We Don't Live Here Anymore Page #2

Synopsis: The movie is set in the Pacific Northwest; specifically, Washington state. We know this from a glimpse of a license plate, the craftsman architecture of the two houses, and the mature, rich landscapes in between. The setting, like the scrutiny of the four main character's lives, is defined by the narrowness of the camera's field-of view. The one commercial street in town is only seen in the reflection of a store window, a shot of a non-descript auto-yard, or the tunnel of a tree-lined suburban sidewalk. The lush, wooded landscape is understood as an immediate presence in the domestic and professional lives of the characters; a steep hill, railroad tracks, a rushing stream, and a path over an old steel bridge are revisited again and again by the characters in their capacities as lovers, parents and friends.
Genre: Drama, Romance
Director(s): John Curran
Production: Warner Independent
  2 wins & 4 nominations.
 
IMDB:
6.3
Metacritic:
66
Rotten Tomatoes:
65%
R
Year:
2004
101 min
£1,904,214
Website
368 Views


I'm wasted.

Have you eaten enough?

I don't know. Let me see.

I mean food.

Yeah. Yeah.

I had Grape-Nuts. I got up late.

Yeah.

You know you ought to live with me.

I'd feed you better than that.

She feeds me okay.

She gives me what I want.

It's a sublimely happy marriage.

Stop.

I wonder how we'll get caught.

Hank will smell you on me at the gym.

No, I mean Terry.

If Hank caught us, I wouldn't care.

I wouldn't stop unless you wanted to,

but you probably would.

Wouldn't you?

- No, I wouldn't.

- Yeah, you would.

- What? Don't you think he's gonna notice?

- Well, if he does, it'll be a miracle.

Oh, come on, Jack. You're talking like

he's Charlie Chan or something.

Like he gives a sh*t.

- Sometimes I think...

- Sometimes you think what?

Sometimes I think that I love you even more

than I think that I do, which is a lot.

Which is a lot?

Impotent as you are?

Give me a cigarette.

My last one...

...until...

Till...

I don't know. I'll call you.

I'm just gonna grab this.

I'm gonna go home, take a nap,

keep the sitter another hour.

- You're okay with that?

- It's okay.

Thanks.

- Hi, Mom.

- Hey.

Mommy.

What?

- Mom, stop it.

- Okay, okay.

- What's this?

- It's a show.

Yeah. I know it's a show, honey,

but what show is it?

Space.

Do you wanna go into space

someday, sweetheart?

No. Unless...

I don't want to go to space

unless Daddy goes and you too.

Of course Daddy and I'd go with you.

Then, okay.

I definitely agree with this.

Houston, I think we got a satellite.

It's quite a sight.

That looks good, thanks.

The alignment key is obviously in place.

Go for rotate.

You can't write, you old f***.

Let's go for a run.

One goddamn page.

One page in four hours, that's sad.

Only three hours, 46 minutes.

Think I'd waste an entire four hours

on one goddamn page?

Let's run.

Take it you quit.

- Goddamn right, goddamn it.

- What's this? The eighth, ninth time?

The last time. They're pissing me off.

They're trying to kill me.

Cigarettes don't have souls, Jack.

They don't mean you any harm.

Easy, sailor.

You all right there, princess?

Yeah, I'm fine, you competitive prick.

You sure?

- You're a little screwed up this summer.

- Oh, yeah? Can you tell?

Yep.

- I should've worked this summer, man.

- Yeah. Maybe, maybe not.

I could use the money.

- Work more.

- A man should be able to live...

...idly for a couple of months

without losing his mind.

- Try writing.

- I have. I'm a reader, not a writer.

P*ssy, not a fighter.

Jesus, man. Just smoke it.

You're hopeless.

- You'll smell like an ashtray to Terry.

- Does Edith to you?

No. Not everywhere.

- I haven't touched one since Jeanne.

- Yes. Jeanne.

Got me smoking f***ing French cigarettes.

Make anybody wanna quit.

- Did you end up seeing her before she left?

- Yeah, I saw her.

Remember when I went to New York

to see my agent?

I was in Portland.

Oh, man.

Airport. Tears.

That was very romantic. I think about

running into her in Paris in 10 years.

Jesus, man.

What can I say? I'm dedicated.

I refuse to let anyone go unloved.

Betty!

Mom!

What?

- Mom!

- Don't hit her with that bat!

So why didn't you leave her, Hank?

Who?

Edith.

- Why would I?

- You're in love with another woman.

- Jesus, this isn't the Middle Ages.

- What? It's happened.

Men have left their wives

for other women and been happy.

- Until they start cheating on their new wife.

- Sure, whatever.

- It's no use talking to you.

- Why?

You're too nice to f*** somebody

without feeling love. Right?

- Right.

- So doing it with love in the mix...

...you'd use as proof you didn't love Terry?

- What, you been talking to my mistress?

Look, just love everybody you can.

Love your kids, love your wife,

keep the peace.

Then once, just once...

...try f***ing somebody else

just because it feels good.

Your wife, you know...

...may be living exactly

according to these principles.

- That's her business, Hank.

- Brave words.

But true.

- What brought all this on, anyway?

- I don't know. Nothing, I guess.

Just see you're unhappy

and I want you to be happy.

I have a girl, so Terry gets a lobster.

We get a bottle of wine

and the kids get this sh*t.

Sh*t.

Go on, take it.

- Come in for a quick one.

- No, I'm late.

- Come on.

- Shouldn't.

Dad!

Brought home a present.

Drink?

Okay, we're going to 10. That's two.

- No. That's three!

- Okay, three.

Four.

- Dad, when is it my turn?

- Never.

You don't know how to pitch.

- Little while, Natasha.

- Hey, gang!

- Let's go for a bike ride.

- No, we're playing catch.

Please. Come on!

Come on, Natasha. It's late.

Oh, come on, Jack. It's not that late.

Yeah! Let's go up the river!

- Yeah!

- Fine. Let's ride bikes.

- Come on, Mom.

- Honey, go with Daddy. I got stuff to do.

Sean, get your helmet on!

- What's the name of this dance?

- "The Angry Housewife."

What is that?

The Death of Ivan Ilyich.

I'm thinking of teaching it this fall.

I was crazy the other night. I'm sorry.

It's okay.

I shouldn't have gotten drunk.

Forget it.

No, I gotta grow up.

What, grownups aren't violent?

Not with their husbands.

Read the newspapers.

Women murder their husbands every day.

Not people like us.

The other night, did Hank make a pass?

Yeah. But he was drinking.

And what? You're pretty.

Hank likes pretty women.

Do you know how much I love you?

Yes.

It's not just that. It's more than that.

It's what?

It's how far you've come...

...strong you've gotten.

Do you know what I mean?

- Well?

- Well, what?

- Well, what did he do?

- None of your business.

All right, then what did you do?

- Nothing.

- Come on.

He tried to kiss me on the porch,

so I went inside.

Where? Here?

In the kitchen to get a glass of wine.

So he followed you

into the kitchen and...

And he told me he loved me...

...he kissed me

and said he didn't love Edith.

And I felt dirty and we went outside

and sat on the front steps.

Dirty because...

...what he said about Edith or because...?

- Yeah.

Edith's my friend.

She's sweet.

She doesn't deserve that bullshit.

I don't wanna be any part of it.

But before that you were all right.

I wanna know what you did.

Hey, can we stop this?

Or do you wanna know if his nose

was to the left or to the right of mine...

...when he kissed me?

- You remember?

We were lying on the floor and he was

on my right, so his nose was to the left.

You were lying on the floor.

Goodness gracious.

I was squatting down to get my gla...

Shut up.

What? I'm just kidding.

No, you're not, Jack.

You're glad he kissed me.

- Let's just say I'm not disturbed by it.

- Well, I am!

Okay.

Jack.

Jack.

Look at me.

Look at me.

"It occurred to him that what had

seemed impossible before...

...that he had not spent his life as

he should have, might after all be true."

Hey, let's go.

Wake up. You want some pancakes?

- I want three pancakes.

- Ready?

- Get your plate ready.

- Ready.

Table one.

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Larry Gross

Larry Gross (born 1953) is an American screenwriter, producer, and director. He is a visiting professor of film and new media at New York University Abu Dhabi. Best known for his collaborations with Walter Hill, his credits include 48 Hrs. (1982), Streets of Fire (1984), and uncredited contributions to Ralph Bakshi's Cool World (1992). He won the 2004 Waldo Salt Screenwriting Award at the Sundance Film Festival for We Don't Live Here Anymore (2004). His criticism has appeared in Film Comment and Sight & Sound.Gross attended St Edmund Hall, Oxford and Bard College, from which he graduated in 1974. He later completed an MA in English at Columbia University (where he subsequently served as an adjunct assistant professor of film) and an MA in film studies at New York University.In 2008, Gross who is the co-writer of 48 Hrs. has his contemporaneous diary of his days on set published on the MovieCityNews website. more…

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Submitted on August 05, 2018

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