is Nathaniel, in his suit and porkpie hat, chatting
amiably. .
ON NATE, watching.

{CONTINUED)
 SIX FEETUNDER 05/15/2000 - 62.
CONTINUED:

0-
-
HIS POV: A BUS pulls up to the stop. Nathaniel
with the others,
boards along
and takes a seat next to the window. Just
before the bus takes off, he smiles and waves to us.
ON NATE, suddenly stricken. We start to HEARThe Devlins'
"WAITING." Nate looks around at:
HIS POV: On the sidewalk and across the street, PEOPLE of all
ages carry on their business of living their lives.
IN SLOWMOTION: A succession of their FACES, each of them
glancing at us ...
MUSIC CONTINUESas Nate stands there, watching. He starts to
cry ... for his father, for himself, for all of us.
FADE TO BLACK.