Here's the script for the upcoming Production class. Hope you guys actually read it and above all else, enjoy it. Feel free to give me comments, if you feel that's necessary. But I might just delete you from the group and replace you with a mindless crew member that does what I tell them to do.
Unlocking the Power of ChatGPT and AI in Testing - A Real-World Look, present...
23rd & 3rd - s01e01 - pilot: my shakabuku
1. 23rd & 3rd
S01E01
Pilot: "My Shakabuku"
By
Patrick Johnson
School of Visual Arts
Production II
Professor L. Hillier
3/8/12
PatrickJohnson05@yahoo.com
PJohnson1@sva.edu
(440)487-6073
2. EXT. MANHATTAN STREETS - DAY
AARON SINGER, 20, walks out of the subway. He seems weighed
down by either the books in his backpack or, from the look
of the dark circles under his eyes, the lifestyle maintained
in New York City.
Aaron squirts some hand sanitizer on his hands from a pocket
sized container. A CONSTRUCTION WORKER shoves his way past
Aaron, pushing him to the side.
CONSTRUCTION WORKER
Watch it, asshole!
Aaron stops at the corner to cross. He attempts to make his
way to the other side despite the blinking red hand. He
places one foot carefully on the street and a car horn is
immediately heard. He quickly steps back on the sidewalk.
The sounds of car horns, people chatting loudly on their
cell-phones, dogs barking etc. amplify and Aaron rubs his
forehead.
He takes the headphones around his neck and puts them on.
Violent rap music is heard. Next song. Jazz music is heard.
He rubs his eyes and yawns. When he blinks again, everything
appears in BLACK and WHITE. He continues to walk.
AARON (V.O.)
I used to adore New York City. I
idolized it all out of proportion.
No, Romanticized it all out of
proportion.
Aaron looks up. Tall buildings line the sky. Not seeing
where he’s going, he bumps into a lesbian couple walking in
the opposite direction. They yell obscenities unheard due to
the Jazz music. He continues walking.
AARON (V.O.)
(Cont.)
To me, no matter what anybody said
back home, it was the place of
opportunity. So what if I had to
spend 20 grand a semester to get
there? It meant beautiful women.
Street smart guys who--
A man dressed in a business suit sprints in front of Aaron,
cutting him off. Aaron looks to see where he’s going. The
guy vomits in a trashcan. Aaron takes off his headphones.
The music stops. The color’s back.
3. 2.
AARON
Really!? It’s 12:00!
Aaron rounds a corner. Headphones back on, more black and
white, he continues with his inner monologue.
AARON (V.O.)
Where was I? Oh yeah... New York
was a place were I could prove I
was as tough and romantic as the
city I loved. New York was my town
and it always would be--
Aaron turns another corner. A HOMELESS MAN holds a cardboard
sign that reads: NEED $$$ FOR DENTAL FLOSS.
HOMELESS MAN
Change!
Aaron takes off his headphones and reaches into his back
pocket out of guilt.
AARON
(To Self)
Please don’t smile. Please don’t
smile.
The homeless man smiles. Aaron tries to keep his smile, but
at this point it looks more like he’s grimacing in pain. He
puts a dollar in the large cup.
HOMELESS MAN
Thank you, sir. Have a great day,
sir.
The homeless man reaches out to shake Aaron’s hand,
revealing he has no hand, just a nub. Aaron takes out a few
more dollars and speed walks away. He stops at a corner and
turns to the camera while rubbing his hands with sanitizer.
AARON
(To Camera)
That’s how I used to feel about New
York. You know, before I left Ohio,
I watched my dad go through a
mid-life crisis. He was forty-eight
and I said ’I’m never going to go
through that. I’m going to move to
the city, and--- and I’m going to
be happy.’ Of course I would be a
little happier if he’d spent that
money he spent on the Corvette on
my tuition but--
4. 3.
DAN
Who the hell are you talking to?
We see DAN WEISS, 20, hop off his skatebaord behind Aaron.
He looks at Aaron as if he were crazy.
AARON
Oh, what’s up man?
DAN
Nothing. Are you ok?
Aaron sighs. They start walking together.
AARON
No. Laura and I just broke up and I
keep sifting through where I went
wrong, you know? Where did the
pieces of our relationship begin to
fall apart? A year ago we were in
love.
DAN
No, a year ago she was drunk at a
party and decided your lap was the
perfect substitute for a pillow.
AARON
Can you just let me do this?
DAN
Do what?
AARON
Grieve. This is the typical
break-up conversation where I look
back and reflect and you, being my
best friend and all, listen.
DAN
This is going to suck, isn’t it?
AARON
Yes.
INT. AARON’S BEDROOM - MORNING - FLASHBACK
A girl, LAURA HANDLER, packs a duffel bag quickly with the
clothes that line Aaron’s bedroom floor. The bedroom door
opens revealing Aaron in a bath towel. He stops.
5. 4.
AARON
So this is you leaving.
LAURA
You don’t have to narrate
everything that happens all the
time, Aaron. Yes. This is me
leaving. I’m puting the clothes
from the floor into this duffel bag
and then, shortly after, leaving.
Do you see how exhausting that is?
Laura sees this hurts Aaron.
LAURA
I’m sorry. Look, I still want to be
friends.
Aaron laughs. He starts to get dressed.
AARON
I’m gonna have to ask you to leave
the bedroom then.
LAURA
What? Why? We were mid-discussion.
AARON
We’re not dating anymore. You don’t
get to see me naked.
LAURA
Are you serious?
Aaron nods.
LAURA
You’re a twelve year old.
CUT TO:
INT. AARON’S APARTMENT LIVING ROOM - MORNING - FLASHBACK
Laura waits outside. The door opens, revealing Aaron, fully
clothed.
AARON
You were saying?
LAURA
I was saying, before you scoffed at
me, that I still want to be
friends.
6. 5.
AARON
No.
LAURA
I’m not saying right away.
Obviously there’s going to be that
awkward transition period and then
gradually, over time--
AARON
No. This is it. If this is goodbye,
this is goodbye forever.
LAURA
Everything is black and white with
you isn’t it?
Aaron thinks.
CUT TO:
INT. COFFEE SHOP - DAY - FLASHBACK
Aaron sits at a coffee shop with Laura and Dan.
AARON
Worst movie I’ve ever seen.
EXT. MANHATTAN STREET - DAY - FLASHBACK
Aaron walks with Laura. They hold hands.
AARON
We’re going to Bluebell. Best
burger in the city by far. Best
burger I’ve ever had. Ever.
INT. AARON’S BEDROOM - NIGHT - FLASHBACK
It’s pitch black. Nothing is seen.
AARON
(Catching his breath)
Best. Sex. Ever.
CUT TO:
7. 6.
INT. AARON’S APARTMENT LIVING ROOM - MORNING - FLASHBACK
Aaron snaps out of it.
AARON
No. But regarding this particular
topic, yes. We’re not gonna be
friends.
LAURA
Why?
AARON
Because you’re in the position to
take advantage. Women will always
want something from guys. And me,
loving you, will always want to get
it for you.
Laura rolls her eyes.
LAURA
And when’d you learn that?
AARON
I was late to the game actually.
I’d say around senior year of high
school.
CUT TO:
INT. CLASSROOM - DAY - FLASHBACK
A younger looking Aaron sits behind a girl, ALANA BROOKS,
17. She talks to a kid in a varsity jacket, STEVE, paying
Aaron no attention. Yet, Aaron taps her on the shoulder.
AARON
Hey, here’s that research paper you
asked for.
She smiles at Aaron and then turns right back around.
INT. KITCHEN - NIGHT - FLASHBACK
High school kids pour drinks in a crowded kitchen. Aaron
stands there with a full bottle of vodka. He looks off
screen at Alana.
8. 7.
AARON
Hey, here’s that bottle of vodka
you asked for.
A hand reaches off screen and grabs it. Three seconds pass.
The same hand hands Aaron back an empty bottle of vodka.
Aaron stares at the bottle for a moment, then looks at
Alana. She’s making out with STEVE (varsity jacket still on)
INT. HIGH SCHOOL HALLWAY - DAY - FLASHBACK
Aaron holds his car keys. He looks at them for a moment.
AARON
Alright. Here’s the keys you asked
for. But I need the car back by
ten.
CUT TO:
INT. AARON’S APARTMENT LIVING ROOM - MORNING - FLASHBACK
Aaron snaps out of it.
AARON
And that’s how my dad’s car ended
up in a river senior year. And
that’s why he bought a new Corvette
instead of paying my tuition.
LAURA
Aaron--
AARON
And you know what the worst part
was? Alana Brooks got a whole page
in the yearbook. What a bitch.
LAURA
Aaron--
AARON
But it all goes back to When Harry
Met Sally really. The sex part does
always get in the way. Every man
wants to have sex with a woman he
finds attract--
LAURA
Aaron! I’ve seen the movie! We’ve
seen the movie! Together! At least
9. 8.
LAURA
100 times! You don’t listen! You
want to go through the downfalls of
our relationship? To where the
peices started to fall apart? It
doesn’t happen like that. You just
didn’t listen and it’s been
exhausting!
AARON
Well I’m listening now...
Laura picks her bag up. She kisses Aaron on the cheek.
LAURA
The offer still stands. I’ll see
you around, maybe.
Aaron’s left standing there. We pan out and see he’s only
dressed to his boxers. The door slams.
EXT. MANHATTAN STREETS - DAY
Back to the present. Aaron and Dan continue to walk.
DAN
That’s depressing, man.
AARON
That’s it? No, ’it’ll be better.
You don’t need her, man. She was
bringing you down anyways?’
DAN
You don’t need her, man. She was
bringing you down anyways.
AARON
And then you tell me about a party
that’s going on that she won’t be
at.
DAN
Jeremy’s having something later.
Aaron hangs his head.
AARON
I don’t know if I’ll want to go.
10. 9.
DAN
But you just said--
AARON
I’m greiving. It all reminds me of
my parents Senior year. I never
thought I’d turn into them.
Aaron thinks.
CUT TO:
INT. APARTMENT LIVING ROOM - DAY
We hear dramatic arguing off camera. The camera glides up
revealing a man, BARRY, 48, and KAREN, 43 pitted in a
yelling match.
BARRY
Oh, that’s what you wanted? I knew
you didn’t love me!
KAREN
I don’t-- I don’t love you!
She cries.
BARRY
Well at least you admit it, you
whore!
KAREN
Let me finish! Let me finish!
Barry pants.
KAREN
I haven’t loved in a long time. I
don’t even know what love is
anymore.
Barry awkwardly pushes her up against a wall. Karen cries.
He pushes her again. Then he stops. He looks into the
camera.
BARRY
Line?
11. 10.
INT. STUDIO/CLASSROOM - DAY
The camera pulls back revealing the action is taking place
on a television screen. In the background FILM STUDENTS hold
a camera, another struggles to hold the microphone off
frame. The apartment is just a set.
INT. APARTMENT LIVING ROOM - DAY
A guy, TRACY, 19, holding a clip board with a script reads
the next line with no emotion.
TRACY
Well did you feel it? Did you feel
love when you went over to David’s
mansion two nights ago? Did you?
The actor stops. He looks off camera at DYLAN, 20, wearing a
blue baseball cap and stroking his chin thinking. He’s the
director.
DYLAN
Cut!
CUT TO:
INT. STUDIO/CLASSROOM - DAY
Off set, Aaron and Dan stand watching, trying not to laugh.
Dan turns to another kid, MALIK.
DAN
(To Malik)
Jesus, who wrote this thing?. Is
this supposed to be funny? If so,
kudos.
AARON
(To Malik)
Yeah, divorce doesn’t look like
this at all. I bet you it was one
of those writing "pairs" where both
people fight the entire time they
write together because ’they feel
it makes better dialogue’. It
doesn’t.
DAN
(To Aaron)
Your parents aren’t divorced.
12. 11.
AARON
Well, midwest family values. You
just keep on pushing until it all
bottles up inside and then business
meetings really mean a trip to the
motel six by the highway...
DAN
Hooker reference?
AARON
Nah. Coworker. I’m assuming.
MALIK
I wrote this.
He glares at Dan. Dan laughs and slowly turns to Aaron.
Malik walks away.
DAN
Well, the Long Island way is you
just buy two dogs and put all the
love there.
INT. APARTMENT LIVING ROOM - DAY
Back on the main set, Barry and Karen make small talk.
BARRY
You were in the running for that
Crest commercial directed by Sofia
Coppola? I envy you!
KAREN
No, don’t. I went through three
call backs saying one sentence:
’For Happy times, make it a Crest
smile’ and got the same feedback
every time: ’Less emotion.’ Then I
got some e-mail saying my smile
wasn’t a Crest smile. But if you
really wanna know I use Colgate
anyways. Bastards.
They laugh. Malik and Dylan approach the actors.
DYLAN
So Barry, what did you think about
the last take? Where are you...
emotionally?
13. 12.
BARRY
I feel like it was missing
something. The anger was there. It
felt real.
KAREN
I feel like, if he choked me--
Karen grabs Barry’s hands to choke her.
KAREN
(Cont.)
-- it’d add something to whatever
this is.
DYLAN
Malik? What do you feel?
MALIK
Yeah. I feel like if you hit the
wall to show her if you really
wanted to you could hit her, you
know?
BARRY
How about I just hit her?
Karen nods in agreement.
The professor of this class, dressed in just a t-shirt and
jeans, JERRY DILLINGER, 50, enters the set. He motions to
Dylan and Malik to join the class.
JERRY
(To the actors)
If you’ll excuse us for a moment.
Dylan and Malik follow Jerry off set.
INT. STUDIO/CLASSROOM - DAY
A group of 10-15 students sit in chairs and wait for Jerry
to talk. He scans the class, from the two girls sitting next
to each other to the rest of the room: full of guys judging
each other.
JERRY
(To class)
Ok. It’s second semester, folks.
And you’re still doing it wrong.
Tracy raises his hand. Jerry ignores it.
14. 13.
JERRY
(Cont.)
You’re all too busy competing with
eachother. You have to put the ego
aside to make something great.
Expecting this, I brought something
to read today from the book you
were supposed to read last
semester.
Jerry pulls out a peice of paper from his back pocket.
JERRY
(Cont.)
There is a vitality, a life force,
a quickening that is translated
through you into action, and
because there is only one of you in
all time, this expression is
unique... It is your business to
keep it yours clearly and directly.
Tracy nods enthusiastically. The snippit falls to def ears.
AARON (V.O.)
When I first got accepted into film
school, I was excited. To learn, to
study... but I quickly realized
that film school is a game, a game
of survival.
CUT TO:
INT. STUDIO/CLASSROOM - DAY - FANTASY
Aaron stands in front of the class with a script in hand. He
reads it. When finished, he puts the pages down to look at
his classmates.
They’re dressed in caveman attire. Just cloths covering
their privates, war paint slacked on, sharpening their
collective spears.
Aaron looks down at himself, a bullseye painted on his bare
chest. He looks over at Jerry, sitting on an emperor’s
throne constructed of sticks and animal skins.
AARON (V.O.)
You take all the advice you can
get, from your teachers, from your
peers all the while knowing, in the
back of their minds, what they
15. 14.
AARON (V.O.)
really want is to see your little
’masterpeice’ turn into a peice of
crap, to make their peices of crap
look better by comparisson.
Jerry motions the signal of death, sliding his finger across
his neck. The class grunts and yells.
CUT TO:
INT. STUDIO/CLASSROOM - DAY
JERRY
(Cont.)
Knowing this, what’s wrong with
this scene?
Tracy raises his hand quickly. Jerry still ignores it. Dan
raises his hand.
JERRY
Mr. Weiss, welcome back to class.
Thank you for gracing us with your
presence this week. You had a
streak going...
The class laughs.
DAN
Thank you, sir. Good to be back. I
think the problem here is that this
is riddled with cliches.
Malik glares.
JERRY
Possible. I think the real problem
is--
There’s a knock on the open door. Jerry turns around to see
REEVES FILLMORE, 61, a lengthy man that, based on the way
everyone in the classroom excluding Jerry straightened up in
their seats, must be the school’s dean.
He’s accompanied by REECE "ANNIE" FILLMORE, 20. She carries
textbooks. Reeves leans in for a kiss but Annie pulls away.
Reeves motions for Jerry to leave the classroom.
Jerry walks over.
16. 15.
JERRY
(To Annie)
You must be Reece.
ANNIE
Annie, actually.
She hushes her voice.
ANNIE
(Whispering)
I don’t paticularly like the family
name.
Jerry laughs.
JERRY
Neither do I. Welcome to class!
Make yourself at home. I know the
male-female ratio is a little off
in this class, but if you give them
enough time to prove it, you’ll
find they’re all mostly woman
anyways. Except that one.
He points to Aaron.
JERRY
(Cont.)
But don’t tell him I told you. He
doesn’t show it. But give him time.
Annie smiles and nods. She makes eye-contact with Aaron.
AARON (V.O.)
Maybe sulking in heartbreak is
overrated after all.
INT. STUDIO/CLASSROOM - DAY - FANTASY
Annie walks into the class, all still dressed in their
cave-al/ tribal attire. They circle around Aaron (tied up in
the center with an apple in his mouth) chanting.
Annie clears her throat. They stop and pick up their spears.
She gulps.
CUT TO:
17. 16.
INT. REEVE’S OFFICE - DAY
War medals line the interior of Reeve’s office. Reeve’s
looks at them from behind his desk, distracted. Meanwhile
Jerry sits back in the chair, waiting.
Reeves reaches into his desk drawer. Underneath a half empty
bottle of whiskey rests a pile of papers. He tries to reach
them under the bottle, but can’t.
He pulls the bottle out first. Then the papers.
REEVES
Do you want to know what this stack
is?
JERRY
No. I want to know what that is.
He points to the bottle of whiskey.
JERRY
(Cont.)
Top shelf stuff? If so, do you
mind?
Jerry reaches for the bottle. Reeves cuts him off by putting
the bottle back in the desk drawer. Jerry leans back,
pleased.
REEVES
These are the reviews, by your
students, from last semester. It’s
not good.
JERRY
I already know what they say.
REEVES
Do you?
Reeves and Jerry stare eachother down.
INT. STUDIO/CLASSROOM - DAY
Back in the studio, Dan and Annie talk.
DAN
So you’re screwing the old
headmaster for tuition money, then?
18. 17.
ANNIE
You have me pegged. My turn?
DAN
Go ahead and try. Just be warned
the last girl that did not only
found out I was too complex to be
’pegged’ but also ended up in my
bedroom. You may be in elite
company.
Annie laughs.
ANNIE
Definitely from Long Island. I’m
guessing you have no real
interests, which normally would
make it odd that you go to school
where creativiy is a prerequisite,
but that means you have someone in
your extended family who’s a
string-puller.
DAN
All generalizations!
ANNIE
But isn’t that the game? I wasn’t
finished-- So you kidded yourself
into coming here. Tried to sell pot
once- no, three times because the
one movie you actually like is the
Wackness...
Aaron sits in his chair typing on his old Macbook, acting
like he’s not paying attention. A laugh slides through.
ANNIE
(Cont.)
And when you go to Brooklyn you
leave the heaping amount of cash
you usually carry around with you -
which is from your parents and not
failed drug selling endeavors -
back at home which is where? Lower
East Side?
Annie drops her voice to a whisper.
ANNIE
(Cont.)
... because you’re secretly afraid
of black people.
19. 18.
Dan isn’t smiling anymore. Aaron is.
ANNIE
You don’t like losing do you? Then
again I doubt you ever played
sports. Skateboard?
DAN
Ok. I’m done. How do you know?
Annie points to a chair with a skateboard deck. On the top
in grip tape is the name DAN.
ANNIE
At least you can spell. So, what’s
mopey’s deal over there?
She motions her head towards Aaron.
DAN
Oh, you can’t figure him out?
Dan walks away. Aaron types a script on his computer. He
looks up and sees Annie standing in front of him.
ANNIE
So what’s a screenwriting major
doing in a production class?
AARON
Commitment problems.
ANNIE
You feel whoever would try and
direct the glorious words you wrote
would mess them up because they
can’t understand their complexity?
Aaron laughs.
AARON
Wow. You just really go out and
network don’t you?
ANNIE
It’s because I don’t know how to
write. Well, at least alone. I’ve
always felt that dialogue flows
better with two people writing
anyways... So what are you working
on?
Aaron looks and Annie and smiles.
20. 19.
AARON (V.O.)
I can contradict myself on this one
thing, right?
INT. REEVE’S OFFICE - DAY
Back in Reeve’s office, Jerry and Reeves continue to argue.
JERRY
The reviews say what they say every
year: Too much time working with
16, not enough time getting to
digital. Too much time on theory,
not enough time letting them shoot.
Reeves flips through the papers, trying to keep up.
JERRY
So what am I supposed to do? Cater
my entire curriculum to the three
students that would rather make
youtube videos for 40k a year? Or
try and run a legitimate production
class?
REEVES
You’re supposed to follow our
updated curriculum.
Jerry shakes his head. A loud BANG goes off off screen.
Reeves jumps, startled. He crouches under his desk. There’s
a KNOCK at the door. His assistant, CLAIRE opens the door.
CLAIRE
Sorry, sir. A tray of thesis year
scripts just fell to the ground. My
fault. Can I get you anything?
Reeves slowly gets up and back in his seat.
REEVES
I’m fine, Claire. I’m fine.
She shuts the door quickly.
JERRY
See, the problem here is you’re
trying to do what’s cost effective
and easy. Did you forget that
making movies is neither easy nor
cost effective, let alone doing
them right?
21. 20.
Reeves doesn’t respond. Still panicked. Jerry gets up to
leave. But before he can...
REEVES
You know you’re contract expires
this year, right? And if we were to
resign it, you’d be eligible for
tenure?
JERRY
What are you getting at?
REEVES
I think you know. You can keep
going rogue on me, Jerry, doing
things your way but we both
remember where that got you in the
industry. Go on, I dare you not to
change. That way I can sign a new
kid to staff at half the price who
obeys orders.
Jerry’s unphased.
JERRY
Once again, what are you getting
at?
REEVES
Show me a film made by one of your
students by the end of semester,
with your theories, that the
committee approves of and I’ll let
you stay. Good luck.
JERRY
And who’s the head of this
commitee, again?
REEVES
I am.
Jerry leaves. Reeves goes to take a sip of whiskey.
EXT. REEVE’S OFFICE - DAY
Outside, Jerry walks past Claire’s desk. He notices the tray
full of scripts. He politely takes them out of the tray and
sets them on Claire’s desk. He smiles at her, then knocks
the tray to the floor.
22. 21.
INT. REEVE’S OFFICE - DAY
Reeves jumps and spills the remaining whiskey.
INT. STUDIO/CLASSROOM - DAY
Back in the studio, Annie and Aaron shake hands.
AARON
Hope? Your real name is Hope?
ANNIE
Yeah, I know what you’re thinking.
My parents were one of those
liberal yuppy-type couples that
never read Carawack or Hemmingway
but pretended to, jumped at the
chance to join any movement and
then sold out at the first chance
they could to turn an idea into a
corporation. And their past sins
have been carried out on their
innocent daughter with a name like
Hope, and all those kids with their
clever puns: ’I had Hope. Did you
have hope? Yeah, I had her but I
left her in a parking lot and she
had to call her friends to pick her
up!’ And they were right. They all
had me.
Annie takes a second to breathe. And to look innocently back
at Aaron and twirl her hair.
ANNIE
(Cont.)
Do you want me?
AARON
Uhm. I just got out of a serious
relationship. In fact she just left
my apartment today, so I don’t know
if I’m ready-- hold on I just got a
text.
Aaron opens up his iPhone. A message from Dan reads: YOU’RE
AN IDIOT. STOP TALKING. REBOUND!
Aaron looks at Dan, across the room. Dan pretends to blow
his brains out.
23. 22.
ANNIE
Woah. Way too much information. I
was kidding. I’m a virgin.
AARON
Oh. I mean, there’s nothing wrong
with that.
ANNIE
I’m not. I lied. Now you don’t know
where I’m coming from.
Annie laughs. Aaron follows suit.
ANNIE
I’m sorry. I’m not usually this
crazy. I’m just nervous. It’s nice
to meet you though. What’d you say
your name was again?
AARON
Aaron.
ANNIE
Aaron. Annie. I’m going by Annie
from now on.
AARON
Annie, you have a great name. Your
parents must have been completely
sane.
ANNIE
They were. Too sane. They bought
those baby books because they
couldn’t pick an original name.
They were like robots. They didn’t
care! And then, when they were too
bored with eachother, but refused
to divorce, my father asked for an
open marriage and--
AARON
I can’t tell if we’re kidding
anymore, or what the joke is at
this point.
ANNIE
We are. My real name’s Reece.
Middle name Annie. I go by Annie
for obvious reasons.
24. 23.
AARON
People usually say talking with me
is exhausting. This is the first
time I ever realized what they
meant.
ANNIE
Well, thanks. Let me know if you’re
ever looking for a writing partner.
AARON
Wait. You think keeping up with you
in a conversation is grounds for
being a team?
Annie nods. Jerry enters the classroom. The class gets back
in their seats.
JERRY
The administration has spoken. You
have spoken, anonymously of course,
regarding the collective thoughts
on first semester. And you’re all
snitches. Except you.
He points to Annie.
JERRY
(Cont.)
Unless you’re a spy sent from the
administration to monitor my
methods. Are you?
ANNIE
I can’t answer that.
JERRY
Very well. You want to make movies
and not films seems to be the
conclusion. Very well then. I need
scripts and production binders next
week. Class dismissed.
The class gets up to leave. Aaron follows Annie out the
door, but Jerry stops him.
JERRY
You have that revision for me?
Aaron goes into his backpack.
25. 24.
AARON
It’s not very good.
JERRY
Then why are you giving it to me?
AARON
I never said it wasn’t readable.
He hands Jerry the script.
JERRY
You know, we-- you have a lot
riding on this.
AARON
What do you mean?
JERRY
Like your scholarship and--
Jerry stops himself.
AARON
And?
JERRY
Nothing. I’ll give it a read and
send you feedback.
AARON
Thanks.
Aaron exits.
INT. HALLWAY - DAY
Aaron turns down the hallway to find Dan waiting for him.
DAN
You didn’t get her number.
AARON
How do you know? I could’ve--
DAN
Because she gave me this...
Dan hands Aaron a folded up peice of paper.
26. 25.
DAN
(Cont.)
... and told me that in no way was
it intended for my eyes to see.
That if I was to open it, I was not
to contact her with the number
written on it.
AARON
I’m guessing you opened it.
DAN
Yeah. I texted her about Jeremy’s
later tonight, that you’d be there,
and that she’s too high maitenence
for me anyways. She said something
about a project you were working on
together? Look at you, changing
your belief system for this girl.
AARON
I never committed to anything.
DAN
And I thought you were grieving.
AARON
Forgive and forget I guess.
INT. JEREMY’S APARTMENT LIVING ROOM - NIGHT
Art school students line the apartment walls, drinking and
talking. Annie checks her phone: a conversation with Aaron.
One text: where are you? No response.
Dylan, blue baseball hat still on, chats her up.
DYLAN
...But I feel like what the Academy
still doesn’t understand, or
refuses to understand... because
it’s too ’commericial’ or was made
with the intent to profit, is that
there’s a lot of romanticism in
those films.
ANNIE
Dylan...
DYLAN
Annie?
27. 26.
ANNIE
Are we still talking about the Fast
and the Furious?
Dylan nods enthusiastically.
DYLAN
What do you think?
ANNIE
I think it’s time for a
transitional non-sequitor.
DYLAN
What?
ANNIE
The Fast and Furious is a series of
films, we study film, so I need
another drink.
Annie leaves for the kitchen.
INT. JEREMY’S APARTMENT KITCHEN - NIGHT
Aaron and Dan enter the kitchen. Aaron holds a bottle of
liquor. Annie sees them and heads their way.
ANNIE
Welcome to the worst party on
earth. You’d think people who study
film would get tired of talking
about it, but I’ve been hit on at
least three times tonight with
movie references...
She tilts her head back in thought. Dan stops her.
DAN
What are you doing?
ANNIE
Thinking about those times I’ve
been hit on.
DAN
Ok, well we don’t have time for it.
A clock appears on the botton corner of the screen, counting
down the amount of time before the episodes over, 24-style.
The characters look at it, and then at the camera.
28. 27.
DAN
(Cont.)
Unless you want to make it four
times. I wanna watch Field of
Dreams and round your--
ANNIE
Disgusting. Don’t you have a
cornfield to disappear into? Or a
father to play catch with?
Dan leaves.
AARON
The father thing might’ve gone a
little too far. I don’t think his
dad actually ever played catch with
him.
They watch Dan walk into the party with his head hanging
down, sad Charlie Brown music playing.
AARON
Anyways I brought you something.
Aaron hands her the bottle of liquor.
ANNIE
Thank you?
AARON
You’re welcome.
ANNIE
But I’m setting a precedent here
that I’m not the kind of girl you
have to do favors for and cater to
my needs.
AARON
I get it. You’re independent. I
just thought it was a nice gesture
to give you alcohol...
ANNIE
So you could potentially get into
my pants later?
AARON
What? No! That’s rediculous.
He laughs awkwardly.
29. 28.
AARON
So what do you think of Jerry?
ANNIE
Smooth transition there, kiddo. Our
teacher? I don’t know considering I
shook his hand then the rest of our
class consisted of sitting around
talking. You pay money to go this
school?
Aaron takes a generous sip of the liquor.
AARON
I regret it every day.
ANNIE
(Cont.)
But I do know, from my grandpa,
that he tore Jerry a new one and
made a wager with him that if he
doesn’t present a decent enough
film from his production class that
he’s getting fired at the end of
the year.
Aaron thinks.
AARON
Jesus. It all makes sense now...
’we’ve got a lot riding on this’...
Annie snaps her fingers.
ANNIE
Aaron... wow. You’re one of those
characters that spends an awful lot
of time in their head aren’t you?
AARON (V.O.)
Yes.
AARON
No.
ANNIE
So are we going to do it or not?
AARON
That’s a pretty forward question...
I’d like to...
30. 29.
ANNIE
Get your head out of the gutter.
Are we going to save Jerry’s job by
making a good film together?
AARON
And how do you know I’m capable of
making a good film?
ANNIE
Because you’re the only guy who
hasn’t hit on me by using
references from AFI’s top 100
movies list, and because I went
through my grandad’s set of
freshman dvd’s and found yours...
AARON
That’s embarassing for me and you.
You saw that peice of crap and I
just found out you have no
judgement of talent...
ANNIE
It had heart. I imagine the lead
actor was a handfull though.
AARON
Well he’s getting roles on stage
with Carey Mulligan because he
looks like Jessy Eisenberg, so...
A picture of the actor Ben Rosenfield pops up. Audience
laughter plays. Annie waits for a response.
AARON
And how do I know that you’re worth
working with?
Annie laughs.
ANNIE
Please. How many times have I
directly quoted Arrested
Development today?
She tilts her head back to think. The countdown clock
reappears in the corner.
ANNIE
You know what your problem is?
31. 30.
AARON
No, but please tell me, person I
met two hours ago.
ANNIE
Can I at least take a shot at it?
Aaron nods.
ANNIE
Shakabuku.
AARON
What?
ANNIE
You need a swift kick in the head.
You’re the reluctant hero waiting
for a journey. Your story needs a
catalyst. Just from what I’ve seen,
you’ve lost a lot of hope in what
you do and yourself. You need
something to believe in.
AARON
Alright. Let’s do it. The movie, I
mean. Cheers. But only because
you’ve seen Grosse Pointe Blank.
Aaron sips from the bottle. He hands it to Annie. She sips.
Then hands it back. They exchange sips.
AARON
This isn’t a competition you
know...
ANNIE
Oh, but it is.
Aaron looks over at Dan, who gives him the thumbs up from a
corner. Aaron takes another gulp. Annie starts to talk to
him but her voice is muted by an alarm clock that grows
louder and lourder.
INT. AARON’S BEDROOM - MORNING
The camera spins overhead getting closer to Aaron’s
forehead. His eyes open. The alarm clock still blares.
AARON (V.O.)
I woke up with my head spinning...
with ideas, or from alcohol
32. 31.
AARON (V.O.)
poisoning. But I was refreshed.
This was the start of something
new, of something gr---
The toilet flush is heard. Aaron quickly sits up in bed. He
sees girl’s clothes on the floor. He peeks under the
bedsheets then looks at the camera with a thumbs up.
He gets back in bed, his hands behind his head and closes
his eyes.
AARON
(To self)
I’m the man.
The door opens and a girl gets back into bed. She kisses
Aaron on the cheek. It’s Laura.
LAURA
You know, it’s like you said last
night. Forgive and forget.
Aaron’s eyes open. He sees who it is then stares up at the
ceiling. All alone.
AARON (V.O.)
I’m an idiot.