Life as a House Page #2

Synopsis: George Monroe is a lonely and sad man. Divorced for ten years, he lives alone on the Southern California coast with his pet dog in the same run down shack he has lived in for twenty-five years, the shack which his father passed down to him. In the intervening years, ostentatious houses have sprung up around him. He's been at the same architectural firm for twenty years in a job he hates, which primarily consists of building scale models. On the day that he is fired from his job, he is diagnosed with an advanced case of terminal cancer, which he chooses not to disclose to his family. In many ways, this day is the happiest of his recent life in that he decides to spend what little time he has left doing what he really wants to do, namely build a house he can call his own to replace the shack. He also wants his rebellious sixteen year old son, Sam Monroe, to live with him for the summer, hopefully not only to help in the house construction, but for the two to reconnect as a family. Gettin
Genre: Drama
Director(s): Irwin Winkler
Production: New Line Cinema
  Nominated for 1 Golden Globe. Another 2 wins & 8 nominations.
 
IMDB:
7.5
Metacritic:
45
Rotten Tomatoes:
47%
R
Year:
2001
125 min
$15,412,701
Website
946 Views


GEORGE:

The plumber's due out on Friday.

COLLEEN:

You'll have to explain that to the

police.

GEORGE:

You were the only neighbor I could

tolerate.

COLLEEN:

I did warn you.

GEORGE:

My life is a warning. I just can't

figure out for what.

Colleen shies away from George's stare; he finally turns and

walks toward the house but stops short as he turns back.

GEORGE (CONT'D)

Colleen, how hard was it for you to get

your head outside that window far enough

to see my dick?

This stops Colleen for a moment; it was difficult. George

walks back to the cottage and locks Guster in before stepping

into an old Ford truck and driving off. Colleen watches him

drive off, then turns to her house and stares.

INT. WEBBER'S DINING ROOM - MORNING

PETER WEBBER, Robin's husband, is a distinguished,

intimidating man with silver hair and an expensive suit.

LOIS, the maid, serves French toast to Ryan and Adam as Robin

sips tea.

ADAM:

Sam broke his closet.

Peter glances at Robin, who shrugs.

ROBIN:

I don't have a clue anymore. I wish

you'd talk to him. He needs a man.

PETER:

His father is a man.

ROBIN:

A man he respects.

Sam walks into the room from the hall, outfitted in all black

with kick ass boots.

SAM:

Thanks for talking about me behind my

back...useful in court.

PETER:

Are you wearing eye shadow?

Adam, Ryan and Robin check out the eye shadow.

SAM:

No.

PETER:

Take it off.

Sam flutters his eyelids in defiance of his stepfather.

PETER (CONT'D)

Do it now!

SAM:

If I walk out the door, who's gonna be

here tonight for the follow through?

Peter hesitates for just a second.

SAM (CONT'D)

Have a nice flight.

Sam's out the door with his eye shadow intact.

RYAN:

Queer.

ROBIN:

What did you say?

RYAN:

Dad said it first.

Robin focuses on Peter, who simply shrugs. Adam stands up,

walks over to his father and gives him a hug.

ADAM:

I get chocolate cake for your birthday.

PETER:

Are your hands clean?

Adam is quick to back away from his father and lick the

fingers of one hand.

INT. COMMUTER TRAIN - MORNING

George is resting his head against the glass window as he

stares out at the blighted landscape leading to downtown Los

Angeles. A sudden pang tightens his face; he presses his

hand against his stomach and closes his eyes.

EXT. LAGUNA BEACH HIGH SCHOOL - MORNING

Sam is alone at the back of the parking lot, sitting on the

hood of an old Saab, smoking as two boys, JOSH and MAREK,

both seventeen, park a Porsche and pull Alyssa Beck (George's

peeping neighbor) and another girl out of the backseat.

MAREK:

Dude, nice look.

Sam simply nods as Marek and the other girl laugh at his all

black garb, earrings and eye shadow.

ALYSSA:

I saw your dad this morning.

Sam drops his cigarette and stomps it out as he stands; his

face lightens as Alyssa waves before walking away.

JOSH:

Been thinking?

SAM:

No.

MAREK:

Forget him!

JOSH:

Two hours a week for three-hundred cash.

The whole summer. Do the math.

(as a dig)

They consider that a hatchback or a

station wagon? Oh, that isn't yours

anyway, is it?

Josh raises his eyebrows and smiles before walking away. Sam

faces the Saab and kicks the bumper as hard as he can.

Suddenly, a boy (COREY) bolts up from the back seat.

COREY:

I was in total REM, man!

INT. DOWNTOWN LOS ANGELES HIGHRISE - LATE MORNING

The architectural firm of Benson and Feinsilber occupies the

entire fortieth floor; George Nelson is their sole model

maker. Rather than offices, most of the space is open,

segmented only by portable low walls. Along the outer walls,

below the long line of windows, is a shelf filled with

amazingly intricate models. George is alone in a cubicle of

his own, cutting polystyrene with a hot wire. STEVEN GARDNER

rounds a corner with a velocity that makes George flinch.

STEVEN:

Done...close to done?

GEORGE:

I'm doing the grass.

STEVEN:

F*** the grass. Who said grass?

Steven exits as quickly as he entered, but as soon as George

goes back to work, Steven pops his head back in.

STEVEN (CONT'D)

Burke bided out the Berlin Plaza. Did he

tell you?

GEORGE:

I was going to start Monday.

STEVEN:

He likes the look of the computer models,

anyway. You take too long.

(beat)

After you mow the grass, would you mind

bringing the house to my office? I have

a presentation to make.

Rate this script:3.0 / 2 votes

Mark Andrus

Mark Andrus, born December 13, 1955 in Los Angeles, is an American screenwriter. more…

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