November 20, 2005
1 EXT. MANHATTAN. BROADWAY. UPPER 70S. DAY. 1
From across Broadway we see a little girl waiting at the
curb. She steps off the curb toward us --
A TRUCK BARRELS into frame -- The long lens' flattened
perspective makes it look like she's just been crushed. But
the truck flashes by and she's fine. More traffic passes to
and fro through the frame.
CREDITS BEGIN OVER:
2 EXT. ANOTHER CORNER. DAY. 2
The LIGHT CHANGES and a crowded corner full of New Yorkers
step off the curb and into the crosswalk -- Before the first
foot lands on the street we go to SUPER SLOW MOTION as the
mid-day work crowd crosses the street.
3 EXT. NEW YORK CITY STREETS. DAY. 3
MONTAGE -- Slow motion shots of New Yorkers, mid-day, all
kinds, going all different ways, all over the city.
CREDITS END with some high school kids with book bags,
walking among the crowds.
4 INT. HIGH SCHOOL CLASSROOM. DAY. 4
An 11th-grade math class at the Ralph Waldo Emerson School,
one of the few remaining Manhattan '60s-inspired progressive
schools. About twenty kids, mostly white secular Jewish. A
sprinkling of black and Hispanic kids.
The teacher, MR AARON, late 20s, is returning test papers.
One after the other the students get up to collect their
tests, glance at the results and drag themselves back to
On LISA COHEN, just 17. Not the best-looking girl in her
class but definitely in the top five. She listens listlessly,
MR AARON (CONT'D)
At "Cohen" LISA gets up and heads for the desk.
LISA'S POV, closing in slowly on MR AARON who glances up at
her as she approaches. Their eyes meet. Aaron has the classic
handsome young teacher's no-nonsense expression on his face
as she reaches out her hand --
4 CONTINUED: 4
Thank you, Mr Aaron.
She walks back. On her test he's written: B- "SEE ME1"
5 INT. HIGH SCHOOL CLASSROOM. DAY. LATER. 5
AFTER CLASS -- The last students go out as Mr Aaron gestures
for Lisa to take a seat.
Take a seat, Lisa. I just wanna talk about
your test for a minute.
Now...I know you had a little help...
Well -- I mean -- I didn't cheat, if that's
what you mean.
I'm just saying I know you had a little
A lot of people did.
Be that as it may --
I mean I'll take it over again if you want,
but like, what would be the point?
It's not like I'm ever gonna actually need
to know this stuff in my daily life...
Well, Lisa, that's just not necessarily
true. Haven't you ever developed an
interest in something you didn't initially
think you were going to develop an interest
Um, no, not really.
Mr Aaron looks down for a moment to hide his amusement. Lisa
looks at him with secret adoration. He looks up.
5 CONTINUED: 5
Anyway, it was open book. So what's the big
difference-between using a book and like, I
don't know, using somebody else's mind
who's like, really good at math? It's not
like this person did the whole test for me.
No. I did some of it.
She smiles at him. He is no longer smiling back.
Well, next time I'd appreciate it if you
did all of it. OK?
You are so fair.
6 INT. SCHOOL HALLWAY. DAY. 6
TRACKING LISA from behind as she walks through the halls past
her fellow students. She walks through a door --
7 EXT. ALLEY. DAY -- CONTINUOUS. 7
-- where kids are smoking. Lots of butts on the ground. The
walls covered with graffiti. Lisa goes to her friend BECKY
and takes out her cigarettes. A kid named KURT smokes nearby.
What did he say to you?
Nothing. . .Mr Aaron and I have an
understanding about my math problem.
Becky laughs. Lisa laughs.
He is so appealing.
A long-haired kid comes out, followed by a somewhat preppier
girl, KIRSTEN, and her look-alike friend LESLIE.
OK, Mr Ferrar is such an asshole.
What'd he do, call on you?
Fuck you., Kurt.
7 CONTINUED: 7
Kirsten is really upset.
Let me have one of those, will you?
Leslie gives Kirsten a cigarette and lights it for her.
Kirsten, I didn't know you smoked.
I don't. -I'm just really angry. (to Leslie)
Check out what he. said to me last week.
She drops her voice. They whisper and then both laugh. Lisa
Are you serious?
Lisa overhears MONICA, an elegant 12th-grader, talking to
some other girls seated on the steps.
.I just don't think you can really know a
guy until you've slept with him.
Lisa, listening, is not so sure, but wouldn't know.
8 INT. AMERICAN HISTORY CLASS. DAY. 8
The class is taught by two teachers; MR KLEIN, 50s, and MR
LEWIS, 30s. On the blackboard are scrawled the words
"STRIKERS" "PINKERTONS" and "PREZ. McKINLEY."
.So the President of the United States,
William B. McKinley, authorized the use of
private detectives to break the strike, and
they went out there and shot them down!
Just like they did in Virginia, just like
they did in Pennsylvania. Because they did
not care! They did not care!
And that's basically it-That's basically
all there is to say.
All right? Go ahead, uhhhhh: Becky.
8 CONTINUED: 8
Well, Mr Klein...I mean, was there ever a
good President of the United States?
There is some laughter from the students.
I don't know, Becky. I think that's a good
question. What do you think? You. Lionel.
What do you think? Did we ever have a good
Um...I don't know. I guess most of them
have just been totally corrupt.
Can I just say, I'm not necessarily like a
big fan of all the Presidents of the United
States, especially the current one, but I
still don't think its necessarily all that
useful to categorize every President as
universally corrupt, because that just
seems very general to me. Especially if
you're going to judge them by the standard
of -- whatever they're supposed to
traditionally be like in some mythical
version of America that probably never
existed to begin with.
ANTHONY, an intellectual smart-ass, leans back in his chair.
Lisa has raised a salient point.
There are some laughs from the class.
9 EXT. SCHOOL. DAY. 9
School is letting out. LISA walks away from the building. A
short energetic kid named DARREN falls in step with her.
Hey, how'd you do?
Oh hey Darren. It was fine. Thank you so
So he didn't give you a hard time or
9 CONTINUED: 9
Well, he knows I'm not planning to like, go
into Mathematics or anything...He was
totally cool about it. He's so cool.
Oh yeah, everybody loves Mr Aaron.
What's that supposed to mean?
Nothing. The man is very lovable.
They stop at the corner.
- DARREN (CONT'D)
What are you doing now?
I was gonna go look for a cowboy hat.
Why would you want to buy a cowboy hat?
Because my Dad is supposed to take me and
my brother to this ranch in New Mexico to
go horseback riding, and I don't think it
would be right to appear on horseback in
New Mexico without the appropriate
equestrian paraphernalia, Darren. You
wouldn't understand these things.
That is a definite possibility.
Anyway... Thanks again...
Before you venture forth on your bizarre
quest for a cowboy hat...?
.what are you up to later? Like tonight.
I don't know.
You wanna go to a movie?
9 CONTINUED: (2) 9
What do you mean, like on a date?
No, not on a date, just go to amovie.
I don't know if it's a fucking date!
All right. Calm down. What do you wanna
I don't know, I don't even know what's
playing! I don't know if it's a date!
Let's just forget it! I hate the fuckin'
movies anyway. They're just bullshit.
They're all bullshit!
OK, take it easy, I was just asking! I'm
What if it was a date, anyway? Would that
be so horrendous?
Oh my God. Are you like -- are you asking
me out? (Pause) Are you? (Pause) Hello...?
Earth to Darren.
I don't know. Yeah. I mean...I feel like
we're already really close...
Oh my God...
.and I think we'd be a really good match -
Nothing. This is -- Nothing.
So -- Yeah. I would. I mean, yes. I am.
Yes I am.
Wow. I mean -- I am really flattered. But I
would definitely not want to do anything to
mess up our friendship.
I view this as a way of strengthening our
9 CONTINUED: (3) 9
It would definitely change it...
I know: It's a fairly dangerous move.
Well...I would definitely have to think
Absolutely. Give it some thought.
OK, I will.
Pause. He is looking at her like he wants something.
Why do you look like that?
What do you want from me?
Not a thing!
All right. I'll see you later.
She turns and walks away, pleased by the conversation.
10 EXT. LISA'S STREET -- WEST '80S. DAY. 10
Lisa walks down her street and lets herself into the prewar
11 INT. COHEN APARTMENT. DAY. 11
She lets herself into the narrow apartment. A long hall
covered with framed pictures, photographs and play posters
opens onto a cramped living room crammed with books, plays,
and magazines. A stereo, TV and computer are stuck in the
corners. Beyond this is the kitchen and another hallway
leading to the bathrooms and bedrooms.
Lisa drops her bag-and goes into the kitchen. She opens the
refrigerator. Her brother CURTIS, 11, comes in.
11 CONTINUED: 11
Is Mom home?
She went to the store.
Lisa gets out some cold pizza and sits down with it.
Use a plate.
Don't be such a little fuckin' goody two-
Please don't say "fuck," Curtis.
You just said it.
Yeah, that's because I know what it means.
So do I.
Uh, no you don't, Curtis. Take my word for
What does it mean?
She looks at him and speaks very slowly and deliberately.
It's when a man puts his penis inside a
woman's vagina and moves it around really
fast until they both have an orgasm and he
ejaculates sperm inside her body.
No it's not.
Yes it is.
11 CONTINUED: (2) 11
It is gross.
She eats. He watches her.
Do you want to play a game?
I don't feel like it, Curtis. Quit bugging
Can I have some pizza?
She gives him a piece of pizza. He sits. They eat together.
11A INT. LIVING ROOM. DAY. 11A
Curtis is practicing the piano.
12 INT. LISA'S MOTHER'S BEDROOM. 12
Lisa, on her cell phone, rummages in her mother's bureau.
During the following she finds a small supply of cash and
steals forty dollars.
(On the phone)
What are you up to tonight? . Nothing:
Darren wants me to go to the movies with
him. You want to come? I guess around
13 EXT. BROADWAY. DAY. 13
POV LISA: slowly passing by Broadway clothing store windows.
No cowboy hats. She walks down Broadway window shopping,
14 EXT. ANTIQUE CLOTHING STORE. DAY. 14
Through the window, we see Lisa talk to the pretty, mid-20s
SALESGIRL with an embroidered cowboy hat.
14A TIME PERMITTING 14A
15 EXT. BROADWAY. DAY. 15
As Lisa slowly passes-by and looks in various store windows.
She stops and looks at some shoes.
REFLECTED IN THE WINDOW, behind her, a city BUS pulls up to a
bus stop and wheezes as the doors open.
16 EXT/INT STREET/BUS. SIMULTANEOUS. 16
The BUS DRIVER is wearing a cowboy hat. He is in his 30s and
kind of good-looking. Past the disembarking passengers we see
Lisa's back as she scans the shoe store.
ON LISA -- She turns around and sees the Bus Driver. She sees
his cowboy hat and just as the doors shut --
The bus lurches away. Lisa takes off after it.
IN THE BUS -- CLOSE on the Bus Driver, oblivious to Lisa, who
we can see out the door and window, falling behind.
ON THE STREET -- The bus falls behind a slow-moving car and
Lisa catches up.
IN THE BUS -- Lisa appears at the bus doors, waving and
calling out. The Bus Driver sees her, smiles and waves back.
ON THE STREET -- Lisa is running alongside the bus.
Hey! Where'd you get your cowboy hat?
IN THE BUS -- The Bus Driver can't hear her, but smiles at
her with good-natured flirtatiousness.
ON THE STREET -- The LIGHT at the curb turns YELLOW.
THE SLOW-MOVING CAR in front of the bus floors it to make the
THE BUS DRIVER sees his way is clear and steps on the gas.
He turns and waves goodbye to Lisa. She points at her head
and then at him. He smiles, not quite getting it.
The LIGHT turns RED.
Still looking at Lisa, the BUS DRIVER lifts the hat off his
head in a farewell salute as.--
LISA sees the bus pass under the RED LIGHT --
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16 CONTINUED: 16
An Upper-West Side WOMAN, 40s or 50s (Later identified as
MONICA PATTERSON) holding some grocery bags steps off the
curb between two cars to cross Broadway.
THE BUS DRIVER turns his head to look straight forward.
POV BUS DRIVER -- Monica is directly in front of him.
POV MONICA -- The bus roars up at her.
THE BUS DRIVER slams on the BRAKES.
POV LISA -- Monica is clipped by the huge bus and pulled
LISA SCREAMS. Pedestrians all over turn around.
MONICA is pulled and crunched in a horrible twisting tumble.
TRACKING LISA fast as she runs across the street toward the
accident. As she gets closer she sees Monica's leg sticking
out from under the bus.
Then with some confusion, she realizes that Monica herself is
right in front of her, and that her blood is spreading
everywhere. Monica is reaching out vaguely, unable to speak.
She is making choking sounds.
Lisa stands over her for a second, frozen. She crouches down
and tries to do something but doesn't know what to do, where
to put her hands. Other people start converging.
IN THE BUS -- The Bus Driver puts the bus in Park, opens the
door and rushes out.
WE TRACK him as he comes around to where a crowd has already
formed. He hangs back on the outside, but we break through
till we find LISA kneeling next to the disoriented MONICA,
holding her hand. They are both covered in blood. Several
other people are shouting and talking all at once.
Somebody call an ambulance! Call an
ambulance! Everyone calm down!
I'm calling one right now...!
The Kid is already dialing his cell phone. Other people are
doing the same.
Get an ambulance!
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16 CONTINUED: (2) 16
Someone's calling one!
Ma'am, can you hear me? Can you hear me?
I don't know. Where am I? What is going on?
LISA 1ST MAN
You're on Broadway and 75th Don't try to talk!
Street in New York -- You You don't have to talk.
were in a bad accident --
Never mind, let her talk!
Who are you?
My name is Lisa.
Am I dead?
No, you're not dead. You were in a
traffic accident, but you're gonna be OK --
What do you mean? What happened?
You were run over by a bus.
You've got to be kidding me. A bus?
Yeah -- ! 1ST MAN
Is anyone'a doctor? Could
MONICA we get a doctor?
So where am I now? Who are you?
LISA Is there a doctor anywhere?
We're on Broadway and 75th Street.
You don't know me -- 1ST MAN
We're in the middle of the
MONICA Upper West Side and there
I don't understand. Is it still are no doctors?
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16 CONTINUED: (3) 16
LISA 2ND MAN
No -- I mean yes -- The accident All right, never mind.
is over, but I think you're a
little confused --
I'll say I'm confused.
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16 CONTINUED: (4) 16
Here, lemme try to see if I can --
He tries to detach Lisa's hand from Monica's.
NO! Don't let go of me!
LISA 2ND MAN
I'm not, I'm not gonna She needs a tourniquet or
let go -- she's going to die.
MONICA 1ST MAN
Don't let go of me! OK, let me just -- Jesus
Oh my God!
Oh my God what's happening to me!
LISA 1ST MAN
You're gonna be all right! I'm sorry! I'm just
The ambulance is on its way! trying to -- we're trying
Just hold on until they get to put a tourniquet on you.
We need to get a tourniquet
MONICA on you. (To 1st MAN) Do you .
Thank you, honey. Just don't have a belt? You can use
let go of me. your belt.
LISA 1ST MAN
I won't. I swear. They just I can't even see where
to put a tournquet on you. to -- (Takes off his
What do you mean? Are they doctors? Who are
LISA 1ST MAN
No -- they're not doctors. I can't even see -
They were just passing by.
Well, get 'em the fuck away
Ma'am, we're only trying to help you!
Never mind that! Try it higher up. Try to
put it higher up!
Goldenrod Revised 10/23/05 - Page 14A
16 CONTINUED: (5) 16
You wanna do it? You know what to do.
Why don't you do it?
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16 CONTINUED: (6) 16
(To the 1ST MAN)
Are you kidding me!
I can't see anything. Are my eyes open or
This silences everyone. Lisa looks at the 1st Man. He shakes
his head, panicked; he doesn't know what to say.
(starts to cry)
What do you mean?
LISA 2ND MAN
You were in a terrible I'll try it. You want me to
accident! But you're try it?
going to be fine, so
just hang on! 1ST MAN
Hold on a second, I think I
Just put it higher up! Just move it -
Try putting it higher up!
There's nowhere to put it! I can't even --
Lisa looks at the incredible amount of blood still spreading
everywhere, all over her, all over the street.
WILL SOMEBODY CALL THEFUCKING AMBULANCE!?!
1ST MAN 2ND MAN
Calm down! We already called Take it easy!
them! So just calm down!
KID Well they're obviously
I called them two minutes not coming fast enough
ago, and somebody else so maybe you should
probably called them too! call them again! Why
not call them again!
Could somebody call my daughter?
Sure! We can call her. What's her name?
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16 CONTINUED: (7) 16
You want my phone?
OK, OK, hold on.
LISA 2ND MAN -
Tell me her name and give me You got it. Just pullit
her -- around. Here --
MONICA 1ST MAN
It's Lisa. It's OK --
I got a cell phone, you want me to call
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16 CONTINUED: (8) 16
It's -- No -- that's my name. Is that your
What? What are you talking about?
(On 2nd "what"))
I'm s -- I'm not trying to be confusing.
My name is Lisa: Is that your daughter's
Jesus Christ, would you call her? Just call
I got it. I got it!
I can't call her if you don't give me
the number --
Ma'am? You're gonna be OK.
You're gonna be OK!
What's your daughter's number?
Monica starts breathing a horrible rattling choking.
Oh sweetie, I don't think I'm gonna make
Oh no please hang on. The ambulance is
gonna be here any minute!
Oh please hang on! Please hang on!
OK. It's OK. She's gone.
The 1st Man tries to pull her away.
NO ! Let GO. of me !
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16 CONTINUED: (9) 16
She holds onto the dead woman's hand and sobs. We see the BUS
DRIVER standing just beyond it. O.C., a SIREN wails
irrelevantly, stuck in traffic.
17 EXT. BROADWAY -- ACCIDENT SITE -- LATER. DAY. 17-
There are several cop cars now, an ambulance, a police
barrier, cops everywhere and a crowd of onlookers. Lisa is
giving a statement to DETECTIVE MITCHELL. She is completely
drenched in blood. Her clothes, boots,' everything. A FEW
YARDS AWAY the Bus Driver, very shaken, is giving his
statement to another cop (MOS), but also trying to hear what
Lisa is saying. Lisa keeps looking over at him.
OK, Lisa? Lisa? I just want to ask you a
couple of questions, OK?
17 CONTINUED: 17
Now I want to ask you where you-were, and
what you saw when the accident took place.
Just tell me everything you saw, even if
you think it might not be important. OK?
Think of it like a movie. Like you're
watchin' a movie in your head, and all you
gotta do is tell me exactly what you see in
the movie. OK?
Yes. Thank you for the -- yes.
OK? So, where were you, on the corner?
Standing by the corner? Were you in the
crosswalk -- ?
(on 2nd "corner")
No, I wasn't on the corner. I mean I was,
but I was running. I was trying to catch
OK, so you're on the corner? Northwest
If that's what corner it is.
So, you're standing across the street.
Yes, except I wasn't standing I was
So the bus goes by and you start running.
No! I was already running! I was trying to
catch the bus and I happened to pass the
corner! I wasn't standing on the corner!
Whoa whoa whoa whoa. Slow down a sec. So
you're tryin' to catch the bus --
17 CONTINUED: (2) 17
(starts to cry)
Yes! Yes! I was trying to catch the bus! I
was trying to catch the bus!
I'm sorry Lisa, but we gotta ask you this
while it's still fresh in your mind. I know
this is hard for you. I'm just tryin' to do
my job, OK?
I understand! I don't mind, I'm just upset!
OK, Lisa, hang in there. You're doin'
Could somebody call my mother?
We already called your Mom; but I'm gonna
have 'em put another call into your mother
right now, OK?
Yes. Please stop patronizing me.
I'm not tryin' to patronize you. I'm just
tryin' to get the information down while
it's fresh in your mind. I know some of
these questions might seem like they don't
make a lotta sense right now --
They do make sense. Just ask me!
Well, that's what I'm doin'. Now: I'm gonna
ask you: From where you're standing could
you see the traffic light? (Pause) Could
you see if it was red? Green? Yellow? Just
picture it in your mind. What color was the
Lisa looks over at the Bus Driver. He looks back at her.
I guess it was green? I didn't really see
it. I think it was just an accident.
Behind the Bus Driver somebody moves from where they were,
and Lisa gets a clear view of the woman's covered body.
17A TIME PERMITTING 17A
17B EXT. UPPER WEST SIDE - LISA'S STREET. DAY.
Lisa is being walked home by a big YOUNG COP.
You go to school around here?
What's that a private school?
- YOUNG COP
What are you studyin'?
I don't know.
You don't know what you're studyin'?
LISA YOUNG COP
I know what I'm studying. That don't say very
much about your
18 INT.. COHEN APARTMENT. DAY. 18
Curtis, watching TV, looks up as LISA comes passes through
the room. CURTIS sees she is covered in blood.
What happened to you?
Nothing: I saw a woman get her leg cut off
by a bus.
She goes down the hall and into her room. JOAN, her mother,
40s, appears from the kitchen.
19 INT. LISA'S ROOM. DAY. 19
The room feels small and distorted. Odd. She starts to take
off her blood-soaked jacket, but her purse is over her
shoulder. She drops the purse and takes off the jacket.
19 CONTINUED: 19
She doesn't know what to do with it. She hangs it on the
She sits on the bed and then gets up and looks at where she
sat. There's an imprint of blood on the white bedspread.
Good one, Lisa.
She starts breathing heavily. She goes into her bathroom --
20 INT. BATHROOM. CONTINUOUS. 20
She kneels down next to the toilet and opens it. She waits.
She throws up into the toilet. Joan knocks on the door.
Just a second...!
Joan comes into the bathroom.
Just a second!
She throws up again.
Oh my God, what happened to you?!?
It's OK, Mom, it's not my blood...!
What do you mean? Whose blood is it?
Joan kneels down and tries to help her. Lisa screams and puts
her arms around her mother and cries.
21 INT. LISA'S ROOM. DAY. 21
Lisa is putting on a bathrobe. Her hair and body are still
matted and streaked with blood. Joan is picking up the bloody
clothes and boots.
I don't know if I'm going to be able to get
these clean again.
Just throw them out.
21 CONTINUED: 21
Let me see if I can get them clean.
Whv? Just throw them out!
21A OMIT 21A
22 INT. SHOWER. 22
Lisa stands under the faucet letting the water take the blood
out of her hair and-hands. She looks very young and little in
the shower, little feet and face.
23 INT. LISA'S ROOM. SIMULTANEOUS. 23
O.C. we hear the shower. Joan scrubs at the bloody boots.
24 INT. KITCHEN. NIGHT. 24
Joan, Lisa and Curtis eat dinner. Lisa has combed wet hair.
She is very subdued.
Does anybody know who she was?
I don't know. I guess she lived around
here. She had all these Fairway grocery
What did they do with her leg?
I have no fucking idea.
Hey. Come on...
25 INT. LISA'S ROOM. NIGHT. 25
Lisa is getting made up to go out. Joan knocks and comes in.
Lisa? Are you sure you don't want me to
Oh, no thanks Mom. I mean thank you:
That's really sweet. But I'm supposed to go
see Becky anyway.
25 CONTINUED: 25
I don't really want to sit here thinking
about it all night. Go to work. I'll be
Joan doesn't look so sure.
26 EXT. MOVIE THEATER - UPPER WEST SIDE. NIGHT. 26
Darren, under the marquee, sees Lisa and Becky coming toward
him. He's not happy to see Becky.
Did you get the tickets?
27 INT. MOVIE THEATER. NIGHT. 27
Lisa, Darren and Becky sit, the light from the movie
flickering on their faces. Darren is mad. Becky is enjoying
their discomfiture. Lisa is having trouble concentrating. She
gets up and walks out. Darren and Becky look at each other --
not sure if she just went to the bathroom or left altogether.
28 INT. THEATER. NIGHT. 28
An upscale Off-Broadway theater. The cast is taking a curtain
call. Joan, the lead, is in the middle.
29 INT. JOAN'S DRESSING ROOM. NIGHT. 29
Joan is taking her stage makeup off. There's a knock.
Joan? You got some flowers.
Can you bring 'em in?
30 INT. THEATER LOBBY. NIGHT. 30
A very well-dressed, 55ish, interesting-looking man is
waiting in the middle of the room. This is RAMON. He is
watching Joan, across the room, say good-night to a group of
friends and admirers.
Thank you guys so much for coming...! It
was really great to see you...!
2nd Pink Revised 11/17/05 - Page 23
She breaks away and crosses toward Ramon. He speaks with
Hi -- are you Ramon?
Yes. Hello. You were wonderful -- again.
You're so sweet, thank you. And thank you
for the beautiful flowers...!
Oh you're very welcome. I hope you didn't
No, I'm very flattered. And you've seen the
Yes, two times.
Gosh. That's very -- That's a lot!
Oh no. It's a beautiful performance. And I
think it's still in previews...?
Yeah, we're on kind of a weird schedule...
I think you will have a big success.
Well, at the moment we're just trying to
focus on what we're doing...
I don't know if you are busy, but will you
allow me to -buy you a drink? There's a
place right down the street... If you like
to ask your friends... or if you didn't eat
Joan sees Lisa sitting across the room waiting.
Oh -- No -- thank you. I can't. I'm just on
my way home.
2nd Pink Revised 11/17/05 - Page 23A
30 CONTINUED: (2) 30
OK, it's no problem. Tomorrow I'm going to
London for a few days on business. Perhaps
when I come back...
Um -- Well --
If it's not convenient, it's no problem.
2nd Pink Revised 11/17/05 - Page 24
30 CONTINUED: (3) 30
No no no, it's OK, um -- Yeah.
I will send a word backstage? Or if you
like to --
Oh -- no, anything's fine. I'm sorry. I
really have to go --
It's no problem.
Anyway, thank you so much for the flowers!
It's a privilege to meet you.
They shake hands. She heads over to Lisa as Ramon heads for
the stairs to leave the theater.
I thought you were at the movies...!
Yeah... It wasn't very good. Who's that?
I don't know. He sent me flowers.
Go out with him.
Ramon disappears up the stairs. Joan and Lisa look at each
Hi, sweetie... !
She kisses and hugs Lisa, squashing her a little. Lisa gets
a little tearful. Joan squeezes her tighter.
31 INT. THEATER BAR/RESTAURANT. NIGHT. 31
Lisa is out with Joan and some of the other actors from the
show. They are laughing and having a good time.
2nd Pink Revised 11/17/05 - Page 24A
31 CONTINUED: 31
Do Shirley Temple! Shirley Temple!
Joan does a very excellent Shirley Temple imitation.
Everyone laughs. Lisa laughs and smiles proudly. Joan
glances at Lisa, checking to see if this frivolity is really
helpful or not such a good idea.
32 INT. COHEN APARTMENT. DAY. 32
At the door, Lisa is ready to go to school. Joan, in a
bathrobe, kisses her goodbye.
32 CONTINUED: 32
I love you.
I love you too.
Lisa goes out. We stay with Joan, who looks fretful.
33 EXT. BROADWAY. DAY. 33
Lisa walks down the street in SLOW MOTION. She passes
through a gang of boys who hassle her as she goes by.
34 EXT. SCHOOL. DAY. 34
Still in slow-motion, she arrives at school. Becky, smoking
outside, sees her and approaches, throwing away her cigarette
as we resume normal camera speed.
35 INT. HUMANITIES CLASS. DAY. 35
Lisa sits in class dully. The class is reading paperbacks of
King Lear. The teacher, JOHN, is a rather high-strung
slightly harsh enthusiast with glasses and a beard.
Matthew, if you would read France... And
Anthony, you read Burgundy...
(With mock relish)
And I guess I'm gonna hog the part of Lear
36 INT. HUMANITIES CLASS. MOMENT LATER. 36
John is walking back and forth, play in hand. The students
are all reading along.
"Most royal majesty,
I crave no more than hath your highness
Offer'd, nor will you tender less."
"Right, noble Burgundy,
When she was dear to us, we did hold her
so; But now her price is fall'n."
37 INT. UPPER WEST SIDE DINER. DAY. 37
Lisa and Darren sit in the diner eating club sandwiches. Two
NEIGHBORHOOD LADIES, 70s, sit in a booth nearby.
37 CONTINUED: 37
If you didn't want to go to the movies
alone with-me Friday, you could have just
told me that. You didn't need to bring
Becky along as your bodyguard.
I didn't bring her as a bodyguard.
NEIGHBORHOOD LADY 1
Oh, he's wonderful. He drives all the way
to see her every Saturday.
Then why did you?
NEIGHBORHOOD LADY 2 LISA
That's a long drive. I forgot I told Becky I
would do something with her
NEIGHBORHOOD LADY 1 Friday night, so I invited
You know he has three sisters? her along. I didn't think
The older ones don't speak. it was gonna sully our
They haven't spoken in four- whole relationship.
NEIGHBORHOOD LADY 2 What relationship?
You don't say.
NEIGHBORHOOD LADY 1 What are you muttering?
Oh that whole family's crazy.
NEIGHBORHOOD LADY 2 Nothing. I'll try to
Fourteen years! improve my diction. (Pause)
What's the matter?
NEIGHBORHOOD LADY 1
And she has a little dog that LISA
used to belong to the father, Nothing.
very ugly face. But does she
love that dog. When I saw that DARREN
dog I says that's the ugliest Something obviously is...
dog I ever saw. She says
good! Nobody'll steal him. LISA
Everything's just fucked
NEIGHBORHOOD LADY 2 up...
Who's gonna steal him?
NEIGHBORHOOD LADY 1 Like what?
Who's gonna steal him?
NEIGHBORHOOD LADY 1 Just everything.
That's what I said.
NEIGHBORHOOD LADY 2 But what specifically is
What's the name of it? fucked up?
NEIGHBORHOOD LADY 1 LISA (very low)
It's called a bull terrier. Nothing.
37 CONTINUED: (2) 37
NEIGHBORHOOD LADY 2
No, what's the name of the dog?
NEIGHBORHOOD LADY 1
The two ladies keep on talking.
(Very low, eyes down)
So...I've been thinking about your
I guess I_don't think it's a very good
I guess I don't feel that way about you.
But those kinds of feelings can develop. I
definitely feel like there's a connection
I know there is.
I just think you're scared. I'think you're
scared of your own feelings. I think you've
been hurt in the past by other guys and I
think what it would feel like to have a
real feeling is really terrifying to you.
She wipes her eyes because tears are running down her cheeks
What's the matter? (Pause) What's the
She won't look at him. O.C. AUDIENCE APPLAUSE takes us to:
38 INT.-BAR/RESTAURANT. NIGHT.
Joan and Ramon are having a drink at a small table.
My family are from Colombia... My.father
worked in the diplomatic service...
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38 CONTINUED: 38
I grew up five years in Panama, four years
in Holland, then nine years in Paris. After
I finish university, I moved back to
Colombia. So: when I'm speaking French,
they think I'm Spanish. When I'm speaking
Spanish, they think I'm french.
And what do you do, Ramon?
I have a company: We design computer
software to help companies in South
American countries.that use an incompatible
software, so the computers can't talk to
each other. It's a big problem in Central
and South America, where there is not
usually so much coordination in computer
communications. So right now there's a big
opportunity for us, because for the big
software companies it's still in the
backwoods. That's changing already, but in
the last ten years we have done extremely
well. It's the next ten years we're going
to see what happens.
Uh huh? God...
A39 INT. BAR/RESTAURANT. LATER. A39
Joan and Ramon are leaving the restaurant:
Can I give you a lift?
Oh -- no -- Thank you, I'm just gonna grab
a cab, but thank you.
May I call you sometime?
OK, sure, that would be great.
May I have your telephone number?
2nd Pink Revised 11/17/05 - Page 28A
A39 CONTINUED: A39
Oh my God, I'm sorry, of course. Duh! Hold
on a minute: Do you have a pen?
Ramon takes out his cell phone.
What's the number?
Um -- 212...
39 OMIT. 39
40 INT. COHEN APARTMENT. NIGHT. 40
Joan lets herself in to the dark silent apartment.
41 INT. JOAN'S BEDROOM. NIGHT. 41
Joan lies awake, restless. She starts masturbating. She kicks
off the covers and hikes her nightgown up. Just as she's
getting worked up there's a KNOCK on the door and it partly
Just a second!
(opening the door)
Can I come in?
Just one second, honey. Hold on! (covering
herself up) Come in.
Lisa comes in and sits on the edge of the bed.
Can I talk to you?
Sure. What's up.
41 CONTINUED: 41
How was the show...?
It was OK. Are you all right?
Mom...I have to tell you something.
42 EXT. NIGHT. FROM ACROSS THE STREET. SIMULTANEOUS. 42
A slow pan across the building. We pick out Lisa talking to
Joan in one little window.
43 INT. JOAN'S ROOM. NIGHT. A MINUTE LATER. 43
They sit there. Long pause.
So what do you think I should do?
Well...it doesn't sound like it was
But don't you think I should say something
to them now?
I don't know, sweetie. I mean, that bus
driver probably has a family to support
.He could probably lose his job...So I
think you should really think about that
before you say anything ... You might end up
feeling even worse...
Lisa was not expecting this response and doesn't like it.
Joan isn't sure what she's done wrong.
43 CONTINUED: 43
Think of the implications of what you're
44 INT. HISTORY CLASS. DAY. 44
ANGIE, a Syrian-American girl, has her hand up.
.I'm saying what is the frame of
reference for the average Arab on the
Yeah, my family is from Syria? And I just
want to say that Americans have no idea
how much people hate them all over the
And all my relatives in Syria think that
what we did in Afghanistan was terrorism.
Not to mention Iraq...
Syria is a theocratic military
Um, no it's not: Sorry.
Syria is not a theocratic military
Um, I think we have a pretty good idea how
much people hate us now actually, Angie.
No we don't.
One at a time --
They blew up our city, OK? So yeah, I think
we have a pretty good idea, and personally
I don't give a shit.
There is some laughter from the class.
2nd Blue Revised 10/28/05 - Page 31
44 CONTINUED: 44
-- because the people who blew up the World
Trade Center were a bunch of sick monsters -
Oh they were monsters?
Why? Because they're Arabs?
No, because they killed three thousand
people for no reason.
Hey, hey, one at a time...!
Maybe they think they had a reason!
LISA Hey, hey, hey!
Like what? They didn't
even have any demands! ANGIE
They just wanted to kill Why did we drop bombs
people! on innocent people in
Afghanistan? We're still
What do you think we doing it! Why did we
should've have done? invade Iraq?
THE CLASS BECKY (on "we're")
They don't care about Because, they declared war
civilian casualties! And on us, Angie!
Iraq has nothing to do with
Afghanistan! It has to do with ANGIE
oil! No they didn't! Iraq
didn't declare war on
LEWIS anybody! They didn't co
Come on guys, one at a time! anything to us!
They did have a reason.
They want to establish a medieval Islamic
caliphat in the Middle East and destroy
Oh, where did you read that?
2nd Blue Revised 10/28/05 - Page 31A
44 CONTINUED: (2) 44
It's on their website.
Okay, forget it.
No! Forget it!
Go ahead with what you were saying!
No! Why should I?
Green Revised 10/7/05 - Page 32
44 CONTINUED: (3) 44
But why are you defending somebody who
murdered three thousand people!
I'm not! Why are you defending a country
that unilaterally invaded two Muslim
countries and supports the Israeli
occupation of Palestine?!
The class ROARS.
Oh give me a break!
-- and drops bombs on women and children
and then calls other people terrorists for
doing the exact same thing!
OK -- OK -- Because it's not same
Yes it is!
Lionel! Go ahead.
Yeah, I just want to ask like, why is OK to
drop bombs on men, but it's not OK to drop
bombs on women and children? Isn't that
just reverse sexism?
I don't know. That's an interesting point.
I agree it's a bullshit term.
This is totally stupid.
(Looking for hands)
Yeah, I think this whole class should
apologize to Angie, because all she did was
express her opinion about what her
relatives in Syria think about the fact
that we bombed the shit out of a
practically medieval culture --
2nd Blue Revised 10/28/05 - Page 33
44 CONTINUED: (4) 44
-- and everybody started screaming at her
like she was defending the Ku Klux Klan!
They are the Ku Klux Klan! They like to
throw acid in women's faces!
Who does? The Afghanistans? Why don't you drop bombs --
Afghanies? The Iraqis? Then why don't you drop
bombs on the Ku Klux Klan?
LISA Because they're white?
Yes! No! The Taliban!
Do you wish they were LIONEL
still there? There's six people with
their hands raised before
ANTHONY you, Lisa!
The correct term is Afghans.
But I'm not even saying I disagree with
you! I'm only saying I think it's pathetic
the way people in this class treated Angie
just for saying something they don't agree
Because that's censorship, right? Right?
Yeah! (a joke:) Right on! It's not censorship...!
This class is not the
Thank you... !
That's not technically LEWIS
true. It's censorship.
Oh my God, no it's not!
45 INT. COHEN APARTMENT. DAY. 45
Lisa is sitting in the living room, ready to go out. Joan
enters, coat on, purse in hand.
46 EXT. LOCAL POLICE PRECINCT. DAY. 46
Joan and Lisa go into the station.
46A INT. LOCAL POLICE PRECINCT - INTERVIEW ROOM. DAY. 46A
Mitchell walks Joan and Lisa into the interview room.
We actually work outta Highway One? Up in
the Bronx? So for somethin' like this we
just borrow a local precinct...
47 INT. INTERVIEW ROOM. DAY - LATER. 47
Lisa and Joan sit with Mitchell.
Would you say you had a clear line of
OK, just describe what you saw to me in
your own words?
Lisa glances at Joan. Joan smiles at her encouragingly.
She just stepped out in the street?
49 EXT. SANTA MONICA -- KARL'S HOUSE. DUSK.
WIDE: A shabby bungalow house off Route 1 in Santa Monica.
The phone is ringing inside.
50 INT. KARL'S HOUSE/INT. COHEN APARTMENT. SIMULTANEOUS. 50
KARL answers. He is 45ish with longish hair. A displaced.New
Yorker who never quite calmed down. WE CUT BETWEEN THEM.
How are you?
50 CONTINUED: 50
I'm great. I'm looking at a beautiful
sunset over the ocean. Doing a little
work. . .How are you?
Practicing your horseback riding?
Oh yeah, I'm really riding a lot. I'm
gettin' these really bad saddle sores.
OK. Well. I would actually seriously
recommend you go over to, uh, to Claremont
Stables and see about getting some lessons.
No, I was actually really thinking about
So how's everything going? How's school?
School's OK. I'm kind of fucking up in
But my teacher's really cool. So I guess
it's not too serious...
Yeah. Math was never my strong suit either.
Well, I am definitely following in your
footsteps in that regard-How are you?
I'm fine. I'm good. Things are picking up a
little bit, which is good. How's the
Oh the same. They're all kind of the same.
50 CONTINUED: (2) 50
Uh huh? Well, next time you come out here
I'll try to hook you up with some more
interesting people than you seem to be
meeting at the moment.
Thanks, Dad, I don't really go for the
Well -- I don't either, per se. It
somewhat depends on who it is, obviously...
Hard to argue with. I think I'll stop
OK. Well, that's about all on my end, babe.
I'll give you a call in a week or two. Give
my love to Curtis, and say hello to your
OK, I can't wait for our trip.
Yeah. I think we're gonna have a really
OK. Well, I love you. .It's gonna be really fun.
Um -- Love you too.
51 EXT. KARL'S HOUSE. DUSK.
Karl steps onto his deck. We hear the Route 1 traffic O.C.
52 INT. LISA'S ROOM - LATER. 52
Lisa lies on the bed next to the hung-up phone.
53 INT. THEATER. NIGHT. 53
Joan is on stage with fellow actor victor.
It's true. Two years of college. Two years
at the magazine. Two years with you.
53 CONTINUED: 53
(Bursts into tears) I'm kind of a two-year
IN THE LAUGHING AUDIENCE -- Lisa watches, unamused.
54 INT. CAB (MOVING) NIGHT. 54
Joan and Lisa sit silently in the rattling cab.
What did you think of the play?
It was OK.
Well, thank you, honey.
What do you want me to say? JOAN
I thought it was OK! Nothing! You said it!
Next time I'll lie!
Don't come next time!
55 INT. STUDENT LOUNGE - OUTSIDE THE THEATER OFFICE. DAY. 55
PAUL, a droll handsome senior, is holding court, feet up on a
desk, an unlit cigarette in his hand.
Yeah, like I would be in a movie, only I
would be doing exactly what I'm doing right
now: like I'd be sitting here smoking a
cigarette, and I'd have my feet up on. the
desk, but the camera would be on me and I'd
just be acting, except I wouldn't do
anything differently from how I'm doing it
Nearby, BECKY and LISA are looking at a poster for "Guys and
Dolls." It says "ONLY 3 WEEKS BEFORE THIS EARTH-SHATTERING
MUSICAL EXTRAVAGANZA HITS THE EMERSONIAN STAGE!
I still don't get why you didn't even
audition. You're such a good singer.
55 CONTINUED: 55
I still might do lights or something. But
I'm not gonna make a fuckin' ass out of
myself parading around in a play so I can
ask everyone how great I was for three
years afterwards like my fuck-ass mother.
56 EXT. ALLEY. DAY. 56
Everyone is smoking. Lisa is holding forth to some girls.
Did I tell you guys I saw a woman get her
leg cut off by a bus?
What? Really? Are you kidding?
Check out my boots.
Oh my God! What happened? Where were you?
What did you see, etc?
Becky looks at Lisa, surprised and hurt that this is the
first she's hearing about this.
56A INT. THEATER RESTAURANT. NIGHT. 56A
Joan is at a table with Ramon again.
You do know I have two kids, right?
Yes. I'd like to meet them.
You are really smooth.
I would love to meet your kids. I have two
boys myself. I'm not smooth. (Pause) Would
you like to have a nightcap?
57 OMITTED 57
58 INT. BECKY'S ROOM. NIGHT. 58
Becky and Lisa are smoking pot. They are dolled up.
58 CONTINUED: 58
Are you aware that things have gotten to
the point where I now have to hear things
about you from other people and I can't
even correct them because I no longer have
any first-hand information about you
What are you talking about?
Nothing. I just feel like we used to be
really close -- like, up until a few days
ago. And I'm not really getting that from
Becky. Give me a break.
I can't believe you just said that to me.
That was really hard for me to say, and
that's you response?
Can we just go please?
Fine. Would you like to smoke any more of
my pot before we leave or have you had as
much as you want now?
Oh, I'd like to have a little bit more
Fine. Get fuckin' out of my house!
Fine. But this is totally stupid because
we're both going to the same party.
59 INT. PARTY HOUSE -- BATHROOM. NIGHT. 59
The door opens and we catch a glimpse of a big party in a
brownstone full of circulating kids. LISA and PAUL cram into
the bathroom and shut the door again.
A MOMENT LATER - She is sitting on the toilet. He is on the
hamper unscrewing a small vial of coke-.
59 CONTINUED: 59
It's very hard to be cool under these
You don't have to be cool. All youhaveto
do is snort it up your nose.
He gives her the spoon. She snorts it.
And then you wanna do the other nostril
because you always want to be symmetrical.
She snorts some up the other nostril. Paul does some too and
closes the vial. _
You are so funny...! (Pause) So what do we
Now we make out.
Paul...! What about your girlfriend?
I'm sorry. It just sounded like you just
asked me about my girlfriend.
Oh, never mind...
They make out. He immediately starts feeling her up. She
pushes his hand away.
You're not serious.
He moves his hand back. She lets him.
60 INT. PARTY HOUSE -- STAIRWELL. NIGHT. 60
Lisa comes down around the stairs at a mellow drunken pace.
She sees Darren sitting by himself on the floor at the end of
a dark hallway. She walks over' to him and crouches down.
60 CONTINUED: 60
Hey... You know I really love you, right?
Pause. She kisses him softly and they make out for a minute.
I guess I'm not very consistent.
I don't mind.
He kisses her again. She draws back slightly.
I gotta go home.
61 INT. RAMON'S BATHROOM. NIGHT. 61
Joan sits on the toilet seat naked, smoking, hair tousled, a
little overexcited. Ramon KNOCKS. She jumps.
Joan? Are you all right?
Yes! Fine! Be out in a sec.
She gets up, flushes the cigarette, looks in the mirror,
tousles her hair, snaps off the light and opens the door.
62 OMIT 62
63 INT. GEOMETRY CLASS. DAY. 63
The. last students file out except Lisa. Mr. Aaron is erasing
Yes, Becky? Um -- Lisa?
Are you still mad at me about the test?
What's going on, Lisa?
64 INT. GEOMETRY CLASS - A FEW MINUTES LATER. DAY. 64
Lisa and Mr Aaron sit at his desk.
64 CONTINUED: 64
.Because maybe my mother is right, and
the bus driver is completely devastated as
it is. And I'm just gonna be this little
rich girl who calls up the cops to ease her
conscience, and then ends up ruining
somebody's life, when I'm the one who was
distracting him in the first place.
What does your being rich have to do with
You know what I mean.
- MR AARON
No, I don't.
Oh my God, I don't mean literally rich. My
Dad makes like one bad TV commercial like,
every two years, and my Mom lives from
like, voice-Over to Voice Over. I mean rich
compared to the bus driver.
OK...But I still don't see what any of that
has to do with what you do or don't want to
tell the investigating officers about the
accident you witnessed.
Nothing, I guess. I'm sorry. When you're
raised to be a knee-jerk Liberal you tend
to think about these things.
Lionel and a girl open the door.
Lionel? Tamara? It's gonna be five minutes.
I just thought you'd want to know there's
like a lot of people out here and it's
getting kind of hard to breathe.
You better close that door now, Lionel.
Lionel closes the door.
MR AARON (CONT'D)
All right: I have to let those guys in.
I don't want to leave you hanging...If
you're really hurtin'...we could get a cup
of coffee after school...
64 CONTINUED: (2) 64
I'd do that.
Mr Aaron sighs a little.
64A TIME PERMITTING. 64A
65 EXT. COFFEE SHOP. DAY. 65
Through a window we see Mr Aaron and Lisa talking (MOS).
66 INT. LIVING ROOM. NIGHT. 66
Lisa is watching TV. Joan comes in dressed for the opera.
Does this-make me look fat?
Um, a little.
Well, there's nothing I can do about it.
Where are you going?
Why are you going to the opera?
It turns out he's a really big opera
fan...! Anyway, don't you think it's kind
of fun? We should all go sometime.
Uh, no thanks.
Why not? I bet you'd like it.
I don't like that kind of singing.
But you like classical music.
Yes. That's true. But I don't like opera
66 CONTINUED: 66
But when have you ever -- It's like their entire reason
for existing is to prove how
loud they can be. I don't
really find that all that
Yeah. I know what you mean. But it's not
all like that. You like The Magic Flute.
OK. I guess I'm wrong. I guess I do like
opera singing. I just didn't realize it.
What is the matter with you?
Nothing at all! Why are you pushing this? I
don't want to go to the opera!
Yes! OK! It's called an invitation. I'm not
pushing anything! All you have say is "No
I did! And then you were like, "Why not?"
So then I told you, and then you started
like, debating me! Like you assume I've
never thought this through for myself!
Which I have! Many times!
OK, well, that was a really Contemptuous
assumption on my part. I don't actually
like the opera that much myself. But I'm
trying to expand my mind. Maybe that's
wrong! (Pause) I'm sorry. I guess I'm a
little nervous about you guys meeting
Why? What's the big deal? Why are you so
influenced by what me and Curtis think?
What Curtis and I think.
Because obviously if I'm seeing somebody
new it would important to me that you guys
would like him and that he like you. Why
wouldn't I be nervous about that?
I guess you would. Withdrawn.
66 CONTINUED: (2) 66
Hey...Why does everything I say annoy you?
Jesus Christ, I'm just sitting here!
Here: you be me, and say anything, and I'll
respond the way you've been responding to
me this whole conversation.
Go ahead: say something to LISA
me and I'll say something No! I'm not gonna do
to you the way you say that.
everything to me -- Why not?
Because it's dumb! I'm horrible! I get your
"OK, uh, whatever."
Was that supposed to be an imitation of me?
"Um, OK: Withdrawn."
Well, for someone who's supposed to be a
professional actress that's a pretty lame-
ass impersonation of someone in your own
Lisa shakes her head and watches the TV. Pause.
Are you coming to my opening night?
I will if I have to.
You're a little cunt, do you know that?
Yes. You're a big cunt.
66 CONTINUED: (3) 66
OK. Let's not start talking to each other
You just called me a cunt, Mom!
OK, I'm sorry I said that. LISA
But if you're really Why? It's refreshing!
-- If you're really saying you're not aware
that you've been really annoyed with me, or
really irritable with me -- and it doesn't
matter if_I express it exactly accurately:
you know what I'm trying to say --!
if you're saying you're completely
unaware of that, then I have to say I don't
think you're being honest about it. Now
maybe I'm doing something really horrible
to you without being aware of it, but I
have a show opening in two weeks, I'm very
nervous about it, I'm seeing a new person
and I'm obviously anxious about you and
Curtis liking him -- whether you think I
should be or not! -- you were involved in a
horrible traumatic accident, you're going
on this crazy horseback riding trip with
your father --
Oh my God!
-- which sounds like a recipe for disaster
to me! And on top of everything else, Lisa,
ever since I told you about Ramon you've
been treating me like I'm insane!
Um, I think you're exaggerating slightly.
Now what am I supposed to do?!
What am I supposed to do?!
66 CONTINUED: (4) 66
Just stop whining about everything! It
doesn't matter. Norte of that matters at
all! You've been in a million plays, you
always get freaked out because of what some
dumb critic is gonna say about your dumb
play, I don't frankly give a shit about
Ramon or who you're going out with
this week --
I never go out with anyone! LISA
Don't talk to me that way! Right! I don't care!
I've barely had a date in the
last two years!
But I don't care about any of this! It
doesn't matter! Your boyfriend doesn't
matter! Your play doesn't matter, except
to you! I don't care about New Mexico,
because to tell you the truth I'm probably
not even going --
What do you mean?
-- and you want to know something else,
Mom? There are more important problems in
the world than our relationship! There's a
whole city out there full of people who are
dying! So who cares if I like your fucking
boyfriend? It's so trivial! Why are you
bothering me about all this? It doesn't
Pause. The intercom buzzer buzzes. Joan hesitates.
Well -- should I have him come up now?
Or should I have him wait downstairs...?
Do whatever you want. I don't care!
I don't even know what we're talking about.
I know you don't. That's the problem.
Oh give me a break.
67 EXT. LINCOLN CENTER. NIGHT. 67
Ramon and Joan walk toward the Metropolitan Opera House.
Everything is all right?
Oh, yeah. I'm so excited to be going to the
opera! I don't think I've really gone more
than one or two times!
Well, I wish it wasn't Norma but it's still
fun to go.
What if we just went to see something else
You don't want to hear Norma?
No -- I don't mean that. I just meant
wouldn't it be funny if we just walked into
one of the other events, like if we just
went to see the Daniel Goldfarb play
I think you will enjoy this.
68 INT. METROPOLITAN OPERA. NIGHT. 68
Joan and Ramon sit in the audience listening to Norma. Joan
leans in toward Ramon and whispers:
(smiling at her)
69 INT. LISA'S ROOM/PAUL'S ROOM. NIGHT. 69
Lisa dials a phone number off a slip of paper. The line
rings. WE CUT BETWEEN THEM.
(answering the phone)
Goldenrod Revised 10/23/05 - Page 49
69 CONTINUED: 69
It's Lisa Cohen.
Yeah, how's it going?
OK. (Pause) What have you been up to?
Seeing some questionable movies. Not
deciding where to go to college...
Sounds good...(Pause) So...I was just
thinking...This is gonna sound really
queer, but...by any chance would you want
to meet somewhere and like, take away my
Really? God, I'm so flattered.
To what do I owe this inconceivable honor?
Actually it's because of my deep passionate
feelings for you, Paul.
That's pretty much what I figured...(Pause)
So, do you want to come over here? Should I
come over there...?
Well, my Mom just went out for the
evening...Except my little brother's
getting dropped off at some point, come to
think of it, so I'm actually supposed to be
here when he gets home.
All right. (Pause) Do you want to give me
(blushing almost to death)
It's 252 West 85th Street...
Green Revised 10/7/05 - Page 50
70 INT. DARREN'S ROOM/LISA'S ROOM. NIGHT. 70
Darren lies on his bed, depressed. He dials the phone.
(on the phone)
Hey. What are you up to?
Hey, nothing. Writing my King Lear paper.
Really? That's impressive.
I've just never known you to be so devoted
to your studies before.
Well, I don't want to fail Humanities.
You're not gonna fail Humanities.
No, probably not.
So what did you do tonight?
Actually, Darren...I don't really feel like
talking right now.
Yeah. I'll talk to you later.
Green Revised 10/7/05 - Page 50A
70 CONTINUED: 70
70 CONTINUED: (2) 70
Darren hangs up and starts crying.
71 INT. HALL. NIGHT. 71
Lisa, dressed up a little and wearing some makeup, opens the
door for Paul. He's not dressed up at all. He's smoking.
Hey, come in.
She steps aside. He passes her and comes in.
I think I-just alienated one of your
neighbors by smoking in the elevator.
Oh really? What did they say?
She basically said there was no smoking in
TRACKING them as they come into the living room...
So this is the living room.
We like it...My Mom hasn't read any of
these books, by the way.
Some of them. Not all of them.
Paul looks at The Rise And Fall Of The Third Reich.
This book is a very cool book.
Yeah, I think the Third Reich may be a
little bit too much for me right now.
71 CONTINUED: 71
It's pretty hard to put down once you get
Do you want anything to drink?
I'd take a beer.
72 INT. KITCHEN. NIGHT. 72
Lisa has two beers out and is looking through drawers.
OK, I have no idea where the bottle opener
Here, lemme have them.
He takes the beers and opens them on the edge of the counter.
He makes two marks in the counter doing this.
Whoops. I think I just permanently damaged
your kitchen counter. Sorry.
Oh -- that's OK. Don't worry about it.
Won't your "Mother" be "Upset?"
How come everything you say always sounds
so ironic? You don't even have to do
anything and it just comes out sounding
like, totally ironic and funny.
It's just a gift.
She laughs nervously. They drink beer.
So...do you want to see my room?
73 INT. LISA'S ROOM. NIGHT. 73
They come into her room. She closes the door.
73 CONTINUED: 73
This is my room. Ta da.
She realizes she has some stuffed animals on the bed.
And these are my stuffed animals.
Always important to meet the stuffed
These are some drawings I did...Not that I
should be showing them to you, because I
know you're like a really good artist,
I would like to be a really good artist.
At this point I think it would be more
accurate to say I'm good at drawing.
Yeah, I just do it for fun. But I've always
really liked it...
He looks at her pictures.
So...can I ask you a question?
This is probably gonna sound very immature,
but how can you be so relaxed, knowing what
we're about to do? Or is it just like no
big deal to you? (Pause) OK, that was a
really stupid question and I'm like totally
embarrassed right now. I'm actually more
embarrassed than I've ever been in my life.
If you want to go home now that's totally
Easy there. Don't be embarrassed. It's
basically like, the world's greatest
activity, but it's not actually worth
getting nervous about.
73 CONTINUED: (2) 73
Yeah: I don't usually get nervous because I
think it's worth it: I usually get nervous
because I can't help the way I feel.
Although I do think that if anything is
worth getting nervous about, it's this. But
maybe that's just really idealistic of me.
There is that philosophy.
You are so funny...!
Do you have an ashtray?
Oh you can just chuck it out the window.
Paul struggles to open the window and tosses his cigarette.
He closes the window and comes across the room to kiss her.
Are we starting?
I was thinking about it, yeah.
And am I being really dorky right now?
You're not suave.
I'm sorry. I guess I'm a little nervous.
Don't be nervous. I promise this is gonna
be a great experience for you. You're
gonna have like four, five hundred orgasms
He kisses her. They make out.
OK, let's talk about your kissing. Don't
panic. It's just a technical thing.
Lisa collapses with her face in the bed out of shame.
What are you like the nicest guy in the
73 CONTINUED: (3) 73
74 INT. LISA'S ROOM. NIGHT. LATER. 74
It's dark. Their clothes are off, but we don't see much. She
is giving him a handjob.
(Not quite but close enough)
in I supposed to go really fast at the end
Yeah, but we're gonna move on before
He shifts around and tries to go down on her.
You don't have to do that.
I know. I want to.
Pause. She slides up away from him.
Don't do that, OK? I'm just embarrassed.
Let me do it to you.
75 INT. LISA'S ROOM. LATER. 75
He is positioning himself on top of her.
Are you ready?
OK. This is a little tricky: It's probably
gonna hurt a little, at first, but then
it's gonna get better...Just be patient.
There are certain technical difficulties on
my end that have to be addressed or it's
not gonna happen.
75 CONTINUED: 75
OK: You sound insane.
OK, hang on...
OK -- There we go. Does it hurt now?
Kind of, yeah.
OK, just try to relax. It'll get better in
Did you bring a condom?
Shouldn't you put it on?
I will in a second.
This is really kind of hurting.
OK -- one second.
I love you.
75 CONTINUED: (2) 75
OK -- hold on -- Shit --
OK, one second -- Ohh! Sorry -- Sorry --
He comes inside her. Silence. He carefully rolls over.
Sorry about that. Kind of got away from me.
Did any of it get inside me?
I don't know.
Yeah. It definitely did.
Honest to God? It's probably OK. The odds
are overwhelmingly that it's OK.
O.C. the doorbell rings.
That's my little brother.
She gets a bathrobe and goes out. We TRACK HER through the
whole apartment. She opens the door for CURTIS.
We TRACK her back to her room. She shuts the door. PAUL has
put on his underwear and is smoking a cigarette.
Hey. (sits down) Can I have a drag? (takes
a drag of his cigarette) Thanks.
75 CONTINUED: (3) 75
(gives it back to him) I'm actually kind of
mad at you...
Why? (Pause) Why? (Pause) Because we didn't
use birth control?
I guess so.
It was at the ready...
Well, I don't really want to get AIDS, you
know? And I really don't want to have an
abortion, because I know when you have one
at my age it, can be really hard to get
pregnant later on, and I definitely want to
have children some day.
Didn't you ever hear of the "Morning After
The Guy Came Too Fast Pill?"
Oh, the "I'm A Total Fucking Moron" Pill?
Well...that's the Canadian name.
Yes. I prefer not to put too many chemicals
inside my body if I can avoid it. I'm sure
it's fine...Or not...!
Try to listen to me. Right about now is
when you're traditionally supposed to freak
out. So why don't you just not? You're not
gonna get AIDS, because I don't have AIDS --
How do you know? Have you been tested?
No, but I'm pretty sure I don't have it,
because of my demographic. And the odds are
you're probably not gonna have to have an
abortion either. And since this was your
first time, it might as well be a basically
happy memory instead of a shitty one.
I'm sorry. I'm not completely in control of
my emotions. (Pause) Anyway...Thank you for
75 CONTINUED: (4) 75
Did it freak you out that I said I love
No...It didn't freak me out.
You don't have to say it back, because I
know you probably have like no feelings at
all for me.
I think I_just proved I have some feelings
You should probably go now...
76 INT. LIVING ROOM. NIGHT. 76
Lisa walks Paul past Curtis who is practicing the piano.
That's my brother.
Lisa walks Paul to the front door.
77 INT. LISA'S ROOM. NIGHT. 77
She changes into her pajamas.
78 LISA'S BATHROOM. NIGHT. 78
She washes her face and brushes her teeth.
79 INT. LIVING ROOM. NIGHT. 79
She comes out and settles down next to Curtis to watch TV.
80 INT. METROPOLITAN OPERA. NIGHT. 80
The audience applauds the opera cast thunderously. Near Joan
and Ramon a male opera enthusiast is standing.
80 CONTINUED: 80
81 EXT. LINCOLN CENTER. NIGHT. 81
Joan and Ramon walk arm in arm away from Lincoln Center.
Oh, I loved it! It was so exciting!
Good! We should go again!
But how about those people yelling "Bravi!"
How do you mean?
It's just so pretentious. "Bravi!" "Bravi!"
Why can't they just say "Bravo?"
Well, it's the plural.
I know --
It's the plural of "bravo." It's what they
say to acknowledge the ensemble.
No, I know, I know it's correct, it just --
don't you think there was something a
little pretentious about those people?
I don't mean they didn't really enjoy
it...But you know how you can really be
enjoying something -- but you're also kind
of looking around out of the corner of your
eye -- because you know people are watching
you enjoy it...? Does that make sense at
Yes, but I wouldn't say that it was
pretentious. In Italian you say "Bravo" for
a man and "Brava" for a woman, and "Bravi"
for the whole company.
81 CONTINUED: 81
Uh huh? OK, I see what you mean.
You use the masculine for the male singer
and the feminine for the female singer.
Yeah...Anyway, I really enjoyed it. Thank
We'll have to go again.
It was so glamorous...!
82 INT. SCHOOL THEATER -- LIGHTING BOOTH. DAY. 82
Lisa is on a headset. Below, on the stage MATTHEW is singing
to a girl.
"My time of day is the dark time..."
Cue thirty-six, go.
GARY THE THEATER TEACHER (O.C.)
OK, hold up a second.
OK, we're gonna do that one more time
please. Let's back it up please...
Why are we stopping?
83 INT. SCHOOL THEATER. NIGHT. 83
All the kids in the show are sitting more or less in a
circle. GARY the theater teacher, 30s, has the floor.
Now I know there's been a lot of shit going
on between a lot of the people in this
room..But I wanna tell you something:
You've worked too fucking hard for this
show to be derailed now by the kind of
bullshit I know has been going on around
here. Now, I'll bet you there's not one
person working on this show who hasn't got
somebody they want to say something to,
including me. So I'm gonna start. Matthew?
83 CONTINUED: 83
By "Matthew," I assume you mean me?
Yes. I mean you.
Matthew comes slowly into the middle of the circle.
You are probably one of the most talented
kids who's ever performed at this school.
But you're too Goddamn lazy, you think you
can just waltz through this part, and it's
pissing me off. Because this show cannot
come together until you learn your fucking
lines. OK? _
So you'd like me to memorize them.
Yes, I'd like you to memorize them!
Now. (Brightly) Your turn!
But I'm not mad at anyone. I just want
everyone to think I'm a great guy.
83A INT. SCHOOL THEATER. NIGHT. LATER. 83A
BECKY and LISA are in the circle,'both crying.
But I'm jealous of you...
Why would you be jealous of me...!
Because of everything! 'Cause you always
get such good grades and your family never
has to worry about money, and your parents
are still together, and I'm really jealous
of your other friends!
Well, I'm really sorry if I hurt you!
83A CONTINUED: 83A
They embrace tearfully. Many of the kids are moved. Some are
not. Becky leaves Lisa in the circle. Lisa wipes her eyes.
Darren unglues himself from his perch on a table, and sits in
the circle with her.
I know that I'm not who you want me to be
to you. And I know how much I've hurt you.
But I still can't believe it means we can't
be friends anymore! So much has been
happening to me this semester --
I know. I know.
-- and it's like I can't even talk to
you about it because I hurt you so bad!
Yes you can. Of course you can. You can
talk to me about anything.
I don't love anybody more than you!
You're practically my best friend!
I love you too. I really do...!
They hug and cry. LESLIE raises her hand.
Can I just say, I think this show is like
two and a half seconds away from being
fucking amazing, and if we could all just
work together, instead of being AT each
other all the time, I think we could all
just be incredible.
Everyone applauds, except ANGIE, who raises her hand.
Green Revised 10/7/05 - Page 64
83A CONTINUED: (2) 83A
Yeah. (Long pause) Yeah. I'm gonna say it.
I feel really fucked over by some of the
people in this room. I'm not saying I'm not
gonna do my job, but for some reason, a lot
of the actors in this show seem to think
that this whole show is about them. And I
think I speak for a lot of the techies when
I say that I feel really unappreciated and
basically fucked over. And I don't know if
I can get over it. I don't. That's all.
Nobody says anything. PAUL raises a hand. His pretty
GIRLFRIEND is seated next to him.
Yeah, I'm just playing in the band, you
know? This is hicrh school. You know? I
don't really feel a strong need to like,
all be on the same team with everybody.
I just want to come to rehearsals, do the
show, go up on the roof and smoke some pot,
and then like, go on home. I don't really
wanna cry and hug anybody.
There are laughs and some cheers.
Oh you wanna hug me a little, don't you
OK, Gary, man, I'll give you a little hug.
No kissin' though.
Gary charges over and hugs Paul. Everyone laughs and claps.
Gary grabs Paul's face and kisses him on the cheek. Everyone
Lisa looks at Paul, who settles back with his girlfriend. He
sees Lisa looking at him and gives her a little salute. Lisa
catches DARREN's eye. He is looking at her with the unwelcome
gaze of love. She looks away. His heart hardens against her.
84 INT. COHEN KITCHEN. DAY. 84
Lisa is at the breakfast table, looking through a stack of
back issues of The New York Times. She finds the item she
84 CONTINUED: 84
UPPER WEST-SIDE WOMAN KILLED IN BUS
ACCIDENT. Monica Patterson, a long-time
Upper West Sider, was struck by and killed
by a city bus Friday afternoon on Broadway.
The bus driver, Gerald Maretti, was not at
fault, police said...
85 INT. COHEN APARTMENT. LIVING ROOM./INT. HIGHWAY ONE POLICE 85
Lisa is on-the phone. Curtis is watching TV.
Accident Investigation. Detective Mitchell.
Hi, my name-is Lisa Cohen. I was a witness
in a bus accident case a few weeks ago...
Yeah, hi, Lisa, what can I do for you?
Well, this is probably gonna sound a little
weird, but are you allowed to tell me how
to get in touch with that woman's family?
I'm obviously probably too late to go to
the funeral, but I really wanted to send
some flowers or something.
Yeah, I can --
Or is that like classified information?
No no. Family's been notified...Lemme see
what I got.
She mentioned she had a daughter...
Lemme just... OK: I don't have anything for
a daughter. The only contact I have is a
cousin, Abigail Berwitz. I got a number in
So did you have the trial, or whatever?
Or did you make the -- did they have a
85 CONTINUED: 85
Yes. It was, uh, No Criminality found.
Wow. That's a -- great system you got.
86 INT. LISA'S ROOM./INT. ABIGAIL'S HOUSE. DAY. 86
Lisa is on the phone.
Yes, I'm trying to reach Abigail Berwitz?
This is Abigail.
Hi, my name is Lisa Cohen. You don't know
Hi. Sorry. Yeah. I was actually calling
about your cousin, Monica Patterson?
I was actually there when she had --
during the accident. I didn't know her, but
I was the one who was with her when she
Yeah. I was sort of holding her hand at the
86 CONTINUED: 86
Yes? What can I do for you?
OK. Well, ummm, I saw her obituary in the
paper, but I didn't see anything about
a funeral. I assume they had one, because --
No. As far as I know they're doing
something or other next week. But --
I'm sorry: and I was also wondering, she
said something about her daughter?
No. Her daughter -- She wanted someone
No -- Her's daughter's to get ahold of her?
not alive -- She -- I'm sorry:
passed away quite
a long time ago.
Oh my God. Was it...Was she sick? Or was
She had leukemia.
Oh my gosh. And -- do you mind if I ask:
Was her name Lisa?
OK, see, that explains it. See, I think
she thought --
Could I just interrupt? How did you get
Oh -- the police -- I asked the Accident
Investigating investigator who to contact
if I wanted to --
Well they really shouldn't be giving out my
number. (blurts out) This is harassment!
86 CONTINUED: (2) 86
I'm sorry! -I'm not trying to harass
I have been getting calls about this for
three weeks! One of Monica's neighbors gave
the police my number and all of a sudden I
am the focal point for all these
arrangements! And I gotta tell you people,
I didn't have any kind of relationship with
Monica whatsoever, unless you want to count
the fact that she held up my children's
inheritance for fifteen years. I guess
we're just supposed to forget about all
that now. And I am more than willing. But
the perso n you should be calling is Emily
Morrison, who was Monica's friend and is
the person who has been dealing with all of
this in New York. But it has nothing to do
I'm sorry! I didn't really know who to
Now I can give you her number, but I would
very much appreciate it if the calls would
Yes -- Please. Can you hold on while I get
Yes, all right.
87 INT. EMILY'S APARTMENT/COHEN APARTMENT. DAY. 87
EMILY MORRISON, 40s, is on the phone in her Upper West Side
apartment. She's on the phone with Lisa.
I guess it would be all right ...It's only
going to be a few close friends, and some
clients I imagine...
Oh so was she a lawyer?
Monica? No. She was a social worker. She
used to be, anyway. She had -- several
87 CONTINUED: 87
Were you really good friends with her?
Yes I was.
88 INT. COHEN APARTMENT. DAY. 88
Joan is reading audition sides. Lisa passes through, dressed
Where you going, sweetie?
I'm going to that woman's funeral.
Are you sure you don't want me to come?
Why? I don't even know her.
I would be coming for you.
89 INT. EMILY'S CENTRAL PARK WEST APARTMENT. DAY. 89
EMILY opens the door for LISA. In the b.g. about thirty
people are gathered. A mix of Upper West Siders, social
workers, and Monica's multi-ethnic clients.
Hi. Are you Lisa?
Yeah. Thank you so much for letting me
Why don't you come on in? We're about to
start. Do you want anything to drink?
Oh -- Um -- no thanks.
We have bad hors d'oeuvres and good hors
Oh - that's quite all right, thank you.
90 INT. EMILY'S LIVING ROOM. DAY. 90
Everyone is seated on Emily's chairs and borrowed chairs.
90 CONTINUED: 90
Well-thank you all for coming.
Thank you for doing this, Emily.
Yes, thank you, Emily.
As you all know, Monica was not a religious
woman. Anybody who ever had to sit through
a wedding or a funeral with her knows how
she felt about formal occasions. So Harry
and Elise and I, when we were talking about
this, decided we would just have everyone
over and let.anyone who wanted to.talk.
about Monica just talk about her. Maybe
share some remembrances of her. Some of us
know each other, some of us don't. But
we're all here because we loved Monica.
(She stops. Gets a hold of herself) And
because we want to pay tribute to her in a
way that might conceivably not enrage her.
Everyone laughs slightly.
I don't want to tell anyone what to think,
or how to feel. And I don't want to kid
myself about the stupid, meaningless way
she died, because it would really make her
throw up. But I don't want it to become the
summation of her life. Because it's not.
When her Lisa died I said to her, "How can
you stand it?" And she said. "First of all
I can't. But I don't want to take away the
twelve years she did have, and turn them
all into leukemia. Because they weren't."
So despite the fact that she got -- ripped
off, I do think it's important to remember
that Monica got a lot out of life. She was
the most fully developed person I
personally have ever known. She was also
impossible to get along with, but that's
As most of you know, she had more than her
share of trouble over the years. But that
never diminished her compassion or stopped
her from embracing life to the absolute
fullest -- measure.
90 CONTINUED: (2) 90
She sure did.
So. Now I've said my little piece. And now
I want to talk a little bit about the first
time we met. She was twenty one.
Emily stops so as not to cry. There is a long, charged silence.
It's OK, Emily.
I know...! (She waits) And I was nineteen!
Even though it's impossible for my children
to believe I.was ever that young.
Emily's college-age kids, a boy and a girl, smile warmly at
her from across the room.
91 INT. EMILY'S APARTMENT. LATER. DAY. 91
Everyone is milling around. Lisa is talking to Emily.
Emily, thank you so much for letting me be
Don't be silly, honey. You were sweet to
Didn't she have any family?
No, she was the last one. Except for some
cousins in Arizona. You talked to Abigail.
She's the one who gave you my number...
Well, she's a living nightmare. They never
got along at all.
Excuse me. Good bye, Emily. Thank you so
much for doing this.
Emily and the Woman Mourner hug each other goodbye.
91 CONTINUED: 91
Listen. I still can't believe this is
happening...! (she starts crying) I mean
what the fuck is wrong with her?
I don't know!
I don't understand why she didn't kill
herself when Lisa died! And then Barry, and
then after all that with her mother, and
then her father, she gets hit by a fucking
bus? It's like a joke! But that's Monica.
Always the worst luck. Always. (noticing
LISA) OK, sweetheart. Thank you for coming.
Please don't stand there staring at me, OK?
I'm sorry! I just wanted to say goodbye.
It's OK. Thank you for coming. You're
(to Woman Mourner)
As Lisa-goes out she hears:
WOMAN MOURNER (CONT'D)
Who is that?
That's a girl who was passing by at the
time of the accident. She was right-there
when she died, and she wanted to come to
the funeral. I told her there was no
funeral, but she wanted to come anyway. I
wouldn't have done that at her age, would
92 TIME PERMITTING. 92
93 TIME PERMITTING. 93
94 TIME PERMITTING. 94
95 EXT. LISA'S ROOM. NIGHT. 95
Lisa is on the phone.- The Times article about the accident is
on her bed. O.C. we hear Curtis practicing his scales.
No -- M A R E T T I .. What about
Brooklyn? . Thank you.
She writes down the number and hangs up. Looks at the number.
Dials the phone. It rings once. She hangs up.
96 INT. ENGLISH CLASS. DAY. 96
Lisa is very disengaged from the discussion. John is walking
back and forth, reading aloud from King Lear.
"We are to the gods as flies to wanton
boys. They kill us for their sport."
(Pause) We are to the gods as flies to
wanton boys. They kill us for their sport."
What do you make of that? Lisa? Lisa?
I don't know.
Take a stab. What do you think Shakespeare
is saying about human suffering here?
I don't know. Sorry.
You know what, Lisa? That's not good
enough. That's not good enough.
Shakespeare wrote something: What's your
response? And don't tell me you don't have
one because I don't buy it.
I don't really have a lot to say. It seems
pretty self-evident to me.
I think it is self-evident. I think he's
saying that human beings don't mean any
more to the gods than flies do to little
boys who like to torture them for fun.
Green Revised 10/7/05 - Page 74
96 CONTINUED: 96
Like as far as the gods are concerned we're
just ants. Nothing. (like a newscaster
turning to his colleague) Darren?
The class laughs.
(responding in kind)
Thank you, Matthew. Yeah, I agree. Only
it's not Shakespeare saying it: It's
Gloucester. Maybe another character would
have a different point of view.
OK: That's a valid point. Just because
Shakespeare has one of his characters say
it doesn't mean he personally agrees with
it. Yes: David?
Yeah, maybe Shakespeare isn't saying the
gods don't care about us. Maybe he's saying
there's a higher consciousness that we
can't see. That the gods' perception of
reality is so much more developed than ours
that compared to their perception, our
perceptions are like comparing flies to
OK...I don't think that's what he's getting
at...I think what he's getting at here is a
very dark view of the arbitrary nature of
But maybe he's not. Maybe he's comparing
human consciousness to divine
consciousness, and he's saying that even
though it seems to us that human suffering
is just arbitrary, that's just because
we're limited by our viewpoint.
Well -- let's look at the text. Let's test
David's hypothesis. "We are to the gods as
flies to wanton boys. They kill us for
their sport." I have to agree with Matthew,
that seems pretty unambiguous.
Yeah, because he's saying there's a higher
purpose that we can't see. He's saying that
what seems like them killing us for sport
could just be because our consciousness
isn't developed enough to see what the
higher wisdom of their killing us is.
2nd Blue Revised 10/28/05 - Page 75
96 CONTINUED: (2) 96
OK, but -- I still don't think that's what
he's trying to say. Um...
No, like if you say they kill us for their
sport, when our perception of the gods is
so meager that we can't even tell what
they're doing, then how can we be so
arrogant as to think that they would bother
to kill us for their sport?
I don't know ...Um -- Monica?
I don't think that's what he's saying at
all. I think he's saying the gods don't
give a shit about human beings and they
just kill and torture us for fun --
Yes. Much like flies to wanton boys.
But if the gods' consciousness is so much
more developed than ours that we seem like
flies to them, then how can we be sure what
they have in mind for us or why they do
David, I think you've made your point.
But it's not what Shakespeare meant.
Scholarly opinion is pretty consistent that
he's trying to say something about
human suffering here --
And in this particular play what I think
he's trying to say is pretty black --
pretty bleak --
But what are you saying? A thousand
Frenchmen can't be wrong?
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96 CONTINUED: (3) 96
No, I'm not saying that. But I would
like to move on --
I think he is saying that, because he's
comparing human consciousness to flies, and
he's saying that we can't see the truth
around us because our consciousness is
No David, that's not what Shakespeare
meant! He says it somewhere else in the
play, but I don't want to get hung up on
this any more because it's not what
Shakespeare meant, and I would really like
to move on.
David laughs derisively.
97 OMIT 97
98 INT. LISA'S ROOM. NIGHT/KARL'S HOUSE. DUSK. 98
Lisa is on the phone with Karl. WE CUT BETWEEN THEM.
Yeah! Hi! How's everything been going?
OK. How are you?
Not too bad. Pretty good. I'm sitting here
listening to some music. Having a glass of
That sounds pleasant.
Yeah. Yeah. How are you? How's the
Well...there's this one guy I sort of had
something going with. But he kind of has a
2nd Blue Revised 10/28/05 - Page 76A
98 CONTINUED: 98
I realize I'm incredibly enthralling...
98 CONTINUED: (2) 98
You are. You're a beautiful girl. And
you've got brains. That makes you
Don't forget mature.
Well -- I'm hoping you're not too mature.
OK good. That was a good answer,.
Anyway, I do think it's a pretty long-
OK, then you know what? You do nothing. You
do absolutely nothing. And one of two
things will happen. Either he's gonna start
doing back flips to get your attention, or
you're gonna send him a crystal clear
signal that if he doesn't do back flips
he's not gonna get your attention. OK?
Well, I think he already knows I like him.
Uh huh? OK...
.I think I might have spilled the
beans on that one a little --
That's OK. Because now, if now you stop
acknowledging him, you just suddenly give
him nothing, he's gonna go berserk. Unless
he's just not interested. In which case,
you gotta take your lumps. OK? Which is
Well, thanks, Dad. I'll be sure to try out
the technique next time I see him.
Yeah. Lemme know what happens.
98 CONTINUED: (3) 98
OK. Well, everything's OK here...A little
Actually, Dad? I definitely want to hear
how things are with you in a minute, but I
actually have something kind of serious I
want to ask you about ...I'm kind of
soliciting people I respect-for their views
OK. What's up?
99 EXT. KARL'S HOUSE. DUSK. 99
Wider, through the glass doors of Karl's bungalow as he
listens to the story.
100 INT. LISA'S ROOM. NIGHT./KARL'S HOUSE. DUSK. 100
. so do you think I should go back to the
police, or what?
OK, well, first of all, I'm very glad you
told me. Second of all, I think you should
let me call my friend who's a lawyer, just
to get some idea of what the ramifications
You mean to protect myself before I go
There's nothing wrong with knowing what
you're getting into. I'm gonna call my
friend Lorne, I want to see what he says.
ANNETTE, Karl's, girlfriend, 40, lets herself into the house.
Hey...! Actually, Dad? Please
don't call anybody.
KARL Seriously. I appreciate
Hi babe. your taking charge and
everything, but --
Did you get my message?
Um -- I got a message.
100 CONTINUED: 100
About the flowers? For my mother?
I don't know. Yes. Hold on. (To
LISA) I'm sorry, Annette just
Who are you talking to?
I'm -- It's -- could I just --
Anyway, I guess I would just like to know
later that I would have done the right
thing by myself, if you see what I mean.
Because I don't think I have so far.
Who is that? Not that I'm trying to
make this woman's
KARL horrible death into my own
Uh Huh? It's Lisa. personal moral gymnasium...
to quote George Bernard
Good. Will you please ask her
I'm sorry, Lisa. Hold on one
Will you please ask her if there's anything
we don't know about that she won't eat? For
the trip? Because I have to tell the ranch,
because they do all the meals ahead of time
Yes: I will: We're just in the middle of
100 CONTINUED: (2) 100
Karl, I was supposed to call them last
week. You said you were gonna call her and
you didn't. So then I called her, and she
never called me back. So what do you want
me to do?
OK, you know what? I want to talk about
this, not right now.
-- and if there's anything she can't eat
and they put it in the hampers, she's not
gonna have anything to eat. The last time
she came out here we went to three
different places and she couldn't eat
anything on the menu.
I'm going to ask her. I will. We're right
in the middle of something.
OK. Tell her I said hi.
101 INT. LISA'S ROOM. NIGHT. 101
Lisa puts a new cowboy hat in her luggage. She tries to zip
the bag but it won't zip. (This is a dream)
102 INT. LISA'S ROOM. NIGHT. LATER. 102
Lisa is asleep. The room is dark. She stirs. She realizes
JOAN is sitting on the edge of her bed, her back to Lisa.
Mom? What's wrong?...Did you have a bad
show? What time is it?.
Joan starts coughing. Blood starts coming out with every
cough, first a little, then a gruesome amount --
LISA WAKES UP -- breathing hard short breaths. The room is
dark and quiet. She calms down and gets up.
Yellow Revised 10/9/05 - Page 81
103 INT. BATHROOM. 103
She comes in without turning on the light. She turns on the
faucet. In the dim bathroom the water looks strangely dark.
She switches on the light --
BLOOD is streaming out the faucet and filling the basin.
She looks up. MONICA the dead woman is standing behind her in
the mirror. Lisa jumps --
104 INT. LISA'S ROOM. 104
Lisa wakes up sharply, breathing hard, drenched in sweat.
104A INT. LISA'S ROOM. DAY. 104A
She dials Maretti's number. It rings...
Hello? (Pause) Hello...?
She hangs up.
105 INTERCUT. SUBWAY (MOVING) DAY. 105
Lisa rides the subway past Brooklyn stations.
106 EXT. BAY RIDGE. DAY. 106
Lisa emerges from the subway station. The Verrazano Narrows
Bridge dominates the background.
107 EXT. MARETTI'S STREET. DAY. 107
Lisa turns the unfamiliar corner. Little kids play in the
street. She checks the address on the piece of paper.
108 EXT. MARETTI'S HOUSE. DAY. 108
She rings the doorbell. Inside she hears kids playing. The
door opens. It's MRS MARETTI, around 35.
Hi, can help you?
Hi. I'm sorry to bother you. My name is
Lisa Cohen. I was involved in the same
accident that Mr Maretti was involved in a
few weeks ago...
Oh my God, were you? Oh my God, what a
108 CONTINUED: 108
Yeah...I was just wondering if I could talk
to him fora minute. Is he home?
Ummmmm, yeah, sure. Whyn't you come in.
109 INT. MARETTI'S HOUSE. CONTINUOUS. 109
Lisa follows Mrs Maretti into the small apartment. O.C. we
HEAR two small BOYS running around and shouting. MARETTI is
watching TV. Mrs Maretti goes over and speaks to him, low. He
sees LISA and slowly gets up.
Hi. I'm really sorry to bother you...We
never met. My name is Lisa Cohen...
Yeah...What can I do for you?
Well...do you remember me? From the bus
I don't know.. .What' s this about?
Well, would it be OK if I talked to you for
What do you want to talk about? I don't
I'd just like to talk about the accident
for a minute. I don't want anything, and
I'm not here to do anything bad. I just
wanted to talk to you about it.
How did you get my address?
It's in the phone book. I was gonna call
Well, it woulda been better if you woulda
called. We're about to sit down...
Mrs Maretti has drifted back toward them.
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109 CONTINUED: 109
I don't get what, uh...Yeah all right.
Let's go outside.
I'm sorry: Could I use your bathroom?
No, let's just go outside.
Oh Gerry, let her use the bathroom.
No, I don't want her to use the bathroom.
I don't understand what this is.
It's right over there, honey. (turning)
Will you kids settle down, please! I'm not
Lisa goes in the bathroom.
MARETTI MRS MARETTI
What's the matter with you? Who is she?
MARETTI MRS MARETTI
She's some girl who was at the Nothin's the matter with me,
accident -- let her use the fuckin'
110 INT. BATHROOM. DAY. 110
Lisa latches the door of the cluttered little bathroom. She
sits on the toilet and tries to pee. After a minute a tiny
amount of pee comes out.
111 -INT. THE LIVING ROOM -- A MOMENT LATER. 111
Lisa comes out. The Marettis are waiting for her as before.
O.C., we hear the boys yelling at each other.
112 EXT. MARETTI'S HOUSE. DAY. 112
Maretti, Mrs Maretti, and Lisa come out.
(to MRS MARETTI)
Honey, just do me a favor, wait inside.
No. I wanna hear what this is.
Well ...If it's OK, I'd rather talk to Mr
Maretti in private.
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112 CONTINUED: 112
No it's not OK.
OK. We're just tryin' to...OK: What?
Lisa looks at them, wishing Mrs Maretti would leave.
OK. I hope this isn't going to insult you
.I was just wondering if you felt bad at
all about what happened.
Do I feel bad about the accident?
You know, honey? Are you just upset about
Yes! I'm upset about the accident! I'm very
upset about the accident! I was covered in
blood! I've never been covered in blood
before, and I wanted to talk to you about
it for a minute! Why is that so strange!?
Gerry... why don't we all go inside and sit
Could I please talk to you alone?
OK, what is goin' on here?
Nothin's goin' on here. So whyn't you calm
down? Look: Go ahead inside. Let me find
out what this is. Meantime whyn't you make
sure those kids aren't killin' each other,
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112 CONTINUED: (2) 112
As Mrs Maretti goes inside:
No, you know what? Let 'em kill each other.
Give us all a rest. (To LISA) All right,
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112 CONTINUED: (3) 112
I just...Well, I just want you to know...
Yes? What? Speak!
Well... you probably already know,
obviously, that I told-the police on the
police report that I thought the whole,
thing was an accident...
Uh huh. Right. Because it was an accident.
Well -- I mean, I know you didn't do it on
But it wasn't like...
What. (Pause) Speak. Talk! What!
Well ...I mean ...We were looking at each
Who was looking at each other...? You and
Well ...Yeah ...I mean. . .not like...
romantically or anything...
OK, scratch that. 'Cause that's not
You're not comin' through very clearly!
OK. I can see the way this is.
The way what is? What! Speak to me! What?
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112 CONTINUED: (4) 112
I am --
Don't drag me outta my house on a Saturday
afternoon and then make me stand here
pullin' teeth to find out what you're
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112 CONTINUED: (5) 112
I've got my kids inside: You're an
attractive young lady, you show up at the
house -- Please! Get to the point or go
home. Because I don't care enough, frankly,
to stand around here tryin' to figure out
what you're doin' here! (Pause) What! What!
All right! Well...the way I remember the
accident is that you were wearing this
cowboy hat --
Yes, it's my cowboy hat that I wear
sometimes to amuse myself on the bus, yes.
I was probably wearing my cowboy hat, yes.
If you could just let me...! From my point
of view, I was out that day trying to buy a
cowboy hat, so I was waving at you, becase
I was looking for one... and you were kind
of waving back...And I know the police
already decided it was No Fault, or No
Criminality or whatever they call it --
No Criminality, that's right.
-- I guess partly because of what I told
them. And I know I was distracting you,
but -- I did see the bus go through the red
light. And that's when it hit that woman.
OK. I'm gettin' a little confused over
Only nobody said that to them. And I just
wanted to like, acknowledge with you that
that's what happened.
OK. First of all, I don't really know what
you mean by wavin' at you...What were you,
tryin' to catch the bus...?
No...Yes. But I wanted to ask about your --
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112 CONTINUED: (6) 112
Maybe I was wavin' at you like, wavin' to
say, you know, "Step away from the bus,"
if the bus was in motion, I would've waved
you away for your-own safety, but that's
all that would be.
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112 CONTINUED: (7) 112
You don't remember looking at me and waving
Mrs. Maretti comes out again.
No. Not really. No.
Well ...I think we both remember something
Your brother's on the phone.
Tell him I'll call him back.
Mrs Maretti goes back inside.
I'm not trying to get you in trouble.
I know you're not, because you couldn't get
me in trouble. Uhhhh, there's no
criminality found...the report is, uh,
final. And that's it.
So you're just gonna leave it?
I'm gonna leave it, because that's all that
it was. If something else would have
happened, I'd take it to whatever that was.
It was tragic, it was a tragedy. But
there's only a certain speed the brakes can
react. That's a physical limitation of the
machine. I don't know what else to tell
you. It was a shock. It's shock. But
that's it. Can't bring her back. Cannot
bring her back.
I'm not talking about bringing her back.
.I'm talking about telling the accident
investigators what really happened.
But you already talked to them!
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112 CONTINUED: (8) 112
I know that. But I lied.
Yes. And I can understand if you don't want
to get in trouble, but.--
Then how come nobody else saw it?
I can't help what other people saw --
You would think somebody else would see it.
I just know what I saw!
Then why didn't you say something right
Because -- when they were asking me what
happened -- it seemed like you were kind of
looking at me -- like we were saying to
each other, "Let's not say anything about
Oh, now I really don't know what you're
I can't prove that you were doing that --
Mrs Maretti comes back outside.
What did I say anything to you? Did I
No! And I am not blaming you for any of
this! All I'm saying is that I didn't
really tell the cops what happened, and I
didn't want to go back without --
But you told 'em what you saw! You told 'em
what you saw! And so did I! Only I'm the
one behind the wheel!
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112 CONTINUED: (9) 112
Gerry! Take it easy!
(To MRS MARETTI)
No, it's all right. Leave it alone. (To
LISA) You wanna ruin my life, start tellin'
'em about looks, and you waved at me and I
had on my cowboy hat, go ahead! You're
gonna go back to school and do your
homework and I'm gonna lose my job! And
who's gonna feed my kids? You? Are you
gonna do it? And for what! She's dead!
She's dead! And there's nothin' I-can do to
bring her back!
I just want to say what really happened.
Hey do whatever you fuckin' want.
Gerry -- !
But those cops are gonna laugh in your
fuckin' face because this was not my fault!
It was both our fault.
What'd you say?
It was both our fault.
Maretti scrambles in his pocket for a pen.
Yeah. Don't say that to me.again without a
lawyer. Gimme your phone number.
What's your number? Gimme LISA
your number. Oh, you wanna Mjy? No! Why do you want it?
come to my house like some
anonymous person, I can't
get in touch with you? MRS MARETTI
What's your fuckin' number, Gerry! Take it easy!
Fine! It's -- um -- 212- 555 --
Yellow Revised 10/9/05 - Page 89A
112 CONTINUED: (10) 112
Hold on. (writes) 555 --
Yellow Revised 10/9/05 - Page 90
112 CONTINUED: (11) 112
0157. Why do you need it?
Do whatever you're gonna do. I hope you got
a good lawyer.
I don't know why you're --
Maretti turns and goes in the house.
You know this was very traumatic for him!
It's almost as bad as getting your deg cut
Does your mother know you're here?
112A INT. SUBWAY (MOVING) DAY. 112A
CU on Lisa as she rides back toward Manhattan.
113 INT. EMILY'S KITCHEN. DAY. 113
Emily sits with Lisa at the kitchen table.
Why didn't you say anything before?
I guess I was afraid. I didn't know what to
You didn't know what to do? The woman is
killed right in front of you and you didn't
know what to do?
I know it doesn't sound very impressive.
Impressive! (Pause) All right: I know
you're trying to do the right thing now.
What does your mother say?
My mother hasn't really been that helpful.
113 CONTINUED: 113
What do you mean?
I mean she's got a lot going on right now
and she just hasn't been that interested, I
What could she possibly have going on?
Her show is opening.
What do you mean, her show? What show?
She's in a play.
My friend is dead because some guy was
looking at your ass and you lied to the
police about it, and your mother can't be
bothered because she's in a play?
Well, it's kind of a big deal for her.
She has a really big part.
I'm sorry. I don't know your mother, but,
that is pretty shocking.
I guess she's really worried about getting
a bad review or something.
OK. I'm gonna talk to my friend who's a
lawyer, and I'm gonna call Monica's cousin -
you talked to her -- And you're gonna go
talk to the police. Do you want me'to-go
Do you think maybe you should ask your
mother to go with you?
I think I can handle this part myself.
Oh, I am so angry. I am so angry.
113 CONTINUED: (2) 113
He didn't do it on purpose.
Fuck him! I'm gonna run over his best
friend and then coerce some teenage girl
into lying to the police about it! He had
his chance. Fuck him! Now are you gonna see
this through or not?
I will if you will.
OK! Thank you. OK?
Emily impulsively and somewhat tearfully embraces Lisa, who
is flooded with relief.
113A TIME PERMITTING.
114 INT. THEATER -- BACKSTAGE/ONSTAGE. NIGHT.
Joan waits in the wings. Her CUE LIGHT goes ON and OFF.
TRACKING her onstage as she enters.
Hey! Let me tell you something, Eliot --
She is interrupted by entrance APPLAUSE.
You want to fire me, go ahead and fire me.
Only don't tiptoe around me like.some-kind
of deranged ballerina every time I see you
in the fucking hall! Now: Do you have
anything to say to me, Eliot?
Um -- you're not fired...?
This gets a pretty big laugh from the audience.
Oh. (Abashed, friendly) What are you guys
Another big laugh.
IN THE AUDIENCE -- LISA, CURTIS and RAMON sit together,
dressed up for opening night. Ramon nudges Lisa.
She's good, eh?
114 CONTINUED: 114
(Grudging but proud)
115 INT. COHEN APARTMENT -- LIVING ROOM. MORNING. 115
Lisa is on the computer. Joan is standing behind her.
Did you find it?
Just a minute!
Can we just forget it? If they were any
good somebody would have called me last
No we can't forget it, because I can't take
this anymore. What do you care what they
say about you anyway?
I don't. It's just a lousy feeling. Can't
you understand that? If they wrote mean
things about you in the newspaper you
wouldn't like it. Even if you didn't agree
with it, or base your self-esteem on it.
Why can't you understand that?
I do understand it, because we have this
conversation every time! You're great in
the play, you're a great actress, everybody
thinks you're great, everything about you
is great, you're really really pretty --
Oh shut up.
So let me just find the review and then we
can both kill ourselves, OK?
Lisa finds The New York Times review online.
Did you find it?
Green Revised 10/7/05 - Page 94
115 CONTINUED: 115
Is it bad?
Let me read it. (she reads) OK, it's really
Oh my God. Listen to this:
Don't read it to me.
".. .but it is the frankly extraordinary
Joan Kaplan who transforms the savage wit
of David Holmes' acid comedy-drama into
something approaching sheer luminosity..."
"But don't be misled by her feather-light
touch and expert comic timing. With the
canny (Has trouble enunciating:) bray...
Yes. "-- of an actor at the JOAN
Top of Craft, Ms. Kaplan takes Top of Craft...?
us on an emotional roller
coaster that is both hilarious
and heartbreaking, maddening
OK. This is the best review I've ever read.
Just for me, or for everyone?
Green Revised 10/7/05 - Page 94A
115 CONTINUED:. (2) 115
No, he likes the play, he likes the cast,
but the main thrust of it is basically what
a genius you are, and how your time has
2nd Blue Revised 10/28/05 - Page 95
115 CONTINUED: (3) 115
Fuck him, what does he know? (A la Noel
Coward) Maddening and magical, eh? If only
I knew what that meant.
Oh my God you're a huge star.
Oh my God!
Can I make coffee now?
Yes. Thank you honey.
Lisa heads for the kitchen as the PHONE RINGS.
Here come the offers.
(Picks up the phone)
Hello?... . I know, can you believe it?
115A INT. COHEN APARTMENT - KITCHEN. DAY. 115A
Lisa is eating breakfast and listening intently to the radio.
She hears Joan talking on the phone O.C.
RADIO NEWSCASTER JOAN (O.C.)
-- when the seventeen year- No, Lisa read it . No,
old Palestinian was stopped I never read them unless
by Israeli police from boarding I know there's nothing
a-school bus yesterday carrying mean in them ... Victor,
forty pounds of explosive under I wish you wouldn't
her jacket -- speak to me that way:
You know I'm Top of Craft.
Lisa closes the door or turns up the radio.
116 INT. ENGLISH CLASS. DAY. 116
John is reading from a paperback poetry anthology. On the
blackboard it says "19TH CENTURY POETS -- GERARD MANLEY
HOPKINS -- 1844-1889." SLOW PUSH IN on Lisa.
Spring and Fall to a young girl
by Gerard Manley Hopkins.
"Margaret are you grieving
Over Goldengrove unleaving?
Leaves, like the things of man, you
With your fresh thoughts care for, can you?
Ahl as the heart grows older
It will come to such thoughts colder
2nd Blue Revised 10/28/05 - Page 95A
116 CONTINUED: 116
By and by, nor spare a sigh
Though worlds of wanwood leafmeal lie,
116 CONTINUED: (2) 116
And yet you will weep, and know why.
Now no matter, child, the name:
Sorrow springs are the same.
Nor mouth had, no nor mind, expressed
What heart heard of, ghost guessed:
It is the blight man was born for,
It is Margaret you mourn for."
Any thoughts? Lisa?
Lisa looks up slowly.
117 OMITTED. 117
118 EXT. HIGHWAY ONE POLICE STATION - THE BRONX. DAY. 118
Lisa gets out a taxi in front of the station.
119 INT. HIGHWAY ONE POLICE STATION. DAY. 119
Lisa walks up to the desk of a 2ND A.I.S.DETECTIVE.
2ND A.I.S. DETECTIVE
Could I help you?
Um, yeah. Is Detective Mitchell here?
2ND A.I.S. DETECTIVE
No he's not.
Oh. Um -- I talked to him on Monday and he
said he'd be here after three...
2ND A.I.S. DETECTIVE
Yeah, he's not back yet. Could I help you
Um, well, do you know when do you expect
2ND A.I.S. DETECTIVE
What's this about?
I was involved in an accident a few weeks
2ND A.I.S. DETECTIVE
119 CONTINUED: 119
And I filled out a report with Detective
Mitchell, but wanted to amend the report,
so I thought I should --
2ND A.I.S. DETECTIVE
What do you mean amend the report? How do
you want to amend it?
Well, there was something I didn't tell
him, and I wanted to tell him, because --
2ND A.I.S. DETECTIVE
So wait, I don't understand. You wanna
change your statement?
Yes! Yes! I want to change my statement.
(Pause. Calmer) Yes.
2ND A.I.S. DETECTIVE
Well, you'd usually have to talk to the
investigating detective on the case...
Yes. I know. That's why I asked to see
Detective Mitchell. Who said he'd be here
now. Which he's not. So...
2ND A.I.S. DETECTIVE
You remember the case number?
No. Sorry. It was that woman Monica
Patterson, who got run over by the bus, on
Broadway -- it was in a lot of the
2ND A.I.S. DETECTIVE
OK, yeah, sure OK. Sit down, sit down.
Thank you. I ---
2ND A.I.S. DETECTIVE
You know the case is closed.
I assume it was. But part of the reason
it's closed is because of my statement.
And the statement I gave --
2ND A.I.S. DETECTIVE
Because of your statement?
119 CONTINUED: (2) 119
Another male detective walks by, behind LISA. The two men
exchange a glance referring to Lisa being a cute girl.
2ND A.I.S. DETECTIVE
What do you mean it was closed because of
I mean --
2ND A.I.S. DETECTIVE
The DA's office closes the case. You don't
close the case. The DA's office closes the
I'm sure it does. I obviously didn't mean
I personally closed the case, like,
legally. I meant that what I said was
probably instrumental in getting the case
closed, because I was the --
2ND A.I.S. DETECTIVE
What's your name, honey?
2ND A.I.S. DETECTIVE
Don't call me honey, OK?
2ND A.I.S. DETECTIVE
Are you not gonna help me now that I said
2ND A.I.S. DETECTIVE
Look -- what's your name?
2ND A.I.S. DETECTIVE
OK Lisa, first thing, you're gonna calm
119 CONTINUED: (3) 119
I'm calm right now!
2ND A.I.S. DETECTIVE
OK. Just checking. Second thing -- Oh!
Here he is: Your knight in shining armor.
MITCHELL has just come in. LISA gets up.
This guy been givin' you a hard time?
What's this guy been sayin' to you?
Nothing. I don't know if you remember
me... I'm Lisa Cohen. I called you on
Sure I do. What's up?
120 INT. HIGHWAY ONE POLICE STATION - MITCHELL'S DESK - LATER 120
Lisa sits across from Mitchell.
So now you're sayin' he ran the light.
Yes. He wasn't even looking at the road.
And I was definitely trying to get his
No, I get the picture. So you're flirtin'
with this guy, he's wavin' at you, he runs
the light, hits the decedent, she dies on
the scene...the both of youse lie to me on
both of your statements, and then
somewheres in there you turn around, decide
the guy belongs in jail. That right? That
I don't have any control over if he goes to
jail or not. I certainly have my hopes. I
just want to set the record straight, so
that if he gets away with this I won't have
been a part of it.
120 CONTINUED: 120
And what do you think I should do with you?
Just gimme•a clue. 'cause I'm just a little
bit lost over here...:
Do whatever you want. I know what I did.
OK. Well. Before we do anything, Lisa,
anybody will tell you that just because he
ran a red light is not a criminal offence.
Even if he kills someone?
Even if you cause an accidental death,
that's right. For this to be a criminal
offense, the law says you need two
aggravating circumstances. Like he ran a red
light and he was speeding. Or he ran a red
light and he was --
(On 2nd "red")
So he's not liable to be prosecuted for
manslaughter? Or second degree murder?
No. He could be charged with reckless
driving, and fillip' out a false police
report. Which, that's no joke --
That's unbelievable! What does he have to
do? Kill her on purpose?
Yes. Because that's the definition of
murder. Killin' somebody on purpose.
You're not sayin' he ran her over on
purpose, are you?
All, right, look. Lemme take another
statement, and, uh...We'11 look into it,
120 CONTINUED: (2) 120
No. I'll go over it with my sergeant,
probably pull this guy in again.
Reinterview him. Put a little pressure on
him. See what he says.
Thank you...! Thank you.
120A INT. SCHOOL - GYMNASIUM. DAY. 12 OA
Lisa and her coed class watch BONNIE, the young, tall
beautiful, no-makeup gymnastics teacher.
OK, so we're just gonna start with a_couple
of simple stretches.
She stretches. Lisa notices the boys looking at Bonnie.
121 EXT. CENTRAL PARK. DAY. 121
Lisa and Becky are smoking pot on a rock or bench.
(holding in smoke)
.Yeah, because the Central Park
Conservatory or whatever it's called put up
about five hundred miles worth of these
cheap shitty-looking fences all over the
park. Which is totally antithetical to
what the park was originally designed for.
She exhales and hands Becky the joint.
We are totally gonna miss the game. Oh my
God it's John...! It's John!
They try to hide the joint from JOHN, the English teacher,
who approaches them and stops. Pause.
Hi John. (Pause) Want some?
121 CONTINUED: 121
Come on, guys. You can't be smokin' a j.
on your way to a school soccer game! Now
We're really sorry.
John glares at them, then turns and walks away.
OK: How about how he's like, "Smokin' a j."
Like, "You can't be smokin' a j."
They all burst out laughing.
CU on the angry embarrassed back of John's reddening grown-up
neck as he keeps walking away.
122 EXT. CENTRAL PARK -- WEST OF THE GREAT LAWN. DAY. 122
Lisa walks through the park, somewhat stoned, enjoying the
sunshine. She sees MR AARON approaching on a bike. He bikes
up to her and stops.
Hi, Mr Aaron...!
How are you, Lisa?
I'm pretty damn good. How are you?
I'm all right, I'm all right-Tell me
something. Whatever happened with that
Oh...•I'm working on it. I'll tell you all
about it sometime...(squinting at him in
the sunshine) Hey, what kind of a bike is
Um, a Trek.
I'm supposed to take a horseback riding
trip with my father over Christmas break
and I was just wondering, does it bear any
resemblance to riding a bicycle?
122 CONTINUED: 122
As far as I know, no, it doesn't, no...
But you must have ridden a lot of horses.
What makes you say so?
Aren't you from Texas or Wyoming or
someplace like that?
Someplace like what?
You know: Not New York.
I'm actually from Indiana. But don't let me
overwhelm you with superfluous details.
God, so what are you doing at a New York
private school teaching geometry to a bunch
of overprivileged liberal Jews?
Is that a real question, or a Lisa
What's a Lisa question?
A question designed to prolong the
conversation without there being any
particular interest in the actual
About half and half.
In that case --
Before you go, I am actually thinking of
getting one of these. Can I try it? Just
for one second?
122 CONTINUED: (2) 122
Aaron gets off the bike. She climbs on. The seat is too high
You want me to adjust the seat?
No thanks. This actually feels really,
really good. God, I'm kidding! You are so
easy to tease!
She bikes away awkwardly, turns around and bikes back toward
him, wobbling badly.
I like your bicycle...! Can I have it?
She tries to stop in front of him but skids and he catches
her hard by the arms to stop her.
MR AARON (CONT'D)
Can I just ask you how is it possible that
I am totally in love with you and you have
almost no interest in me whatsoever? It's
not like I'd ever say anything if you ever
deigned to like, you know, be with me.
I can tell you like me. It's not like I'm a
virgin, if that's what you're worried
about. I'm not even close.
I can't even be having this conversation
Yeah, you keep saying that, but I notice
you're still standing here.
You're absolutely right. Goodbye.
He gets on the bike.
It's not my fault if I revere you as a god!
122 CONTINUED: (3) 122
He laughs or smiles briefly in spite of himself.
Oh my God. I made you laugh. I am so happy
I'll see you in class.
We pull away with him as she watches him go.
123 INT. COHEN APARTMENT - FRONT HALL. NIGHT. 123
Lisa walks in as Joan is putting on her coat.
Hi. Where have you been? I didn't know.if
you wanted dinner.
Oh -- no thanks. I'll order something.
Someone named Emily called. And Detective
Mitchell called from the Accident
Investigation Squad. Is that the one you
Yeah, did he say anything?
Just to call him back. What's going on? Did
you ever go back and see him?
I'd rather not talk about it when you have
one foot out the door. I'll tell you later,
if that's OK.
Of course it is. Who's Emily?
She's the friend of the woman who died, the
one who had the funeral...
Oh yeah, OK. Well, her number's by the
OK. How's Ramon?
Oh God. I don't know. I mean I really like
him. He's really nice.
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123 CONTINUED: 123
But I'm not sure he actually ever
understands a word I say.
Give him a chance, Mom, you just met-the
But don't you know what I mean? I just feel
kind of lonely when I'm with him. You know?
You feel lonely when you're with him?
Yeah. You never felt that way when you were
I guess so. I feel that way all the time.
You get used to it.
Well ...I don't know how serious I want to
get with somebody who makes me feel that
So don't get serious. That's my advice.
All right. I'm gonna go.
Have a good show.
Thank you. (calling) Goodbye Curtis!
124 INTERCUT -- LIVING ROOM. SIMULTANEOUS 124
Curtis, busy with his computer, doesn't answer.
BACK IN THE FRONT HALL -- Joan shrugs it off.
125 INT. BUILDING HALLWAY. NIGHT. 125
She hits the elevator button. Sees her reflection in the
little round elevator window. She looks old to herself, and
haggard. She touches under her chin.
126 INT. ELEVATOR. CONTINUOUS. 126
Joan gets in. The door shuts. She leans her head against the
wall and bursts into tears., The elevator stops with a DING.
She wipes her eyes quickly. A woman NEIGHBOR comes in.
Congratulations on the show...!
That was such a wonderful review...! And
I read somewhere it might be going to
Supposedly. In March.
Yeah, it's going well. Knock wood.
127 INT. COLUMBUS AVENUE RESTAURANT. DAY. 127
Lisa, Emily and DAVE, a good natured intelligent 35ish
lawyer, are at a window table.
Lisa, Dave is one of my best friends.
He's a terrific lawyer and if he doesn't
know what to do himself he'll certainly
know someone we can talk to.
So Dave, just tell Lisa everything you told
me, if you don't mind repeating
Not at all. I love to repeat myself.
Are you guys gonna order something?
128 INT. COLUMBUS AVENUE RESTAURANT. DAY. LATER. 128
They are drinking coffee. Lisa smokes.
When someone is killed it's what you call a
Wrongful Death Suit, which is a statutory
case, which just means there's a statute
passed by the legislature which gives you
the right to bring the case.
As opposed to what?
As opposed to common law, which is law made
by judges. Which is why the damages are
I don't understand.
Look, just skip that part. We don't care
I thought we were trying to get the
police to arrest this guy...!
No -- the police are not, uh --
Why not? They told me they Dave doesn't think the
were gonna look into it police are gonna --
I'm just telling you that even if they do,
there is no way in this world they are
gonna recommend to the DA that they charge
this guy. That's why --
So what can we do?
Well. I'm --
Pink Revised 9/25/05 - Page 109
128 CONTINUED: 128
That's OK -- That's OK, honey...
I'm just getting to that. You can't
do anything unless you're a relative --
She didn't have any relatives, except for
those idiots in Arizona --
-- or -- hang on a minute -- unless you're
executor of her estate --
I am the executor of her estate.
-- which is Emily. I know.
Yes. This is good. Because the executor of
the estate Cdn bring a Wrongful Death suit,
but the beneficiary has to be a relative.
So let me explain about that. In a Wrongful
Death suit you can sue for Pain and
Suffering, Pecuniary Losses, Lose of
Support or Services.. .And also what's
called Care, Comfort and Society: --like
advice, counseling of the parent that the
kids aren't gonna get anymore...
You can really sue for that?
Yeah, and that's probably what we would do,
So -- I don't understand. Who are we suing?
The bus driver?
Well, no, because the bus driver wouldn't
have any money. You basically sue everybody
and hope something sticks. The person who
pays will be the MTA's insurance company.
But do you think the driver would get
Pink Revised 9/25/05 - Page 109A
128 CONTINUED: (2) 128
No. Not necessarily.
128 CONTINUED: (3) 128
Even if all the facts came out at the
Maybe. I don't know.
But how much could they be liable for?
It depends: How badly do you think we
could ever hurt them?
-- if she was alive, in great pain for an
extended period of time, they give more
money for that.
I'd say she was alive for ten minutes.
And I gather in a lot .of pain?
Her leg was cut off.
Yes -- obviously. And -- but was she
conscious? Awake, the whole time?
I'm sorry, Emily. (To DAVE) Yeah, awake.
Well, if she was in a lot of pain for that
long ...I don't know. . .maybe 300,000 or a
half a million dollars to get a sustainable
verdict? A brain damaged baby would be•
three million. But the truth is, Lisa,
after all's said and done, it's not a very
Because it's your word against his, and
because you already lied on your first
deposition. A red light case is a fifty-
fifty proposition already. And with only
one eyewitness, with two conflicting
statements? I wouldn't take-that case.
Pink Revised 9/25/05 - Page 111
128 CONTINUED: (4) 128
Nobody really cares about getting a lot of
I understand that --
We just want this prick to Buffer. and we
want the bus company to take resonsibility
for hiring this guy.
I understand. But no matter how you slice
it, the fact that Lisa lied on her first
statement is a disaster for your lawyer.
Can't I explain why I lied the first time?
It's not like I'm trying to get any money
That's true-Since she have no financial
interest she can't be impeached for bias.
Impeached for what?
She can't have her credibility attacked on
financial grounds because the jury knows
you're not getting any money if you win.
So that's'something, isn't it?
But do you really think we know what that
I'm sorry. That's what its called.
But who are you talking to? You know we
don't know what that means. It's like
you're not really concentrating.
I -- don't know. I am concentrating. I'm
just thinking out loud.
OX. All right. I'm sorry...I
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128 CONTINUED: ( 5) 128
He wasn't always a lawyer you know. He
used to be a very nice little boy.
Pink Revised 9/25/05 - Page 112
128 CONTINUED: ( 6) 129
Anyway.. the only thing I could think of is
it i@ the MTA. So they're not gonna want a
lot of publicity.
Anyway, the whole point is to get this guy --
Is to fucking get this guyl
No, its to get him out from behind the
wheel of a bus!
Did she know she was dying? I only ask
because the terror of knowing you're dying
raises the damages.
I think she had a pretty good idea.
If she had lived for a couple of days it
would make the case better...I know this
sounds horrible, but this is what it comes
I know. We know, Dave. That's OK.
Silence. Emily starts to speak:
I actually did have one more thought...I do
know one guy who's, uh... You know what? Yo
know what I want to do7 I want to make a
few phone calls, and then, just let me get
back to you.
I would just like somebody to take
responsibility for what happened.
128A TIME PERMITTING. 12 BA
129 INT. COHEN APARTMENT -- KITCHEN. DAY. 129
Lisa is on the kitchen phone.
Yes, Detective Mitchell please? . My name
is Lisa Cohen? C 0 H -- Yes, I'll hold.
(On hold) Fuck you...
Pink Revised 9/25/05 - Page 112A
130 INT. SQUAD ROOM. DAY. 130
Mitchell picks up the phone. WE CUT BETWEEN THEM.
130 CONTINUED: 130
Oh, hi, it's Lisa Cohen calling.
Hi Lisa, what can I do for you?
Well, I was just wondering what ever
happened, if anything, with the case.
You said you might re-interview the bus
Yes, we did:.We brought him back in --
You did? What happened?
Well, he basically stuck to his original
representation, and that was pretty much
it. I brought it up with my sergeant, but
he agrees with me we still don't have
enough to charge this guy, so there's
really not a lot more we can do at this
But how did you ask the questions?
He's obviously not gonna change his
statement if you just ask him like really
politely: Why would he? We already know
he's a liar.
Hey, you know, Lisa, in the old days we'd
just throw him in the back with a rubber
hose and we'd get whatever answer we want
out of him. But fortunately we don't do
that kind of thing anymore --
Yeah, not to white people.
130 CONTINUED: (2) 130
You don't do it to white people. Anyway,
I'm not saying you --
We don't do it to who?
Oh my God...
First of all, I don't know why you're
bringin' the guy's race into it. There's
forty thousand cops in this city --
Yes, thank you, yes.
-- and I hate to disillusion you, but most
of 'em are pretty good guys, just tryin' to
do their job. Bottom line is the DA's not
gonna take this case. (Pause) Now you could
talk to my sergeant if you want to, but --
Yes, I would.
131 INT. COHEN HALLWAY/KITCHEN. DUSK. 131
Joan, dressed to go to work, drops her keys in her purse as
she comes down the hall and lingers in the kitchen doorway to
find LISA on the phone, listening, then:
So there's no way to appeal --
(over the phone, flat)
There's nothin' to appeal. There's no case.
But how do you know Detective Mitchell
interrogated him aggressively enough if you
What's going on?
LISA waves her away.
132 EXT. RAMON'S TERRACE. NIGHT. 132
Joan and Ramon are having drinks and looking at his great
view of the Upper West Side. Joan is smoking.
132 CONTINUED: 132
-- so funny: it's the same show, but now
they all read how great it is, we get these
big standing ovations every night, and it's
the exact same show as before.
But why do you put yourself down? It's a
wonderful show and a wonderful performance.
No, it's not -- I'm not putting myself
down. It's just that the audience always
reacts differently if they've been told
it's good. A lot of actors have that
She takes a few steps away.
I love this view...(Pause) You know,
Ramon...this may sound very stupid to you,
but do you ever worry that we don't have
very much in common?
What do you mean?
Well, I don't mean to sound dissatisfied,
or disgruntled. But I feel like we're
always misunderstanding each other. Do you
feel that way at all? Or am I just
completely off the beam?
I don't think we should talk about that,
You don't? Well...I think it's kind of
important or I wouldn't have brought it up.
Joan... I like you very much. But let's not
talk about what you are like, and what I am
like. That never makes a good result. Talk
about it with your friends.
2nd Pink Revised 11/17/05 - Page 116
132 CONTINUED: (2) 132
He sips his drink. Joan doesn't know what to say. Pause.
May I show you some pictures of my boys?
Sure. Just don't tell me what they're like.
132A INT. RAMON'S LIVING ROOM. NIGHT. 132A
Ramon and Joan are in his modernistic, scrupulously clean
carpeted living room, on the sofa, looking at pictures.
That's a little place we used to go on
holiday, two hours outside of
Cartagena...My family is all there still,
but Rodrigo is studying in London, and
Hector is in Geneva.
I'm sure they will go back eventually,
because they like to do something for their
country. But it's a worry, because it's
very bad there now.
Yeah...I haven't really been following it.
It's a big, big mess. Last year I helped to
found an organization to work with children
whose families have been killed, or the
parents have been kidnapped, so they don't
know if they are alive or dead. We try to
find homes for them, preferably in
Colombia, because if we lose our young
people, that's it: That's the future. We
have raised a lot of money, but there's
only so much we can do. You don't like to
say it's hopeless, but it's hard to see the
Yeah. God...I wish I knew more about
it...Do you mind if I ask you something?
Of course not.
Why are you interested in me?
2nd Pink Revised 11/17/05 - Page 116A
132A CONTINUED: 132A
You don't think I should be?
I just feel kind of ignorant about your
You think it would be better if we knew
about all the same things?
Not really, not exclusively. It's just
unusual. Don't you think it's unusual?
2nd Pink Revised 11/17/05 - Page 117
132A CONTINUED: (2) 132A
Not for me.
I guess you travel a lot. I've only been
out of the country a few times in my whole
You should travel more.
I know. I've always wanted to. It's hard
when you're in the theater...
Still, you should try. It's a big world.
You're an artist. You should see more of
I know. You don't have to keep saying that.
I've always wanted to travel. It's just a
little difficult with two kids and no
husband, but it's hard to make a lot of
money in the theater. I was on a TV show a
few years back and I socked away some money
because of that, but my ex-husband --
Karl, yes, you remembered, very good.
Karl's very generous with the kids when he
can be, but he's struggling too: He's a
director: he directs commercials, and now
he's trying to produce them... Anyway, I'm
not ignorant because I enjoy it.
I don't say you're ignorant... Do you think
Lisa will be interested in acting?
I don't think so. I think's she's got a
lot of contempt for it. Of course that may
be the age.
She would prefer the world with no plays?
Oh... Who knows.
2nd Pink Revised 11/17/05 - Page 117A
132A CONTINUED: (3) 132A
Would you like to see a picture of my
These are all my aunts and uncles...See?
She looks at him as he turns the pages.
133 EXT. MIDTOWN OFFICE BUILDING. DAY. 133
Lisa and Emily meet in front of Dave's office building.
134 INT. DAVE'S LAW FIRM - STAIRCASE/OFFICE. DAY. 134
Dave walks Lisa and Emily into his office.
So after I talked to you guys I called
this P.I. I know and I asked him to --
Pink Revised 9/25/05 - Page 118
134 CONTINUED: 134
You called a what? A what?
Private Investigator -- to see if he could
find anything out about your bus driver --
Yeah: So he -- Dave!
Wait, let me tell you what he said! So he
called this guy he knows who used to be a
cop for the MTA. Did you know the MTA have
their own police? The MTA police? They have
their own uniforms...
Yeah? Yeah? Yeah?
And -- Just a minutel Jesus Christ! What do we
give a fuck about the MTA
police and their uniforms?!
-- so this guy got someone to let him
sneak a look at your guy's file. And it
turns out he's had two previous accidents --
less than two years apart -- one of them on
the job, one in his own car --
-- where there was some allegation that he
was drinking, which was dropped, but, that
he's never been cited or disciplined, just
moved around to different shifts --
Are you fucking kidding me?
Why does this not shock me?
Because Surprise Surprise his brother-in-
law is a very big muckety-muck in the
Transit Workers Union --
Pink Revised 9/25/05 - Page 119
134 CONTINUED: (2) 134
(i.e., "I get it.")
And if you read the paper, you'll know
they're going through a protracted labor
dispute at the MTA right now, and according
to my PI, the management doesn't want to
aggravate the situation by firing this guy.
Especially since the police have concluded
he was not at fault.
This is making me sick.
I know, but what it means, Lisa, is that we
have a case.
What it means, in fact, is that we have a
very good case, because we can sue for
what's called "Negligent Retention." Which
means they should have known the guy was a
bad risk and was irresponsible and they
negligently retained him until he finally
And you can prove that?
Sure, because we can subpoena their
Personnel records, which we already know
contain damaging information, because my
investigator got a look at them beforehand.
Which you're not-supposed to do, but we did
And that means...
That means we're in great shape and I think
we should go in there and sue their fuckin'
But you wouldn't be our lawyer, right?
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134 CONTINUED: (3) 134
No no. Oh no.
I'm not a personal injury It's not his area.
litigator. I don't know
enough about it. I would
But you could recommend someone?
Sure. I know a guy who's very good. His
name is Russel Deutsch. He's not a
sleazebag. Very experienced. Let me give
you his number...
Dave, thank you so much.
Really. My God.
But you gotta get that crazy cousin on
board because she's gonna be your
She's not gonna want to come to New York, I
can tell you that right now.
If you win she gets anywhere from three to
five hundred thousand dollars. She's gonna
come to New York.
135 EXT. MIDTOWN -- 6TH AVENUE. DAY. 135
Lisa and Emily walk up the busy avenue.
What's with Monica and her cousin?
Oh, Monica's father left some money to
Abigail's kids and he made Monica the
executor of the estate, because he didn't
want Abigail and her idiot husband to get
their hands on the money before the kids
were grown up.
Green Revised 10/7/05 - Page 121
135 CONTINUED: 135
For which Abigail rewarded her by badgering
her about it on the phone for fifteen
years: Always trying to borrow money
against the estate, accusing her of making
lousy investments with it, nasty phone
calls, nasty letters, every month for
fifteen years until Abigail's daughter
turned twenty-one and got married. Then
Monica goes to the wedding, in fucking
Arizona, and Abigail literally won't speak
to her. She's a dream.
So that's who we're getting the money for?
It's not who we're getting it for, it's who
we're getting it from.
136 INT. DEUTSCH'S OFFICE. DAY. 136
Emily and Lisa sit with RUSSEL DEUTSCH, 50s. His law office
is slightly smaller and less nice than Dave's.
First thing we do is we file a summons and
a complaint against the MTA. They get
.twenty days to respond, and when they do we
can make our Discovery requests: Accident
reports, personnel records, et cetera. But
you gotta realize it's gonna take some
time. The law says you have to get a court
date within a year. Usually it takes about
Now, I mentioned to Dave I have a friend
who writes for the Metro section of the
Yes: Now this, if it could really happen,
this changes everything in our favor. If
they think there's gonna be adverse
publicity, especially in The New York
Times, they're gonna want to settle right
away, soon as possible, and as quietly as
So they'd.make it a condition that
136 CONTINUED: 136
It's usually done, you get the money but
you can't talk about it. Nobody knows the
So what good does that do?
You get the money. (Pause) is that bad?
(Pause) I thought that's what we're all
here for. (Pause) This is how our society
punishes people for doing bad things.
By getting money from their employers'
Yes. It's called Punitive Damages.
Could we insist they fire the driver? As
part of the settlement?
Yes, sure, why not?
But is that something people do?
Sure. It's one of your conditions.
And you think we're gonna win? They're
Oh they're gonna settle.
This is --
Emily and Lisa take hands and squeeze.
137 INT. COHEN APARTMENT -- LIVING ROOM. LATER THAT DAY. 137
JOAN is reading LISA's C average REPORT CARD and an
accompanying letter. Lisa comes in and stops short.
137 CONTINUED: 137
I want to talk to you.
What'd I do now?
138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138
Emily opens the front door for Joan and Lisa.
Hi. I'm Joan. It's nice to meet you.
Nice to meet you too. Come on in.
139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139
Emily, Joan and Lisa settle on the sofa and chairs.
.I had a friend who used to live on this
block, at 262...?
Yeah, I don't know if you know her.
Cheryl Rowan? She's a physiotherapist?
No, I don't know her.
I think about a thousand people must...
Lisa says you're in a play, Joan?
Oh -- Yeah...
You should go see it, it's really good.
139 CONTINUED: 139
Well, the play is great, and it's a really
She's just being modest. She's gonna win
every award in New York.
Oh -- all that stuff's a long way off.
I don't go to the theater very much.
Well, it's just nice, because you can work
a long time in the theater and play really
good parts without getting a lot of
recognition. And even though you don't
necessarily do it for that as your primary
motive, it is very nice when people do
notice something you've done.
I was on a television show a few years ago,
and I had been doing theater all my life,
and suddenly all my relatives started
calling me up to congratulate me because
they thought I finally Made It. And it was
really just this dumb show that paid the
bills for a while...
That show was so stupid.
It wasn't that bad...! Anyway: I realize
this is horribly embarrassing for Lisa, but
I really wanted to meet you, Emily, because
you've frankly become such a big part of
Lisa's life, and I don't want to be
intrusive, but this whole court case seems
to be suddenly dominating everything and I
can't get Lisa to tell me anything about it
That's not true...!
Well, I can't...! And I want you to know,
Lisa, that I'm very, very proud of you for
pursuing this the way you have.
139 CONTINUED: (2) 139
But I can't let you pursue it to the point
where it's taking over your life or
interfering with your school work. (To
EMILY) It's really come down to a question
of homework. Lisa is on a half-scholarship
at her school. And I know she feels a real
sense of responsibility about what happened
Yeah, I do.
I know you do. I know you do. But you can't
not do your homework, and you can't throw
away your scholarship because of it.
I'm not. My grades slipped a little.
They'll get better. Anyone can do their
homework. You just sit down and do it.
I've been distracted. I'll stop.
All right --
We didn't need to have a big conference
It's not a big conference, I just want to
know what's going on. And I wanted to meet
Emily... (to EMILY) I know it's a little
Don't apologize. If Lisa hasn't been
keeping you apprised of what's been going
on, I think she should. You should.
There's nothing to keep her apprised of.,
We're just waiting for them to schedule the
Now what is that?
Mom? It really doesn't matter.
139 CONTINUED: (3) 139
A Discovery conference is a meeting with
the court where they sign an order.
authorizing our lawyer to begin getting the
personnel records, interviewing witnesses,
talking to Monica's cousin...
OK, now where does she fit in?
She gets the money.
140 EXT. MIDTOWN HOTEL. DAY. 140
ABIGAIL BERWITZ, 40s, gets out the taxi as the driver comes
around with her matching luggage.
141 INT. DEUTSCH'S OFFICE. DAY. 141
Abigail sits with Deutsch.
How would you describe the relationship
overall? Did you talk on the phone a
lot? Were there a lot of visits --
I would say we talked on the phone a couple
of times a month at least. Sometimes more
than that...I would call her, she would
And what were the nature of these
Oh, family stuff, mostly. Her family, my
And she would advise you about your family?
That kind of thing?
Oh, I would say so, yes.
Would you have any phone records? Or --
I have all my phone bills, if that's what
you mean. I didn't record the actual
141 CONTINUED: 141
No no --
You'll see we talked on the phone quite
OK, that's terrific. I see you came
Well, I wanted to bring everything.
Now when they take your deposition you're
gonna say the same thing you just told me.
Talk about the relationship...
Kind of advice she used to give you...
142 INT. MIDTOWN RESTAURANT. DAY. 142
Emily, Lisa and Abigail sit over their lunch. Abigail is
drinking a white wine.
Now, Emily, where did you find this lawyer?
He was recommended by a friend.
I'm asking because my husband knows a real
good New York lawyer, and I'm not entirely
comfortable with someone that no one has
ever heard of --
My friend's heard of him. He says he's very
I'm sure he does. But I have a
responsibility in this situation, and I
would feel a whole lot more comfortable
with somebody who didn't just drop in out
of the clear blue sky...
2nd Green Revised 11/20/05 - Page 128
142 CONTINUED: 142
He didn't drop in out of the clear blue
sky. He was recommended by my friend.
But even if we switched lawyers we'd still
have to pay him. But it all comes out of
the settlement, so it's really up to you.
No, if you all think he's good...
I don't know whether he is or not. My
friend thinks he is.
All right. Now Lisa, what is your
involvement in all this? What's your angle?
I just wanted to...I was just there.
143 INT. EMILY'S DINING ROOM. DAY. 143
Emily comes into the dining room with a cup of coffee. Lisa
is standing over the table looking at some of Monica's photos
and belongings which are spread out all over the table. Emily
starts putting the pictures away in their envelopes.
Oh my God, is that you?
And that's you and Monica obviously. Oh my
God. Is that her daughter?
God... So how old was she when she died?
God. I can't even imagine.
Neither could we.
Emily sits down and starts sorting through pictures to put
them in the box. Lisa sits down too.
2nd Green Revised 11/20/05 - Page 128aA
143 CONTINUED: 143
You know Monica asked about her when she
2nd Green Revised 11/20/05 - Page 128A-129
143 CONTINUED: (2) 143
Emily looks up.
No. I didn't.
Yeah. I think she was confused... like, I
think she thought I was her daughter for a
minute. And then she was asking me to call
her, like to tell her what happened: You
know, like she didn't remember she was
What do you mean? What did she say?
She just asked if somebody could call her
daughter. But then it got confusing because
I said, "Sure, what's her name?" And she
said her name was Lisa. And I said, "No,
that's my name." Because it took me a
minute -- I didn't realize we had the same
Emily does not respond.
But I couldn't tell if what I was saying
was registering with her.
Emily does not respond.
But then when I found out her daughter was
dead, ever since then I keep having this
really strong feeling that some way, for
those last five minutes I kind of was her
daughter. You know? Like maybe that's the
reason I was there: Like in some weird way,
this obviously amazing woman got to see her
daughter again for a few minutes, right
before she died.
I see. And is she still inhabiting your
body? Or did she go right back to the
spirit world after it was over?
I didn't mean she ws literally inhabiting
my body. I don't believe in all that stuff
I don't give a fuck what you believe in.
2nd Green Revised 11/20/05 - Page 129aA
143 CONTINUED: ( 3) 143
Oh my God! Why are you so mad at me!?
Because this is not an opera!
What? You think I think this is an opera?
2nd Green Revised 11/20/05 - Page 129A-130
143 CONTINUED: ( 4) 143
You think I'm making this into a dramatic
situation because I think it's dramatic?!?
I think you're very young.
What does that have to do with anything?
If anything I think it means I care more
than someone who's older! Because this kind
of thing has never happened to me before!
No, it means you care more easily! There's
a big difference! Except that it's not you
it's happening to!
Yes it is! I know I'm not the one who
was run over --
That's right, you weren't. And you're not
the one who died of leukemia, and you're
not the one who just died in an earthquake
in -- Algeria! But you will be. Do you
understand me? You will be. And it's not
an opera and it's not dramatic --
I'm well aware of that!
And this first-blush phony deepness of
yours is worth nothing.
Do you understand? It's not worth anything,
because it'll be troweled over in a month
or two. And then when you get older, and
you don't have a big reaction every time a
d gets run over, then, then we'll find
out what kind of a person you are! But this
is nothing! I'm sorry, but I didn't start
this conversation and I don't play these
2nd Green Revised 11/20/05 - Page 131
143 CONTINUED: ( 5) 143
(drawing herself up)
I am not --
And don't look so outraged! Because I'm not
saying anything very outrageous! I'm
telling you to knock it off! You have every
right to falsify your own life, but you
have no right to falsify anyone else's.
It's what makes people into Nazis! And I'm
sorry, but it's a little suspicious that
you're making such a fuss about this when
you didn't know her, and you're having
troubles with your own mother --
Oh my God!
But this is nm life we're talking about,
much more than it is yours! Because it's my
real friend who got killed, who I'm never
going to see again, really! Whom I have
known since I was nineteen years old
myself. OK? And I don't want that sucked
into some kind of adolescent self-
I'm not fucking dramatizing anything!
(not having it)
I was there, and you weren't! And if I
happen to express myself a little
hyperbolically, Emily, that's just the way
I talk! I can't help it if my mother is an
actress! Why are you being so fucking
OK. Um, you should leave.
Why? Because I called you strident?
143 CONTINUED: ( 6) 143
Yeah: Strident? You should leave. Thanks.
I don't wanna be called strident and you're
deliberately misunderstanding me!
No I'm not! You're insulting me enough as
it is: You don't have to call me stupid
Well I can't stop you doing this so I think
you had better go.
OK! I will.
OK! Let me get my purse!
Lisa grabs her purse and coat. Emily half-walks, half-drives
her toward the door.
Does this mean we're dropping the whole
It means you're leaving. I don't know what
else it means.
All I meant by saying you were strident was
that you were being emphatic! I obviously
misused the word!
Look it up when you get home.
Jesus Christ. You're amazing.
Yeah. Uh huh. I'm amazing.
(bursts into tears)
Why are you doing this... .!
Lisa, I'm not doing anything! I'm a human
being! Monica was a human being! So was
her daughter! And so is your mother!
2nd Green Revised 11/20/05 - Page 133
143 CONTINUED: ( 7) 143
EMILY (CONT' D)
We are not supporting characters in the
fascinating story of your life!
I never said or thought you were...! And I
really didn't mean to call you strident! I
totally misused the word! I wasn't trying
to insult you, Emily, I really wasn't! I
feel so bad about what happened and I'm
trying so hard to do something about it!
And I don't understand why if I say
something wrong you can't just give me a
break! I didn't mean I thought her daughter
took over my body. I'm not an idiot. It was
just this feeling I had because she was
holding onto my hand so hard before she
died, and because we had the same first
But I'm not trying to dramatize anything,
Emily. I really know about that trend, and
I really don't think I've been doing that.
OK. I believe you. And look up "strident."
They kiss and make up, but it's still a little ugly.
143A INT. COHEN LIVING ROOM. NIGHT 143A
Lisa, Joan and Curtis are watching Joan being interviewed on
TV. We don't see the screen.
I've been in the theater my whole life and
nothing like this has ever happened to
INTERVIEWER ON TV(O.C.)
Now, any talk of the play becoming a film?
JOAN ON TV (O.C.)
Oh, I'm sure. But I would never get cast in
that. I'm not a movie star.
INTERVIEWER ON TV (O.C.)
But you're a theater star...
JOAN ON TV (O.C.)
I don't know about that either...
2nd Green Revised 11/20/05 - Page 133A
143A CONTINUED: 143A
INTERVIEWER ON TV (O.C.)
JOAN ON TV (O . C . )
Joan buries her face in her hands. Lisa watches scowling.
143B INT. COHEN KITCHEN. NIGHT. 143B
Joan is serving Lisa and Curtis dinner.
Lisa? Do you think Emily would like to
come see the play? I thought you could
both come and them maybe we could go out
All right. Let me ask her.
Dig in everybody...
They start eating.
I was thinking about spending next year
Yeah. You're all worried about my grades.
They have really good public schools in
Santa Monica, and if Iofficially lived
with him, you wouldn't have to worry about
Have you talked to him about this?
We've had some general discussions.
Do you want to go too?
Yeah. Do you want to move to LA too?
Well, just let me know if you do.
143B CONTINUED: 143B
Why are you being like this?
Why am I being like what?
Why are you about to start crying?
Because it's your intention to make me
No it's not --
You want to move to LA. Move to LA.
But why can't this even be mentioned
without you taking it personally? I'm just
introducing a possibility!
Joan upsets everything on the table and starts to go. She
comes back and upsets more things on the table.
Here's a possibility that you
can make your own fucking
dinner! Here's a possibility LISA
that you can do whatever you Jesus Christ!
want to do, because I don't What is with you?
even care anymore, you heartless
little fuckin' bitch!
Fine! Keep it up! It really makes me want
to stay here!
You think you're so fucking perfect!?
She breaks something else and walks out.
Green Revised 10/7/05 - Page 136
144 OMIT 144
145 INT. HISTORY CLASS. DAY. 145
On the blackboard Klein finishes writing: SHOULD TEENAGERS
RULE THE WORLD? YES OR NO?
OK. Go ahead: Kirsten. Lionel: Put your
Lionel stops drumming on his desk with his fingers.
I think that teenagers should definitely
rule the world, because teenagers aren't
corrupted by adult life yet, and they're
idealists and they care. And I know a lot
of people feel that teenagers are really
naive, which they are, many of them. But
they still haven't had a chance to get
burned out by the disappointments and the
harsh realities of learning how to play the
game. So yes, I would vote yes.
All right: Lisa?
I would tend to agree with all of that,
except I do think that teenagers don't
always necessarily think things through
very carefully, and they don't have enough
experience to know what the right thing to
do is all the time. I also think they tend
to adhere to ideologies really easily
without having actually bothered to think
them through for themselves.--
Such as what?
Such as what? Such as, gee, I don't know:
the Hitler Youth?
OK... Hitler Youth.
Or what about all these teenage suicide
bombers? Not that I want to get into the
whole Palestinian thing again, but assuming
you don't think suicide bombing is a good
thing, wouldn't you say that's an example
of being idealistic without using your
Green Revised 10/7/05 - Page 137
145 CONTINUED: 145
And maybe running the risk of having your
youthful enthusiasm be co-opted by adults
for purposes of their own that you might
not even ultimately agree with?
Angie's hand shoots up. So do several others.
Yeah, I don't want to get into the whole
Palestinian thing again either, because
I realize I'm completely outnumbered --
Not unlike the Palestinians themselves.
That's not really funny, Anthony.
ANGIE (to LISA) KLEIN
-- and I'm not even going to Segal: Cut the comedy.
comment on the fact that you
just compared a 19-year-old ANTHONY
Palestinian to a member of I thought it was funny...
the Hitler Youth, which I
personally find so offensive LISA
I don't even know where to •That's right! Because
start -- Oh, it's not because they both like to kill
they've been occupied and Jews.
humiliated and bombed out of
their homes for the last KLEIN
fifty years? Hey! Hey! Lisa! Hey!
Come on, guys... Yes! That's partly why
they like it! There's
ANGIE still a million Pale-
If anyone's acting like stinians who don't blow
Nazis it's the Israeli up children on busses
government! because they're so
OK, OK! Monica?
Well, I don't know if this is good or bad,
but speaking of ideology, it's interesting
that the suicide bombers -- just for
example -- care enough about what they
believe in to sacrifice their lives for it.
2nd Blue Revised 10/28/05 - Page 138
145 CONTINUED: (2) 145
I think it's fine if you want to sacrifice
your life for what you believe in. I
actually think that's really noble. It's a
little different when you're willing to
sacrifice someone else's life, you know? I
personally don't think that's such a big
Um, even if there's no other way to get you
out of my country?
Raise your hands! They haven't tried any
other ways! It's not
ANGIE like killing civilians
Yes they have! They're is their last resort!
trying it right now! It's their first resort!
Because it's easy and
they like it!
Oh they like it? They're just bad people
and they like it?
Yes! There are bad people in the world! I
think they liked blowing up the World Trade
Center! They kill their own sisters when
they get raped! It's called barbarism!
Who kills their own sisters? It's practically all people
do is kill each other!
LIONEL If they didn't like it they
You guys are not the only wouldn't do it! Period!
ones in this class!
KLEIN & LEWIS
If you ladies can't make your points
without yelling or interrupting each other
or raising your hands, I'd say it was a
pretty good argument for "No."
Why, adults don't yell and interrupt each
2nd Blue Revised 10/28/05 - Page 138A
145 CONTINUED: (3) 145
Let's try to put this in a broader
perspective. The question was not actually
who's to blame in the Arab Israeli conflict
145 CONTINUED: (4) 145
OK, you're a moron.
(he's had enough)
You're not even Jewish, Lisa! The next Goddamn person who
opens their mouth without
LISA raising their hand is.
I'm fuckin' half-Jewish, and outta this class!
who cares what I am? I'm anti-
murder, not pro-Israel. LEWIS
Lisa? Lisa? You can leave!
Fine. Thank you.
Lisa passes the blackboard, grabs some chalk and checks "NO. "
By the way, she just proved my point.
No I didn't. Lisa, GO!
Lisa leaves. Lewis turns to the class.
An O.C. burst of APPLAUSE takes us to --
146 INT. THEATER LOBBY. NIGHT. 146
Ramon CLAPS as Joan comes out to greet him, Lisa and Emily.
That's the best show yet! Every time it's
a better performance.
God, thank you! Hi, Emily, thanks so much
Oh, thank you for the tickets.
Pause. Joan waits for Emily or Lisa to say something nice.
Shall we go?
147 INT. RESTAURANT/BAR. NIGHT. 147
Joan, Lisa, Emily and Ramon are having drinks.
147 CONTINUED: 147
-- and I guess I lost my cool a little,
but I just love it'when people start
comparing the Israelis to Nazis...
But who is running these discussions...?
Well, but Lisa, you have to remember, it's
always easy for the dominant side to be
content with the status quo.
How do you mean, Ramon?
I mean the oppressor is always in favor of
law and order because it's his law and his
order. He uses violence to maintain his
position and calls it the rule of law. But
when the person underfoot uses violence to
change his status he's called a criminal
and a terrorist, and the violence of the
State is called upon to put him down, and
once again it's called the rule of law. In
I see. And what would you like them to do?
"They" meaning --
The Jew oppressors. What would you like
them to do?
I didn't use that expression. EMILY
But since you ask - No, you didn't. (i.e.
"You didn't have to.")
Um, I just spent the whole day arguing
about this: I didn't really mean to bring
it up again.
147 CONTINUED: (2) 147
(turning on her)
Don't handle me.
I'm not handling you.
What did you think of the play?
And I think it's ironic in Don't bother, Mom.
the extreme that the victims
of Nazis find it essential EMILY
-- find it essential to If the Israelis were like
use the Nazi tactics to Nazis there wouldn't be
sustain their occupation. any Arabs left, and I'm
(agreeing with Emily)
That's what I think!
Emily tries to unhook her purse from the back of her chair.
That seems excessive, Emily, come on --
That's the response. That's the Jewish
It's the what?
It's the Jewish response. You don't like
what I am saying or what I do, so you --
That's my Jewish response.
Emily throws her drink in his face and walks away.
Oh my God...!
It's all right...(Wiping off his face)
That's all right... It's a perfect little
.encapsule...It's the Jewish response.
A horrible silence as they watch Ramon clean his shirt.
148 INT. JOAN'S ROOM. NIGHT. 148
Joan is getting ready-for bed. Lisa appears in the doorway.
Sorry about all that tonight.
Yeah. Your friend is a delight.
She's a really passionate person. She
really cares about things.
She's rude, Lisa. Ramon was my guest, not
hers. And-so.was she, as a matter of fact --
So what? Why is it so JOAN
important that people be No -- I'm not ar -- I'm
polite all the time? Why not arguing about this with
is that the big priority? you! I'm not interested in
an exchange of ideas. As it
happens Ramon said a few
things I wasn't too crazy
about either, so I guess
that's the end of that...
Oh is that supposed to be Emily's fault
I don't want to talk to you right now.
Please go away.
149 INT. RAMON'S OFFICE. DAY. 149
Ramon is on the phone in his big midtown corner office.
(on the phone)
Joan, I won't defend myself. All what I
meant was, that was the typical response
you will get from someone who will take
that position that that woman was taking.
But if you like to break up with me because
I used the wrong adjective, what I'm going
to do? I'm not going to beg you.
150 INT. COHEN KITCHEN/KARL'S HOUSE. DAY. 150
Joan enters slowly and checks the water on the stove. Lisa
is eating a carrot and reading a magazine. Silence.
150 CONTINUED: 150
Well...? How's that anti-Semitic piece of
Oh God, I don't know.
The PHONE RINGS. Lisa picks up.
Yeah. It's Dad.
151 INT. KARL'S HOUSE. DAY.- 151
WE CUT BETWEEN THEM.
Hi, Dad, how are you? I'm really looking
forward to our horseback riding trip...
Yeah. That's why I'm calling. I don't think
it's going to happen.
Really? What's the matter?
Nothing's the matter. Nobody seems to
really want to go, and I don't really feel
like spending three thousand bucks on
something nobody has the slightest interest
in. So I think it's obviously better for
everyone if we just cancel.
I never said I didn't want to go.
Well, I can't seem to get a straight answer
about what anybody wants to eat, um,
Annette is giving me a hard time about her
schedule, I talk to Curtis and all I get
are monosyllables, so --
I think-he's really looking forward to it --
Uh huh? Well, you know, that hasn't really
been my impression. So, uh...I also think
it would be good to shelve the idea of your
coming out here next year.
151 CONTINUED: 151
It looks like things are gonna start
picking up for me in the Fall, which means
I'm probably not gonna be around the house
all that much, and since you and Annette
detest each other, I don't, uh, I don't
think that's what I want to come home to
after a fourteen hour day.
We don't detest each other
OK, well, it doesn't really strike me as
something you're that serious about anyway,
so what do you say we just table it for the
OK. So tell Curtis, uh, that New Mexico's
off...Ummm, and I will talk to you, ummm,
He hangs up. LISA hangs up too.
Dad's cancelling the trip.
He's says nobody wants to go and he doesn't
want to spend the money.
Did you say you didn't want to go?
No, I know there was some problem with
Annette about arranging for food because I
don't eat dead animals, but.I didn't think
it was.going to wreck the whole trip.
151 CONTINUED: (2) 151
I thought you said it sounded like it was
going to be a disaster. Personally I'm
relieved. I'm not moving out there, either,
by the way, obviously. Which is fine too.
152 INT. KARL'S HOUSE. DAY. 152
Karl sits holding the phone in a savage depression.
153 INT. MR AARON'S APARTMENT. DAY. 153
Lisa sits on a sofa. She takes a sip of coffee.
Thank you for letting me come up. I don't
know who else to talk to.
She's talking to MR AARON, who looks very uncomfortable.
That's all right...
You've always been very sympathetic to my
craziness, and I may not show it all the
time, but I actually really appreciate it.
It's no problem, Lisa. What's been going
I just need to talk to somebody who doesn't
completely misunderstand who Iam. Or not
even who I am, but what's going on inside
me, or all around me. Sound confused
enough? Anyway, for whatever reason, I
always felt like we understood each other
on some level, even though I'm like a mass
of conflicting impulses and you're
basically the most grown-up, rational man I
Well...I doubt that's actually true
but thank you...
You seem pretty fuckin' rational to me.
Like that seems to be your leading feature.
I mean you obviously have a lot of pretty
deep feelings...So when you're rational -
just to finish my thought -- it's like this
really interesting way of governing
153 CONTINUED: 153
And you don't have to get all uncomfortable
again: I'm not talking about what you think
I'm talking about, because I know that
subject is-off-limits. I'm talking about
your soul, I guess, and how you feel you
have to keep it in check all the time by
being sensible. Do you know what I'm saying
Well...We all have feelings, Lisa. I happen
to believe that who you are comes out of
how you deal with those feelings. Somebody
makes you mad, you don't just pick up a gun
and shoot them...Or if you do, that says
something about who you are, and how you've
Well, I don't want to disillusion you, but
we happen to be living in a world where
that is what people do. More often than
That's not true, Lisa. I think it's very
sad that you see it that way. There's
eight billion people alive in the world and
you think they don't all want to kill
someone once in a while? But they don't.
Most of them. Or they see some person they
-- (Pause) I think most people do try to be
civilized by some standard. Even if it's a
standard you and I might not agree with...
No, I get it. That's actually the most
hopeful thing anybody's said to me for a
long time. I don't know why I take such a
dire view of things, I really don't.
She removes her jacket. She's wearing a small clingy T-shirt.
Just a little hot...A little warm .Is
this all right?
Do you allow smoking in your apartment?
You can smoke.
She gets her cigarettes out and lights one. He gets up and
brings her an ashtray. They meet at the sofa and sit.
153 CONTINUED: (2) 153
I like your apartment.
She blows some smoke out and waves it away.
That's all right.
This is terrible.
What is? What's terrible?
I just like you so much...(Smooths her ash
on the ashtray.) Sorry. What a moron.
(taking her hand)
Hey. Lisa. I'm your friend. And that's not
gonna change. That's not gonna change.
Thanks. Thank you.
She kisses his hand a couple of times.
Please just let me for a second. I like you
so much. I like you so, so much.
She kisses his hand more elaborately. He lets this go on.
She lifts her head up and they kiss for real. After a moment
she slides her hand onto his leg.
Don't stop me yet, OK?
They kiss some more. She bends down to unzip his fly.
Please don't do that.
153 CONTINUED: (3) 153
Just let me for one second...
She bends her head over his lap. He lets her.
154 INT. MR AARON'S APARTMENT. LATER. 154
CLOSE on their faces as they are have having sex on the sofa.
She freezes up and starts freaking out.
Are you all right?
Nothing. It's OK.
- MR AARON
Maybe we should stop.
Don't stop. It's OK.
Are you all right?
Yes, yes, you don't have to keep asking me
I think we should stop.
No, keep going...!
She keeps pushing against him.
155 INT. MR AARON'S APARTMENT. LATER. 155
AT THE DOOR. She is leaving. He is burning with guilt and
shame. Silence. Then:
All I can say is I better get a pretty
fuckin' good grade in geometry this year.
(Pause) Lighten up! I'm kidding.
Sorry. I really didn't expect anything like
this to happen. I'm really not sure how to
Don't worry. I'm not gonna tell anybody if
that's what you're worried about. I totally
initiated the whole thing.
155 CONTINUED: 155
Anyway, it's just sex. You're acting like a
little kid. I'll see you in school.
She walks out. He is very flummoxed.
155A INSERT: A NEW YORK TIMES METRO SECTION ARTICLE: 155A
DRIVER IN BUS CRASH HAD RECORD OF PREVIOUS
ACCIDENTS. The driver of a city bus which
killed an Upper West Side woman last month
had two previous driving violations on his
record, according to --
156 INT. DEUTSCH'S OFFICE. DAY. 156
Lisa and Emily sit in the office with Deutsch.
Well, they want to settle.
LISA & EMILY
I have a meeting with their lawyer this
afternoon, and they want to discuss a
settlement. So we should get Abigail on the
phone and talk about what-we're gonna do.
Lisa gets tears in her eyes and smiles, embarrassed.
157 INT. DEUTSCH'S OFFICE/INT. ABIGAIL'S HOUSE. LATER.
They sit around the SPEAKER PHONE. Abigail's husband, ROB
BERWITZ, is also on the other end.
Mr Deutsch? Mr --
I'm right here. I just had the thought --
Mr Deutsch -- I'm just gonna give my
husband the floor because he had a few
Green Revised 10/7/05 - Page 150
157 CONTINUED: 157
Mr Deutsch, I had the thought, if they're
willing to settle so quickly, maybe we're
better off waiting a little bit, maybe
rattling the sabre a little bit more...
Yes, if they're so quick to agree to a
settlement on this basis --
What you gotta realize -- What you gotta
Abigail, Russel doesn't think -- Sorry, go
My friend had a lot of trouble getting the
one story placed in the paper as it is --
.Could I interject?
But if they responded so strongly based on
Maybe we're cuttin' our own throats here.
They are responding to the story in the
.That's just common sense.
But what you gotta understand is they're
offering to settle now because they want to
get the story out of the paper.
That's why Russel thinks -- Besides, the main point is
not to jack up the price.
I'm sorry --
-- We didn't hear that last.
Green Revised 10/7/05 - Page 150A
157 CONTINUED: (2) 157
(to EMILY and LISA)
Ladies, let me just -- Abigail. Rob.
Green Revised 10/7/05 - Page 151
157 CONTINUED: (3) 157
If I could finish my thought -- They're
jumpin' at the bait right now, but if
another six months goes by we run a serious
risk of losing our momentum. You see what I
mean? Now I'm gonna hit 'em very very hard,
I guarantee you. That's why I wanted all of
us together on the phone, so we could talk
about your other terms, besides the
damages. I promise you, we'ere gonna be
very very aggressive --
What other terms would there be?
What do you mean, like some kind of a fund?
Some kind of fund? For the kids?
I don't understand what you mean by a
(to ABIGAIL) Mr. Deutsch? Do you mean
What does he mean, "besides some kind of trust fund,
the damages?" a fund that would be set
up by the bus company for
EMILY our kids? For tax purposes?
What fuckin' fund?
These people are retarded.
Because I have to tell you we have just
lived through that nightmare with Monica
and our children, and it was not a pleasant
experience. We just want a clean, straight
damages is fine. A regular payment.
We'll pay the taxes on it. At least we'll
have something in our hand...
I don't really know what kind of fund
you're talking about...
We're not talking about --
Hi, this is Lisa? We're ABIGAIL
talking -- We're talking Hello, Lisa.
about -- Hello?
Green Revised 10/7/05 - Page 152
157 CONTINUED: (4) 157
We're still here.
We're talking about the driver, getting
the driver fired --
Oh, yes --
-- as part of the conditions.
Yes, Abigail, it's very important to us
that the company know that's an absolute
pre-condition to making any kind of
Oh yes. Absolutely. If you think he's at
Just as long as they don't think they can
buy us off just by gettin' rid of this guy.
You see what I mean?
What we're most concerned about here is the
Yes, we're getting that, Rob.
But you see what I mean?
Yes -- Rob? Yes I do.
I just want to go on record as saying I
think this whole meeting is premature.
Absolutely. We're not lawyers --
Abigail? Rob? I just wanna make something
clear. One conversation does not commit you
Green Revised 10/7/05 - Page 152A
157 CONTINUED: (5) 157
And I'm not gonna agree to anything without
consulting you. But I'm working for you.
157 CONTINUED: (6) 157
So if you're telling me not to take the
meeting I'm not gonna take the meeting.
ABIGAIL - ROB
No. We're not saying that. No no no -- Go for it.
158 INT. COHEN APARTMENT. DAY. 158
Lisa has just told Joan the news. Joan is on the sofa.
Lisa, I'm really proud of you!
Really, really proud...!
Pause. Joan gets to her feet and starts tidying up.
Are you upset about something...?
No. This house is really beginning to get
to me. And I'm a little confused what to do
about Ramon. I mean, you were there: What
do you think?
Uh, gee, Mom maybe you should really think
about it some more. Because it would
probably hurt Ramon's feelings if you broke
up with him and I think you better think
about it before you do something like that
I know I'm supposed to understand what
you're doing right now, but if there's some
kind of hidden message here I'm not getting
No shit. You're on your own, Mom.
Thanks a lot.
The PHONE RINGS. Joan picks it up.
158 CONTINUED: 158
Hello? -Yes . WHAT DO YOU MEAN??
What's the matter?
Yes? . Yes? (To LISA) Ramon had a heart
What? Is he gonna be --
CURTIS appears. They both watch Joan at the phone. Instead
of dissolving, Joan listens, straightens up and calms down as
the person on the phone talks.
159 EXT. RIVERSIDE CHAPEL. DAY. 159
Mourners are going inside the funeral parlor.
160 INT. FUNERAL PARLOR. DAY. 160
Joan and Lisa look around the room.
OK, I'm really not trying to be funny, but
isn't this a Jewish funeral home?
I guess they do both.
They notice a few too many good-looking women crying a little
too hard. Lisa and Joan look at each other.
RODRIGO, a handsome slender kid of 20, comes up to Joan. His
accent is British, with a slight Colombian cadence.
Excuse me. Joan?
Yes. You must be Rodrigo. Oh my God, oh I'm
She impulsively embraces him.
Rodrigo, this is my --
160 CONTINUED: 160
I want to tell you, Joan, my Dad talked
about you all the time.
Yes. The night he met you, he called me in
England and woke me to tell me about it, he
was so excited. I never heard him talk
about anyone like that since my mother
I don't know if this is appropriate...
No it's OK...!
.but he went out a lot. Do you know the
last time I spoke to him he told me from
the moment he met you he knew he wanted to
marry you, because for the first time since
he lost my mother, he finally met a woman
he could really connect with.
(at a total loss)
Well -- he was a very sweet man. And I know
he loved you and your brother very much.
Yeah, I know he did. Thank you.
161 INT. LISA'S ROOM. DAY. 161
Lisa is at her computer. Joan is by the doorway.
Thanks for coming with me today. I really
Oh, you're welcome.
I don't want to be macabre, but Ramon and I
were supposed to go to hear The Tales of
Hoffman the week after next and I still
have the tickets. Would you be interested
in going? Or should I give them away?
2nd Pink Revised 11/17/05 - Page 156
161 CONTINUED: 161
Um, I'll go.
OK. It's Monday night. We can dress up.
What did you make of that?
People don't relate to each other, Mom.
They're totally disconnected. And if they
have any time for each other at all, it's
either like a biological imperative or like
some weird cultural anomaly. That's what I
make of it.
Well...I think it's pretty unfortunate that
you think that. Because I feel like you and
I used to relate to each other really well.
I'm not trying to hurt your feelings.
It's just a general observation.
OK...Hey, could I get a hug?
Lisa rises and hugs Joan. It's not a good hug.
I just feel totally at sea.
They break apart.
162 INT. DINER. DAY. 162
Mr Aaron and Lisa sit in a booth. Mr Aaron looks grim.
I've thought about this a great deal, and
I'm going to come forward.
What does that mean?
2nd Pink Revised 11/17/05 - Page 156A
162 CONTINUED: 162
"You're gonna come forward." And do what?
You didn't kill anybody.
162 CONTINUED: (2) 162
You just had sex with me after I
practically begged you to. You're a guy.
"I'm gonna come forward."
Well, that's what I'm comfortable doing.
Suit yourself. I'll deny everything and
you're gonna look like a total psycho.
And then my Mom'11 have you arrested, and
then spend the rest of her life feeling bad
about it. So why don't we just skip the
whole thing and forget about it?
I'm not sure I know how to do that.
163 INT. LISA'S BATHROOM. NIGHT. 163
Lisa looks at a pregnancy test stick. Both lines are red.
164 INT. JOAN'S ROOM. NIGHT. 164
Joan looks up as Lisa comes in.
165 INT. LISA'S BATHROOM. NIGHT. 165
Joan and Lisa are looking at the little stick.
OK. What do you want to do?
What do you mean? Aren't JOAN
you going to tell me. It's your body. It's your
what to do? (half- baby. What do you want to do?
laughing) Baby... .?
Yes! Now who is the father?
It could be a lot of people.
Joan looks at her. Lisa haltingly holds her ground. Joan
takes a sympathetic step toward her. Lisa shrinks back. Joan
stops. Her expression hardens.
165 CONTINUED: 165
I'm never gonna tell you, Mom! It's against
my principles! Such as they are.
No, but you want to send that bus driver to
jail for running a red light! And you won't
tell me about these boys?
166 INT. GYNECOLOGIST WAITING ROOM/HALL/RECOVERY ROOM. 166
Joan waits. She looks around the small room. There are two
couples and two lone women. A NURSE appears.
TRACKING Joan as she gets up and follows the Nurse down a
.she's still a little woozy from the
Joan goes into the recovery room. Lisa is on the table in a
crumpled paper robe, looking like a small crumpled piece of
paper herself. Joan sits down.
I'm sorry, Mom.
Let's talk about it later.
167 INT. DEUTSCH'S OFFICE. DAY.
Deutsch sits with Emily and Lisa. The Berwitzes are on the
I'm very pleased to be able to inform you
all that I had a long meeting with the
lawyer for the bus company, and they've
agreed to settle out of court for three
hundred and fifty thousand dollars.
ABIGAIL & ROB
What! Fantastic! That's wonderful!
167 CONTINUED: 167
I'm assuming this is agreeable to
Yes, fantastic That is fantastic!
But I gotta -- obviously I gotta bring
the offer to you, get your approval --
Now, I know there was a concern after our
last call that we were jumping the gun a
little bit --
That's OK --
We're only --
Abigail? Rob? If we could just listen to
what Russel has to say, and then talk about
it once he's told us the whole story and
given us his recommendation...
Yes. Sorry. Fire away.
I was gonna say I know there was a concern
after our last call that we were jumping
the gun a little bit --
That's OK --
We were just --
Would you let him talk please?!
I want to tell you I think it's a very good
167 CONTINUED: (2) 167
I think they're very anxious to settle, but
I also do think that at this moment they're
under the maximum amount of pressure we can
really bring to bear, and I don't believe
they're gonna come up any higher --
Hey. Three hundred and fifty thousand
OK, now let me just --
.that's nothin' to sneeze at.
I just want to introduce Now, 1 think -- Can
the thought -- you all hear me?
DEUTSCH, EMILY, LISA
Yeow! Was that everybody? OK:
What about --
-- Emily? What do you think?
I think it sounds like we should do it.
But I'd like to discuss some of the --
Hey, if that's the vote...
Unless you think there's something to be
gained from holding out for more.
I think it would be a big mistake.
Robbie, what do you think?
167 CONTINUED: (3) 167
OK. Now the only down side to this as it
stands -- and the reason I asked Emily and
Lisa to be here is because I know this may
be a serious wrinkle for you all -- is that
the bus company will absolutely not discuss
the removal of the driver.
LISA & EMILY
What do you mean?
Then forget it. Tell them to What do you mean they
forget it. won't discuss the removal
of the driver?
Please. Ladies. Let me ROB
finish what I'm saying. Whoa -- hello!
It's just a blast in our ears.
Let him finish.
Finish what? Forget it!
Thank you. I want you to understand, Lisa,
I pressed them very very hard on this, but
they will not discuss disciplining of a
company employee as part of the settlement
because it could be seen as an admission of
guilt on the part of the MTA --
What does giving us three hundred thousand
Settling out of court does not imply an
admission of guilt. It simply does not
carry the same stigma. On top of that you
may not know, Lisa, they're involved in a
very tricky labor dispute at the MTA right
167 CONTINUED: (4) 167
Yeah, we know all about that! Just tell
them to forget it.'
I know that's your reaction...
It's the only reason we're here.
Can I jump in here? Russel?
.but it's really not your decision.
Hello? Are you still with us? Please!
It's Emily's decision.
They're not listening, Robbie.
It's Abigail's decision because she's the
next of kin.
But she didn't even know about it!
That doesn't matter.
Could we get back in this conversation
Yes. I'm sorry. Obviously there's some very
strong emotions going either way on this --
167 CONTINUED: (5) 167
Listen, Emily? I don't know what you're
thinking, but Rob and I are thinking we
should take Russel's recommendation while
we can. Because if they won't fire the
guy, they're not gonna fire him. And six
months or a year from now we're gonna --
we're gonna be in a situation where
we're beggin' them for half this much,
which is gonna hurt 'em half as much as
now, and they're still not gonna fire this
guy! Or maybe he'll have already quit and
the whole thing will be moot by then.. Do
you see what I mean?
The entire point of the lawsuit was to get
the guy fired so he doesn't kill somebody
else -- !
Lemme just clarify --
-- it was not to get you three hundred and
fifty thousand dollars you didn't know you
were entitled to, for somebody you didn't
even like... !
This is a distortion --
And the only reason you're getting the
money at all is because I started this
whole fucking thing in motion! I'm sorry
for swearing, but you should be willing to
trade in all the money for getting this guy
off the street --
For getting him, Abigail!
Well I'm sorry, but I have a responsibility
to Monica and I take that responsibility
very seriously. You are talking about an
offer that is gonna be withdrawn if we
don't do something about it right now.
167 CONTINUED: (6) 167
And rather than being abused over the
telephone and cursed at for having the
courtesy to involve you in these
discussions, Lisa, I would hope you would
be guided by our judgement. Unless I'm
wrong about that.
None of that matters --
Unless I'm wrong about that. Just what is
your interest in this?
Because I'm the one who killed her! I'm
the one who killed her! But at least I
know I did it, and that guy has no idea!
And he's wandering around blaming everybody
else and all I want is for somebody to let
him know that what he did was wrong! And
if they don't fire him and all you want is
the money and the police won't do anything,
how is he gonna know he's wrong? You can't
take the deal, Abigail! It wasn't so you
could get any money, it was because we
wanted to get him fired! It doesn't matter
about the money! You wouldn't have gotten
Well it may not matter to you, but where I
come from three hundred and fifty thousand
dollars is an awful lot of money, and to my
mind is a positive result of all this
tragedy and not just negative. Not just
getting someone fired for one mistake, no
matter how bad it was --
Oh SHOVE IT UP YOUR ASS!
She knocks the speaker phone off the desk and runs to the
door in floods of tears.
DEUTSCH & EMILY
You sleazy fucking lawyer! And you're a
She runs out.
168 EXT. STREET. DAY. 168
TRACKING in front of Lisa as she walk-runs down the busy
street. A city bus appears behind her and goes by. She cranes
to see the driver. It's not her guy. She keeps going.
169 EXT. SCHOOL. DAY. 169
Lisa stands against a car, smoking, as the kids flow out of
the building. Mr Aaron comes out, talking with BONNIE, the
gymnastics teacher. They walk away from the school together.
Lisa catches up with them.
Hey, Lisa. What's Up?
Hey, did you guys know I had an abortion
No. I didn't know that.
Yeah, it cost four hundred dollars.
Um, should I...
No, no, don't go anywhere.
Yeah, don't go anywhere.
Bonnie doesn't know what to make of this. Mr Aaron looks
steadily at Lisa.
Do you want to tell us about it?
Yeah. I do.
OK. -Go ahead.
She doesn't speak. Pause.
Do your parents know about this, Lisa?
169 CONTINUED: 169
Have you told the father, honey?
No...There's a couple of people it could
I think you better tell them. Whoever they
No...No...Never mind ...I'm sure he's sorry
anyway, whichever one he is.
I don't see what difference that makes, if
he's sorry. And I think whoever it is
should know about this.
I'm sorry. I shouldn't have brought this
up. Please don't tell anyone.
We're not gonna tell anyone. But you're
gonna have to tell whoever it could be --
(On have to")
That's OK. I gotta go. Thanks for
listening. It's -- It doesn't matter about
the father, because the whole thing was my
fault. I'm sorry...!
She shakes her head and runs away.
What was that...?
170 INT. COHEN APARTMENT. DAY. 170
Lisa comes in. Curtis is doing his homework at the table.
Mom's looking for you.
She thinks you're going out with her
170 CONTINUED: 170
Where are we going?
I don't know.
Lisa heads for her room. Joan appears, half-dressed.
Lisa? Honey? Did you forget we're going to
I didn't-remind you because I didn't want
to nag you.
171 EXT. BROADWAY -- NEAR LINCOLN CENTER. DUSK. 171
Lisa starts to cross the street against the light. Joan takes
Don't get run over.
A cab rattles by. Lisa looks down the street. A BUS is
Wait. I want to see if that's him.
They wait. The bus gets closer, heading straight toward them
and stops at the bus stop. Lisa grabs her mother's arm.
It is him. Mom, that's the one...
Joan and Lisa look at him. He's staring out ahead of him as
people board the bus. He SEES Lisa and Joan but can't see
their faces and doesn't recognize Lisa: He just sees two
dolled-up women under the street light. He smiles dazzling at
them and drives past with a short wave.
Joan looks at Lisa. She looks like she's about to throw up.
Come on. We're gonna miss the curtain.
172 EXT. METROPOLITAN OPERA -- OUTDOOR TERRACE. NIGHT. 172
Lisa is out on the terrace smoking a cigarette, looking out
over Lincoln Center. Joan comes out and stands next to her,
but Lisa won't look at her or interact.
Well, so far it's not the greatest opera I
What do you mean? It's OK.
The end-of-intermission chimes sound. People start going in.
Joan turns and goes in too. Lisa keeps smoking.
172A INT. METROPOLITAN OPERA - GRAND STAIRCASE. NIGHT 172A
Lisa comes down the stairs and goes into --
173 INT. METROPOLITAN OPERA -- ORCHESTRA. NIGHT. 173
Lisa hurries down the long aisle. The LIGHTS DIM. The
audience applauds the entering conductor. She picks her way
past the other patrons in the row, whispering "Excuse me" and
takes her seat just as the MUSIC STARTS. Joan looks at her.
Lisa stares straight ahead.
The curtain rises. On stage, the two women start singing the
barcarole "Belle Nuit." It's very beautiful.
Joan looks next to her at Lisa. Lisa is trying not to cry,
but tears are dripping slowly down her face. She sniffs and
wipes them away, but they keep coming.
Joan looks at her again, but Lisa still won't look at her.
Joan takes Lisa's hand and Lisa breaks down completely,
clutching Joan's hand back, squeezing it hard. Joan starts
crying too out of sympathy.
As the duet goes on they sit side by side holding hands, Lisa
crying and holding on and wiping her eyes with her free hand
and Joan crying too, but not as hard, grateful finally that
the spell has been broken.
The duet ends and we CUT TO BLACK.