LITTLE MEN
Written by
Ira Sachs & Mauricio Zacharias
SHOOTING SCRIPT: July 27, 2015
1 INT. UPPER WEST SIDE SCHOOL/CLASSROOM - DAY 1
Loud conversation, laughter, singing, and even dancing: the
teacher is missing in a 7th Grade classroom. This rare
absence of authority is intensely enjoyed by the crowd. It
looks like it's party time for these KIDS.
They talk and laugh, show each other photos on their phones,
draw spaceships and baboons on their notebooks, and fold
pieces of paper into airplanes that fly around the room.
In a corner, a GROUP OF GIRLS dance to the tune of a song
they are listening to on headphones.
On the other side of the room, TWO BOYS play like in a sword
fight, without swords.
Suddenly, someone turns out the lights. There's random
shouting and laughter.
An overhead projector is turned on, and a couple of the kids
start to make puppet figures that are seen on the white
screen.
A door opens, and a voice is heard, grave and authoritative.
MR. PLUMMER (O.S.)
What is going on here?!
The kids scramble back to their seats as the lights go on.
MR. PLUMMER, the teacher, has come in.
MR. PLUMMER
What is this mess?? Didn't you
promise me to be quiet? Can't I
even leave you alone for five
minutes?? Lionel, sit down. Sit
down, I said! Melissa, put your
phone away. Put it away right now!
I asked you to be quiet, and...
look at you. What a disappointment.
Mr. Plummer wanders around the classroom, inspecting
everyone. Each kid has a different reaction. Some are
frightened, others think it's funny. Some are respectful, and
some others, defiant.
The teacher stops by a desk that's covered by a VERY COLORFUL
DRAWING, while the STUDENT rushes to put away his large
collection of Caran d'Ache pencils neatly in the box.
MR. PLUMMER (CONT'D)
Jacob, what is this?
Shooting Script 07/27/15 2.
JACOB "JAKE" JARDINE is pale and slender, with straight black
hair, a bit longer than the other kids, and deep brown eyes -
pretty in a delicate way, and shy, different from the other
tougher boys in the class.
JAKE
It's the sky, Mr. Plummer.
Mr. Plummer picks up his drawing and shows it to the class.
MR. PLUMMER
A green sky with yellow stars??
JAKE
(barely audible)
It's Camp Jupiter's sky.
MR. PLUMMER
Watch out, Jacob: Vincent van Gogh
ended up cutting off his own ear.
Some of the boys have a ball with this. Girls cover their
mouths not to laugh out loud. Jake blushes, his eyes fill up
with quiet, angry tears; he wasn't even talking to anyone,
he was just drawing, doing his thing. Life is so unfair.
MR. PLUMMER
Quiet!! I said quiet, everybody!
This is not a playroom. It's not an
art studio. Much less a disco, Ms.
Neves. It's a classroom. It is my
classroom, and I asked you to be
quiet. A simple request, and you
showed me you don't know how to
behave yourselves. Was I talking to
the walls? Amanda, please collect
everybody's homework, and bring
them to me.
AMANDA, the teacher's favorite, promptly goes around the
class collecting homework. The individual students now listen
intently to Mr. Plummer's speech. But there are exceptions;
one or two still defy his authority, swallowing a laughter
that cannot contain itself.
MR. PLUMMER (O.S.)
If I had to leave the class, it is
because I had something very
important to do. I come back, and I
see you screaming and dancing!
There's a saying, it's an old
saying, that says: "Silence is
golden." Write this down, children.
"
(MORE)
Shooting Script 07/27/15 3.
MR. PLUMMER (O.S.) (CONT'D)
Silence is golden but my eyes still
see. Talking is cheap, people
follow like sheep."
Mr. Plummer writes this up on the board. Jake, instead of
writing, furiously draws a wild dancing cobra on his
notebook.
MR. PLUMMER
What does this mean?
Amanda raises her hand, ready to give an answer.
MR. PLUMMER
Not now, Amanda. I want you all to
write down your thoughts on this:
"silence is golden."
He underlines "silence is golden" on the board.
MR. PLUMMER (CONT'D)
Every child is to write an essay on
its meaning. Two pages minimum.
That's your homework for tomorrow.
Don't even come to the class if you
haven't done it! Now, let's open
our books. Page 23. Lionel, start
reading from the top. Stand up,
please. Stand up so we can all hear
you.
2 EXT. UPPER WEST SIDE SCHOOL - DAY 2
Large groups of KIDS are coming out through the main gate of
the school. PILAR, a Filipino woman in her 50's, waits
outside looking attentively at every kid who walks out. She
sees the one she's looking for.
In the middle of different groups and cliques, Jake comes
walking alone.
PILAR
Jake! Jake! Hey, Jake! Here!
Jake sees her, then runs and gives her a big hug, longer than
expected.
PILAR
Hey hey hey. Look at you.
She ruffles his hair lovingly.
Shooting Script 07/27/15 4.
JAKE
What happened?
PILAR
Your parents are going to be coming
home very late tonight. Come on.
Let's go.
They begin to walk together away from the school.
JAKE
I'm thirsty.
PILAR
We can stop by Papaya King on the
way home.
JAKE
Yes!
2A EXT. UPPER WEST SIDE STREET - DAY 2A
Jake and Pilar are walking. Jake now has a drink from Papaya
King in his hand.
PILAR
Listen, Jake. It's your
grandfather Max. There have been
some... developments.
JAKE
Some what?
PILAR
I mean, he got sick, and had to go
to the hospital.
JAKE
Sick with what?
PILAR
I'm sure your parents will talk to
you when they get home. But I'm
going to make dinner for you. What
do you want?
He thinks for a moment.
Shooting Script 07/27/15 5.
JAKE
I don't know.
(pause)
What happened to Grandpa Max?
PILAR
When you're old, things happen,
Jake. C'mon, let's make the light.
We need to get to the grocery.
They cross the street and continue on.
2B INT. UPPER WEST SIDE APARTMENT/JAKE'S ROOM - DAY 2B
Jake is at his desk working on a drawing.
3 INT. UPPER WEST SIDE APARTMENT/KITCHEN & LIVING ROOM - DAY 3
A comfortable, but cramped, NYC apartment.
In the kitchen, Pilar is preparing a steaming pot of
caldereta, Filipino beef stew.
A phone starts ringing, and Jake storms out of his bedroom.
PILAR
Hey! Did you finish your homework?
Jake grabs the phone.
JAKE
Jardine residence, good evening.
We hear the voice on the other end of the line.
STU GERSHMAN (O.S.)
(over the phone)
Good evening. And who am I talking
to?
JAKE
Who is this?
STU GERSHMAN (O.S.)
(over the phone)
This is Stu Gershman, I'm an old
friend of Max Jardine's. Is this
Jacob?
JAKE
Yes.
Shooting Script 07/27/15 6.
STU GERSHMAN (O.S.)
(over the phone)
Oh Jacob, last time I saw you, you
were a little baby. I guess you're
all grown up now.
JAKE
Umm...
STU GERSHMAN (O.S.)
(over the phone)
Is your dad at home? Your mom?
JAKE
No, they're not home yet.
STU GERSHMAN (O.S.)
(over the phone)
Oh well. I'm calling because... I'm
very sorry to hear about your
grandfather, Jacob. Max and I knew
each other for so long, we met when
we were about your age. You must be
- what, ten now?
JAKE
Twelve.
STU GERSHMAN (O.S.)
He was such a dear old friend of
mine, your granddaddy was. Do you
know when the service is going to
be?
JAKE
What service?
STU GERSHMAN (O.S.)
(over the phone)
The funeral. I imagine there's
going to be a service soon?
Jake pauses to take this in - he has just learned that his
grandfather has died.
JAKE
Hold on a second.
He goes to the kitchen and gives the phone to Pilar.
PILAR
Who is it?
Shooting Script 07/27/15 7.
JAKE
I don't know.
4 EXT. JARDINE HOUSE/CASA DE MODA - DAY 4
LEONOR CALVELLI rolls down the metal shutters of a Brooklyn
storefront. A sign above reads "CASA DE MODA". It's the
ground floor commercial space of a two-story row house on a
commercial street in Brooklyn. She pushes down the last bit
of the gate with her foot to lock it up. You can still go in
and out through a door space that's open. She lights up a
cigarette and leans on the gate, calmly surveying the street -
a daily routine.
Leonor is in her early 50's, dark hair and dark eyes, her
beauty toughened up by a hard life. After a few puffs, she
hears a car parking in front, doors open and close. Leonor
recognizes someone, and throws her cigarette out. She opens
the door, and calls inside the store.
LEONOR
Antonio! Antonio!
TONY (O.S.)
What?!
LEONOR
Come! Come here!*
*- Throughout the film, italics will indicate when Leonor,
Tony and others speak Spanish.
She forces a smile, greeting the still unknown visitor, then
she turns to inside and calls again, impatiently.
LEONOR
Antonio!!
5 EXT. JARDINE HOUSE/CASA DE MODA - DAY 5
Across the street from Leonor, Jake is helping his parents
BRIAN and KATHY JARDINE get plates of food wrapped in
cellophane and other catering goods from out of the car. The
couple, dressed in formal dark clothes, have the youthful
look of people who can afford to take a nice vacation once a
year.
Jake sees when ANTONIO "TONY" CALVELLI, a handsome 13 year
old boy with dark hair and eyes, comes running out from
inside the store, and stops next to Leonor.
Shooting Script 07/27/15 8.
LEONOR
What were you doing?? If I say
`come here', you have to come. Give
them a hand. Go.
But Tony doesn't move, unsure of what to do. He looks at
Jake, who is looking at him.
Brian drops a plate in Jake's hands and goes towards Leonor,
with an extended hand.
BRIAN
Hello Mrs. Calvelli. Brian Jardine,
we've met.
LEONOR
Of course, Brian. I'm so sad for
what has happened. I'm so sorry.
Jake sees when Leonor, suddenly overtaken by emotion, grabs
his father's hand and pulls him closer for a hug, which makes
Brian visibly uncomfortable. Leonor tries to hide her tears.
LEONOR
I'm sorry. Your father was a such a
wonderful man.
BRIAN
Thank you.
LEONOR
He really was, you know.
BRIAN
I know.
LEONOR
This is my son Antonio.
Kathy approaches, carrying a plate of food.
BRIAN
I don't think you've met my wife
Kathy.
LEONOR
Hi. Nice to meet you. Leonor.
Kathy smiles warmly, as Brian opens the door to the house.
KATHY
So nice to meet you too. Sorry, my
hands are full.
Shooting Script 07/27/15 9.
BRIAN
We're having a little reception
upstairs. Just family and a few
friends.
LEONOR
Of course.
Brian and Kathy go upstairs with their bags.
Left alone by the car, Jake tries to grab a sketchbook from
inside as he balances the big plate of food with his other
hand and then, a bit clumsy, ends up dropping the bag.
Tony is suddenly there to help him out. He kneels down to
pick up pages with drawings, pencils and stuff spilling out
of the bag, immediately recognizing the first drawing he sees
- a girl with red wings flying through a thundercloud.
TONY
Ella the Harpy!
JAKE
Can you hand that to me?
TONY
She's a nerd, but I have a thing
for redheads... Don't you?
JAKE
Here, pass me that. I can carry it.
In the distance, Leonor watches, while Tony helps by pulling
another set of plates and bottles out of the car, organizing
a crate to be carried off.
TONY
Tyson is such a douchebag.
JAKE
Not in the end, he's not. I just
finished The Blood of Olympus.
TONY
I have the game, wanna play?
JAKE
Now? I'd like to, but... I can't.
It's my grandfather's--
TONY
I know. I never know what to say in
these situations.
Shooting Script 07/27/15 10.
JAKE
I think you're supposed to say,
"I'm sorry for your loss."
TONY
That's right! I'm sorry for your
loss.
JAKE
Oh, that's okay.
Tony finds one last drawing that was left on the floor in the
car.
TONY
Wait a minute: what's this one
here?
JAKE
It's the sky.
TONY
Did you make this??
JAKE
Yeah, it's the sky above Camp
Jupiter, the day of the battle.
TONY
You're a real artist!
JAKE
Not really.
TONY
Of course you are. This is awesome!
You know you'll really like this
neighborhood.
JAKE
We don't live here. It's just a
reception.
TONY
It's become a very bohemian area.
You know what bohemian means?
JAKE
Yeah...
TONY
Very artistic.
Shooting Script 07/27/15 11.
BRIAN (O.S.)
Got it, son?
Brian is back by the car to pick up the stuff.
BRIAN
You okay with that, Antonio?
TONY
You can call me Tony.
BRIAN
Well thank you, Tony. I appreciate
the help.
The two boys follow Brian towards the house, the three of
them carrying plates and bags.
6 INT. JARDINE APARTMENT/FAMILY AREA - DUSK 6
The apartment is old and in desperate need of a paint job.
It's a large space, crammed with the stuff of a long life.
There are family photos, piles of National Geographic
magazines next to faded velvety couches and solid furniture.
A small, vintage color TV sits alone in the corner.
There's a quiet reception going on, with most people wearing
black, or dark colors, and talking softly to each other.
Amongst the mostly older friends and relatives of the
deceased are Brian's sister AUDREY and her husband JAMES, and
their teenage son, LIAM, dressed in a suit. They are sitting
on a couch next to Brian, leafing through a photo album.
BRIAN
Let me see. That was our first year
in the house. Look; I still had
braces.
AUDREY
Dad looks so young here.
BRIAN
He was a handsome guy.
AUDREY
Listen to you.
BRIAN
What?
AUDREY
You look just like him, and you
know it. Can I have this? Please?
Shooting Script 07/27/15 12.
BRIAN
Yes. I'll let you have the photo
IF...
Brian picks up a book on the table.
BRIAN
...you let me have the first
edition of The Velveteen Rabbit.
AUDREY
Now, wait a minute.
6A INT. JARDINE APARTMENT/KITCHEN - DAY 6A
In the kitchen, KATHY is re-furbishing a tray of pastries
with new ones from a box from an Italian bakery. Pilar is
beside her, cutting fruit for a pitcher of punch.
6B INT. JARDINE APARTMENT/FAMILY AREA - DAY 6B
Jake is sipping some juice, like a cocktail, and looking at
the art on the wall: a couple of oil paintings of Parisian
streets in the wintertime of dubious quality doesn't arouse
much interest, and he ends up in front of a vintage movie
poster on the wall, with ahead of its time 60s graphics -
probably the best piece of art in the apartment.
BRIAN (O.S.)
Jake, come here.
Jake goes to see his father, who's standing next to STU
GERSHMAN, a well dressed gentleman in his 70's.
BRIAN
Do you remember Grandpa's friend
Stu Gershman?
JAKE
I don't know.
STU GERSHMAN
Look at you, all grown up now.
How's school?
JAKE
Okay.
STU GERSHMAN
So, what kind of sports do you like
to play?
Shooting Script 07/27/15 13.
Jake doesn't play any sports, and it's probably a point of
contention between father and son, given the sudden
uncomfortable moment of silence.
BRIAN
He likes to draw and paint.
Jake blushes.
STU GERSHMAN
So you'd like to be an illustrator
when you grow up?
JAKE
I don't know.
STU GERSHMAN
Well, come here. Come here.
He pulls Jake in uncomfortably tight.
STU GERSHMAN
I want to tell you a few things
about your grandfather, Jake: he
liked to play ball but was a
horrible pitcher; he hated summer
but went nuts seeing the ladies
walk by in mini-skirts; and he was
the most loyal friend you could
have. Loyalty was his greatest
quality.
BRIAN
Aww... Thanks, Stu. Did you hear
that, Jake?
Jake is saved from Stu by a knock on the door. He runs to
open it, and there she is: Leonor holding a beautiful cake.
Kathy, who also heard the knock, comes to see what's going
on.
LEONOR
It's a dessert we make for special
occasions in my country.
She hands the cake to Kathy.
LEONOR
I hope you like it.
Jake watches everything.
KATHY
Oh my God. You didn't have to.
Shooting Script 07/27/15 14.
LEONOR
Max loved this cake, so I
thought....
KATHY
Come in. You should come in.
LEONOR
It's okay.
KATHY
Please. I insist.
LEONOR
No, I just wanted to bring the
cake.
KATHY
Sorry if we didn't say anything
earlier. Brian and I... we're both
very tired. It's all been so fast.
LEONOR
It's okay. I still have some
paperwork to do at the store.
KATHY
Thank you so much for this. It's
very kind of you. Thank you.
Leonor leaves, and Jake shuts the door. Kathy is left with
the beautiful cake on her hands. She looks across the room
and sees Brian, in the middle of a crowd, holding court,
being a good actor.
7 INT. JARDINE HOUSE/STAIRWELL - NIGHT 7
Brian walks down the interior stairs of the house, carrying a
heavy bag full of trash. At the bottom of the stairs, he
turns and walks down the dark corridor that leads to the
backyard.
He finds the large metal trash containers, and throws the
bags in.
Alone for the first time all day, Brian is overtaken by
memories and allows himself a good cry.
8 INT. CASTING OFFICE - DAY 8
Brian is sitting at a table in a bare room, speaking in a
strong Italian-American Brooklyn accent.
Shooting Script 07/27/15 15.
BRIAN
I swear B, I'm surprised at you. I
sit there waiting for you to wake
up, but everything's great with
you.
We see he is holding a script, next to SUZANNE, a famous
actress, who's also with a script in her hands. They are
reading from Arthur Miller's A View from the Bridge. Brian is
reading the role of "Eddie" as Suzanne plays his wife,
"Beatrice".
An OPERATOR tapes Brian's performance with a video camera on
a tripod.
SUZANNE
No, everything ain't great with me.
BRIAN
No?
SUZANNE
No. But I got other worries.
BRIAN
Why? What other worries you got?
SUZANNE
When am I gonna be a wife again,
Eddie?
BRIAN
I ain't been feeling good. They
bother me since they came.
SUZANNE
It's almost three months you don't
feel good. It's three months,
Eddie.
BRIAN
I don't know, B. I don't want to
talk about it.
SUZANNE
Nice! Okay.
Suzanne smiles at Brian, already out of character. But Brian
really would love to keep going.
BRIAN
You go "you don't like me, heh?"
Shooting Script 07/27/15 16.
Suzanne looks for help from the audience, gently cutting
Brian off.
DEBORAH (O.S.)
That's good, Jardine.
The casting director, DEBORAH, sits with scripts and lists
under a reading light, and a male ASSISTANT next to her. A
DIRECTOR a PRODUCER, and a PRODUCER'S ASSISTANT sit next to
him.
SUZANNE
(to the director)
Yeah, I need a break.
DEBORAH
Take a break, Suzanne.
Suzanne smiles again at Brian, and comes close to kiss him
goodbye.
SUZANNE
I'm starving. I've been here since
ten.
BRIAN
Of course.
SUZANNE
How's Kathy?
BRIAN
She's good.
SUZANNE
And your son?
BRIAN
Jake. He's great. He's in seventh
grade already.
SUZANNE
Oh my God, I remember him running
around backstage at The Lortel,
when we did...
BRIAN
Dark Rapture?
SUZANNE
Yes! How old was he?
BRIAN
Two. Three, maybe.
Shooting Script 07/27/15 17.
SUZANNE
Time flies by.
BRIAN
It really does.
SUZANNE
Well, it was great to see you.
BRIAN
Great to see you also, Suzanne.
Maybe we'll see each other again
soon.
SUZANNE
I hope so.
(to the audience)
Jamie? Do you have lunch for me?
9 EXT. CASTING OFFICE - DAY 9
ROGER, Brian's agent, is standing outside the theater,
texting on his phone. Brian comes out, and they begin to
walk.
BRIAN
She fucking hates me.
ROGER
She doesn't hate you.
BRIAN
Ever since B.U. She dropped out - I
stayed and graduated. Every time
we've seen each other since then,
she always tries to prove that
she's better than me.
ROGER
You're paranoid. You did okay
there.
BRIAN
Did I?
ROGER
Yes. But it's true that she'll have
a say in who's cast as her husband.
BRIAN
I'm telling you. She doesn't like
me. I'm in a slump, Roger. You need
to help me here.
Shooting Script 07/27/15 18.
ROGER
Listen, maybe Broadway is not the
right way to go for you right now.
BRIAN
I thought that was the strategy.
ROGER
Why don't we go have some coffee?
You have options. There are a bunch
of things that could pan out. Let
me just finish this.
Roger goes back to his texting.
10 INT. JARDINE APARTMENT - DAY 10
The apartment has been completely redone. The old furniture
is out, more modern - if used - furniture is in. There's less
stuff, so it looks more spacious. There are new appliances in
the kitchen, and some of the art from Brian and Kathy's old
Manhattan apartment now hangs on the walls, which have been
newly painted with fresh colors. Brian, Kathy and Jake have
moved in, and it looks really nice.
There are still piles of plates and pans to be put away, and
a few boxes on the floor by the kitchen. Pilar is taking
stuff out of one of them. Plates and trays and things wrapped
individually in bubble wrap and newspaper. Kathy unwraps them
and looks for places in the kitchen cabinets to put them
away.
While she's putting them away, Pilar unwraps a beautiful
crystal serving plate.
PILAR
I don't remember this.
Kathy takes a looks at it, trying to remember where it came
from.
KATHY
Oh my God. We took it home.
11 INT. CASA DE MODA/STORE - DAY 11
The store has women's clothes on display on simple racks,
with a few chosen pieces shown on a large table. It's an old-
fashioned store; the ambiance is simple and unsophisticated.
BIANCA, a salesgirl, is showing a dress with floral patterns
to a CUSTOMER as Kathy comes in, carrying the crystal plate.
Shooting Script 07/27/15 19.
She is going to say hello to the salesgirl, but doesn't want
to interrupt and goes directly towards Leonor, who is in the
back of the store behind a sewing machine, fixing the collar
of a shirt.
KATHY
Leonor.
LEONOR
Hi Kathy. The boys are in my
office, in the back.
KATHY
No, no. Look what I just found.
LEONOR
It's my plate.
KATHY
I think that night we just ended up
taking everything back to our
apartment. And then we put things
away, and I forgot. I'm so sorry.
LEONOR
No worries! Please.
KATHY
It's a beautiful plate.
She takes it from Kathy's hand.
LEONOR
Are you not working today?
KATHY
I don't see patients on Monday. I
need a day a week to organize my
life, you know.
LEONOR
Good for you.
KATHY
The store looks cute.
LEONOR
Huh... we're not doing so well.
KATHY
I like that dress over there. The
one with the floral patterns.
Shooting Script 07/27/15 20.
LEONOR
I love that one. You should try it
on.
KATHY
I have to go back-
LEONOR
Oh, c'mon. It'll take a minute.
12 INT. CASA DE MODA/STORE - DAY 12
Kathy pulls open the curtain wearing the floral dress, and
shows it to Leonor, who's waiting outside.
LEONOR
Perfection.
Kathy walks towards the mirror wearing the floral dress.
KATHY
Are you sure? I don't know.
Leonor comes with expert hands and pulls a pinch on the
shoulder strap.
LEONOR
It looks great. All you need is a
little fixing up here, maybe a tiny
bit tighter here on the waist. But
the dress is beautiful.
KATHY
How much is it?
LEONOR
Whatever the price, I'll give you
ten percent discount. Let me see.
Leonor looks for a tag around the cuffs.
KATHY
Did you make this?
LEONOR
No. Not this one. But everything
here is handmade by the designers.
This one is two hundred and fifty.
It's made by a woman named Talita -
she's from Colombia, and very
talented. They probably do it in
their kitchens, you know what I
mean? They're not famous. Yet.
Shooting Script 07/27/15 21.
13 INT. CASA DE MODA/OFFICE - DAY 13
There's a video game on the TV. Monsters and battles, and
sound effects.
And sitting in front of the TV set, taking it all in, are
Jake and Tony. It's a small space in the back of the store
that has been turned into an office - just a simple desk, a
TV, a chair and a couch in the corner.
Kathy comes in, dressed in the floral pattern dress. Leonor
is right behind her.
KATHY
Guys, what do you think?
The boys don't move an inch, their attention 100% on the TV
screen.
KATHY
Jake? Jake, what is our deal?
She turns to Leonor.
KATHY
They're like zombies when they
start playing these games.
JAKE
(eyes still on the screen)
Mom. I'm on vacation!
KATHY
So?
JAKE
Dad said it was okay.
KATHY
We have this rule in the house; no
games during the week. And no
internet before five either.
LEONOR
But during vacation they have all
this free time, and what are you
going to do?
TONY
Shhh! Quiet!!
LEONOR
Antonio! Watch your tone of voice,
por favor!
(MORE)
Shooting Script 07/27/15 22.
LEONOR (CONT'D)
(back to Kathy)
When he's playing this stuff - I
know it's not so good, but at least
he's around, and I know where to
find him.
Tony pauses the game.
TONY
(polite)
Mrs. Jardine. Maybe you will let us
finish this level, please?
LEONOR
That's better.
KATHY
Sure, you can finish. But first you
have to tell me: what do you think?
The dress?
TONY
Great. I actually thought it was
yours.
KATHY
Jake?
JAKE
Love it. Love the flowers.
The boys will say anything to get rid of their moms, so they
can continue to play their game.
14 INT. JARDINE APARTMENT/JAKE'S BEDROOM - NIGHT 14
On the wall of Jake's new bedroom is the vintage movie poster
that used to belong to his grandfather. The room is painted
in bright colors, with a small bed, a small desk - a young
man's cocoon.
Jake is on his bed, a sketch pad on his lap and his Caran
d'Ache pencils next to him.
The door opens. Brian comes in.
BRIAN
Why don't you come help me prepare
dinner?
JAKE
Where's Mom?
Shooting Script 07/27/15 23.
BRIAN
Your mother had an emergency with a
patient. She's going to be late
tonight.
JAKE
Another suicide?
BRIAN
Jake!
15 INT. JARDINE APARTMENT/KITCHEN - NIGHT 15
Brian washes greens for the salad, as Jake enters.
JAKE
Dad, I can't find my drawings.
BRIAN
What drawings? Help me cut these.
Brian hands Jake vegetables from the sink.
JAKE
The series I made on Percy Jackson.
The sea of monsters?
BRIAN
Those old drawings?
Jake starts cutting vegetables julienne style, very
carefully.
JAKE
Yes.
BRIAN
Did you look in the trunk?
JAKE
Yes, Dad. I looked. They're not
there.
BRIAN
I don't know, Jake. Maybe they got
thrown away.
JAKE
Why would you do that? They're my
drawings!
BRIAN
Why don't you just make new ones.
Shooting Script 07/27/15 24.
JAKE
New ones are never like the old
ones!
Jake wishes he could strangle his dad right now. He's truly
upset.
BRIAN
Jake. We moved. We got rid of
furniture. We threw away clothes,
and we gave books away. We have a
new apartment.
JAKE
So?
BRIAN
Listen. Let me tell you something.
It's good to get rid of stuff. It's
hard at first, but then it feels
really good. You have to learn to
let go.
Jake keeps cutting the vegetables. He's so angry, it's hard
not to chop the zucchini into a million pieces....
16 INT. JARDINE APARTMENT/FAMILY AREA - NIGHT 16
Brian and Jake are having dinner.
BRIAN
I play Trigorin. He's a celebrated
writer, and the boyfriend of a
famous actress, Arkadina.
JAKE
Why the weird names?
BRIAN
Can I finish? Her son Konstantin is
an aspiring writer who lives with
his uncle Sorin in this dacha,
where they all come together one
summer to see his new play.
JAKE
Finished?
BRIAN
That's just the beginning,
actually.
Shooting Script 07/27/15 25.
JAKE
What's a dacha?
BRIAN
A dacha is like a big country
estate in Russia. That's where the
whole thing takes place, and that's
why the funny names. There's also
Nina. She's the neighbors's
daughter, who wants to be an
actress. At first she seems to be
in love with Konstantin but ends up
having an affair with my character,
Trigorin.
JAKE
Sounds complicated.
BRIAN
Well, it is complex. And
unexpected. But it has a lot of
humor in it too.
JAKE
What part?
The door opens, and Kathy comes in from work.
KATHY
Good. You guys are already eating.
JAKE
Hi Mom.
BRIAN
How was it?
Kathy drops her bag on a chair and goes to wash her hands
before coming to join them at the table.
KATHY
Fine. She's doing okay. The problem
now is her husband.
16A INT. JARDINE APARTMENT/BATHROOM - NIGHT 16A
Kathy is washing her hands in the sink.
KATHY
But the last thing I want to do
right now is talk about work. I'm
starving.
Shooting Script 07/27/15 26.
16B INT. JARDINE APARTMENT/FAMILY AREA - NIGHT 16B
They're already having entrees, but the salad bowl is still
on the table.
BRIAN
I was just telling Jake about the
play.
JAKE
I thought you weren't working with
the Terrain anymore. I thought you
were going to do Broadway now.
Kathy joins them and helps herself to a big plate.
BRIAN
It's not that simple.
JAKE
You said you weren't doing this non-
profit stuff anymore. That the
strategy was to reach "a wider
audience".
BRIAN
Well, things have changed.
KATHY
Jake, you should applaud your
father for being adaptable. That's
what life is all about.
Kathy's worn out. It's been a long day.
17 EXT. HERBERT VON KING PARK - DAY 17
A tree-filled park in the middle of a quiet Brooklyn
neighborhood. On a grassy lawn, a GROUP OF BOYS, 12 to 15
years old, are kicking a soccer ball into a goal. Two
captains, UMAR and JOEY, are choosing one by one to form two
teams.
Tony rushes by on his scooter, fast. He avoids bumps - he
knows the area by heart. As he approaches the group of boys,
one of the boys tries to stop him.
UMAR
Tony! Hey! Come play! We need one
more here!
Shooting Script 07/27/15 27.
But Tony doesn't stop, and now comes Jake behind on his
ROLLER BLADES, trying to catch up. He's surprised by a bump
on the road, makes a false move, and almost falls.
JOEY
Oops! Watch out, Katy Perry!
All the boys laugh. Jake is upset but keeps going, pretending
he didn't hear anything.
17A INT. JARDINE HOUSE/STAIRWELL - DAY 17A
The boys enter the foyer of an old NYC tenement apartment
building. Tony carries his scooter, while Jake tries to take
off his blades as fast as he can.
They clomp up several flights.
18 INT. LEONOR'S APARTMENT - DAY 18
An old apartment, functional and in need of paint job. Modest
furniture dominates the space, but there are a couple of eye
catching art pieces; a large modernist painting and a
striking sculpture. In a corner, there's a large bookshelf
filled with books, but one corner has been turned into a bar
with a few different types of glasses, and various liquor
bottles.
Leonor is in the living room preparing a drink next to HERNÀN
ALONSO, Latin, early 60's, dressed in a suit and tie. He
stands close to Leonor, and leans over to help her with the
drink. At this very moment, Jake and Tony burst in through
the door.
TONY
(out of breath)
Eight minutes and twenty three
seconds!
He throws his scooter on the floor and runs to the kitchen.
Jake stays by the door, polite, waiting to greet the elders,
roller blades in hand.
LEONOR
Hey! Hey! Hey!
TONY
(looking at his cellphone)
A new record! Around the block and
up the stairs in eight minutes and
twenty three seconds!
Shooting Script 07/27/15 28.
LEONOR
Wow, I think you should call the
Guinness Book.
TONY
That's a great idea! I'll write
them an email.
Tony grabs a glass and opens the refrigerator to get some
water.
JAKE
Good evening, Mrs. Calvelli.
LEONOR
Hi Jake.
(to her son)
You haven't said hello, Mister!
TONY
Hello Hernàn. This is my friend
Jacob Jardine. But we call him
Jake.
HERNÀN
Hello there, Jake.
TONY
He used to live in Manhattan, but
now he lives above Mami's store.
Jake, this is Hernàn.
He finishes his glass of water, and runs to his room. Jake
stays alone with the adults.
HERNÀN
Ah! So you are the Grandson-
LEONOR
(cuts him off)
Yes. Max was his grandfather. His
father is Brian Jardine, the one
that I told you about.
JAKE
My father's an actor. And my mom is
a psychotherapist.
HERNÀN
I see. So how do you like Brooklyn
so far?
Shooting Script 07/27/15 29.
JAKE
I like it a lot. It's more peaceful
than Manhattan, and we have much
more space. It's great.
HERNÀN
So Jake, are you going to be an
actor, like your father?
JAKE
I don't know.
HERNÀN
But you look like an artist
yourself. With that long hair and
everything.
JAKE
Maybe.
This conversation is getting too deep for Jake. Leonor sees
that he's uncomfortable, and helps him out.
LEONOR
He'll tell us more later, right
Jake? Go ahead.
Jake runs inside Tony's room.
19 INT. LEONOR'S APARTMENT/TONY'S ROOM - DAY 19
Tony's room is typical teenager with a small bed, a desk with
computer and posters of music and movies. Tony's on the bed,
lost in thought. He's clearly been listening in on the
conversation in the other room.
TONY
Is your father any good at acting?
JAKE
I don't know. Maybe.
TONY
I thought if he was, I might have a
conversation with him, cause I'm
going to be an actor when I grow
up. Maybe he can give me some
pointers.
JAKE
Sure, yeah. I guess. He's not that
successful or anything.
Shooting Script 07/27/15 30.
Tony jumps off his bed and pulls open the drawers of his
desk.
TONY
My dream is to go to the LaGuardia
High School for the Performing
Arts? You know that school? Nicki
Minaj went there. And Al Pacino,
but heflunked out.
JAKE
I think my dad applied there.
TONY
Really? It's my dream school. I'm
looking around at some theater
classes, and practicing on my own,
so I can audition next year for
ninth grade.
He pulls out a stack of plays from his drawer.
TONY (CONT'D)
These are some of the scripts I'm
working on. I'm going to need to
practice a lot, and sometimes I
might need a partner, okay?
JAKE
But I'm not an actor.
TONY
That's okay. You can read, can't
you? Here look at this. This is a
scene from Pariah, or the Outcast,
by August Strindberg. It's perfect
for us to work on, cause it's just
two guys.
Jake takes the book tentatively, and flips through it.
TONY
And you know what, if you practice
your drawing more, and get better,
maybe we could both go to
LaGuardia. It's for all kinds of
artists. It's very Bohemian.
Jake puts the script down, uncommitted.
JAKE
I guess I can try.
Shooting Script 07/27/15 31.
TONY
That's the spirit.
JAKE
Is Hernàn your mom's boyfriend?
TONY
Hernàn? Eww, gross. No. He's just a
friend of her's from Chile. My mom
is still married to my dad. They
just don't live together much.
JAKE
I don't understand.
TONY
Me either! My dad travels a lot, so
they are never together. He's a
nurse, and he works for Doctors
Without Borders, which is from what
I can tell a job you get if you
want free plane flights.
JAKE
Where is he now?
TONY
He's in Angola. That's in Africa.
Until he was 20 he never left this
neighborhood, and then once he left
he barely ever came back. If I
wasn't here I don't think he'd ever
come back to Brooklyn.
Tony jumps up and goes to his desk.
TONY
Look what he sent me.
He pulls a box from a shelf, full of books and CDs and stuff.
JAKE
Do you miss having him around more?
TONY
At first I did. But it's been a few
years now, so I got used to it.
JAKE
Sometimes my dad goes away, if he's
shooting a movie. But it hasn't
really happened in a while.
Shooting Script 07/27/15 32.
TONY
Maybe he's not the guy I should
talk to.
JAKE
I don't know. He's been in a bunch
of plays and stuff.
Tony is still looking... and he finally finds it.
TONY
Found it!
He picks up a big book and drops it in Tony's lap.
TONY
My dad and I are going to go on a
safari, and these are just like
some of the animals we are going to
see.
Jake looks through pictures of African savannahs and animals.
JAKE
Do you wish they still lived
together?
TONY
Sometimes. When my dad comes to
visit, he'll cook Porcheta. It's
like roast pork butt.
JAKE
Ewww.
TONY
(matter of fact)
It's good.
(pause)
We sit at the table just the three
of us, and he tells stories about
his work and the places he's been,
and stories about the different
people he's met in Africa. Then it
seems like normal. But then, pretty
soon they start fighting about
something stupid. And I realize
it's better when he's not around.
JAKE
Imagine if your mom goes with you
on your safari, and they end up
falling in love again.
Shooting Script 07/27/15 33.
TONY
I think there's very little chance
of that happening.
JAKE
But just imagine: you get an
envelope one day. You open it and
it's two tickets to a safari. One
for you, and one for your mom.
And she decides to go, because she
feels like she needs a vacation.
So when you get to Africa, your dad
picks you both up at the airport,
and takes you to this incredible
place. Like this photo here. You
see lions and elephants, giraffes.
And then, it's the end of a
beautiful day in the African
savannah. Your dad wants to take
you up this big hill to see the
sunset, but you're too tired, so
you tell your parents you're going
to rest in your hotel room.
TONY
So they go the two of them alone.
And when they get there, the colors
of the sky are like nothing they've
ever seen before...
JAKE
A green sky with yellow stars...
The door opens, with Leonor in an apron and a wooden spoon in
hand.
LEONOR
Who wants pasta primavera?
JAKE
Yes!
Jake jumps up and goes out running. Tony stays in for a
moment, imagining...
20 EXT. JARDINE HOUSE/BACKYARD - DAY 20
Jake and Tony and Audrey's son LIAM are kicking a soccer ball
and running around the freshly cut grass and new plants - the
yard has visibly improved since the old days, and the swing
set has been removed.
Brian prepares a grill, talking with his sister Audrey.
Shooting Script 07/27/15 34.
20A INT. JARDINE HOUSE/STAIRWELL - DAY 20A
Tony and Jake come in from outside and run down the hall.
21 INT. CASA DE MODA/OFFICE - DAY 21
Leonor is sitting at her desk going through the store
receipts and expenses with a calculator, taking notes on a
notebook, and entering info in the computer. She is not happy
doing this kind of work, the numbers make her frustrated.
Leonor goes through the same papers one more time, re-
entering the same numbers in the calculator when Tony and
Jake storm into the office.
TONY
Mami, can I stay for dinner with
the Jardine's?
LEONOR
Tony...
TONY
Please Mami. They're having
hamburgers.
JAKE
And hot dogs.
LEONOR
We have dinner at home. Besides, I
can't come and pick you up later.
And I don't like you walking home
alone at night.
JAKE
He can sleep over.
LEONOR
(to Jake)
Have you talked to your father
about this?
JAKE
He won't mind.
LEONOR
Are you sure?
TONY
Please, Mami.
Shooting Script 07/27/15 35.
22 EXT. JARDINE HOUSE/BACKYARD - DAY 22
Brian and Audrey, holding chilled glasses of white wine,
continue their conversation around the grill, when Jake comes
running and interrupts.
JAKE
Dad!
BRIAN
Yes, Jake?
JAKE
Can Tony sleep over tonight?
Brian now sees Leonor and Tony approaching also.
BRIAN
Well, hello Leonor.
LEONOR
Sorry to interrupt, Brian.
BRIAN
No, please, you're not... You've
met my sister Audrey, haven't you?
LEONOR
Yes, of course.
AUDREY
Hi Leonor. Long time no see.
LEONOR
Jake is asking if Tony can stay for
dinner-
JAKE
And a sleep-over!
LEONOR
Yes, because after dinner it would
be too late for him to walk home
alone.
BRIAN
Tony, do you want to have
hamburgers and hot dogs with us
tonight?
TONY
Yes!
Shooting Script 07/27/15 36.
BRIAN
Done deal, bro.
He shakes hands with Tony. Tony and Jake go running to play
in the grass.
LEONOR
(to Brian)
I just wanted to make sure with
you...
BRIAN
Please. I can't tell you how happy
I am that Jake has a new friend. He
spends too much time alone. And
it's not easy for him with other
boys. So it's great that he and
Tony get along so well.
Leonor doesn't respond.
BRIAN
You've got a great kid, but I guess
you know that.
LEONOR
Thank you.
AUDREY
Leonor, do you want some wine?
Leonor considers for a moment.
AUDREY
Brian and I wanted to have a talk
with you anyway, about some things,
so maybe this is a good time.
LEONOR
No, thank you. I have to go back
and finish some stuff at the
office.
AUDREY
We'd love a minute with you if
that's ok. Right, Brian?
The kids fall on the grass running after the ball.
AUDREY
Liam, watch out! Your cousin is
smaller than you!
Shooting Script 07/27/15 37.
LEONOR
I have to go. But thank you.
BRIAN
You know, Leonor, after my father
died, there was so much to do. We
decided to move in, and time just
flew by. You and I haven't really
had a chance to talk about the
store, and all that stuff. Maybe we
can have a chat this week?
LEONOR
This week is not good for me. I'm
doing inventory.
BRIAN
Next week?
LEONOR
Could be.
Brian gets his iPhone out, checking his calendar.
BRIAN
Thursday I finish rehearsal early,
so I could come by early afternoon.
LEONOR
Sure.
BRIAN
Great.
23 EXT. JARDINE HOUSE/BACKYARD - NIGHT 23
Dinner is served. There are garden lights, flowers on the
table, chilled wine. Kathy has joined them, in her usual work
clothes, as has James, Audrey's husband.
AUDREY
Truth is, the neighborhood is
changing and that's a very old-
fashioned store.
BRIAN
C'mon guys! The burgers are getting
cold.
KATHY
She complained to me that business
wasn't so good.
Shooting Script 07/27/15 38.
Jake and Tony approach the table. The adults continue their
conversation in a hushed tone, once the boys are at the
table.
BRIAN
Of course she's going to say that.
Contract is up.
AUDREY
My guy told me that a similar space
in the area is going for five
thousand.
KATHY
What??
JAKE
Can I have mine with cheese,
mustard and ketchup, please?
KATHY
That's crazy.
BRIAN
Guests first. What do you want on
yours, Tony?
TONY
Cheese, onions, avocado. And
ketchup, please.
AUDREY
That's in the low numbers.
TONY
And mayonnaise.
KATHY
Scary.
BRIAN
Jake, have some salad also.
JAKE
I'll have some afterwards.
BRIAN
Tony, salad?
TONY
No thank you, Mr. J. Is that
alright if I call you that?
Shooting Script 07/27/15 39.
KATHY
And what is the number now?
BRIAN
Sure, Tony. That's fine.
AUDREY
One something. For eight years,
never an increase.
BRIAN
Maybe we should talk about this
later?
Kathy agrees, shaking her head.
KATHY
So Tony, I hear your dad lives in
Africa.
TONY
In Angola. It's an old Portuguese
colony in Africa. I wrote a paper
on it last year at school, and got
an B plus, which was pretty good,
cause I only spent about an hour on
it. Sometimes at my school the
teachers are whack cause they give
you good grades for the things you
don't try hard on, and bad grades
for the things you do.
Everyone is enjoying Tony, who is making himself very
comfortable.
TONY
Can you pass the ketchup, Mr. J?
I've always liked a lot of ketchup.
The big family, eating dinner in the garden, under the
hanging lights.
23A INT. JARDINE HOUSE/STAIRWELL 23A
The boys come racing down the interior stairwell of the
building, skates and scooters in hand.
24 OMITTED 24
Shooting Script 07/27/15 40.
24A EXT. JARDINE HOUSE/CASA DE MODA - DAY 24A
Wide shot of house as Jake finishes putting on his skates,
and then follows Tony on his scooter down the sidewalk.
25 EXT. BROOKLYN STREET - DAY 25
The boys roll down the sidewalk of a busy Brooklyn shopping
street.
They cross a busy intersection. Jake trips on a bump, nearly
falling, but catches himself in time.
26 INT. ACTING OUT TALENT ACADEMY/LOBBY - DAY 26
Tony and Jake come in, sweaty and out of breath, looking
around, not sure of where to go. A receptionist, LINDA, sits
at a table full of fliers and a computer.
LINDA
Hi, can I help you guys?
TONY
We're here for the acting class.
LINDA
We have quite a few. Do you mean
the Breakthrough Class?
TONY
Yes. That one.
LINDA
Well, it's twenty dollars for the
first class. But you can buy a
package of twenty classes for three
hundred.
TONY
(to Jake)
Got cash, buddy?
Jake and Tony empty their pockets. Tony counts all their
money together. There's ten dollars between them. Jake finds
one more. Eleven.
TONY
Oops, sorry. Hmm. What's your name?
Shooting Script 07/27/15 41.
LINDA
My name is Linda. What's yours?
TONY
Tony. And this is my friend Jake.
LINDA
Hi guys.
TONY
What is your sign?
LINDA
My sign?
TONY
Of the zodiac. But no. Let me
guess.
LINDA
Go ahead.
TONY
You're a Leo.
LINDA
How did you know??
TONY
Leos are very confident. You seem
very sure of yourself.
LINDA
Wow. I'm impressed.
TONY
Linda, I'm going to be honest with
you. My friend and I heard this
place was the best acting school in
the area, and we would love to
check it out. To see if we want to
make the investment. Can you make
us a discount?
LINDA
Like I told you. If you buy a
package of twenty, you get a
discount.
TONY
They also say Leos are very
generous.
Shooting Script 07/27/15 42.
LINDA
Comes down to fifteen bucks a
class.
TONY
Well maybe you can help with
something else.
LINDA
Sure.
TONY
Maybe you can give me some
directions?
LINDA
Where to?
TONY
To your heart.
The receptionist is taken by surprise by the flirtatious
joke. She laughs.
LINDA
You're too much. Go in. But only
this time. And don't tell anyone.
Tony and Jake start past her, towards the classrooms.
TONY
Thank you, Linda. You won't regret
it!
LINDA
(calling out)
Down the hall to the last door on
the right.
27 INT. ACTING OUT TALENT ACADEMY/CLASSROOM - DAY 27
Two girls, JULIA (14) and SALLY(13), are standing facing each
other in the middle of the room, surrounded by a dozen more
kids sitting in chairs, Jake and Tony, and EVA (also 14)
among them.
There is a moment of silence, and then the ACTING TEACHER
starts to talk.
ACTING TEACHER
The first thing is to really look
at somebody, and just talk and
listen, listen and talk.
(MORE)
Shooting Script 07/27/15 43.
ACTING TEACHER (CONT'D)
Not to act. The genesis of acting
is seeing. Yes? That's the first
thing. The raw material of all
acting is seeing, observing,
understanding what makes behavior.
I would say pay attention! So when
we start doing the repetition
exercise, that person does it to
you; you just react. Whereas a lot
of actors make it happen. Yes? But
that's not acting. That's pushing,
whereas you should just be relaxed.
The kids are listening, intently, taking it in.
ACTING TEACHER
Does that make sense?
No one answers.
ACTING TEACHER
Okay, let's begin.
Julia looks at Sally. Sally returns the look.
JULIA
You're wearing a pretty shirt.
SALLY
I'm wearing a pretty shirt.
JULIA
You're wearing a pretty shirt.
SALLY
Do you like my shirt?
The teacher interrupts, abruptly.
ACTING TEACHER
NO! No questions. Observations.
Let's start again.
Pause as the girls re-group.
SALLY
You have a little nose.
The other kids laugh.
ACTING TEACHER
Quiet! Concentrate.
Shooting Script 07/27/15 44.
SALLY
You have a little nose.
JULIA
I have a little nose.
SALLY
You have a little nose.
JULIA
Alright, I have a little nose.
SALLY
You have a little nose.
JULIA
I have a little nose.
SALLY
You seem a little bothered.
JULIA
I seem a little bothered.
SALLY
Yes. You seem a little bothered.
JULIA
You're getting a kick out of that.
SALLY
I'm getting a kick out of that.
JULIA
Well don't get offended.
SALLY
I'm not getting offended.
JULIA
You are acting like a baby.
SALLY
I'm acting like a baby.
ACTING TEACHER
Ok. Ok. Stop. That was okay. It
could be better. Yes? Back to your
seats.
He turns and looks at Jake.
ACTING TEACHER
You. Look at me. Don't move.
Shooting Script 07/27/15 45.
Jake squirms, as if he's been caught.
ACTING TEACHER
Stand up.
Jake reluctantly stands.
ACTING TEACHER
We've got to keep the contact.
We've got to keep the repetition.
The contact comes from my behavior.
Not just what I say, but what I do.
Jake looks for help from Tony.
ACTING TEACHER
Look at me. Now tell me something
you observed on your way here
today.
JAKE
I almost fell.
Laughter from the other kids.
ACTING TEACHER
You almost fell.
JAKE
I almost fell crossing the Parkway.
ACTING TEACHER
(to the class)
You see he didn't do it. What was I
saying?
JAKE
I'm sorry I don't understand.
ACTING TEACHER
You don't need to understand.
Acting is not understanding. It's
feeling. It's reacting. Does that
make sense? Look at me. Listen to
me.
Jake looks at him intently, trying to do the right thing.
ACTING TEACHER
What did I say without words? What
did my behavior say? Now say it
again.
Shooting Script 07/27/15 46.
JAKE
I'm sorry, say what again?
ACTING TEACHER
That you fell.
JAKE
You want me to say again that I
fell?
ACTING TEACHER
Yes.
JAKE
With words?
ACTING TEACHER
Yes, with words!
JAKE
I almost fell on my way to class
today.
ACTING TEACHER
You fell on your way to class
today.
JAKE
I almost fell on my way to class
today.
ACTING TEACHER
You fell on your way to class
today.
JAKE
You're not listening to me.
ACTING TEACHER
I'm not listening to you.
JAKE
You're not listening to me.
Jake is getting more and more upset. Emotional.
ACTING TEACHER
I'm not listening.
JAKE
You're not listening.
ACTING TEACHER
I'm not listening.
Shooting Script 07/27/15 47.
JAKE
(on the verge of crying)
You're not listening.
ACTING TEACHER
Good! That's it. Good. Do you all
see the difference? Yes?
Tony is smiling, beaming. He's in his element.
28 EXT. HERBERT VON KING PARK/AMPHITHEATER - DAY 28
The group of guys and girls seen inside the acting school are
now hanging out in the amphitheater of a City Park. Jake and
Tony, are among them - the youngest in the group.
TONY
Hey, I know you from St. Grace,
right?
JULIA
Yeah, I used to go there. I go to
Humanities Prep now, in Manhattan.
TONY
Oh, la di da.
EVA
We all went to St. Grace. There
were some crazy people in that
school. Julia, you remember Mr.
Clay?
JULIA
How could I forget Mr. Clay? That
hair!
She imitates with her hand.
JULIA
Three hairs came from the bottom in
the back and somehow they ended
spreading like a wig in front. Does
he still do it?
TONY
Yeah. Only difference is now that
he's older, he does it with two
hairs, instead of three.
Shooting Script 07/27/15 48.
They laugh. The older kids are warming up to Tony.
EVA
I never even noticed his hair.
JULIA
How could you not?
EVA
Mr. Clay was the first love of my
life. I was completely obsessed
with him.
ALL
Eeeewwww!!!
EVA
I used to fantasize about kissing
him all the time.
JULIA
Gross!
Laughter. Tony laughs the loudest.
EVA
Did you ever see his body? Hello??
He used to play volleyball with us.
In the summer he'd take his shirt
off. He was as hairy as an ape. I
loved it.
Everybody is laughing together, but Jake, who's not quite
fitting in.
JULIA
So Jake, you were pretty good in
class today. That was a tough
exercise.
She makes him a little nervous.
JAKE
I don't know.
TONY
Jake's going to be an artist when
he grows up.
SALLY
Are you? What's your medium?
Shooting Script 07/27/15 49.
JAKE
I paint, but you need to have
something special to be a painter,
and I'm not so sure I've got it.
TONY
You just need to believe in
yourself a little bit. That's all.
(to the girls)
My friend has a little problem with
his confidence. But we're working
on that. Right, Jake?
He winks at Jake, as the girls look on.
TONY
Hey, who wants to do the repeat
game with me? I need to practice.
SALLY
(taking the bait)
Who wants to do the repeat game
with me?
TONY
(imitating the teacher)
No questions!!
Tony runs on to the stage of the ampitheater, and begins to
imitate the teacher.
EVA
No questions!!
TONY
Look at me! Listen to me! Acting is
not understanding! You don't need
to understand. Does that make
sense? Yes? Yes? Yes?
Julia, Jake and the rest of the kids are watching, amused.
29 EXT. ST. GRACE'S SCHOOL/SPORTS FIELD - DAY 29
The sports field at St. Grace's Catholic School, where Tony
and his soccer group -- including UMAR and JOEY -- are
playing soccer. They're serious about their game,
concentrated, running around, sweating and fighting for the
ball. Tony is the GOALIE.
Shooting Script 07/27/15 50.
30 INT. ST. GRACE'S SCHOOL/CAFETERIA - DAY 30
The school cafeteria at lunch time, filled with hungry BOYS
and GIRLS sitting in common tables, sharing a meal. ALL THE
KIDS ARE IN SCHOOL UNIFORMS.
Our SOCCER BOYS, accompanied by a couple of POPULAR GIRLS,
including LIZZIE, the most popular, form a line by the food
counter, getting some food.
TONY
Hey Umar, you should try that thing
that the Brazilian does, Felipe
Melo. You look to one player but
you pass the ball to the other
side.
UMAR
We could try it if you played with
us more often.
TONY
I don't know what you're talking
about.
They head to the tables with their trays.
UMAR
You didn't show up last Saturday.
JOEY
It's because Tony has a new
boyfriend now!
The boys whistle and scream, teasingly, and the girls laugh
too. Tony blushes, angry.
TONY
Yeah, ask your sister if she thinks
I'm the type to have a boyfriend.
She knows.
Oohss! and laughter from some other boys.
JOEY
My cousin Allen goes to 321.
TONY
So what?
JOEY
That's his school, isn't it?
Shooting Script 07/27/15 51.
TONY
What are you talking about?
UMAR
Roller girl.
JOEY
Little Jake. My cousin goes to his
school. They say he's a weirdo.
TONY
Shut up, Joey!
JOEY
My cousin says he draws dresses for
the girls during recess.
Tony places his backpack on the floor and grabs the hamburger
on Joey's plate.
JOEY
Hey! Give that back to me!
Tony licks the bun all over, before putting it back on Joey's
plate.
TONY
There you are. Eat it.
Joey grabs Tony's burrito, and swings it around in the air
like an airplane.
TONY
Give that back!
He doesn't, provoking even more, so Tony hits Joey hard with
a punch. The girls scream. Joey responds with a push. Tony
almost falls for a second, but he gains his strength and
dives forward to punch Joey. He is held back by the other
boys, while some of them shout to actually heat up the fight.
31 INT. CASA DE MODA/STORE - DAY 31
Bianca, the salesgirl, is standing in the front of the store,
waiting for an eventual customer, when Jake comes into the
store.
BIANCA
Can I help you?
JAKE
No thank you.
Shooting Script 07/27/15 52.
Jake goes directly to the back.
Leonor is sewing. Jake walks by on his way to the office.
JAKE
Hi Leonor.
LEONOR
Wait, wait. Where do you think
you're going?
JAKE
Is Tony in the office?
LEONOR
He is, and he's staying there. He's
helping me out today.
JAKE
But we're supposed to meet some
friends.
LEONOR
Are those the same friends that
beat him up?
JAKE
What??
LEONOR
That's right. They beat him up. You
should ask him why.
31A INT. JARDINE HOUSE/CASA DE MODA/STAIRWELL - DAY 31A
Jake walks through the maze of rooms and hallways behind the
store.
32 INT. CASA DE MODA/OFFICE - DAY 32
Tony is entering numbers in the computer, copying them from a
spreadsheet next to him. He has a band-aid covering a bruise
on his forehead.
Jake enters.
TONY
Hey.
JAKE
(sees the bruise)
What happened??
Shooting Script 07/27/15 53.
TONY
Nothing. I bumped into Joey at
soccer.
JAKE
But your mom--
TONY
She's so dramatic, she deserves an
Academy Award. She doesn't want me
to go out so I can help her with
this. Look.
He shows Jake a spreadsheet of numbers.
TONY
She's terrible with numbers, you
know. You go ahead. I'll come find
you as soon as I finish here.
33 INT. OFF BROADWAY THEATER - DAY 33
Brian and two actresses, playing the roles of NINA and
ARKADINA, are rehearsing on a stage of a small theater.
For now, there's just some old blankets and a small bench.
Brian sits on the bench, "writing" something on a non-
existant notebook. Nina sits on a blanket with pillows next
to him.
NINA
What are you writing?
BRIAN/TRIGORIN
Nothing much, only an idea that
occurred to me
(puts "book" in his
pocket)
An idea for a short story. A young
girl grows up on the shores of a
lake, as you have.
Brian/Trigorin looks away, towards "the lake".
BRIAN/TRIGORIN (CONT'D)
She loves the lake as the gulls do,
and is as happy and free as they
are. But a man sees her who happens
to come that way, and he destroys
her out of idleness, as this
seagull here has been destroyed.
A pause. Arkadina enters, but remains at a distance.
Shooting Script 07/27/15 54.
ARKADINA
Boris! Where are you?
BRIAN/TRIGORIN
I am coming this minute.
Brian gets up and walks towards Arkadina.
BRIAN/TRIGORIN
What do you want?
ARKADINA
We are not going away, after all.
Brian/Trigorin embraces Arkadina, while Nina gets up and
stands up front stage, lost in thought.
NINA
It is a dream!
A pause. It's the end of the scene. A DIRECTOR approaches the
stage from the orchestra.
DIRECTOR
Okay. Let's try this one more time.
And Brian, when you mention the
dead seagull, don't look away from
Nina.
An ASSISTANT comes to give the Director a script.
BRIAN
More seductive, you mean.
DIRECTOR
Exactly. You're very myopic. You
have an obsession with the details
of things, of people. And in this
scene you're fully focused on Nina.
You're like a razor beam.
34 EXT. JARDINE HOUSE/CASA DE MODA - NIGHT 34
Brian comes walking down the street, a messenger bag around
his torso, coming back from rehearsal. He approaches the
house, and sees something that makes him pick up speed.
Leonor is outside, smoking a cigarette.
LEONOR
Brian. I was waiting.
Shooting Script 07/27/15 55.
BRIAN
I'm so sorry. Rehearsal went later
than I expected. Is this still a
good time?
LEONOR
Yes. I sent the girl home early so
we could talk. You want to go
inside? I'm just going to finish
this.
35 INT. CASA DE MODA/STORE - NIGHT 35
Brian is inside the store. He looks around, not sure where to
place himself. It gets darker and a loud `bang' is heard. The
metal shutter has been pulled down to close the store. Leonor
comes in.
BRIAN
The store looks nice.
LEONOR
Thanks. I did a lot of work here.
BRIAN
The reason why I'm here, Leonor...
LEONOR
I know.
BRIAN
Your lease has been expired for
more than six months now. I guess
you guys were about to renew it
when my father passed?
LEONOR
Brian, why don't you sit down.
They go towards the back of the store. Leonor sits behind her
desk/sewing machine, Brian in front of her. He opens his
messenger bag, and takes out a brown envelope.
BRIAN
My sister and I are working on the
transfer of ownership for the
house. It's almost done; Dad left
everything in order, all the taxes
paid and all that. The only thing
still pending is the store, which
needs to have a new lease.
Shooting Script 07/27/15 56.
LEONOR
You know, your father never thought
much about contracts. He was very
happy to have me here. Max thought
my store gave "glamour" to the
neighborhood, and he was proud to
be associated.
BRIAN
The situation has changed, and now
we have two families owning the
house; mine and Audrey's. It's
better for us, and for you, to have
things done the right way, wouldn't
you agree?
LEONOR
It depends on what the right way is
for you.
BRIAN
Leonor, this neighborhood is
changing very fast. The rents have
gone up quite a lot in the past few
years. I'm sure you've noticed.
LEONOR
Yes, I noticed and so did Max. But
it was his desire that I stay here.
BRIAN
We don't want you to go away. My
sister Audrey has prepared a new
lease for you, and we think it's
very fair. We aren't trying to get
market rate here, we know that's
not possible, but still, you can't
expect to pay the same rent you
paid when you first moved in.
Brian pulls some papers out of his bag.
BRIAN
Here, why don't you take a look.
LEONOR
Before we go any further with this
conversation, I want you to take a
look at this.
Leonor opens a drawer, and takes out a small pile of
photographs. She hands them to Brian.
Shooting Script 07/27/15 57.
LEONOR
I am probably the last person to
have photos printed, the old
fashioned way. It's completely
different than seeing them on a
cellphone, don't you agree?
Brian looks through the photos. Leonor looks over his
shoulder.
LEONOR
That's me in the backyard, on July
4th. That's me and Tony and your
father at the Fair of St.
Anthony's. That's us with my
family, when they were visiting.
Your father and I were very good
friends. We spent a lot of time
together. What you and your sister
don't understand is that Max wanted
me to stay here. He thought of me
as part of this house, this
neighborhood.
He returns the photos to Leonor.
LEONOR
I was more his family, if you want
to know, than you were.
BRIAN
That's a ridiculous thing to say.
LEONOR
You hardly talked to each other.
You never came to visit. I was the
one here. I saw him everyday.
BRIAN
This is not what I came here for.
Why don't we go back to the lease.
Take a look, please. It's fair.
LEONOR
No, I don't need to. I have an idea
what you and your sister have in
mind. I'll just give this to my
lawyer because, to be honest with
you, Brian, I'm not sure I owe you
anything. Maybe it's the other way
around.
Brian is speechless, sideswiped by Leonor's intensity and
conviction.
Shooting Script 07/27/15 58.
BRIAN
Well, I guess there's not that much
more to be said then.
LEONOR
No.
Brian walks to the door, and out.
BRIAN
Goodnight, Leonor.
Leonor says nothing.
36 INT. JARDINE APARTMENT/FAMILY ROOM - NIGHT 36
Kathy is setting the table. Brian enters and walks through
without stopping.
KATHY
Brian. Want to help me out here?
BRIAN
Sure, but just give me a moment.
KATHY
What's wrong?
BRIAN (O.S.)
Is Jake here?
37 INT. JARDINE APARTMENT/JAKE'S BEDROOM - NIGHT 37
Jake and Tony are playing a video game when Brian comes in.
JAKE
Hi Dad!
TONY
Hi, Mr. J.
BRIAN
(angry)
Jake, you know it's a weekday. What
are you doing playing video games?!
JAKE
Can Tony stay and eat with us?
BRIAN
(harsh)
No.
Shooting Script 07/27/15 59.
They stop playing, and look at Brian with surprise.
JAKE
Why not? He wanted to ask you about
your acting career.
BRIAN
That's enough for tonight. Turn it
off.
JAKE
Dad, c'mon!
BRIAN
I said no.
TONY
We're about to finish the level.
BRIAN
Tony, you need to go home now. We
can talk about acting another time.
Brian notices the boys are getting uncomfortable.
TONY
Sure, Mr. J.
BRIAN
(to Tony, softening)
I'm sorry, buddy. Your mother is
waiting for you downstairs.
Brian makes a quick exit, shutting the door behind him.
The boys look at each other, unsure of what to do.
38 INT. JARDINE APARTMENT/BATHROOM - NIGHT 38
Water is pouring from the shower. Brian, naked inside the
glass, tests the temperature with his hand carefully. He
adjusts the temperature one bit more, and finally goes under
the shower.
Brian takes a deep breath in, and a deep breath out as the
water rains down on him, hoping it will wash off his
apprehensions.
39 INT. JARDINE APARTMENT/FAMILY ROOM - NIGHT 39
Jake, with a backpack, and Tony are in the middle of a
conversation with Kathy.
Shooting Script 07/27/15 60.
KATHY
Did you ask your mother?
TONY
She loves when Jake comes over.
JAKE
Please, Mom? Please?
KATHY
Jake I just made dinner.
JAKE
I'll eat it tomorrow for lunch, I
promise.
KATHY
Okay. But I want you back here in
the morning.
JAKE
Yes! Thanks.
TONY
Thank you, Mrs. Jardine.
They run out of the apartment...
39A INT. JARDINE HOUSE/STAIRWELL - NIGHT 39A
... and down the stairwell, and out the front door, slamming
it behind them.
40 EXT. JARDINE HOUSE/CASA DE MODA - NIGHT 40
Outside the house, Leonor is closing the gate to her store,
talking to Tony. Jake stands by watching, withdrawn by the
tone of the conversation.
LEONOR
No, Antonio.
TONY
C'mon, Mami. We have spaghetti in
the fridge.
LEONOR
When I say no I mean it. Don't ask
me again.
Shooting Script 07/27/15 61.
TONY
But we're going to be super quiet!
Aren't we, Jake?
JAKE
Yes we are.
LEONOR
Antonio. No. Listen to me and don't
argue.
JAKE
It's okay Tony. I'll see you
tomorrow.
Leonor begins to walk away.
LEONOR
Goodnight, Jake.
JAKE
Goodnight, Mrs. Calvelli.
Tony reluctantly follows his mom, then turns towards Jake.
TONY
See you tomorrow.
JAKE
Yeah, see you tomorrow.
40A INT. JARDINE HOUSE/STAIRWELL - NIGHT 40A
Jake enters the dark stairwell. He stands by himself for a
moment to collect his thoughts, before heading up to his
family's apartment.
41 OMITTED 41
41A EXT. BROOKLYN NEIGHBORHOOD - NIGHT 41A
A few shots of Brooklyn at night. The streets are quiet. A
car passes. It's that hour when anyone who's still up maybe
shouldn't be.
42 OMITTED 42
43 OMITTED 43
Shooting Script 07/27/15 62.
44 EXT. HERBERT VON KING PARK - DAY 44
Jake rolls through the park on his roller blades. He arrives
at the sport's field, and stays on the edge, observing the
activity of the players.
Half the kids are without shirts, playing against the other
team, with shirts. They're running and kicking the ball,
sweaty, screaming at each other, throwing themselves at the
ball. Jake sees Tony, playing goalie, and walks towards him.
They talk as Tony continues to pay attention to game.
TONY
I'm not talking to my mother
anymore.
JAKE
Why not?
TONY
She said you can't come over to our
place. It's not right.
JAKE
Why doesn't she want me over?
TONY
I don't think your father wants me
around very much anymore either. He
might be too chicken to come out
and say it, but I can tell.
JAKE
Why are they so mad at us?
TONY
Our parents are involved in a
business matter and it's getting
ugly. So they're taking it out on
us.
JAKE
You're right. My dad was very cold
to you.
TONY
You'd think I was the enemy.
JAKE
I won't talk to my parents either
then.
The opponents head towards Tony and the goal.
Shooting Script 07/27/15 63.
TONY
Really?
JAKE
Really. Not unless they apologize.
UMAR
Tony! C'mon!! Are you playing or
what?
Tony looks at Jake.
TONY
You sure you can handle it? It
won't be easy.
JAKE
Of course I can handle it.
Tony returns his focus to the game.
TONY
You're a great friend, Jake.
JAKE
You too.
45 INT. JARDINE APARTMENT/JAKE'S BEDROOM - DAY 45
Jake is sitting at his desk, working on his drawings.
BRIAN
Hey.
Jake's eyes remain glued to his drawing.
BRIAN
Did something happen with Leonor
downstairs?
Jake looks at his father, but doesn't say anything.
BRIAN
The store is closed. It's not even
five yet.
Jake shrugs his shoulders, turns his attention back to the
paper.
BRIAN
Have you seen Tony?
Another shrug.
Shooting Script 07/27/15 64.
BRIAN
Jake, can you stop playing around
for a second??
Jake stops.
BRIAN
Did you see if the store was open
earlier when you got home?
Jake shakes his head yes.
BRIAN
Was it open?
Jake shakes his head no.
BRIAN
No? It wasn't?
Brian's cell phone starts ringing.
BRIAN
Talk to me Jake!
Jake looks at his dad, but doesn't say anything. Brian,
resigned, picks up his phone.
BRIAN
(on the phone)
Audrey. Hi.
Jake watches as his father walks towards the door, and out,
talking on the phone.
BRIAN
(on the phone)
No, I haven't heard from her. (...)
Today I got home early and the
store was closed, it's strange.
(...) Isn't it better if you call
her? (...)
Jake goes back to his drawing.
46 INT. JARDINE APARTMENT/LIVING AREA - NIGHT 46
Dinner time at the Jardine's; the meal in progress.
Kathy and Brian are in the midst of a discussion, as Jake
takes a seat at his usual spot.
Shooting Script 07/27/15 65.
KATHY
It's not your fault.
BRIAN
But I feel very responsible. We are
responsible.
KATHY
Audrey will tell you if she thinks
you owe her money. Don't worry
about it.
BRIAN
She sort of did already.
KATHY
What?
BRIAN
She told me we owe her money for
the store.
KATHY
Incredible.
Kathy can't believe this.
BRIAN
Yes, I know.
KATHY
Jake. Did you see Leonor today?
Jake, shakes his head no, and sits down at the table.
KATHY
Ah. Still not talking.
BRIAN
No.
She hands Jake the bowl of salad.
KATHY
You know, you can't go on with this
forever.
Jake starts helping himself.
KATHY
(to Brian)
Have you seen Jake's latest
artwork?
Shooting Script 07/27/15 66.
BRIAN
No.
KATHY
He's been doing a lot of
mythological stuff.
BRIAN
Is that inspired by that book I
gave you?
Jake swings his head side to side: more or less.
BRIAN
The Blood of Olympus.
Jake swings his head again, more emphatically: more or less,
I said.
KATHY
Truth is, if he's really serious
about applying to LaGuardia, he's
going to need to start preparing a
serious portfolio, no?
BRIAN
Yes. From what I remember, only 2%
of the students who apply to
LaGuardia get accepted. This means
two out of a hundred. Twenty out of
a thousand. They're not just
looking for talent; they're looking
for serious commitment.
KATHY
And you famously flunked.
BRIAN
I didn't "flunk"!
Kathy laughs. Jake also. Brian doesn't find it funny.
BRIAN
I wasn't accepted, which is
different.
47 INT. CASA DE MODA/STORE - DAY 47
Bianca, the salesgirl, is rearranging clothes on the large
display table up front when Kathy comes in.
KATHY
Hello.
Shooting Script 07/27/15 67.
BIANCA
Hi. Can I help you with anything?
KATHY
Thanks. I'm looking for Leonor. Oh,
I see her.
Leonor is behind the sewing machine in the back of the store,
fixing a pair of palazzo pants.
KATHY
Hi Leonor.
LEONOR
Hi. Just a second, let me just me
finish this.
Kathy sits on a chair across from her, and waits for her to
finish sewing. Leonor pulls the pants away from the machine,
and breaks the thread with her teeth.
LEONOR
You're home early.
KATHY
Monday.
LEONOR
Right. Your day off. Oh, you have
to see this new dress. Bianca, show
her the new dress! The green one.
Leonor puts another pair of pants on the machine, and starts
sewing.
Bianca picks up a green dress from the racks. Kathy,
politely, goes to check it out.
BIANCA
Remember the original wrap dress,
the first one that Diane von
Furstenberg made?
KATHY
Of course. Wow, that's an original?
BIANCA
No, we found this fabric, it's
vintage fabric. And Leonor made the
dress herself.
Shooting Script 07/27/15 68.
KATHY
It's beautiful. Wow. But it's
really not my style. Thank you. I
need to talk to Leonor.
Kathy approaches the back of the store again. This time
Leonor keeps concentrated on her sewing job, and doesn't stop
to talk.
KATHY
Cute dress.
LEONOR
I made it. The fabric is vintage.
KATHY
Yes. I really like it, but I can't
wear anything too tight on the
waist these days. I need to lose a
few pounds first.
Leonor keeps sewing. Kathy looks around the store. She
clearly wants to say something, but Leonor avoids any eye
contact.
KATHY
Leonor, do you have a minute?
LEONOR
I have to finish this for a client
tonight.
KATHY
Tony is still not talking?
LEONOR
No. Not a word to me yesterday.
KATHY
Same with Jake.
LEONOR
It's very annoying.
KATHY
The one good thing, I have to say,
is that Jake has been drawing and
painting more than ever.
LEONOR
Is that good?
Shooting Script 07/27/15 69.
KATHY
Yes! If he really wants to apply to
LaGuardia, he needs to prepare a
portfolio. Is Tony still planning
on applying also?
LEONOR
How would I know? It's been four
days and he hasn't said a word to
me.
KATHY
Listen, Leonor, you know that I'm
trained in conflict resolution, so
I'm hoping I can help here, help
settle this problem between you and
our family.
LEONOR
Oh really? Has your husband asked
you to do that?
KATHY
No. And by the way, he's been
working really hard. I'm not sure
you know that, but he's rehearsing
for a new play.
LEONOR
No. I haven't seen your husband.
KATHY
I know he's been waiting to hear
from you.
Leonor doesn't respond.
KATHY
Leonor?
Leonor continues to sew, until Kathy loses her patience, and
slaps her hand on top of the piece of clothing Leonor is
trying to sew.
KATHY
Can't we talk about what is really
going on here?
Leonor is startled: a completely unexpected reaction from
Kathy. She looks over to Bianca, to make sure she's not
listening.
LEONOR
Shh. Not here.
Shooting Script 07/27/15 70.
48 EXT. JARDINE HOUSE/BACKYARD - DAY 48
Leonor smokes a cigarette in the backyard. Kathy is next to
her.
KATHY
I know you think we're the rich
people coming into this
neighborhood, but the truth is
Brian hasn't made any money in
years. I've been supporting this
family with my hard work.
LEONOR
That's not my problem.
KATHY
I know it's not. I'm just trying to
talk about it.
LEONOR
You think talking is going to solve
all your problems, don't you? You
think you can use some of your
psychology class tricks and just
wash away the dirt here? That dirt
is my sweat, sweetie. It's my life.
It's not going to be that easy.
KATHY
I know that. What I want to tell
you is we will give you time, but
we need this money. We need the
shop to cover its rent. That's not
an unfair thing to ask of a tenant.
LEONOR
But I'm not a tenant. To Max I was
more than a tenant. I was family. I
belong here. And before you go any
further; let me ask you: do you
know how much work I've done here?
The tile floors? The marble
bathroom? That office in the back?
I paid for all that.
Leonor throws her cigarette out. She turns and goes back into
the store, leaving KATHY alone in the yard.
49 EXT. ACTING OUT TALENT ACADEMY - DAY 49
Julia is putting on her roller blades. Tony stands beside
her, trying to make conversation.
Shooting Script 07/27/15 71.
TONY
You look like you've been doing
this acting thing forever.
JULIA
Really?
TONY
Like when you did the Emotional
Recall exercise, it just seems so
natural, I can't explain.
JULIA
You know, my father was a stunt man
when I was a kid. So I spent a lot
of time on sets and stuff.
TONY
So you have been doing this
forever.
JULIA
No, because when I was eight years
old he died.
TONY
Did he die doing a stunt?
JULIA
No! He had throat cancer.
TONY
Oh.
(stumped, thinking)
I'm sorry for your loss.
Eva comes out of the School, and joins Julia.
JULIA
(to Tony)
I'll see you later?
TONY
I hope so.
She and Eva leave together, as Tony watches.
50 EXT. HERBERT VON KING PARK/AMPHITHEATER - DAY 50
At a table in the park, Jake is sketching the landscape in a
sketchbook, with his collection of Caran d'Aches spread
around him. Tony is sitting across from him.
Shooting Script 07/27/15 72.
TONY
Do you know anyone with a swimming
pool?
JAKE
No, why?
TONY
I would do anything to see her in a
bikini. Can you imagine?
JAKE
I never thought about that.
TONY
So what about you? Who do you like?
JAKE
They're all very nice.
TONY
You can tell me, you know.
JAKE
Tell you what?
TONY
If you like someone.
Jake keeps sketching in his book.
JAKE
I don't know.
TONY
That's what you always say.
JAKE
Well I do have an idea you might
like.
TONY
What?
JAKE
Eva talked about going dancing.
There's a matinee club, like after
hours, for kids.
TONY
When is it?
JAKE
Sunday afternoon, in the City.
Shooting Script 07/27/15 73.
TONY
Let's go!
JAKE
It would be fun, right?
TONY
That would be perfect. If I can
just dance with her...
Tony comes closer, to check out Jake's drawing.
TONY
Wow, that's getting good, Jake. I'm
impressed.
51 INT. LEONOR'S APARTMENT/TONY'S ROOM - NIGHT 51
Tony is on his bed, playing a video game. There's a knock on
the door, and Leonor sticks her head inside.
LEONOR
Your father.
52 INT. LEONOR'S APARTMENT - NIGHT 52
NICK CALVELLI, Tony's Italian-American father, is making
himself a drink at the bar. He's taken by surprise when Tony
enters running to give him a strong hug and a kiss.
NICK
Tony! Whoa, man, watch out buddy.
With the impact, some of the drink spills on Tony's head.
Tony wipes his head with his father's shirt.
NICK
Wait, wait. Let me do this for you.
Don't worry. This is good luck.
There you go. So tell me; what's
going on? How's school? You still
hoping for LaGuardia?
Leonor brings a cup with ice to the table.
LEONOR
C'mon, Antonio. You're not going to
talk to your father?
Tony shakes his head no, and gives his father another hug.
Shooting Script 07/27/15 74.
NICK
Did the cat get your tongue?
LEONOR
You forget he's too old for this
kind of joke.
NICK
What happened?
LEONOR
He's mad at his mother.
NICK
What about?
LEONOR
Ask him.
Tony looks at them both; he's not budging.
NICK
Tony, now that I'm here you're not
going to say anything to me?
Tony shrugs his shoulders. Nick looks at Leonor, questioning.
She shrugs her shoulders too.
LEONOR
Go finish your homework, Antonio.
We're having dinner soon.
53 INT. LEONOR'S APARTMENT - NIGHT 53
Dinner is served. Leonor sits down and they start helping
themselves to food. Tony, ever silent, pays attention closely
to the conversation.
NICK
So what are you going to do,
Leonor?
LEONOR
I don't know yet, but Hernàn is
helping me out.
NICK
Hernàn? Isn't he a bankruptcy
lawyer?
LEONOR
Yes.
Shooting Script 07/27/15 75.
NICK
Is he the best person for this?
LEONOR
He's my friend. He knows strategy.
NICK
Are we talking about an exit
strategy?
LEONOR
No. A fighting strategy.
NICK
But you should have an exit plan.
LEONOR
I intend to fight. They can't do
this to me.
Tony eats, but his ears are clearly on the conversation. He
is very curious about all this.
NICK
What if they can?
LEONOR
What do you want me to say, Nick?
That I'm going to open a drug
store? Start making furniture?
NICK
Or look for a job?
Leonor stops eating for a moment. She can't believe her ears.
LEONOR
You can't be serious.
NICK
Don't take everything so
personally, Leonor. The world isn't
always stacked up against you.
LEONOR
What does this have to do with
anything?
NICK
Rent goes up. That's life in this
city. These people are not doing
this to you.
Shooting Script 07/27/15 76.
LEONOR
Why do you always have to disagree
with me?
NICK
I'm not disagreeing with you.
LEONOR
Can't you be on my side for once in
your life?
NICK
I'm just being realistic. Life here
is expensive. I think you should
have a plan.
LEONOR
What do you think I'm doing? Do you
think this is easy for me?
NICK
I know it's not.
LEONOR
That store is how I have raised our
son. With not much help from you,
thank you very much.
NICK
That's not true.
LEONOR
Really? Do you think that sending
him a little gift at the end of the
year is enough to keep him fed? To
buy him clothes? To take him to a
movie every so often?
NICK
Can we not talk about money now?
Damn, Leonor. You spoil everything.
I can't even eat.
At this, Tony bangs his fork and knife on the table, loudly.
54 INT. LEONOR'S APARTMENT/TONY'S ROOM - NIGHT 54
Tony and Nick are playing a video game on Tony's bed. They
are both concentrated, playing and actually having fun.
Shooting Script 07/27/15 77.
NICK
Can you keep a secret? Swear? I was
invited to head the mission in
Kinshasa. It's a nice big city for
Africa.
(playing the game)
Oh no. No! No!! Shit.
Tony smiles. He's winning. Nick jerks his body, tries hard,
but it's too late. He's lost.
NICK
Not far from Angola. I'm finally
going to have my own apartment. Why
don't you come and stay with me for
a while? We could go on a safari.
The rainforest is incredible.
They're famous for these big
gorillas, hippopotamus, all kinds
of animals.
Tony smiles, and gives his father a big hug.
NICK
This acting school thing. Is it
serious?
Tony shakes his head yes.
NICK
How serious?
Tony shakes his head again. It's very serious.
NICK
That's good. There's a lot more in
this world than Brooklyn.
Tony goes to hug his father.
NICK
Listen, Tony. I know your mom can
be a little rough, but she's just
worried about you. You're not a kid
anymore, and she needs you to look
out for her. I need you to look out
for her.
54A INT. LEONOR'S APARTMENT - NIGHT 54A
Leonor is cleaning up after dinner, drying the dishes.
Shooting Script 07/27/15 78.
55 EXT. MIDTOWN PLAZA - DAY 55
Audrey and Brian sit on a bench in a concrete garden in
Midtown, the plaza of a great building, drinking to-go
coffees.
AUDREY
Well, Dad must have really liked
her. That part I think she's
probably right about. He never
raised the rent on the store. Not
even once in more than eight years.
And now Leonor's lawyer is charging
us for improvements she made in the
store.
BRIAN
What does that mean?
AUDREY
She wants to fight. The woman is
trouble, Brian. Once again, our
warm, lovable, unwise father left
us with a big mess, and no
instructions.
They both take that in.
AUDREY
Is it terrible, Brian, that I don't
really miss him?
BRIAN
No, it's not terrible. It's sad,
but I don't blame you.
AUDREY
Do you miss him?
BRIAN
Sometimes. But I live in his house,
so I probably think about him more
than you do.
AUDREY
She's claiming she has the right to
stay paying almost nothing. I think
we should start the eviction
process as soon as possible.
BRIAN
I don't want to have to do that.
Shooting Script 07/27/15 79.
AUDREY
It takes a while, you know.
BRIAN
I just don't want this to get ugly.
The boys are best friends now.
AUDREY
Remember that Dad worked very hard
to leave us something. Now you have
a nice big apartment, and I'm
getting nothing.
BRIAN
Just give me a little more time.
AUDREY
I can't do this without you, you
know.
56 INT. KID'S DISCO - DAY 56
It's Studio 54 for KIDS and young TEENAGERS. Jake emerges
from the bathroom and discovers a dance floor packed with
boys and girls dancing in groups or doing solo numbers.
Some come up with elaborate choreographies, while others just
shake their bodies best they can. Many of them are in
costumes, some with lights blinking, laser flash lights and
other Disco toys.
In the middle of the dance floor, Julia and Tony dance with
each other - no choreography here, just plain dancing and
having fun. He gives it all he's got, admiring her, while she
closes her eyes, and lets the music take her away.
She opens her eyes, and sees Tony looking at her. Julia
smiles at him and they have a little moment dancing. Tony
feels confident.
TONY
Hey, do you want to come with me to
the beach?
Julia has a hard time hearing him.
TONY
The beach! This summer! You want to
come with me?
She just keeps on dancing.
Shooting Script 07/27/15 80.
TONY
Yes? No?
JULIA
No, Tony. You're really nice and
everything..., but I'm into older
guys.
Tony's legs slow down, he loses his rhythm.
TONY
Oh, okay. Thank you for being
honest.
He's moved a little farther away and she has a harder time
hearing him.
JULIA
What?
TONY
(shouting)
Thank you for being honest.
A couple of GIRLS begin to dance with Julia, and Tony
gradually moves away from her.
For a moment, he seems lost on the dance floor. He looks
around, and only see strangers.
By the bar, Jake watches Tony on the dance floor.
57 INT/EXT. SUBWAY - DUSK 57
SHOTS of the city passing by at night from inside a subway
train.
There's only a few people inside the subway. Tony and Jake
are on a bench together, not talking.
It's the end of a long day.
58 EXT. JARDINE HOUSE/CASA DE MODA - NIGHT 58
Brian walks down the street, coming home late from rehearsal.
As he approaches his house, he sees something that catches
his attention. He moves closer, and takes out his phone to
light a sign posted on the window of the store.
On the window, a sign: HELP WANTED - experience in retail
required.
Shooting Script 07/27/15 81.
59 INT. JARDINE APARTMENT - NIGHT 59
Brian comes in from the kitchen, with a bottle of wine, to
join Kathy. She is on the couch with a book, and a glass of
wine in front of her.
BRIAN
Do you want some more?
KATHY
Sure.
He sits next to her, and pours some wine in both glasses.
KATHY
How'd it go?
BRIAN
I think it's going to be great. I
love my part, I love the actors,
the play is fantastic.
KATHY
I'll toast to that.
They make a toast, but Brian seems tense.
KATHY
What's going on?
BRIAN
Did you see the sign Leonor has
posted in the window?
KATHY
No, I didn't see anything.
BRIAN
She doesn't acknowledge the new
lease, she doesn't try to negotiate
and she has no plans of leaving.
And now she's actually hiring new
people, can you believe it?
KATHY
I told you this wasn't going to be
easy.
BRIAN
Audrey wants to start an eviction
process. She has a lawyer ready to
go already.
Shooting Script 07/27/15 82.
KATHY
Good. Then it's decided.
BRIAN
Is it?
Kathy takes a sip.
KATHY
Who's going to tell Jake?
BRIAN
I will. It's my problem.
KATHY
Well then tell him soon. Please.
BRIAN
He's just being so childish lately.
59A INT. JARDINE APARTMENT/JAKE'S BEDROOM - NIGHT 59A
Jake is lying on his bed in his pajamas, with only a reading
light on. He's concentrated on his work, drawing quietly,
surrounded by his colored pencils.
60 INT. OFF BROADWAY THEATER - NIGHT 60
The stage is set; a lawn by a lake, a dead seagull and the
wall of a house in the background. Brian and the actress
playing NINA are in costume and in character. It's opening
night.
NINA
What are you writing?
BRIAN/TRIGORIN
An idea for a short story. A young
girl grows up on the shores of a
lake, as you have.
Brian/Trigorin looks intently into Nina's eyes.
BRIAN/TRIGORIN (CONT'D)
She loves the lake as the gulls do,
and is as happy and free as they
are. But a man sees her who happens
to come that way, and he destroys
her out of idleness, and this
seagull here has been destroyed.
Shooting Script 07/27/15 83.
A pause. Arkadina appears on the window of the house.
ARKADINA
Boris! Where are you?
BRIAN/TRIGORIN
I am coming this minute.
Brian/Trigorin gets up and walks towards the house. Arkadina
remains at the window.
BRIAN/TRIGORIN
What do you want?
ARKADINA
We are not going away, after all.
Nina stands by herself at the front of the stage.
NINA
It is a dream!
The lights go out, and the audience begins to clap
vigorously. Kathy sits next to Tony, who is next to Jake.
Jake is clapping most vigorously of all.
61 INT. JARDINE CAR - NIGHT 61
Brian is driving his car through the city. Kathy is sitting
in the passenger seat next to him, holding a BOUQUET OF
FLOWERS. And in the back, Jake and Tony are there, sitting
next to Roger, Brian's agent.
ROGER
It's in your delivery. It's very
natural. You really manage to make
Trigorin feel contemporary.
BRIAN
Well, thank you, Roger.
ROGER
He's like one of those famous
artists we meet at a party, you
know? You're excited at first, but
the minute you start a
conversation, you're begging not to
be left alone with the guy.
Shooting Script 07/27/15 84.
BRIAN
Is that a good thing?
ROGER
Yes!
KATHY
He's such a tormented artist. It's
wonderful.
Brian stops the car in front of Roger's apartment building.
ROGER
And there were some really funny
parts too.
BRIAN
Isn't it! Chekhov called it a
comedy in four acts.
ROGER
Act two, particularly.
BRIAN
(laughing)
It is.
Roger squeezes Brian's shoulder, and leans over the seat to
give Kathy a kiss.
ROGER
Bye Kathy. Great to see you.
KATHY
Loved seeing you, Roger. It's been
a great night.
He high fives with the boys, on his way out.
ROGER
Bye fellas. You should be very
proud of this man here!
Roger steps out of the car. Brian gives a big smile, and
waves goodbye to his friend.
The car starts again. Brian drives, and looks at the boys
behind him in the rearview mirror.
BRIAN
So?
Jake and Tony smile.
Shooting Script 07/27/15 85.
KATHY
Jake? It's your dad's opening
night.
BRIAN
Did you understand why Nina says
she's the seagull?
Jake shakes his head yes, Tony shakes his no.
KATHY
Brian. They're kids. To be honest,
I'm not even sure I get that part.
The boys look at each other and start laughing.
KATHY
But that doesn't take anything away
from the pleasure of the story.
Brian drives on, silent.
Suddenly, he pulls the car over, and shifts the gear to park,
then turns around, and faces the boys. He's upset.
BRIAN
Do either of you care about anyone
other than yourselves?
Jake is startled, trying to figure out who to answer to, his
father or his friend.
BRIAN
Jake? Say something.
Jake looks at Tony, who is shaking his head vigorously.
BRIAN
Say something!
Jake is frozen.
BRIAN
One of the hardest things to
realize as a child is that your
parents are people too. Can you
understand that? That they care
about things. That they make
mistakes. That they try to do what
they think is right. Does any of
what I'm saying make any sense to
you?
Jake shakes his head yes. Tony laughs.
Shooting Script 07/27/15 86.
BRIAN
What's so funny, Tony? Why don't
you tell me, what's funny?? You
think being an actor is easy? You
think you have it in you for one
rejection after another? Let's see
how you react when you don't get
into LaGuardia. Let's just see
then.
KATHY
Brian...
BRIAN
God damn it!!
He turns around, and puts the gear in drive, lurching back
into the street. The boys look at each other. They are a
little frightened, and a little victorious.
62 INT. CASA DE MODA/STORE - DAY 62
Leonor picks up a dress from a pile on the main table, and
shows it to the new salesgirl, VALENTINA.
LEONOR
Dresses go over there, on that rack
on the left. Before you hang them,
make sure they have a price tag.
Also, try to arrange them by color,
or tone. I usually like to start
with lighter colors in the front,
and end with darker ones. Black
goes in the back. The women here
like black a lot, so if they're
looking for a little black dress,
they might see a lot of other stuff
before they get there.
VALENTINA
I see. So if they don't know what
they want, I try to keep them here
in the front first, and then show
them the ones in the back.
LEONOR
Unless they ask specifically for
black.
They hear a bell RINGING, and look towards the door. Brian
comes in.
Shooting Script 07/27/15 87.
VALENTINA
Hello. Can I help you?
LEONOR
It's okay, Valentina. It's for me.
This is Brian Jardine, our
neighbor. He's a great actor.
VALENTINA
Oh really? Have I seen you in
anything?
BRIAN
I doubt it.
LEONOR
He's in a new play. What is it
called?
BRIAN
The Seagull.
LEONOR
Oh. That must be very popular.
BRIAN
Can you give me five minutes alone?
Please?
63 EXT. JARDINE HOUSE/BACKYARD - DAY 63
Leonor and Brian are standing outside. Leonor lights a
cigarette.
LEONOR
The day your father died, he came
by in the morning. I asked him to
buy me a pack of cigarettes, and
then I never saw him again.
Leonor gets emotional, and a tear rolls down her face.
LEONOR
Your father cared about me, Brian.
Do you believe that? Every day we
would talk, and we would share
things with each other. Have you
ever had a friend like that?
Someone you could tell anything?
Shooting Script 07/27/15 88.
BRIAN
Only my wife. I'm a lot like Jake.
I've never been good at having
close friends.
Leonor takes another drag.
BRIAN
I hope you can understand that
what's happening is nothing
personal.
LEONOR
I can't afford to pay three times
the rent I paid your father. It's
not possible. I can't survive.
Brian doesn't respond.
LEONOR
I thought you were in a new big
play.
BRIAN
I am in a new play. But it's not
big, and it's not a lot of money.
It's just the way it is, Leonor.
I'm fortunate enough to have had a
father who left me a house in
Brooklyn.
LEONOR
He wanted me to stay here. He told
me so.
BRIAN
Leonor. I also have a sister, and
she has her own family, and we all
have to decide together what to do.
It's not just up to me.
Leonor takes a moment, and then proceeds in a new direction.
LEONOR
You know your father thought your
sister was the one who inherited
his brains.
Brian doesn't know how to respond.
Shooting Script 07/27/15 89.
BRIAN
They were very much alike. I'm sure
he would agree with Audrey that,
above everything, it's important to
take care of business.
LEONOR
No. He wouldn't have agreed. I can
promise you that.
BRIAN
Leonor, what do you want me to say?
I have a family. We have bills too.
LEONOR
Do you know why your father didn't
go to your son's birthday party,
the last one?
BRIAN
He had the flu.
LEONOR
No. That's maybe what he told you.
The truth is, he was embarrassed,
Brian. He was embarrassed that
everything in your house was paid
for by your wife. He thought you
should be more of a man. He hated
being around you.
Brian tries to swallow some coffee, but the cup is empty.
BRIAN
Well, he's not around anymore, is
he.
LEONOR
He certainly isn't.
64 INT. CASA DE MODA/OFFICE - NIGHT 64
Leonor is on the couch in the office, while Hernàn, her
lawyer, sits on the edge of the desk holding official court
room papers. He's very serious, and she's clearly very upset.
HERNÀN
This Holdover clause is common in
any commercial lease.
He hands her a piece of paper, which she reads.
Shooting Script 07/27/15 90.
LEONOR
What am I going to do? I can't
afford this.
Hernàn comes closer and puts his hand on her shoulder. The
door opens all of a sudden, and Tony storms in, frightening
Leonor.
LEONOR
Jesus! I told you to knock before
you come in. What do you want?
()
Tony laughs at the fright he's given Leonor.
LEONOR
I am so tired of you playing this
silly game!
Tony realizes by the tone of her voice that this is serious.
HERNÀN
I'm sorry, Leonor.
He takes the paper from Leonor's hands.
LEONOR
Where do they even get this number?
Her eyes fill up with angry tears.
HERNÀN
The penalty for overstaying may
seem like a high number, and it is.
That's why it's in the contract; to
prevent that the tenant overstays
paying below the market rent
indefinitely.
LEONOR
Isn't there anything else we can
do?
HERNÀN
Leonor, I've done everything I can.
It's over now. You have a week to
leave the premises.
Tony sees his mother's eyes tear up with the news. She starts
to cry, and it's too much for him to bear. He goes and hugs
his mother.
Shooting Script 07/27/15 91.
TONY
Don't worry, Mami. I'm going to
help you. I promise, I'll figure
out a way we can work it all out.
He holds her as her crying turns into sobs.
65 OMITTED 65
66 EXT. JARDINE HOUSE/STAIRWELL - NIGHT 66
The empty stairwell. The doorbell rings. Brian comes down the
stairwell to the front door of the house.
The bell RINGS again, just as he OPENS the door.
Tony is there, with his mom behind him.
TONY
Hello, Mr. J. Is Jake home?
Brian takes in that Tony is talking to him for the first time
in weeks.
BRIAN
Yes, he's doing his homework.
TONY
I'd like to talk to him if I could.
BRIAN
Of course, Tony. Come in.
Leonor catches his eye.
BRIAN
Why don't you both come in. Leonor.
Please.
They walk up the stairs to the apartment.
67 INT. JARDINE APARTMENT - NIGHT 67
The door to Jake's room is closed.
Brian and Leonor sit together just outside at the dining room
table.
Kathy is standing a few feet away, at the kitchen door.
Shooting Script 07/27/15 92.
They have been waiting for awhile, waiting for the boys to
emerge. It's clearly an awkward situation for everyone.
KATHY
You sure I can't get you something,
Leonor.
LEONOR
Yes, I'm fine.
Another moment of awkward silence... Until suddenly the door
opens and Jake comes running out.
JAKE
Mom! Dad! Mom!!
BRIAN
He talks! Jacob talks!
JAKE
Mom!!!
KATHY
What's going on?!
JAKE
Mom, Tony told me Leonor is being
evacuated from the store!
KATHY
It's not an evacuation. It's an
eviction.
JAKE
That's worse!
JAKE
How could you do that? How could
you do that to them? Dad??
BRIAN
It's a terrible situation.
JAKE
The rent is too expensive! She
can't afford it, Mom. So Dad needs
to give her a discount so she can!
BRIAN
Your mother and I wanted to talk to
you, Jake, but this not talking
didn't help!
Shooting Script 07/27/15 93.
KATHY
Don't blame this on him.
JAKE
It's okay, I'm talking now! I'm
sorry! I'm sorry! I'll never do
that again. I promise. Dad, I
promise.
BRIAN
Jake, calm down.
JAKE
I have a great idea.
BRIAN
Let me explain to you, Jake.
Grandpa Max left this house not
just for the three of us here.
JAKE
I know. He loved Leonor too. Tony
told me!
BRIAN
He liked Leonor, of course, but he
left the house for us, and also for
Aunt Audrey.
JAKE
But I have an idea! I know how we
can make it work! We go back to our
old apartment, and we rent this
place and give the money to Aunt
Audrey. Tony and I are both going
to be at the LaGuardia High School
for Performing Arts in Manhattan,
so I won't need to take the subway
or anything to school. I can walk.
And you'll be closer to the
theater. I loved the show, Dad. I
loved it. Tony did too. We both
talked about it a lot afterwards.
You were so good! And I thought it
was really complex and everything.
I'm sorry I didn't tell you then.
I'm sorry. But I loved it. I really
did!
Leonor, Tony, Kathy, and Brian all look in silence as Jake
goes on, trying to make this adult mess make sense again.
Shooting Script 07/27/15 94.
67A EXT. JARDINE HOUSE/CASA DE MODA - NIGHT 67A
We see the house from the otuside. The gate has not been
pulled down on the storefront yet, but most of the lights are
off.
Upstairs the lights are all on.
68 EXT. BROOKLYN - NIGHT 68
A wide shot of the city of Brooklyn, houses and trees, the
Verrazano-Narrows Bridge in the distance.
69 EXT. BROOKLYN - DAY 69
A similar shot across Brooklyn at day, with the bridge and
the water and Manhattan in the distance.
70 INT. CASA DE MODA/STORE - DAY 70
There are no clothes anymore, no decorations on the wall, the
racks are bare naked. The store is completely empty.
70A EXT. JARDINE HOUSE/CASA DE MODA - DAY 70A
Jake takes a look inside the store through the window.
There's a "FOR RENT" sign on the glass. Jake looks for a good
long moment, and then skates off down the street.
71 EXT. HERBERT VON KING PARK - DAY 71
Boys are playing a game of soccer.
Jake approaches on his roller blades, and comes to a stop at
the edge of the field. He watches the game from the side.
Umar and Joey are among the players, but not Tony.
Jake skates away, through the park.
72 EXT. BROOKLYN NEIGHBORHOOD - DAY 72
Several shots of Jake skating through the neighborhood
streets.
Shooting Script 07/27/15 95.
72A EXT. WATERFRONT PARK - DAY 72A
We see Jake alone for almost the first time, and he is both
more vulnerable, and more confident. He passes by the
Verazzano-Narrows Bridge, and then along the waterfront. He
moves in silence, only the sound of the wind and the expanse
of the Bay beside him.
73 OMITTED 73
74 EXT. WATERFRONT PARK - DAY 74
Brian pulls up in his car, comes to a stop, and gets out. And
already walking towards the car is Jake, with bandages on his
right knee, being helped along by a PARK RANGER, who carries
his roller blades.
PARK RANGER
Mr. Jardine?
BRIAN
How are you, Son?
JAKE
I'm sorry, Dad.
BRIAN
What happened?
JAKE
There was a bump on the path...
PARK RANGER
We got a call from a woman who saw
Jake here flying through the air
and landing on the asphalt. When we
found him, he couldn't move.
JAKE
I'm better now.
PARK RANGER
He is better. But he probably
shouldn't be on his own at his age.
JAKE
There was a bump, I didn't see.
BRIAN
Are you hurt?
Jake shrugs.
Shooting Script 07/27/15 96.
PARK RANGER
He fell on his right side shoulder,
and he scraped his knee.
BRIAN
Let's go home.
The ranger helps Brian put Jake in the back, with his leg
stretched out and his foot up on the seat. Brian gets in to
the driver's seat of the car.
75 INT. JARDINE APARTMENT/JAKE'S BEDROOM - NIGHT 75
Jake is lying down on his bed. Kathy applies antibacterial
cream carefully to his scraped knee.
KATHY
Is it okay like this?
JAKE
Yeah. Go slow.
KATHY
And how's your arm? Can you move it
okay?
JAKE
It hurts when I go like this.
He moves it up and down a hair. Brian is standing behind
them, in the dark.
BRIAN
Dad had a heating pad that he used
to use. I can't find it.
(to Kathy)
You know where it is?
KATHY
I think it's in the hall closet.
I'll get it in a minute.
She finishes with the cream, then gives Jake a kiss, and
steps out.
Brian takes over for her to finish the bandages.
BRIAN
Do you still have a lot to do to
finish your portfolio?
Shooting Script 07/27/15 97.
JAKE
I just need to finish one painting,
and then I'm done.
BRIAN
That's what you said last week. You
just had to finish one painting.
JAKE
I want them to be good.
BRIAN
Jake, do you by any chance remember
that story I told you, about my
friend Tina?
JAKE
The one who sold her hair in India
for a train ticket?
BRIAN
No, that was Martine. Tina was a
girl I knew in high school who was
a dancer. Her mother was a dancer.
She was literally born to be a
dancer. She had a perfect ballet
dancer's body, and all of us were
certain she was going to be a big
success.
JAKE
Have I seen her dance?
BRIAN
No. During high school, she got
into a really good conservatory,
and I ran into her a couple of
times after that, and she was
always about to get this, or about
to get that. But each time, her arm
would be in a sling, or she would
be on crutches. She would have a
pulled ligament. Or a stress
fracture in her back. The last time
I saw her, I ran into her on the
subway, it was clear she hadn't
danced for years. She was fat. You
would have never imagined that she
was the same girl.
JAKE
Gee, thanks Dad. That's a very
encouraging story.
Shooting Script 07/27/15 98.
BRIAN
Why do you think Tina didn't go
very far?
JAKE
I don't know.
BRIAN
She trained too hard. She practiced
too much. She didn't trust her own
natural abilities.
He continues to wrap the bandage.
BRIAN
Jake, you're going to meet a lot of
really talented people in your
life. But they won't all be suited
to be artists, they won't all have
the brains to know when to insist,
and when to stop. When to push
yourself, and when to relax. Most
of them won't have that balance.
JAKE
And how do I know if I have the
balance?
BRIAN
That's why I'm telling you this,
because you'll turn in your
portfolio soon, and they're going
to love it. They're going to love
you. I know they will. You'll go to
LaGuardia, and you'll have fun, but
also plenty of challenges. Soon
enough you'll find out if you have
the balance.
The bandage is done.
BRIAN
There you go. Do you know if Tony
got in?
JAKE
I don't know. I don't know what
he's doing.
Brian looks at Jake.
BRIAN
Son. I wish I'd done things
differently.
Shooting Script 07/27/15 99.
JAKE
What do you mean?
BRIAN
With Tony, and his mother. I wish I
had told you earlier what was going
on.
JAKE
Would it have changed anything?
BRIAN
No, probably not. But still.
JAKE
Dad, would you mind if I give you
some advice? Would that be okay.
BRIAN
Please.
JAKE
Don't worry so much.
Brian waits for more.
JAKE
That's all.
BRIAN
That's a lot.
Brian gives Jake a kiss on the forehead, and stands up.
JAKE
Dad, would you mind if I play one
of my video games? I know it's
Tuesday, and I know I should do
something more productive with my
time, but I'm kind of tired.
BRIAN
Of course, Son.
Brian finds the game controller, and hands it Jake.
JAKE
Will Mom be mad?
BRIAN
I don't think so.
Shooting Script 07/27/15 100.
75A INT. JARDINE APARTMENT - NIGHT 75A
Kathy stands outside the door, heating pad in her hands,
listening to her husband and son. She holds back her tears.
Brian comes out of the room and closes the door. He sees
Kathy, who begins to weep, as quietly as she can.
Brian wraps his arms around her and they hold each other
tightly.
75B INT. JARDINE APARTMENT/JAKE'S BEDROOM - NIGHT 75B
Jake is in bed. He can hear the sounds of his parents outside
the door.
He switches on one of his video games, and let's the noise
cover everything around him.
76 INT. BROOKLYN MUSEUM/FOYER TO BEAUX-ARTS COURT - DAY 76
A small group of stylish BOYS and GIRLS are sketching some of
the pieces in the foyer of a grand room in the Brooklyn
Museum. By the way they dress and move, they're clearly
artistic. Among them, looking more mature, more serious and
maybe gay, with a stylish scarf around his neck, is Jake.
Time has gone by; maybe a year or two.
76A INT. BROOKLYN MUSEUM/BEAUX-ARTS COURT - DAY 76A
Jake and his friends enter the formal and elegant Beaux Arts
Court. Across the way, between arches, Jake sees a group of
kids in khaki's and red shirts -- Tony's Catholic school
uniform -- walking in the opposite direction.
They are with one AFRICAN BOY, who is not in uniform.
For a moment, he doesn't know what to do. Until, suddenly, he
makes up his mind, and moves.
76B INT. BROOKLYN MUSEUM/BEAUX-ARTS COURT - MOMENTS LATER 76B
Jake walks in one direction around the courtyard.
Tony and his friends continue to walk around the other side.
Jake sees Tony and his friends exit the Court, and he
follows.
Shooting Script 07/27/15 101.
76C INT. BROOKLYN MUSEUM/STAIRWELL - MOMENTS LATER 76C
Tony and his friends walk down the interior stairwell of the
Museum.
Jake follows. But at some point, he loses Tony and his
friends. They have exited the stairwell without him knowing.
Jake rushes down the stairs, trying to catch up.
76D INT. BROOKLYN MUSEUM/ANCIENT EGYPTIAN ART ROOM - CONTINUOUS
76D
Jake comes out of the stairwell into the Egyptian art area.
He's out of breath.
He looks in all directions, but doesn't see Tony anywhere.
76E INT. BROOKLYN MUSEUM/STAIRWELL - MOMENTS LATER 76E
Jake is sitting by himself in the stairwell.
He is looking straight ahead. Not sure what to do with
himself.
A pack of kids in khakis rush past him. We only see their
legs.
Jake watches them go.
TONY (O.S.)
Jake! Your hair looks different.
It's Tony.
Jake stands up to say hello.
JAKE
Yours looks different too.
TONY
I went to Africa to visit my dad.
JAKE
How was it?
TONY
Amazing.
JAKE
And how's your mom?
Shooting Script 07/27/15 102.
TONY
She's busy. She's a real estate
agent now.
Jake laughs at the irony of the situation. Tony laughs with
him, maybe realizing it for the first time.
JAKE
You could've sent me an email from
Africa.
TONY
You know me. I'm not much of a
writer...
Jake notices a necklace of African beads around Tony's neck.
JAKE
I love that necklace.
TONY
Thanks. They make these for
tourists, they don't really wear
them there. But I like it too.
JAKE
Hey, you should come meet my
buddies from school.
TONY
Did you get into LaGuardia?
JAKE
I did.
TONY
That's awesome!
JAKE
There's this girl in my class, her
mother is on Broadway, she can act
better than anyone I know.
TONY
Gee, thanks.
JAKE
We should all go out together
sometime.
TONY
Sure, but I met this girl in
Kinshasa, and my heart belongs to
her. Do you want to see a picture?
Shooting Script 07/27/15 103.
JAKE
Sure.
Tony pulls out his phone, and shows him pictures.
TONY
She's a really good kisser. She's
going to come to visit soon.
JAKE
Cool.
TONY
And you, have you kissed anyone
yet?
JAKE
No, but I've met someone.
(pause)
You'll meet him.
Tony's face lights up, grinning from ear to ear.
TONY
You know! Finally, you know!
Jake and Tony share a knowing laughter.
TONY
I'm here with a friend from Congo.
Let's go find him. He's teaching me
French, and I help him with his
English - he says "bitchful",
like... "This sculpture is so
`bitchful'".
They laugh even louder, and head down to find Tony's friends.
The stairwell is empty, and white, and filled with sunlight.
IRIS TO BLACK, and the CREDITS ROLL.
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