A Home at the End of the World Page #2

Synopsis: From the Pulitzer Prize-winning author of "The Hours" comes a story that chronicles a dozen years in the lives of two best friends who couldn't be more different. From suburban Cleveland in the 60s, to New York City in the 80s, where they meet an older woman, the film charts a journey of trials, triumphs, loves and losses. Now the question is: can they navigate the unusual triangle they've created and hold their friendship together?
Genre: Drama, Romance
Director(s): Michael Mayer
Production: Warner Independent
  1 win & 4 nominations.
 
IMDB:
6.8
Metacritic:
59
Rotten Tomatoes:
50%
R
Year:
2004
97 min
$887,724
Website
172 Views


l'm calling to tell you--

Well, to ask you, really....

You see, Ned and Alice

are moving to Arizona...

...and l'm just here.

To tell you the truth, man,

l'm not sure what to do.

lt seems like l've just been...

...baking...

...for so long.

Bobby?

-You're here.

-l can't believe it, man.

You're here.

-How was your trip?

-lt was a trip.

Your new home.

Welcome to the Tarantula Arms.

l know, it's a lot.

Hey, man, you got bootleg Dylan.

-ls he here?

-He's here.

Welcome, Bobby.

Bobby, Clare, about whom

you've heard so much.

-Hi.

-l am so glad to finally meet you.

Me too. You.

Thanks for letting me, you know,

crash here for a while.

Well, come on. Grab your things,

get settled in. Come, Jonathan.

l like a little respite from all the dcor.

You wanna go out to dinner,

or do you want to unpack first?

l mostly brought, you know...

...records.

-Let's go out.

-Okay.

-Have fun, boys.

-You come too.

Well, l--

No. You guys need

a little time alone, l think.

No, really. Come.

Okay.

l'll just put on my other eye,

and we're out of here.

-Bobby is adorable!

-He is, isn't he, in his Bobby way.

-Why are all the good ones gay?

-Bobby's not gay.

Well, it's hard to say exactly

what Bobby is. You want another beer?

Yeah.

Come on!

Tomorrow, l'm taking you up

to Central Park.

lnside a week, you'll have

the whole city figured out.

Hey, man.

-What?

-You got a tattoo.

Yeah, years ago, at NYU. l thought l could

be the kind of person who'd have a tattoo.

Cool.

Bobby.

l feel like there are things

we should talk about...

-...but l'm not sure what to say.

-What things?

You know, when we were kids...

...what we used to do.

Man, we were kids.

-So are you seeing anyone in Cleveland?

-No. l'm....

l was just, you know, working,

hanging out.

How about you?

-You seeing anybody?

-No.

No one in particular.

Hey, man.

Look what someone was throwing out.

Hey, Leonard C.

Right out there on the street,

along with dead spider plants and macram.

How many times

did we get stoned to this?

l lost count.

Hey, man, l'm making lasagna.

We could knock off a bottle of Chianti

and listen to ''Suzanne,'' like, 1 0 times.

-Sorry, l've got a date.

-No problemo.

Save some for me.

You have to promise to make this,

at most, once a year.

Bobby, if l weigh 300 pounds,

l won't be able to get up the stairs.

Too bad Jonathan has to miss it.

Well, Jonathan has other priorities.

And it was the best.

We were out of our minds.

-You had a good time?

-The best. The best.

You know how sometimes

it seems like the DJ knows you?

That's what l'm talking about.

This is one of my sadness albums.

-After my divorce.

-You were married?

Years ago.

He was a sadistic drug addict...

...and l was, well, a masochistic,

aspiring drug addict.

-lt made sense, at the time.

-Where'd you meet him?

-Want a real laugh? Woodstock.

-You were at Woodstock?

-Like, the concert?

-Well, l don't tell just anybody, Bobby.

-What was it like?

-Muddy.

You never seen so much mud.

l felt like a pig.

l was attracted to Denny because he had

a bar of Lifebuoy soap down at the pond.

-Hey, have you ever heard Steve Reich?

-No.

lt's one of my favorites. Listen.

l just sort of catch whatever happens

to blow through.

Hey, beauties.

Hello, dear. You're home early.

Yeah, l was having a little less

than maximum fun.

Well, as you know, we always leave

the porch light on for you.

Love that.

-Jonnie, have you heard this guy?

-Steve Reich.

-Sure.

-He's great. He's amazing. He's just--

He's....

-Where'd you find him anyway?

-He found me.

He's a welcome addition

to the household.

Bobby, you'll have to find a job,

aren't you?

l'm a baker. Think a New York bakery

would hire me?

ln New York, someone will pay you

to do just about anything.

lf l make a living making hats--

She doesn't exactly make a living making

hats. She picks up a little change that way.

That is not true. l do have some money

left over from my grandfather...

...but l've stashed it

for when the baby comes.

-You're having a baby?

-Didn't Jonathan tell you?

-lt hasn't come up.

-l didn't know you two were--

Lovers? We're not.

Most parents aren't lovers. Mine weren't.

l know this must sound a little....

A little what?

A little free? A little great?

A little like insisting on our own happiness

even if it's not what people ordinarily do?

Well....

Babies.

l mean, hey, let's have a dozen.

-Sh*t, you scared me.

-Sorry, man.

What are you doing?

l get up and walk around

in the dark sometimes.

-Does that weird you out?

-No.

l don't know.

When the place is all dark...

...when you and Clare have gone to sleep,

and l'm awake...

...it's like being alive and being dead

at the same time, you know?

lt's this sort of halfway thing...

...where the people who are alive

are dreaming...

...and the people who are dead...

...are where they are.

And l'm here...

...in the dark and the quiet.

You want some water?

Sure.

-Are you and Clare really having a baby?

-Oh, God.

l don't know.

We've been talking about it.

lt's something she really wants.

l like Clare.

So do l.

-Bye, Lacey.

-See you.

We can take it from there

if we need to.

-And on the Thursday ad, we can--

-Oh, sh*t. l gotta go.

-Can you--?

-Yeah, l got it.

-Thank you.

-Bye, Jonathan.

''Don't let it worry you, ''

said the cameraman...

... ''even De Mille couldn't see anything

looking through the wrong end-- ''

Don't let me kill the point,

or isn't it a story for grownups?

You've heard it. About the time I looked

through the wrong end of the camera.

Remind me to tell you about the time

I looked into the heart of an artichoke.

-Hey, is your name Dirk?

-No, l'm Jonathan.

l'm sorry, l just-- You look like

someone l know named Dirk. l'm Wes.

Hey, Wes.

-These are my friends Clare and Bobby.

-Pleasure, Wes.

So, Jonathan, Bobby and l'll see you later.

-l thought we were all having dinner.

-All right, l'll see you later.

Do you know what l think?

Now, can Clare be absolutely honest

with you?

l think you need a new haircut.

Really?

You're so handsome, and that hippie do

does absolutely nothing for you.

l don't know.

-l never really, you know, think about it.

-Well, l do.

See, here's the thing...

...you don't look like yourself this way.

You know what l'm saying?

lf you look like someone

other than who you are...

...you could get the wrong job

and friends, who knows what.

-You may end up with someone's whole life.

-l think this is my life.

-lt doesn't seem like somebody else's.

-Check.

What do you think?

-l look so--

-Dangerous? Sexy?

-Stripped down, ready for action?

-That's not what l was thinking, exactly.

Well, you are definitely gonna start

turning heads around here now.

Bobby...

-...what do you like about me?

-What?

Do you...?

-Do you like me?

-l like you. Of course l like you.

l mean, could you...?

You know, do you have...?

God, l can't believe

Rate this script:3.0 / 1 vote

Michael Cunningham

Michael Cunningham (born November 6, 1952) is an American novelist and screenwriter. He is best known for his 1998 novel The Hours, which won the Pulitzer Prize for Fiction and the PEN/Faulkner Award in 1999. Cunningham is a senior lecturer of creative writing at Yale University. more…

All Michael Cunningham scripts | Michael Cunningham Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "A Home at the End of the World" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/a_home_at_the_end_of_the_world_1932>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Which of the following is a common structure used in screenwriting?
    A Three-act structure
    B Two-act structure
    C Four-act structure
    D Five-act structure