MARGARET
Written by
Kenneth Lonergan
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.
MR AARON
Abrams... Allende...
One after the other the students get up to collect their
tests, glance at the results and drag themselves back to
their chairs.
On LISA COHEN, just 17. Not the best-looking girl in her
class but definitely in the top five. She listens listlessly,
somewhat bad-temperedly.
MR AARON (CONT'D)
Bernstein... Cohen...
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 --
2
4 CONTINUED: 4
LISA
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.
MR AARON
Take a seat, Lisa. I just wanna talk about
your test for a minute.
LISA
(SITTING)
Sure.
MR AARON
Now...I know you had a little help...
LISA
Well -- I mean -- I didn't cheat, if that's
what you mean.
MR AARON
I'm just saying I know you had a little
help.
LISA
A lot of people did.
MR AARON
Be that as it may --
LISA
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...
MR AARON
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
in?
LISA
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.
3
5 CONTINUED: 5
LISA (CONT'D)
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.
MR AARON
Oh no?
LISA
No. I did some of it.
She smiles at him. He is no longer smiling back.
MR AARON
Well, next time I'd appreciate it if you
did all of it. OK?
LISA
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.
BECKY
What did he say to you?
LISA
Nothing. . .Mr Aaron and I have an
understanding about my math problem.
Becky laughs. Lisa laughs.
LISA (CONT'D)
He is so appealing.
A long-haired kid comes out, followed by a somewhat preppier
girl, KIRSTEN, and her look-alike friend LESLIE.
KIRSTEN
OK, Mr Ferrar is such an asshole.
KURT
What'd he do, call on you?
KIRSTEN
Fuck you., Kurt.
4
7 CONTINUED: 7
LESLIE
Kirsten is really upset.
KURT
I'm sorry.
KIRSTEN
(TO LESLIE)
Let me have one of those, will you?
Leslie gives Kirsten a cigarette and lights it for her.
BECKY
Kirsten, I didn't know you smoked.
KIRSTEN
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
watches them.
LESLIE
Are you serious?
Lisa overhears MONICA, an elegant 12th-grader, talking to
some other girls seated on the steps.
MONICA
.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."
KLEIN
.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!
LEWIS
(low, rumbling)
And that's basically it-That's basically
all there is to say.
KLEIN
All right? Go ahead, uhhhhh: Becky.
5
8 CONTINUED: 8
BECKY
Well, Mr Klein...I mean, was there ever a
good President of the United States?
There is some laughter from the students.
KLEIN
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
President?
LIONEL
Um...I don't know. I guess most of them
have just been totally corrupt.
- LEWIS
Lisa?
LISA
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.
ANTHONY
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.
DARREN
Hey, how'd you do?
LISA
Oh hey Darren. It was fine. Thank you so
much.
DARREN
So he didn't give you a hard time or
anything?
6
9 CONTINUED: 9
LISA
Well, he knows I'm not planning to like, go
into Mathematics or anything...He was
totally cool about it. He's so cool.
DARREN
Oh yeah, everybody loves Mr Aaron.
LISA
What's that supposed to mean?
DARREN
Nothing. The man is very lovable.
They stop at the corner.
- DARREN (CONT'D)
What are you doing now?
LISA
I was gonna go look for a cowboy hat.
DARREN
Why would you want to buy a cowboy hat?
LISA
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.
DARREN
That is a definite possibility.
LISA
Anyway... Thanks again...
DARREN
Before you venture forth on your bizarre
quest for a cowboy hat...?
LISA
Yes, Darren?
DARREN
.what are you up to later? Like tonight.
LISA
I don't know.
DARREN
You wanna go to a movie?
7
9 CONTINUED: (2) 9
LISA
What do you mean, like on a date?
DARREN
No, not on a date, just go to amovie.
I don't know if it's a fucking date!
LISA
All right. Calm down. What do you wanna
see?
DARREN
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!
LISA
OK, take it easy, I was just asking! I'm
sorry!
DARREN
What if it was a date, anyway? Would that
be so horrendous?
LISA
Oh my God. Are you like -- are you asking
me out? (Pause) Are you? (Pause) Hello...?
Earth to Darren.
DARREN
I don't know. Yeah. I mean...I feel like
we're already really close...
LISA
Oh my God...
DARREN
.and I think we'd be a really good match -
- What?
LISA
Nothing. This is -- Nothing.
DARREN
So -- Yeah. I would. I mean, yes. I am.
Yes I am.
LISA
Wow. I mean -- I am really flattered. But I
would definitely not want to do anything to
mess up our friendship.
DARREN
I view this as a way of strengthening our
friendship.
8
9 CONTINUED: (3) 9
LISA
It would definitely change it...
DARREN
I know: It's a fairly dangerous move.
LISA
Well...I would definitely have to think
about this...
DARREN
Absolutely. Give it some thought.
LISA
OK, I will.
Pause. He is looking at her like he wants something.
LISA (CONT'D)
Why do you look like that?
DARREN
Like what?
LISA
What do you want from me?
DARREN
Not a thing!
LISA
All right. I'll see you later.
DARREN
All right.
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
apartment building.
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
Hello...!
Lisa drops her bag-and goes into the kitchen. She opens the
refrigerator. Her brother CURTIS, 11, comes in.
9
11 CONTINUED: 11
CURTIS
Hi.
LISA
Is Mom home?
CURTIS
She went to the store.
Lisa gets out some cold pizza and sits down with it.
CURTIS (CONT'D)
Use a plate.
LISA
Don't be such a little fuckin' goody two-
shoes. -
CURTIS
Fuck you.
LISA
Please don't say "fuck," Curtis.
CURTIS
You just said it.
LISA
Yeah, that's because I know what it means.
CURTIS
So do I.
LISA
Uh, no you don't, Curtis. Take my word for
it.
CURTIS
What does it mean?
She looks at him and speaks very slowly and deliberately.
LISA
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.
Pause.
CURTIS
No it's not.
LISA
Yes it is.
10
11 CONTINUED: (2) 11
CURTIS
Gross.
LISA
(RESUMES EATING)
It is gross.
She eats. He watches her.
CURTIS
Do you want to play a game?
LISA
No.
CURTIS
Please!
LISA
I don't feel like it, Curtis. Quit bugging
me.
CURTIS
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.
LISA
(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
eight?
13 EXT. BROADWAY. DAY. 13
POV LISA: slowly passing by Broadway clothing store windows.
No cowboy hats. She walks down Broadway window shopping,
enjoying herself.
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
11
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 --
LISA
(TO DRIVER)
Hey!
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.
LISA (CONT'D)
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
light.
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 --
Goldenrod Revised 10/23/05 - Page 12
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.
VERY FAST:
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
tumbling underneath.
LISA SCREAMS. Pedestrians all over turn around.
MONICA is pulled and crunched in a horrible twisting tumble.
Everything stops.
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.
1ST MAN
Somebody call an ambulance! Call an
ambulance! Everyone calm down!
KID
I'm calling one right now...!
The Kid is already dialing his cell phone. Other people are
doing the same.
2ND MAN
Get an ambulance!
Salmon Revised 10/23/05 - Page 13
16 CONTINUED: (2) 16
1ST MAN
Someone's calling one!
LISA
Ma'am, can you hear me? Can you hear me?
MONICA
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 --
2ND MAN
Never mind, let her talk!
MONICA (CONT'D)
Who are you?
LISA
My name is Lisa.
MONICA
Am I dead?
LISA
No, you're not dead. You were in a
traffic accident, but you're gonna be OK --
MONICA
What do you mean? What happened?
LISA
You were run over by a bus.
MONICA
You've got to be kidding me. A bus?
LISA
(ALMOST LAUGHS)
Yeah -- ! 1ST MAN
Is anyone'a doctor? Could
MONICA we get a doctor?
So where am I now? Who are you?
2ND MAN
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?
happening?
Salmon Revised 10/23/05 - Page 13A
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 --
MONICA
I'll say I'm confused.
Goldenrod Revised 10/23/05 - Page 14
16 CONTINUED: (4) 16
1ST MAN
Here, lemme try to see if I can --
He tries to detach Lisa's hand from Monica's.
MONICA
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
Christ!
2ND MAN
Oh my God!
MONICA (CONT'D)
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.
here!
2ND MAN
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
BELT)
MONICA (CONT'D)
What do you mean? Are they doctors? Who are
they?
LISA 1ST MAN
No -- they're not doctors. I can't even see -
They were just passing by.
MONICA
Well, get 'em the fuck away
from me!
1ST MAN
Ma'am, we're only trying to help you!
2ND MAN
Never mind that! Try it higher up. Try to
put it higher up!
Goldenrod Revised 10/23/05 - Page 14A
16 CONTINUED: (5) 16
1ST MAN
You wanna do it? You know what to do.
Why don't you do it?
Goldenrod Revised 10/23/05 - Page 15
16 CONTINUED: (6) 16
LISA
(To the 1ST MAN)
Are you kidding me!
MONICA
I can't see anything. Are my eyes open or
closed?
This silences everyone. Lisa looks at the 1st Man. He shakes
his head, panicked; he doesn't know what to say.
LISA
They're open.
MONICA
(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
got it.
2ND MAN
Just put it higher up! Just move it -
KID
Try putting it higher up!
1ST MAN
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.
LISA
WILL SOMEBODY CALL THEFUCKING AMBULANCE!?!
1ST MAN 2ND MAN
Calm down! We already called Take it easy!
them! So just calm down!
LISA
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!
MONICA
Could somebody call my daughter?
LISA
Sure! We can call her. What's her name?
Goldenrod Revised 10/23/05 - Page 15A
16 CONTINUED: (7) 16
KID
You want my phone?
1ST MAN
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 --
KID
I got a cell phone, you want me to call
her?
Goldenrod Revised 10/23/05 - Page 16
16 CONTINUED: (8) 16
LISA
It's -- No -- that's my name. Is that your
daughter's name?
MONICA
What? What are you talking about?
LISA
(On 2nd "what"))
I'm s -- I'm not trying to be confusing.
My name is Lisa: Is that your daughter's
name?
MONICA
Jesus Christ, would you call her? Just call
her!
1ST MAN
I got it. I got it!
LISA
I can't call her if you don't give me
the number --
2ND MAN
Ma'am? You're gonna be OK.
KID
You're gonna be OK!
LISA
What's your daughter's number?
Monica starts breathing a horrible rattling choking.
MONICA
Oh sweetie, I don't think I'm gonna make
it.
LISA
Oh no please hang on. The ambulance is
gonna be here any minute!
Monica dies.
LISA (CONT'D)
Oh please hang on! Please hang on!
1ST MAN
OK. It's OK. She's gone.
The 1st Man tries to pull her away.
LISA
NO ! Let GO. of me !
Goldenrod Revised 10/23/05 - Page 16A
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.
MITCHELL
OK, Lisa? Lisa? I just want to ask you a
couple of questions, OK?
17
17 CONTINUED: 17
LISA
OK, sure.
MITCHELL
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?
LISA
Yes. Thank you for the -- yes.
-MITCHELL
OK? So, where were you, on the corner?
Standing by the corner? Were you in the
crosswalk -- ?
LISA
(on 2nd "corner")
No, I wasn't on the corner. I mean I was,
but I was running. I was trying to catch
the bus.
MITCHELL
OK, so you're on the corner? Northwest
corner?
LISA
If that's what corner it is.
MITCHELL
So, you're standing across the street.
Northwest corner.
LISA
Yes, except I wasn't standing I was
running.
MITCHELL
So the bus goes by and you start running.
LISA
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!
MITCHELL
Whoa whoa whoa whoa. Slow down a sec. So
you're tryin' to catch the bus --
18
17 CONTINUED: (2) 17
LISA
(starts to cry)
Yes! Yes! I was trying to catch the bus! I
was trying to catch the bus!
MITCHELL
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?
LISA
I understand! I don't mind, I'm just upset!
MITCHELL
OK, Lisa, hang in there. You're doin'
great.
LISA
Could somebody call my mother?
MITCHELL
We already called your Mom; but I'm gonna
have 'em put another call into your mother
right now, OK?
LISA
Yes. Please stop patronizing me.
MITCHELL
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 --
LISA
They do make sense. Just ask me!
MITCHELL
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
light?
Lisa looks over at the Bus Driver. He looks back at her.
LISA
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
19
17B EXT. UPPER WEST SIDE - LISA'S STREET. DAY.
Lisa is being walked home by a big YOUNG COP.
YOUNG COP
You go to school around here?
LISA
Yes.
YOUNG COP
What's that a private school?
LISA
Yes.
- YOUNG COP
What are you studyin'?
LISA
I don't know.
YOUNG COP
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
teachers...!
LISA
American history!
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.
CURTIS
What happened to you?
LISA
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.
JOAN
Hello?
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.
20
19 CONTINUED: 19
She doesn't know what to do with it. She hangs it on the
closet door.
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.
LISA
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.
JOAN
Lisa?
LISA
Just a second...!
Joan comes into the bathroom.
LISA (CONT'D)
Just a second!
She throws up again.
JOAN
Oh my God, what happened to you?!?
- LISA
It's OK, Mom, it's not my blood...!
JOAN
What do you mean? Whose blood is it?
What, happened?!
LISA
NOTHING!
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.
JOAN
I don't know if I'm going to be able to get
these clean again.
LISA
Just throw them out.
21
21 CONTINUED: 21
JOAN
Let me see if I can get them clean.
LISA
(STARTS CRYING)
Whv? Just throw them out!
JOAN
(GENTLY)
OK.
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.
JOAN
Does anybody know who she was?
LISA
I don't know. I guess she lived around
here. She had all these Fairway grocery
bags.
CURTIS
What did they do with her leg?
LISA
I have no fucking idea.
JOAN
Hey. Come on...
25 INT. LISA'S ROOM. NIGHT. 25
Lisa is getting made up to go out. Joan knocks and comes in.
JOAN
Lisa? Are you sure you don't want me to
call in...?
LISA
Oh, no thanks Mom. I mean thank you:
That's really sweet. But I'm supposed to go
see Becky anyway.
(MORE)
22
25 CONTINUED: 25
LISA (CONT'D)
I don't really want to sit here thinking
about it all night. Go to work. I'll be
alright.
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.
LISA
Hey.
BECKY
Hey, Darren.
-DARREN
Hey.
LISA
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.
STAGEHAND (O.S.)
Joan? You got some flowers.
JOAN
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.
JOAN
Thank you guys so much for coming...! It
was really great to see you...!
2nd Pink Revised 11/17/05 - Page 23
30
30 CONTINUED:
A
She breaks away and crosses toward Ramon. He speaks with
Colombian accent.
JOAN (CONT'D)
Hi -- are you Ramon?
RAMON
Yes. Hello. You were wonderful -- again.
JOAN
You're so sweet, thank you. And thank you
for the beautiful flowers...!
RAMON
Oh you're very welcome. I hope you didn't
mind...
JOAN
No, I'm very flattered. And you've seen the
show before...?
RAMON
Yes, two times.
JOAN
Gosh. That's very -- That's a lot!
RAMON
Oh no. It's a beautiful performance. And I
think it's still in previews...?
JOAN
Yeah, we're on kind of a weird schedule...
RAMON
I think you will have a big success.
JOAN
Well, at the moment we're just trying to
focus on what we're doing...
RAMON
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
dinner...
Joan sees Lisa sitting across the room waiting.
JOAN
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
RAMON
OK, it's no problem. Tomorrow I'm going to
London for a few days on business. Perhaps
when I come back...
JOAN
Um -- Well --
RAMON
If it's not convenient, it's no problem.
2nd Pink Revised 11/17/05 - Page 24
30 CONTINUED: (3) 30
JOAN
No no no, it's OK, um -- Yeah.
RAMON
I will send a word backstage? Or if you
like to --
JOAN
Oh -- no, anything's fine. I'm sorry. I
really have to go --
RAMON
It's no problem.
JOAN
Anyway, thank you so much for the flowers!
RAMON
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.
JOAN
I thought you were at the movies...!
LISA
Yeah... It wasn't very good. Who's that?
JOAN
I don't know. He sent me flowers.
LISA
Go out with him.
JOAN
You think?
LISA
Um, yeah...!
Ramon disappears up the stairs. Joan and Lisa look at each
other.
JOAN
Hi, sweetie... !
LISA
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
VICTOR
(TO JOAN)
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.
LISA
'Bye Mom.
25
32 CONTINUED: 32
JOAN
I love you.
LISA
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.
JOHN
Matthew, if you would read France... And
Anthony, you read Burgundy...
ANTHONY
(With mock relish)
Ah. Burgundy.
JOHN
And I guess I'm gonna hog the part of Lear
again...
36 INT. HUMANITIES CLASS. MOMENT LATER. 36
John is walking back and forth, play in hand. The students
are all reading along.
ANTHONY
"Most royal majesty,
I crave no more than hath your highness
Offer'd, nor will you tender less."
JOHN
"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.
26
37 CONTINUED: 37
DARREN
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.
LISA
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.
DARREN
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.
teen years.
DARREN (MUTTERS)
NEIGHBORHOOD LADY 2 What relationship?
You don't say.
LISA
NEIGHBORHOOD LADY 1 What are you muttering?
Oh that whole family's crazy.
DARREN
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?
DARREN
NEIGHBORHOOD LADY 1 Like what?
Who's gonna steal him?
LISA
NEIGHBORHOOD LADY 1 Just everything.
That's what I said.
DARREN
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.
27
37 CONTINUED: (2) 37
NEIGHBORHOOD LADY 2
No, what's the name of the dog?
NEIGHBORHOOD LADY 1
Barnaby.
The two ladies keep on talking.
LISA
(Very low, eyes down)
So...I've been thinking about your
suggestion...
DARREN
Uh huh...?
LISA
I guess I_don't think it's a very good
idea.
DARREN
Why not?
LISA
I guess I don't feel that way about you.
DARREN
But those kinds of feelings can develop. I
definitely feel like there's a connection
there.
LISA
(VERY LOW)
I know there is.
DARREN
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
DARREN (CONT'D)
What's the matter? (Pause) What's the
matter?
She won't look at him. O.C. AUDIENCE APPLAUSE takes us to:
38
38 INT.-BAR/RESTAURANT. NIGHT.
Joan and Ramon are having a drink at a small table.
RAMON
My family are from Colombia... My.father
worked in the diplomatic service...
2nd Pink Revised 11/17/05 - Page 28
38 CONTINUED: 38
JOAN
Really. Wow.
RAMON
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.
JOAN
And what do you do, Ramon?
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.
JOAN
Uh huh? God...
A39 INT. BAR/RESTAURANT. LATER. A39
Joan and Ramon are leaving the restaurant:
RAMON
Can I give you a lift?
JOAN
Oh -- no -- Thank you, I'm just gonna grab
a cab, but thank you.
RAMON
May I call you sometime?
JOAN
OK, sure, that would be great.
Pause.
RAMON
May I have your telephone number?
2nd Pink Revised 11/17/05 - Page 28A
A39 CONTINUED: A39
JOAN
Oh my God, I'm sorry, of course. Duh! Hold
on a minute: Do you have a pen?
Ramon takes out his cell phone.
RAMON
What's the number?
JOAN
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
opens.
LISA
Mom...?
JOAN
(STARTLED)
Just a second!
LISA
(opening the door)
Can I come in?
JOAN
Just one second, honey. Hold on! (covering
herself up) Come in.
Lisa comes in and sits on the edge of the bed.
LISA
Can I talk to you?
JOAN
Sure. What's up.
29
41 CONTINUED: 41
LISA
How was the show...?
JOAN
It was OK. Are you all right?
LISA
Not really.
JOAN
What's wrong?
LISA
Mom...I have to tell you something.
JOAN
OK.
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.
LISA
So what do you think I should do?
JOAN
Well...it doesn't sound like it was
anybody's fault...
LISA
But don't you think I should say something
to them now?
JOAN
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.
LISA
OK...
Joan isn't sure what she's done wrong.
JOAN
OK...?
30
43 CONTINUED: 43
KLEIN (O.C.)
Think of the implications of what you're
saying!
44 INT. HISTORY CLASS. DAY. 44
ANGIE, a Syrian-American girl, has her hand up.
KLEIN
.I'm saying what is the frame of
reference for the average Arab on the
street? Angie!
ANGIE
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
world. OK?
BECKY
We don't?
ANGIE
And all my relatives in Syria think that
what we did in Afghanistan was terrorism.
Not to mention Iraq...
ANTHONY
Syria is a theocratic military
dictatorship.
ANGIE
Um, no it's not: Sorry.
ANTHONY
Syria is not a theocratic military
dictatorship?
LISA
Um, I think we have a pretty good idea how
much people hate us now actually, Angie.
ANGIE
No we don't.
LEWIS
One at a time --
LISA
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.
ANGIE
You should!
2nd Blue Revised 10/28/05 - Page 31
44 CONTINUED: 44
LISA
-- because the people who blew up the World
Trade Center were a bunch of sick monsters -
ANGIE
Oh they were monsters?
LISA
Yes!
ANGIE
Why? Because they're Arabs?
LISA
No, because they killed three thousand
people for no reason.
KLEIN
Hey, hey, one at a time...!
ANGIE
Maybe they think they had a reason!
KLEIN
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!
Anthony.
ANTHONY
They did have a reason.
ANGIE
Thank you.
ANTHONY
They want to establish a medieval Islamic
caliphat in the Middle East and destroy
Western civilization.
ANGIE
Oh, where did you read that?
2nd Blue Revised 10/28/05 - Page 31A
44 CONTINUED: (2) 44
ANTHONY
It's on their website.
ANGIE
Okay, forget it.
KLEIN
Angie!
ANGIE
No! Forget it!
KLEIN
Go ahead with what you were saying!
ANGIE
No! Why should I?
Green Revised 10/7/05 - Page 32
44 CONTINUED: (3) 44
LISA
But why are you defending somebody who
murdered three thousand people!
ANGIE
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.
LISA
Oh give me a break!
ANGIE
-- and drops bombs on women and children
and then calls other people terrorists for
doing the exact same thing!
KLEIN LISA
OK -- OK -- Because it's not same
thing!
ANGIE
Yes it is!
KLEIN
Lionel! Go ahead.
LIONEL
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?
KLEIN
I don't know. That's an interesting point.
I agree it's a bullshit term.
LISA
This is totally stupid.
KLEIN
(Looking for hands)
Uhhhhhh...Monica!
MONICA
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 --
ANGIE
Thank you!
2nd Blue Revised 10/28/05 - Page 33
44 CONTINUED: (4) 44
MONICA
-- and everybody started screaming at her
like she was defending the Ku Klux Klan!
LISA
They are the Ku Klux Klan! They like to
throw acid in women's faces!
MONICA ANGIE
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.
MONICA
(TO LISA)
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
with.
KLEIN
Because that's censorship, right? Right?
MONICA LISA
Yeah! (a joke:) Right on! It's not censorship...!
This class is not the
ANGIE government!
Thank you... !
ANTHONY
That's not technically LEWIS
true. It's censorship.
LISA
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.
JOAN
Ready?
46 EXT. LOCAL POLICE PRECINCT. DAY. 46
Joan and Lisa go into the station.
34
46A INT. LOCAL POLICE PRECINCT - INTERVIEW ROOM. DAY. 46A
Mitchell walks Joan and Lisa into the interview room.
MITCHELL
We actually work outta Highway One? Up in
the Bronx? So for somethin' like this we
just borrow a local precinct...
JOAN
Uh huh...
47 INT. INTERVIEW ROOM. DAY - LATER. 47
Lisa and Joan sit with Mitchell.
- MITCHELL
Would you say you had a clear line of
vision?
LISA
Yes.
MITCHELL
OK, just describe what you saw to me in
your own words?
Lisa glances at Joan. Joan smiles at her encouragingly.
LISA
She just stepped out in the street?
48 OMIT.
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.
KARL
LISA
KARL
LISA
How are you?
35
50 CONTINUED: 50
KARL
I'm great. I'm looking at a beautiful
sunset over the ocean. Doing a little
work. . .How are you?
LISA
I'm OK.
KARL
Practicing your horseback riding?
LISA
(LAUGHS)
Oh yeah, I'm really riding a lot. I'm
gettin' these really bad saddle sores.
_ KARL
OK. Well. I would actually seriously
recommend you go over to, uh, to Claremont
Stables and see about getting some lessons.
LISA
No, I was actually really thinking about
doing that...
KARL
So how's everything going? How's school?
LISA
School's OK. I'm kind of fucking up in
geometry...
KARL
OK...?
LISA
But my teacher's really cool. So I guess
it's not too serious...
KARL
Yeah. Math was never my strong suit either.
LISA
Well, I am definitely following in your
footsteps in that regard-How are you?
KARL
I'm fine. I'm good. Things are picking up a
little bit, which is good. How's the
boyfriend situation?
LISA
Oh the same. They're all kind of the same.
36
50 CONTINUED: (2) 50
KARL
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.
LISA
Thanks, Dad, I don't really go for the
California type.
KARL
Well -- I don't either, per se. It
somewhat depends on who it is, obviously...
LISA
Hard to argue with. I think I'll stop
generalizing,now...!
KARL
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
Mom.
LISA
OK, I can't wait for our trip.
KARL
Yeah. I think we're gonna have a really
good time.
LISA KARL
OK. Well, I love you. .It's gonna be really fun.
Um -- Love you too.
LISA
Bye Dad.
KARL
Bye sweetie.
51
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.
JOAN
It's true. Two years of college. Two years
at the magazine. Two years with you.
(MORE)
37
53 CONTINUED: 53
JOAN (CONT'D)
(Bursts into tears) I'm kind of a two-year
gal...!
IN THE LAUGHING AUDIENCE -- Lisa watches, unamused.
54 INT. CAB (MOVING) NIGHT. 54
Joan and Lisa sit silently in the rattling cab.
JOAN
What did you think of the play?
LISA
It was OK.
Silence.
- JOAN
Well, thank you, honey.
LISA
What do you want me to say? JOAN
I thought it was OK! Nothing! You said it!
Next time I'll lie!
JOAN (CONT'D)
Don't come next time!
LISA
I won't!
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.
PAUL
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
right now.
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!
BECKY
I still don't get why you didn't even
audition. You're such a good singer.
38
55 CONTINUED: 55
LISA
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.
LISA
Did I tell you guys I saw a woman get her
leg cut off by a bus?
GIRLS
What? Really? Are you kidding?
LISA
Check out my boots.
GIRLS
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.
JOAN
You do know I have two kids, right?
RAMON
Yes. I'd like to meet them.
JOAN
You are really smooth.
RAMON
I would love to meet your kids. I have two
boys myself. I'm not smooth. (Pause) Would
you like to have a nightcap?
JOAN
Oh, God.
57 OMITTED 57
58 INT. BECKY'S ROOM. NIGHT. 58
Becky and Lisa are smoking pot. They are dolled up.
39,
58 CONTINUED: 58
BECKY
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
myself?
LISA
What are you talking about?
BECKY
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
you anymore.
LISA
Becky. Give me a break.
Pause.
BECKY
I can't believe you just said that to me.
That was really hard for me to say, and
that's you response?
LISA
Can we just go please?
BECKY
(SARCASTIC)
Fine. Would you like to smoke any more of
my pot before we leave or have you had as
much as you want now?
LISA
(SARCASTIC BACK)
Oh, I'd like to have a little bit more
please.
BECKY
Fine. Get fuckin' out of my house!
LISA
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-.
40
59 CONTINUED: 59
LISA
It's very hard to be cool under these
circumstances.
PAUL
You don't have to be cool. All youhaveto
do is snort it up your nose.
LISA
I'll try...!
He gives her the spoon. She snorts it.
PAUL
And then you wanna do the other nostril
because you always want to be symmetrical.
Very important.
She snorts some up the other nostril. Paul does some too and
closes the vial. _
PAUL (CONT'D)
Symmetry.
LISA
You are so funny...! (Pause) So what do we
do now?
PAUL
Now we make out.
LISA
Paul...! What about your girlfriend?
PAUL
I'm sorry. It just sounded like you just
asked me about my girlfriend.
LISA
Oh, never mind...
They make out. He immediately starts feeling her up. She
pushes his hand away.
PAUL
You're not serious.
LISA
Oh... No.
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.
41
60 CONTINUED: 60
LISA
Hey... You know I really love you, right?
DARREN
Not really.
Pause. She kisses him softly and they make out for a minute.
LISA
I guess I'm not very consistent.
DARREN
I don't mind.
He kisses her again. She draws back slightly.
- LISA
I gotta go home.
DARREN
OK...
61 INT. RAMON'S BATHROOM. NIGHT. 61
Joan sits on the toilet seat naked, smoking, hair tousled, a
little overexcited. Ramon KNOCKS. She jumps.
RAMON (O.C.)
Joan? Are you all right?
JOAN
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
the blackboard.
MR AARON
Yes, Becky? Um -- Lisa?
LISA
Are you still mad at me about the test?
MR AARON
What's going on, Lisa?
64 INT. GEOMETRY CLASS - A FEW MINUTES LATER. DAY. 64
Lisa and Mr Aaron sit at his desk.
42
64 CONTINUED: 64
LISA
.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.
MR AARON
What does your being rich have to do with
anything?
LISA
You know what I mean.
- MR AARON
No, I don't.
LISA
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.
MR AARON
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.
LISA
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.
MR AARON
Lionel? Tamara? It's gonna be five minutes.
LIONEL
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.
MR AARON
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...
43
64 CONTINUED: (2) 64
LISA
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.
JOAN
Does this-make me look fat?
LISA
Um, a little.
JOAN
Well, there's nothing I can do about it.
LISA
Where are you going?
JOAN
The opera...!
LISA
Why are you going to the opera?
JOAN
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.
LISA
Uh, no thanks.
JOAN
Why not? I bet you'd like it.
LISA
I don't like that kind of singing.
JOAN
But you like classical music.
LISA
Yes. That's true. But I don't like opera
singing.
44
66 CONTINUED: 66
JOAN LISA
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
interesting.
JOAN
Yeah. I know what you mean. But it's not
all like that. You like The Magic Flute.
LISA
OK. I guess I'm wrong. I guess I do like
opera singing. I just didn't realize it.
JOAN
What is the matter with you?
LISA
Nothing at all! Why are you pushing this? I
don't want to go to the opera!
JOAN
Yes! OK! It's called an invitation. I'm not
pushing anything! All you have say is "No
thanks!"
LISA
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!
JOAN
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
Ramon.
LISA
Why? What's the big deal? Why are you so
influenced by what me and Curtis think?
What Curtis and I think.
JOAN
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?
LISA
I guess you would. Withdrawn.
45
66 CONTINUED: (2) 66
JOAN
Hey...Why does everything I say annoy you?
LISA
Jesus Christ, I'm just sitting here!
JOAN
Here: you be me, and say anything, and I'll
respond the way you've been responding to
me this whole conversation.
LISA
No...!
JOAN
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?
LISA
Because it's dumb! I'm horrible! I get your
point!
JOAN
(LIKE LISA)
"OK, uh, whatever."
LISA
Was that supposed to be an imitation of me?
JOAN ("")
"Um, OK: Withdrawn."
LISA
Well, for someone who's supposed to be a
professional actress that's a pretty lame-
ass impersonation of someone in your own
family.
Lisa shakes her head and watches the TV. Pause.
JOAN
Are you coming to my opening night?
LISA
I will if I have to.
Pause.
JOAN
You're a little cunt, do you know that?
LISA
Yes. You're a big cunt.
46
66 CONTINUED: (3) 66
JOAN
OK. Let's not start talking to each other
that way.
LISA
You just called me a cunt, Mom!
JOAN
OK, I'm sorry I said that. LISA
But if you're really Why? It's refreshing!
SAYING --
JOAN
-- 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 --!
LISA
Not really.
JOAN
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 --
LISA
Oh my God!
JOAN
-- 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!
LISA
Um, I think you're exaggerating slightly.
JOAN
Now what am I supposed to do?!
LISA
JUST --
JOAN
What am I supposed to do?!
47
66 CONTINUED: (4) 66
LISA
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 --
JOAN
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!
LISA (CONT'D)
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 --
JOAN
What do you mean?
LISA
-- 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
matter!!!
Pause. The intercom buzzer buzzes. Joan hesitates.
JOAN
Well -- should I have him come up now?
Or should I have him wait downstairs...?
LISA
Do whatever you want. I don't care!
JOAN
I don't even know what we're talking about.
LISA
I know you don't. That's the problem.
JOAN
Oh give me a break.
48
67 EXT. LINCOLN CENTER. NIGHT. 67
Ramon and Joan walk toward the Metropolitan Opera House.
RAMON
Everything is all right?
JOAN
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!
RAMON
Well, I wish it wasn't Norma but it's still
fun to go.
- JOAN
(A JOKE:)
What if we just went to see something else
instead?
RAMON
You don't want to hear Norma?
JOAN
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
instead.
RAMON
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:
JOAN
It's beautiful...!
RAMON
(smiling at her)
Shhh.
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.
PAUL
(answering the phone)
Yo.
LISA
Hey, Paul.
Goldenrod Revised 10/23/05 - Page 49
69 CONTINUED: 69
PAUL
Hey.
LISA
It's Lisa Cohen.
PAUL
Yeah, how's it going?
LISA
OK. (Pause) What have you been up to?
PAUL
Seeing some questionable movies. Not
deciding where to go to college...
LISA
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
virginity?
PAUL
Um...all right.
LISA
Really? God, I'm so flattered.
PAUL
To what do I owe this inconceivable honor?
LISA
Actually it's because of my deep passionate
feelings for you, Paul.
PAUL
That's pretty much what I figured...(Pause)
So, do you want to come over here? Should I
come over there...?
LISA
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.
PAUL
All right. (Pause) Do you want to give me
your address?
LISA
(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.
LISA
(on the phone)
Hello?
DARREN
Hey. What are you up to?
LISA
Hey, nothing. Writing my King Lear paper.
DARREN
Really? That's impressive.
LISA
Not really.
DARREN
I've just never known you to be so devoted
to your studies before.
LISA
Well, I don't want to fail Humanities.
DARREN
You're not gonna fail Humanities.
LISA
No, probably not.
DARREN
So what did you do tonight?
LISA
Actually, Darren...I don't really feel like
talking right now.
Pause.
DARREN
OK.
LISA
OK?
DARREN
Yeah. I'll talk to you later.
LISA
OK.
DARKEN
OK, bye.
Green Revised 10/7/05 - Page 50A
70 CONTINUED: 70
LISA
Bye.
51
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.
PAUL
Hey.
LISA
Hey, come in.
She steps aside. He passes her and comes in.
PAUL
I think I-just alienated one of your
neighbors by smoking in the elevator.
LISA
Oh really? What did they say?
PAUL
She basically said there was no smoking in
the elevator.
LISA
That's original...
TRACKING them as they come into the living room...
LISA (CONT'D)
So this is the living room.
PAUL
Very livable.
LISA
We like it...My Mom hasn't read any of
these books, by the way.
PAUL
Have you?
LISA
Some of them. Not all of them.
Paul looks at The Rise And Fall Of The Third Reich.
PAUL
This book is a very cool book.
LISA
Yeah, I think the Third Reich may be a
little bit too much for me right now.
52
71 CONTINUED: 71
PAUL
It's pretty hard to put down once you get
started. -
LISA
Do you want anything to drink?
PAUL
I'd take a beer.
72 INT. KITCHEN. NIGHT. 72
Lisa has two beers out and is looking through drawers.
LISA
OK, I have no idea where the bottle opener
is. -
PAUL
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.
LISA
Thanks.
PAUL
Whoops. I think I just permanently damaged
your kitchen counter. Sorry.
LISA
Oh -- that's OK. Don't worry about it.
PAUL
Won't your "Mother" be "Upset?"
LISA
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.
PAUL
It's just a gift.
She laughs nervously. They drink beer.
LISA
So...do you want to see my room?
PAUL
Sure.
73 INT. LISA'S ROOM. NIGHT. 73
They come into her room. She closes the door.
53
73 CONTINUED: 73
LISA
This is my room. Ta da.
PAUL
Very nice.
She realizes she has some stuffed animals on the bed.
LISA
And these are my stuffed animals.
PAUL
Always important to meet the stuffed
animals.
LISA
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,
right?
PAUL
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.
LISA
Yeah, I just do it for fun. But I've always
really liked it...
He looks at her pictures.
LISA (CONT'D)
So...can I ask you a question?
PAUL
Yes?
LISA
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
OK.
PAUL
Easy there. Don't be embarrassed. It's
basically like, the world's greatest
activity, but it's not actually worth
getting nervous about.
54
73 CONTINUED: (2) 73
LISA
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.
PAUL
There is that philosophy.
LISA
You are so funny...!
PAUL
Do you have an ashtray?
LISA
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.
LISA (CONT'D)
Are we starting?
PAUL
I was thinking about it, yeah.
LISA
And am I being really dorky right now?
PAUL
You're not suave.
LISA
I'm sorry. I guess I'm a little nervous.
Please ignore.
PAUL
Don't be nervous. I promise this is gonna
be a great experience for you. You're
gonna have like four, five hundred orgasms
at least.
He kisses her. They make out.
PAUL (CONT'D)
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.
LISA
What are you like the nicest guy in the
world?
55
73 CONTINUED: (3) 73
PAUL
No...
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.
LISA
Like that?
PAUL
(Not quite but close enough)
Yes...
LISA
in I supposed to go really fast at the end
or something?
PAUL
Yeah, but we're gonna move on before
THAT-HERE:
He shifts around and tries to go down on her.
LISA
You don't have to do that.
PAUL
I know. I want to.
Pause. She slides up away from him.
LISA
Don't do that, OK? I'm just embarrassed.
Let me do it to you.
PAUL
All right.
75 INT. LISA'S ROOM. LATER. 75
He is positioning himself on top of her.
PAUL
Are you ready?
LISA
Yeah.
PAUL
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.
56
75 CONTINUED: 75
LISA
OK: You sound insane.
They laugh.
PAUL
OK, ready?
LISA
(SUDDENLY FRIGHTENED)
Yeah.
PAUL
OK?
LISA
(IN PAIN)
Mm hm.
PAUL
OK, hang on...
LISA
Ow!
PAUL
OK -- There we go. Does it hurt now?
LISA
Kind of, yeah.
PAUL
OK, just try to relax. It'll get better in
a second...
LISA
Did you bring a condom?
PAUL
Uh huh...
LISA
Shouldn't you put it on?
PAUL
I will in a second.
LISA
This is really kind of hurting.
PAUL
OK -- one second.
LISA
I love you.
57
75 CONTINUED: (2) 75
PAUL
What?
LISA
Nothing.
PAUL
OK -- hold on -- Shit --
LISA
What?
PAUL
OK, one second -- Ohh! Sorry -- Sorry --
He comes inside her. Silence. He carefully rolls over.
PAUL (CONT'D)
Sorry about that. Kind of got away from me.
LISA
Did any of it get inside me?
PAUL
I don't know.
LISA
(FEELING AROUND)
Yeah. It definitely did.
PAUL
Honest to God? It's probably OK. The odds
are overwhelmingly that it's OK.
O.C. the doorbell rings.
LISA
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.
LISA (CONT'D)
Hi, Curtis.
CURTIS
Hi.
We TRACK her back to her room. She shuts the door. PAUL has
put on his underwear and is smoking a cigarette.
PAUL
Hey.
LISA
Hey. (sits down) Can I have a drag? (takes
a drag of his cigarette) Thanks.
(MORE)
58
75 CONTINUED: (3) 75
LISA (CONT'D)
(gives it back to him) I'm actually kind of
mad at you...
PAUL
Why? (Pause) Why? (Pause) Because we didn't
use birth control?
LISA
I guess so.
PAUL
It was at the ready...
LISA
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.
PAUL
Didn't you ever hear of the "Morning After
The Guy Came Too Fast Pill?"
LISA
Oh, the "I'm A Total Fucking Moron" Pill?
PAUL
Well...that's the Canadian name.
LISA
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...!
PAUL
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 --
LISA
How do you know? Have you been tested?
PAUL
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.
LISA
I'm sorry. I'm not completely in control of
my emotions. (Pause) Anyway...Thank you for
deflowering me.
59
75 CONTINUED: (4) 75
PAUL
You're welcome.
LISA
Did it freak you out that I said I love
you?
PAUL
No...It didn't freak me out.
LISA
You don't have to say it back, because I
know you probably have like no feelings at
all for me.
PAUL
I think I_just proved I have some feelings
for you.
LISA
You should probably go now...
76 INT. LIVING ROOM. NIGHT. 76
Lisa walks Paul past Curtis who is practicing the piano.
PAUL
Yo.
LISA
That's my brother.
PAUL
What's up?
CURTIS
Hi.
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.
60
80 CONTINUED: 80
OPERA FAN
BRAVIL BRAVIL
81 EXT. LINCOLN CENTER. NIGHT. 81
Joan and Ramon walk arm in arm away from Lincoln Center.
JOAN
Oh, I loved it! It was so exciting!
RAMON '
Good! We should go again!
JOAN
But how about those people yelling "Bravi!"
and "Brava!"
RAMON
How do you mean?
JOAN
It's just so pretentious. "Bravi!" "Bravi!"
Why can't they just say "Bravo?"
RAMON
Well, it's the plural.
JOAN
I know --
RAMON
It's the plural of "bravo." It's what they
say to acknowledge the ensemble.
JOAN
No, I know, I know it's correct, it just --
don't you think there was something a
little pretentious about those people?
RAMON
Pretentious?
JOAN
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
all?
RAMON
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.
61
81 CONTINUED: 81
JOAN
Uh huh? OK, I see what you mean.
RAMON
You use the masculine for the male singer
and the feminine for the female singer.
JOAN
Yeah...Anyway, I really enjoyed it. Thank
you.
RAMON
We'll have to go again.
JOAN
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.
MATTHEW
(SINGS)
"My time of day is the dark time..."
LISA
Cue thirty-six, go.
GARY THE THEATER TEACHER (O.C.)
OK, hold up a second.
LISA
(INTO HEADSET)
OK, we're gonna do that one more time
please. Let's back it up please...
MATTHEW
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.
GARY
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?
62
83 CONTINUED: 83
MATTHEW
(SLOWLY)
By "Matthew," I assume you mean me?
GARY
Yes. I mean you.
Matthew comes slowly into the middle of the circle.
MATTHEW
Yes?
GARY
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? _
MATTHEW
So you'd like me to memorize them.
Everyone laughs.
GARY
Yes, I'd like you to memorize them!
Now. (Brightly) Your turn!
MATTHEW
But I'm not mad at anyone. I just want
everyone to think I'm a great guy.
Everyone laughs.
83A INT. SCHOOL THEATER. NIGHT. LATER. 83A
BECKY and LISA are in the circle,'both crying.
LISA
But I'm jealous of you...
BECKY
Why would you be jealous of me...!
LISA
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!
BECKY
Well, I'm really sorry if I hurt you!
63
83A CONTINUED: 83A
LISA
Me too!
They embrace tearfully. Many of the kids are moved. Some are
not. Becky leaves Lisa in the circle. Lisa wipes her eyes.
LISA (CONT'D)
Darren...?
Darren unglues himself from his perch on a table, and sits in
the circle with her.
LISA (CONT'D)
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 --
DARREN
(WITH UNDERSTANDING)
I know. I know.
LISA
(IN TEARS)
-- and it's like I can't even talk to
you about it because I hurt you so bad!
DARREN
Yes you can. Of course you can. You can
talk to me about anything.
LISA
I don't love anybody more than you!
You're practically my best friend!
DARREN
I love you too. I really do...!
They hug and cry. LESLIE raises her hand.
GARY
Leslie?
LESLIE
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
ANGIE
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.
GARY
Yes, Paul?
PAUL
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.
GARY
Oh you wanna hug me a little, don't you
Paul?
PAUL
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
is laughing.
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
WANTS:
65
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
STATION. DAY.
Lisa is on-the phone. Curtis is watching TV.
MITCHELL
(ON PHONE)
Accident Investigation. Detective Mitchell.
LISA
Hi, my name-is Lisa Cohen. I was a witness
in a bus accident case a few weeks ago...
MITCHELL
Yeah, hi, Lisa, what can I do for you?
LISA
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.
MITCHELL
Yeah, I can --
LISA
Or is that like classified information?
MITCHELL
No no. Family's been notified...Lemme see
what I got.
LISA
She mentioned she had a daughter...
MITCHELL
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
Arizona...
LISA
So did you have the trial, or whatever?
Or did you make the -- did they have a
ruling yet?
66
85 CONTINUED: 85
MITCHELL
Yes. It was, uh, No Criminality found.
OK?
LISA
No Criminality.
MITCHELL
Right.
LISA
Wow. That's a -- great system you got.
OK. Wow.
MITCHELL
OK?
LISA
Yeah.
86 INT. LISA'S ROOM./INT. ABIGAIL'S HOUSE. DAY. 86
Lisa is on the phone.
LISA
Yes, I'm trying to reach Abigail Berwitz?
ABIGAIL
This is Abigail.
LISA
Hi, my name is Lisa Cohen. You don't know
me...I...
ABIGAIL
Yes? Hello?
LISA
Hi. Sorry. Yeah. I was actually calling
about your cousin, Monica Patterson?
ABIGAIL
OK...?
LISA
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
died...
ABIGAIL
OK...?
LISA
Yeah. I was sort of holding her hand at the
time...
67
86 CONTINUED: 86
ABIGAIL
Yes? What can I do for you?
LISA
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 --
ABIGAIL
(ON "ASSUME"))
No. As far as I know they're doing
something or other next week. But --
LISA
I'm sorry: and I was also wondering, she
said something about her daughter?
ABIGAIL LISA
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.
LISA
Oh my God. Was it...Was she sick? Or was
IT --
ABIGAIL
She had leukemia.
LISA
Oh my gosh. And -- do you mind if I ask:
Was her name Lisa?
ABIGAIL
Yes...?
LISA
OK, see, that explains it. See, I think
she thought --
ABIGAIL
Could I just interrupt? How did you get
this number?
LISA
Oh -- the police -- I asked the Accident
Investigating investigator who to contact
if I wanted to --
ABIGAIL
(ON "IF")
Well they really shouldn't be giving out my
number. (blurts out) This is harassment!
68
86 CONTINUED: (2) 86
LISA
(SHOCKED)
I'm sorry! -I'm not trying to harass
YOU --
ABIGAIL
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
with me.
LISA
I'm sorry! I didn't really know who to
CONTACT --
ABIGAIL
Now I can give you her number, but I would
very much appreciate it if the calls would
stop.
LISA
Yes -- Please. Can you hold on while I get
a pen?
ABIGAIL
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.
EMILY
I guess it would be all right ...It's only
going to be a few close friends, and some
clients I imagine...
LISA
Oh so was she a lawyer?
EMILY
Monica? No. She was a social worker. She
used to be, anyway. She had -- several
careers.
69
87 CONTINUED: 87
LISA
Were you really good friends with her?
EMILY
Yes I was.
88 INT. COHEN APARTMENT. DAY. 88
Joan is reading audition sides. Lisa passes through, dressed
somberly.
JOAN
Where you going, sweetie?
LISA
I'm going to that woman's funeral.
JOAN
Are you sure you don't want me to come?
LISA
Why? I don't even know her.
JOAN
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.
EMILY
Hi. Are you Lisa?
LISA
Yeah. Thank you so much for letting me
come.
EMILY
Why don't you come on in? We're about to
start. Do you want anything to drink?
LISA
Oh -- Um -- no thanks.
EMILY
We have bad hors d'oeuvres and good hors
d'oeuvres.
LISA
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.
70
90 CONTINUED: 90
EMILY
Well-thank you all for coming.
WOMAN MOURNER
Thank you for doing this, Emily.
THE MOURNERS
Yes, thank you, Emily.
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.
EMILY (CONT'D)
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
another story.
Everybody laughs.
EMILY (CONT'D)
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.
71
90 CONTINUED: (2) 90
2ND MOURNER
She sure did.
EMILY
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.
WOMAN MOURNER
It's OK, Emily.
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.
LISA
Emily, thank you so much for letting me be
here.
EMILY
Don't be silly, honey. You were sweet to
come by.
LISA
Didn't she have any family?
EMILY
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...
LISA
Yeah...
EMILY
Well, she's a living nightmare. They never
got along at all.
WOMAN MOURNER
Excuse me. Good bye, Emily. Thank you so
much for doing this.
Emily and the Woman Mourner hug each other goodbye.
72
91 CONTINUED: 91
EMILY
Listen. I still can't believe this is
happening...! (she starts crying) I mean
what the fuck is wrong with her?
WOMAN MOURNER
I don't know!
EMILY
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?
LISA
(startled, embarrassed)
I'm sorry! I just wanted to say goodbye.
EMILY
It's OK. Thank you for coming. You're
very sweet.
LISA
(to Woman Mourner)
Goodbye.
WOMAN MOURNER
Goodbye.
As Lisa-goes out she hears:
WOMAN MOURNER (CONT'D)
Who is that?
EMILY
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
you?
WOMAN MOURNER
No...
92 TIME PERMITTING. 92
93 TIME PERMITTING. 93
94 TIME PERMITTING. 94
73
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.
LISA
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.
JOHN
(READING)
"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?
LISA
I don't know.
JOHN
Take a stab. What do you think Shakespeare
is saying about human suffering here?
LISA
I don't know. Sorry.
JOHN
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.
LISA
I don't really have a lot to say. It seems
pretty self-evident to me.
JOHN
(Pause. Then:)
Matthew?
MATTHEW
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.
(MORE)
Green Revised 10/7/05 - Page 74
96 CONTINUED: 96
MATTHEW (CONT'D)
Like as far as the gods are concerned we're
just ants. Nothing. (like a newscaster
turning to his colleague) Darren?
The class laughs.
DARREN
(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.
JOHN
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?
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
BOYS
JOHN
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
human suffering.
DAVID
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.
JOHN
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.
DAVID
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
JOHN
OK, but -- I still don't think that's what
he's trying to say. Um...
DAVID
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?
JOHN
(LOST)
I don't know ...Um -- Monica?
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 --
MATTHEW
Yes. Much like flies to wanton boys.
Anybody? Anybody?
MONICA
Yeah...1
DAVID
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
anything?
JOHN
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 --
DAVID
Scholarly opinion...:
JOHN
And in this particular play what I think
he's trying to say is pretty black --
pretty bleak --
DAVID
But what are you saying? A thousand
Frenchmen can't be wrong?
2nd Blue Revised 10/28/05 - Page 76
96 CONTINUED: (3) 96
JOHN
No, I'm not saying that. But I would
like to move on --
DAVID
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
undeveloped.
JOHN
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.
LISA
Hi Dad.
KARL
Yeah! Hi! How's everything been going?
LISA
OK. How are you?
KARL
Not too bad. Pretty good. I'm sitting here
listening to some music. Having a glass of
delicious beer.
LISA
That sounds pleasant.
KARL
Yeah. Yeah. How are you? How's the
boyfriend situation?
LISA
Well...there's this one guy I sort of had
something going with. But he kind of has a
girlfriend, so...
KARL
Uh huh?
2nd Blue Revised 10/28/05 - Page 76A
98 CONTINUED: 98
LISA
I realize I'm incredibly enthralling...
77
98 CONTINUED: (2) 98
KARL
You are. You're a beautiful girl. And
you've got brains. That makes you
dangerous.
LISA
Don't forget mature.
KARL
Well -- I'm hoping you're not too mature.
LISA
No...Don't worry.
KARL
OK good. That was a good answer,.
LISA
Anyway, I do think it's a pretty long-
standing relationship...
KARL
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?
LISA
Well, I think he already knows I like him.
KARL
Uh huh? OK...
LISA
.I think I might have spilled the
beans on that one a little --
KARL
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
tough.
LISA
Well, thanks, Dad. I'll be sure to try out
the technique next time I see him.
KARL
Yeah. Lemme know what happens.
LISA
78
98 CONTINUED: (3) 98
KARL
OK. Well, everything's OK here...A little
SLOW --
LISA
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
on this...
KARL
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
LISA
. so do you think I should go back to the
police, or what?
KARL
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
would be.
LISA
You mean to protect myself before I go
back?
KARL
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.
ANNETTE LISA
Hey...! Actually, Dad? Please
don't call anybody.
KARL Seriously. I appreciate
Hi babe. your taking charge and
everything, but --
ANNETTE Hello?
Did you get my message?
KARL
Um -- I got a message.
79
100 CONTINUED: 100
ANNETTE
About the flowers? For my mother?
KARL
I don't know. Yes. Hold on. (To
LISA) I'm sorry, Annette just
walked in.
LISA
That's OK.
ANNETTE
Who are you talking to?
KARL
I'm -- It's -- could I just --
LISA
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.
KARL
Uh huh?
ANNETTE LISA
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
ANNETTE Shaw.
Good. Will you please ask her
KARL
I'm sorry, Lisa. Hold on one
second.
LISA
OK.
KARL
(TO ANNETTE)
Yes.
ANNETTE
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
KARL
Yes: I will: We're just in the middle of
something.
60
100 CONTINUED: (2) 100
ANNETTE
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?
KARL
OK, you know what? I want to talk about
this, not right now.
ANNETTE
-- 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.
KARL
I'm going to ask her. I will. We're right
in the middle of something.
ANNETTE
OK. Tell her I said hi.
LISA
Hello?
KARL
(TO LISA)
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.
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...
MARETTI
(ON PHONE)
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.
MRS MARETTI
Hi, can help you?
LISA
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...
MRS MARETTI
Oh my God, were you? Oh my God, what a
thing, huh?
82
108 CONTINUED: 108
LISA
Yeah...I was just wondering if I could talk
to him fora minute. Is he home?
MRS MARETTI
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.
LISA
Hi. I'm really sorry to bother you...We
never met. My name is Lisa Cohen...
MARETTI
Yeah...What can I do for you?
LISA
Well...do you remember me? From the bus
accident?
MARETTI
I don't know.. .What' s this about?
LISA
Well, would it be OK if I talked to you for
a minute?
MARETTI
What do you want to talk about? I don't
understand.
LISA
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.
MARETTI
How did you get my address?
LISA
It's in the phone book. I was gonna call
first...
MARETTI
Well, it woulda been better if you woulda
called. We're about to sit down...
Mrs Maretti has drifted back toward them.
Yellow Revised 10/9/05 - Page 83
109 CONTINUED: 109
MARETTI (CONT'D)
I don't get what, uh...Yeah all right.
Let's go outside.
LISA
I'm sorry: Could I use your bathroom?
MARETTI
No, let's just go outside.
MRS MARETTI
Oh Gerry, let her use the bathroom.
MARETTI
No, I don't want her to use the bathroom.
I don't understand what this is.
MRS MARETTI
It's right over there, honey. (turning)
Will you kids settle down, please! I'm not
kiddin'!
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'
bathroom.
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.
MARETTI
(to MRS MARETTI)
Honey, just do me a favor, wait inside.
MRS MARETTI
No. I wanna hear what this is.
LISA
Well ...If it's OK, I'd rather talk to Mr
Maretti in private.
Yellow Revised 10/9/05 - Page 84
112 CONTINUED: 112
MRS MARETTI
No it's not OK.
MARETTI
OK. We're just tryin' to...OK: What?
Lisa looks at them, wishing Mrs Maretti would leave.
LISA
OK. I hope this isn't going to insult you
too much...
MARETTI
Insult me...?
LISA
.I was just wondering if you felt bad at
all about what happened.
MARETTI
Do I feel bad about the accident?
LISA
Yeah.
MRS MARETTI
You know, honey? Are you just upset about
the accident...?
LISA
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!?
MRS MARETTI
Gerry... why don't we all go inside and sit
down?
LISA
(ON "WHY")
Could I please talk to you alone?
MRS MARETTI.
OK, what is goin' on here?
MARETTI
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,
all right?
MRS MARETTI
All right.
Yellow Revised 10/9/05 - Page 84A
112 CONTINUED: (2) 112
As Mrs Maretti goes inside:
MARETTI
(MORE JOVIALLY)
No, you know what? Let 'em kill each other.
Give us all a rest. (To LISA) All right,
Lisa. What.
Yellow Revised 10/9/05 - Page 85
112 CONTINUED: (3) 112
LISA
I just...Well, I just want you to know...
MARETTI
Yes? What? Speak!
LISA
Well... you probably already know,
obviously, that I told-the police on the
police report that I thought the whole,
thing was an accident...
MARETTI
Uh huh. Right. Because it was an accident.
LISA
Well -- I mean, I know you didn't do it on
purpose.
MARETTI
On purpose...?
LISA
But it wasn't like...
MARETTI
What. (Pause) Speak. Talk! What!
LISA
Well ...I mean ...We were looking at each
other...
MARETTI
Who was looking at each other...? You and
me?
LISA
Well ...Yeah ...I mean. . .not like...
romantically or anything...
MARETTI
Romantically...!
LISA
OK, scratch that. 'Cause that's not
even... relevant...
MARETTI
(ON "EVEN")
You're not comin' through very clearly!
LISA
OK. I can see the way this is.
MARETTI
The way what is? What! Speak to me! What?
Yellow Revised 10/9/05 - Page 85A
112 CONTINUED: (4) 112
LISA
I am --
MARETTI
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
talkin' about.
(MORE)
Yellow Revised 10/9/05 - Page 86
112 CONTINUED: (5) 112
MARETTI (CONT'D)
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!
What! What!
LISA
All right! Well...the way I remember the
accident is that you were wearing this
cowboy hat --
MARETTI
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.
What.
LISA
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 --
MARETTI
No Criminality, that's right.
LISA
-- 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.
MARETTI
OK. I'm gettin' a little confused over
here.
LISA
Only nobody said that to them. And I just
wanted to like, acknowledge with you that
that's what happened.
MARETTI
OK. First of all, I don't really know what
you mean by wavin' at you...What were you,
tryin' to catch the bus...?
LISA
No...Yes. But I wanted to ask about your --
Yellow Revised 10/9/05 - Page 86A
112 CONTINUED: (6) 112
MARETTI
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.
Yellow Revised 10/9/05 - Page 87
112 CONTINUED: (7) 112
LISA
You don't remember looking at me and waving
at me?
Mrs. Maretti comes out again.
MARETTI
No. Not really. No.
LISA
Well ...I think we both remember something
different.
MRS MARETTI
Your brother's on the phone.
MARETTI
Tell him I'll call him back.
Mrs Maretti goes back inside.
LISA
I'm not trying to get you in trouble.
MARETTI
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.
LISA
So you're just gonna leave it?
MARETTI
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.
LISA
I'm not talking about bringing her back.
.I'm talking about telling the accident
investigators what really happened.
MARETTI
But you already talked to them!
Yellow Revised 10/9/05 - Page 88
112 CONTINUED: (8) 112
LISA
I know that. But I lied.
MARETTI
You lied.
LISA
Yes. And I can understand if you don't want
to get in trouble, but.--
MARETTI
Then how come nobody else saw it?
LISA
I can't help what other people saw --
MARETTI
You would think somebody else would see it.
LISA
I just know what I saw!
MARETTI
Then why didn't you say something right
then?
LISA
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
what happened."
MARETTI
Oh, now I really don't know what you're
talkin' about.
LISA
I can't prove that you were doing that --
Mrs Maretti comes back outside.
MARETTI
What did I say anything to you? Did I
threaten you?
LISA
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 --
MARETTI
(AFTER "HAPPENED")
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!
Yellow Revised 10/9/05 - Page 89
112 CONTINUED: (9) 112
MRS MARETTI
Gerry! Take it easy!
MARETTI
(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!
LISA
I just want to say what really happened.
MARETTI
Hey do whatever you fuckin' want.
MRS MARETTI
Gerry -- !
MARETTI
But those cops are gonna laugh in your
fuckin' face because this was not my fault!
LISA
It was both our fault.
MARETTI
What'd you say?
LISA
It was both our fault.
Maretti scrambles in his pocket for a pen.
MARETTI
Yeah. Don't say that to me.again without a
lawyer. Gimme your phone number.
MARETTI
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!
Lisa Cohen!
LISA
Fine! It's -- um -- 212- 555 --
Yellow Revised 10/9/05 - Page 89A
112 CONTINUED: (10) 112
MARETTI
Hold on. (writes) 555 --
Yellow Revised 10/9/05 - Page 90
112 CONTINUED: (11) 112
LISA
0157. Why do you need it?
MARETTI
Do whatever you're gonna do. I hope you got
a good lawyer.
LISA
I don't know why you're --
Maretti turns and goes in the house.
MRS MARETTI
You know this was very traumatic for him!
LISA
(FURIOUS)
It's almost as bad as getting your deg cut
OFF
MRS MARETTI
Does your mother know you're here?
LISA
Yes.
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.
EMILY
Why didn't you say anything before?
LISA
I guess I was afraid. I didn't know what to
do.•
EMILY
You didn't know what to do? The woman is
killed right in front of you and you didn't
know what to do?
LISA
I know it doesn't sound very impressive.
EMILY
Impressive! (Pause) All right: I know
you're trying to do the right thing now.
What does your mother say?
LISA
My mother hasn't really been that helpful.
91
113 CONTINUED: 113
EMILY
What do you mean?
LISA
I mean she's got a lot going on right now
and she just hasn't been that interested, I
guess.
EMILY
What could she possibly have going on?
LISA
Her show is opening.
EMILY
What do you mean, her show? What show?
LISA
She's in a play.
EMILY
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?
LISA
Well, it's kind of a big deal for her.
She has a really big part.
EMILY
I'm sorry. I don't know your mother, but,
that is pretty shocking.
LISA
I guess she's really worried about getting
a bad review or something.
EMILY
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
with you?
LISA
No thanks.
EMILY
Do you think maybe you should ask your
mother to go with you?
LISA
I think I can handle this part myself.
EMILY
Oh, I am so angry. I am so angry.
92
113 CONTINUED: (2) 113
LISA
He didn't do it on purpose.
EMILY
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?
LISA
I will if you will.
EMILY
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.
JOAN
(SHARP)
Hey! Let me tell you something, Eliot --
She is interrupted by entrance APPLAUSE.
JOAN (CONT'D)
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?
VICTOR
Um -- you're not fired...?
This gets a pretty big laugh from the audience.
JOAN
Oh. (Abashed, friendly) What are you guys
talking about?
Another big laugh.
IN THE AUDIENCE -- LISA, CURTIS and RAMON sit together,
dressed up for opening night. Ramon nudges Lisa.
RAMON
She's good, eh?
93
114 CONTINUED: 114
LISA
(Grudging but proud)
Yes...
115 INT. COHEN APARTMENT -- LIVING ROOM. MORNING. 115
Lisa is on the computer. Joan is standing behind her.
JOAN
Did you find it?
LISA
Just a minute!
JOAN
Can we just forget it? If they were any
good somebody would have called me last
night.
LISA
No we can't forget it, because I can't take
this anymore. What do you care what they
say about you anyway?
JOAN
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?
LISA
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 --
JOAN
Oh shut up.
LISA
So let me just find the review and then we
can both kill ourselves, OK?
JOAN
Fine.
Lisa finds The New York Times review online.
LISA
OK:
JOAN
Did you find it?
Green Revised 10/7/05 - Page 94
115 CONTINUED: 115
LISA
Yes.
JOAN
Is it bad?
LISA
Let me read it. (she reads) OK, it's really
good.
JOAN
It is?
LISA
Oh my God. Listen to this:
JOAN
Don't read it to me.
LISA
".. .but it is the frankly extraordinary
Joan Kaplan who transforms the savage wit
of David Holmes' acid comedy-drama into
something approaching sheer luminosity..."
JOAN
Get out.
LISA
"But don't be misled by her feather-light
touch and expert comic timing. With the
canny (Has trouble enunciating:) bray...
JOAN
Bravura?
LISA
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
and magical."
JOAN (CONT'D)
Shut up!
LISA
OK. This is the best review I've ever read.
JOAN
Just for me, or for everyone?
Green Revised 10/7/05 - Page 94A
115 CONTINUED:. (2) 115
LISA
(READING)
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
come.
2nd Blue Revised 10/28/05 - Page 95
115 CONTINUED: (3) 115
JOAN
Fuck him, what does he know? (A la Noel
Coward) Maddening and magical, eh? If only
I knew what that meant.
LISA
Oh my God you're a huge star.
JOAN
Oh my God!
LISA
Can I make coffee now?
JOAN
Yes. Thank you honey.
Lisa heads for the kitchen as the PHONE RINGS.
LISA
Here come the offers.
JOAN
(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.
JOHN
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
(MORE)
2nd Blue Revised 10/28/05 - Page 95A
116 CONTINUED: 116
JOHN (CONT'D)
By and by, nor spare a sigh
Though worlds of wanwood leafmeal lie,
(MORE)
96
116 CONTINUED: (2) 116
JOHN (CONT'D)
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."
Silence.
JOHN (CONT'D)
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?
LISA
Um, yeah. Is Detective Mitchell here?
2ND A.I.S. DETECTIVE
No he's not.
LISA
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
with something?
LISA
Um, well, do you know when do you expect
him?
2ND A.I.S. DETECTIVE
What's this about?
LISA
I was involved in an accident a few weeks
AGO --
2ND A.I.S. DETECTIVE
Uh huh?
97
119 CONTINUED: 119
LISA
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?
LISA
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?
LISA
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...
LISA
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
(ON "SO")
You remember the case number?
LISA
No. Sorry. It was that woman Monica
Patterson, who got run over by the bus, on
Broadway -- it was in a lot of the
newspapers...
2ND A.I.S. DETECTIVE
OK, yeah, sure OK. Sit down, sit down.
LISA
(SITTING)
Thank you. I ---
2ND A.I.S. DETECTIVE
You know the case is closed.
LISA
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?
98
119 CONTINUED: (2) 119
Another male detective walks by, behind LISA. The two men
exchange a glance referring to Lisa being a cute girl.
LISA
Yes.
2ND A.I.S. DETECTIVE
What do you mean it was closed because of
your statement?
LISA
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
case.
LISA
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?
LISA
Lisa Cohen.
2ND A.I.S. DETECTIVE
OK --
LISA
Don't call me honey, OK?
Pause.
2ND A.I.S. DETECTIVE
OK.
LISA
Are you not gonna help me now that I said
that?
2ND A.I.S. DETECTIVE
Look -- what's your name?
LISA
Lisa Cohen!
2ND A.I.S. DETECTIVE
OK Lisa, first thing, you're gonna calm
DOWN --
99
119 CONTINUED: (3) 119
LISA
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.
MITCHELL
This guy been givin' you a hard time?
LISA
No...
MITCHELL
What's this guy been sayin' to you?
LISA
Nothing. I don't know if you remember
me... I'm Lisa Cohen. I called you on
Monday?
MITCHELL
Sure I do. What's up?
120 INT. HIGHWAY ONE POLICE STATION - MITCHELL'S DESK - LATER 120
Lisa sits across from Mitchell.
MITCHELL
So now you're sayin' he ran the light.
LISA
Yes. He wasn't even looking at the road.
And I was definitely trying to get his
attention...
MITCHELL
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
about right?
LISA
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.
100
120 CONTINUED: 120
MITCHELL
And what do you think I should do with you?
Just gimme•a clue. 'cause I'm just a little
bit lost over here...:
LISA
Do whatever you want. I know what I did.
MITCHELL
OK. Well. Before we do anything, Lisa,
anybody will tell you that just because he
ran a red light is not a criminal offence.
LISA
Even if he kills someone?
MITCHELL
(SIMULTANEOUS)
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 --
LISA
(On 2nd "red")
So he's not liable to be prosecuted for
manslaughter? Or second degree murder?
MITCHELL
No. He could be charged with reckless
driving, and fillip' out a false police
report. Which, that's no joke --
LISA
That's unbelievable! What does he have to
do? Kill her on purpose?
MITCHELL
Yes. Because that's the definition of
murder. Killin' somebody on purpose.
You're not sayin' he ran her over on
purpose, are you?
Pause.
LISA
No.
Pause.
MITCHELL
All, right, look. Lemme take another
statement, and, uh...We'11 look into it,
OK?
101
120 CONTINUED: (2) 120
LISA
You're kidding.
MITCHELL
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.
LISA
(VERY GRATEFUL)
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.
BONNIE
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.
LISA
(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.
BECKY
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.
LISA
Hi John.
BECKY
Hi John. (Pause) Want some?
They giggle.
102
121 CONTINUED: 121
JOHN
Come on, guys. You can't be smokin' a j.
on your way to a school soccer game! Now
come on!
LISA
Sorry.
BECKY
We're really sorry.
John glares at them, then turns and walks away.
LISA
(STAGE WHISPER)
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.
LISA
Hi, Mr Aaron...!
MR AARON
How are you, Lisa?
LISA
I'm pretty damn good. How are you?
MR AARON
I'm all right, I'm all right-Tell me
something. Whatever happened with that
situation?
LISA
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
that?
MR AARON
Um, a Trek.
LISA
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?
103
122 CONTINUED: 122
MR AARON
As far as I know, no, it doesn't, no...
LISA
But you must have ridden a lot of horses.
MR AARON
What makes you say so?
LISA
Aren't you from Texas or Wyoming or
someplace like that?
MR AARON
Someplace like what?
- LISA
You know: Not New York.
MR AARON
I'm actually from Indiana. But don't let me
overwhelm you with superfluous details.
LISA
God, so what are you doing at a New York
private school teaching geometry to a bunch
of overprivileged liberal Jews?
MR AARON
Is that a real question, or a Lisa
question?
LISA
What's a Lisa question?
MR AARON
A question designed to prolong the
conversation without there being any
particular interest in the actual
answer...?
LISA
About half and half.
MR AARON
In that case --
LISA
Before you go, I am actually thinking of
getting one of these. Can I try it? Just
for one second?
MR AARON
All right.
LISA
Thanks.
104
122 CONTINUED: (2) 122
Aaron gets off the bike. She climbs on. The seat is too high
for her.
MR AARON
You want me to adjust the seat?
LISA
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.
LISA (CONT'D)
I like your bicycle...! Can I have it?
MR AARON
No!
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)
OK. Off.
LISA
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.
MR AARON
Lisa...!
LISA
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.
MR AARON
I can't even be having this conversation
with you.
LISA
Yeah, you keep saying that, but I notice
you're still standing here.
MR AARON
You're absolutely right. Goodbye.
He gets on the bike.
LISA
It's not my fault if I revere you as a god!
105
122 CONTINUED: (3) 122
He laughs or smiles briefly in spite of himself.
LISA (CONT'D)
Oh my God. I made you laugh. I am so happy
right now.
MR AARON
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.
JOAN
Hi. Where have you been? I didn't know.if
you wanted dinner.
LISA
Oh -- no thanks. I'll order something.
JOAN
Someone named Emily called. And Detective
Mitchell called from the Accident
Investigation Squad. Is that the one you
talked to?
LISA
Yeah, did he say anything?
JOAN
Just to call him back. What's going on? Did
you ever go back and see him?
LISA
I'd rather not talk about it when you have
one foot out the door. I'll tell you later,
if that's OK.
JOAN
Of course it is. Who's Emily?
LISA
She's the friend of the woman who died, the
one who had the funeral...
JOAN
Oh yeah, OK. Well, her number's by the
phone.
LISA
OK. How's Ramon?
JOAN
Oh God. I don't know. I mean I really like
him. He's really nice.
(MORE)
Green Revised 10/7/05 - Page 106
123 CONTINUED: 123
JOAN (CONT'D)
But I'm not sure he actually ever
understands a word I say.
LISA
Give him a chance, Mom, you just met-the
guy.
JOAN
But don't you know what I mean? I just feel
kind of lonely when I'm with him. You know?
LISA
You feel lonely when you're with him?
JOAN
Yeah. You never felt that way when you were
with someone?
LISA
I guess so. I feel that way all the time.
You get used to it.
JOAN
Well ...I don't know how serious I want to
get with somebody who makes me feel that
way.
LISA
So don't get serious. That's my advice.
Pause.
JOAN
All right. I'm gonna go.
LISA
Have a good show.
JOAN
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.
JOAN
'Bye sweetie.
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.
107
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.
NEIGHBOR
Hello...!
JOAN
(SMILES)
Hello.
NEIGHBOR
Congratulations on the show...!
JOAN
Thank you.
NEIGHBOR
That was such a wonderful review...! And
I read somewhere it might be going to
Broadway?
JOAN
Supposedly. In March.
NEIGHBOR
God! Exciting...!
JOAN
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.
EMILY
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.
LISA
OK, great.
EMILY
So Dave, just tell Lisa everything you told
me, if you don't mind repeating
YOURSELF --
DAVE
Not at all. I love to repeat myself.
LISA
Are you guys gonna order something?
108
128 INT. COLUMBUS AVENUE RESTAURANT. DAY. LATER. 128
They are drinking coffee. Lisa smokes.
DAVE
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.
LISA
As opposed to what?
DAVE
As opposed to common law, which is law made
by judges. Which is why the damages are
limited.
LISA
I don't understand.
EMILY
Look, just skip that part. We don't care
about that.
LISA
I thought we were trying to get the
police to arrest this guy...!
DAVE
No -- the police are not, uh --
LISA EMILY
Why not? They told me they Dave doesn't think the
were gonna look into it police are gonna --
again.
DAVE
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 --
LISA
(ON "THAT'S")
So what can we do?
DAVE
Well. I'm --
LISA
Sorry.
Pink Revised 9/25/05 - Page 109
128 CONTINUED: 128
DAVE EMILY
That's OK -- That's OK, honey...
DAVE
I'm just getting to that. You can't
do anything unless you're a relative --
EMILY
She didn't have any relatives, except for
those idiots in Arizona --
DAVE
(ON "EXCEPT")
-- or -- hang on a minute -- unless you're
executor of her estate --
EMILY
I am the executor of her estate.
DAVE
-- which is Emily. I know.
EMILY
So good.
DAVE
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...
LISA
You can really sue for that?
DAVE
Yeah, and that's probably what we would do,
LISA
So -- I don't understand. Who are we suing?
The bus driver?
DAVE
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.
LISA
But do you think the driver would get
fired?
Pink Revised 9/25/05 - Page 109A
128 CONTINUED: (2) 128
DAVE
No. Not necessarily.
110
128 CONTINUED: (3) 128
LISA
Even if all the facts came out at the
trial?
DAVE
Maybe. I don't know.
EMILY
But how much could they be liable for?
DAVE EMILY
It depends: How badly do you think we
could ever hurt them?
DAVE
-- if she was alive, in great pain for an
extended period of time, they give more
money for that.
LISA
I'd say she was alive for ten minutes.
DAVE
And I gather in a lot .of pain?
LISA
Her leg was cut off.
DAVE
Yes -- obviously. And -- but was she
conscious? Awake, the whole time?
LISA
I'm sorry, Emily. (To DAVE) Yeah, awake.
EMILY
That's OK.
DAVE
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
good case.
LISA
Why not?
DAVE
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
EMILY
Nobody really cares about getting a lot of
money here.
DAVE
I understand that --
EMILY
We just want this prick to Buffer. and we
want the bus company to take resonsibility
for hiring this guy.
DAVE
I understand. But no matter how you slice
it, the fact that Lisa lied on her first
statement is a disaster for your lawyer.
LISA
Can't I explain why I lied the first time?
It's not like I'm trying to get any money
for myself.
DAVE
That's true-Since she have no financial
interest she can't be impeached for bias.
EMILY
Impeached for what?
DAVE
She can't have her credibility attacked on
financial grounds because the jury knows
you're not getting any money if you win.
LISA
So that's'something, isn't it?
EMILY
But do you really think we know what that
means?
DAVE
I'm sorry. That's what its called.
EMILY
But who are you talking to? You know we
don't know what that means. It's like
you're not really concentrating.
DAVE
I -- don't know. I am concentrating. I'm
just thinking out loud.
EMILY
OX. All right. I'm sorry...I
(TO LISA)
(MORE)
Pink Revised 9/25/05 - Page 111A
128 CONTINUED: ( 5) 128
EMILY (CONT'D)
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
DAVE
Anyway.. the only thing I could think of is
it i@ the MTA. So they're not gonna want a
lot of publicity.
LISA
Anyway, the whole point is to get this guy --
EMILY
Is to fucking get this guyl
LISA
No, its to get him out from behind the
wheel of a bus!
DAVE
Did she know she was dying? I only ask
because the terror of knowing you're dying
raises the damages.
LISA
I think she had a pretty good idea.
DAVE
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
down to...
EMILY
I know. We know, Dave. That's OK.
Silence. Emily starts to speak:
DAVE
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.
EMILY
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.
LISA
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.
113
130 CONTINUED: 130
MITCHELL
Detective Mitchell.
LISA
Oh, hi, it's Lisa Cohen calling.
MITCHELL
Hi Lisa, what can I do for you?
LISA
Well, I was just wondering what ever
happened, if anything, with the case.
You said you might re-interview the bus
driver...
MITCHELL
Yes, we did:.We brought him back in --
LISA
You did? What happened?
MITCHELL
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
point.
LISA
But how did you ask the questions?
MITCHELL
Excuse me?
LISA
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.
MITCHELL
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 --
LISA
Yeah, not to white people.
MITCHELL
Excuse me?
114
130 CONTINUED: (2) 130
LISA
You don't do it to white people. Anyway,
I'm not saying you --
MITCHELL
We don't do it to who?
LISA
Oh my God...
MITCHELL
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 --
LISA
Yes, thank you, yes.
MITCHELL
-- 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 --
LISA
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:
LISA
So there's no way to appeal --
SERGEANT V.O.
(over the phone, flat)
There's nothin' to appeal. There's no case.
LISA
But how do you know Detective Mitchell
interrogated him aggressively enough if you
weren't there?
JOAN
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.
115
132 CONTINUED: 132
JOAN
-- 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.
RAMON
But why do you put yourself down? It's a
wonderful show and a wonderful performance.
JOAN
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
experience.
RAMON
Mm hm?
She takes a few steps away.
JOAN
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?
RAMON
What do you mean?
JOAN
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?
RAMON
I don't think we should talk about that,
Joan.
JOAN
You don't? Well...I think it's kind of
important or I wouldn't have brought it up.
RAMON
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.
JOAN
My friends...!
RAMON
Yes.
2nd Pink Revised 11/17/05 - Page 116
132 CONTINUED: (2) 132
He sips his drink. Joan doesn't know what to say. Pause.
RAMON (CONT'D)
May I show you some pictures of my boys?
JOAN
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.
RAMON
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.
JOAN
Uh huh...
RAMON
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.
JOAN
Yeah...I haven't really been following it.
RAMON
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
solution.
JOAN
Yeah. God...I wish I knew more about
it...Do you mind if I ask you something?
RAMON
Of course not.
JOAN
Why are you interested in me?
2nd Pink Revised 11/17/05 - Page 116A
132A CONTINUED: 132A
RAMON
You don't think I should be?
JOAN
I just feel kind of ignorant about your
whole world...
RAMON
You think it would be better if we knew
about all the same things?
JOAN
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
RAMON
Not for me.
JOAN
I guess you travel a lot. I've only been
out of the country a few times in my whole
life.
RAMON
You should travel more.
JOAN
I know. I've always wanted to. It's hard
when you're in the theater...
RAMON
Still, you should try. It's a big world.
You're an artist. You should see more of
it.
JOAN
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 --
RAMON
Karl.
JOAN
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.
RAMON
I don't say you're ignorant... Do you think
Lisa will be interested in acting?
JOAN
I don't think so. I think's she's got a
lot of contempt for it. Of course that may
be the age.
RAMON
She would prefer the world with no plays?
No films?
JOAN
Oh... Who knows.
2nd Pink Revised 11/17/05 - Page 117A
132A CONTINUED: (3) 132A
RAMON
Would you like to see a picture of my
mother?
JOAN
Sure.
RAMON
These are all my aunts and uncles...See?
Big family...
JOAN
Mmm.
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.
DAVE
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
EMILY
You called a what? A what?
DAVE
Private Investigator -- to see if he could
find anything out about your bus driver --
LISA
Really?
DAVE EMILY
Yeah: So he -- Dave!
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...
EMILY
Yeah? Yeah? Yeah?
DAVE EMILY
And -- Just a minutel Jesus Christ! What do we
give a fuck about the MTA
police and their uniforms?!
DAVE
-- 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 --
EMILY
What?
DAVE
-- 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 --
EMILY
Are you fucking kidding me?
LISA
Why does this not shock me?
DAVE
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
EMILY
(i.e., "I get it.")
O-Kay...l
DAVE
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.
LISA
This is making me sick.
DAVE
I know, but what it means, Lisa, is that we
have a case.
LISA
We do?
DAVE
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
killed somebody.
EMILY
And you can prove that?
DAVE
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
it anyway.
LISA
YOU'RE AWESOMEL
EMILY
And that means...
DAVE
That means we're in great shape and I think
we should go in there and sue their fuckin'
asses off.
EMILY
But you wouldn't be our lawyer, right?
Pink Revised 9/25/05 - Page 120
134 CONTINUED: (3) 134
DAVE
No no. Oh no.
LISA
Why not?
DAVE EMILY
I'm not a personal injury It's not his area.
litigator. I don't know
enough about it. I would
lose.
EMILY
But you could recommend someone?
DAVE
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...
EMILY
Dave, thank you so much.
LISA
Really. My God.
DAVE
But you gotta get that crazy cousin on
board because she's gonna be your
beneficiary.
EMILY
She's not gonna want to come to New York, I
can tell you that right now.
DAVE
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.
LISA
What's with Monica and her cousin?
EMILY
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.
(MORE)
Green Revised 10/7/05 - Page 121
135 CONTINUED: 135
EMILY (CONT'D)
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.
LISA
So that's who we're getting the money for?
EMILY
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.
DEUTSCH
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
six. Depending.
LISA
Six years!
DEUTSCH
Depending, yes.
EMILY
Now, I mentioned to Dave I have a friend
who writes for the Metro section of the
Times...
DEUTSCH
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
POSSIBLE --
EMILY
So they'd.make it a condition that
122
136 CONTINUED: 136
DEUTSCH
It's usually done, you get the money but
you can't talk about it. Nobody knows the
terms.
LISA
So what good does that do?
DEUTSCH
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.
LISA
By getting money from their employers'
insurance. companies?
DEUTSCH
Yes. It's called Punitive Damages.
Pause.
LISA
Could we insist they fire the driver? As
part of the settlement?
DEUTSCH
Yes, sure, why not?
LISA
But is that something people do?
DEUTSCH
Sure. It's one of your conditions.
EMILY
Great.
LISA
And you think we're gonna win? They're
gonna settle?
DEUTSCH
Oh they're gonna settle.
LISA
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.
123
137 CONTINUED: 137
JOAN
I want to talk to you.
LISA
What'd I do now?
138 INT. EMILY'S APARTMENT -- FRONT DOOR. DAY. 138
Emily opens the front door for Joan and Lisa.
JOAN
Hi. I'm Joan. It's nice to meet you.
EMILY
Nice to meet you too. Come on in.
- LISA
(SARDONICALLY)
Hi Emily.
139 INT. EMILY'S APARTMENT -- LIVING ROOM. DAY. 139
Emily, Joan and Lisa settle on the sofa and chairs.
JOAN
.I had a friend who used to live on this
block, at 262...?
EMILY
Oh...?
JOAN
Yeah, I don't know if you know her.
Cheryl Rowan? She's a physiotherapist?
EMILY
No, I don't know her.
LISA
I think about a thousand people must...
JOAN
What?
LISA
Nothing...
EMILY
Lisa says you're in a play, Joan?
JOAN
Oh -- Yeah...
LISA
You should go see it, it's really good.
124
139 CONTINUED: 139
JOAN
Well, the play is great, and it's a really
nice cast..-.
LISA
She's just being modest. She's gonna win
every award in New York.
JOAN
Oh -- all that stuff's a long way off.
EMILY
I don't go to the theater very much.
JOAN
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.
EMILY
Uh huh...
JOAN
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...
LISA
That show was so stupid.
JOAN
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
LISA
That's not true...!
JOAN
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.
(MORE)
125
139 CONTINUED: (2) 139
JOAN (CONT'D)
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
LISA
Yeah, I do.
JOAN
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.
LISA
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.
JOAN
All right --
LISA
We didn't need to have a big conference
about it.
JOAN
(EMBARRASSED)
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
awkward!
EMILY
Don't apologize. If Lisa hasn't been
keeping you apprised of what's been going
on, I think she should. You should.
LISA
There's nothing to keep her apprised of.,
We're just waiting for them to schedule the
Discovery conference.
JOAN
Now what is that?
LISA
Mom? It really doesn't matter.
126
139 CONTINUED: (3) 139
EMILY
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...
JOAN
OK, now where does she fit in?
EMILY
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.
DEUTSCH
How would you describe the relationship
overall? Did you talk on the phone a
lot? Were there a lot of visits --
ABIGAIL
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
call me...
DEUTSCH
And what were the nature of these
conversations?
ABIGAIL.
Oh, family stuff, mostly. Her family, my
kids...
DEUTSCH
And she would advise you about your family?
That kind of thing?
ABIGAIL
Oh, I would say so, yes.
DEUTSCH
Would you have any phone records? Or --
ABIGAIL
I have all my phone bills, if that's what
you mean. I didn't record the actual
conversations...
127
141 CONTINUED: 141
DEUTSCH
No no --
ABIGAIL
(PRODUCES BILLS)
You'll see we talked on the phone quite
frequently.
DEUTSCH
OK, that's terrific. I see you came
prepared...1
ABIGAIL
Well, I wanted to bring everything.
DEUTSCH
Now when they take your deposition you're
gonna say the same thing you just told me.
Talk about the relationship...
ABIGAIL
Uh huh?
DEUTSCH
Kind of advice she used to give you...
ABIGAIL
OK...?
142 INT. MIDTOWN RESTAURANT. DAY. 142
Emily, Lisa and Abigail sit over their lunch. Abigail is
drinking a white wine.
ABIGAIL
Now, Emily, where did you find this lawyer?
EMILY
He was recommended by a friend.
ABIGAIL
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 --
EMILY
My friend's heard of him. He says he's very
good..
ABIGAIL
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
EMILY
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.
ABIGAIL
No, if you all think he's good...
EMILY
I don't know whether he is or not. My
friend thinks he is.
ABIGAIL
All right. Now Lisa, what is your
involvement in all this? What's your angle?
LISA
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.
LISA
Oh my God, is that you?
EMILY
That's me.
LISA
And that's you and Monica obviously. Oh my
God. Is that her daughter?
EMILY
Uh huh.
LISA
God... So how old was she when she died?
EMILY
Twelve.
LISA
God. I can't even imagine.
EMILY
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
LISA
You know Monica asked about her when she
was dying?
2nd Green Revised 11/20/05 - Page 128A-129
143 CONTINUED: (2) 143
Emily looks up.
EMILY
No. I didn't.
LISA
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
dead.
EMILY
What do you mean? What did she say?
LISA
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
name...
Emily does not respond.
LISA (CONT'D)
But I couldn't tell if what I was saying
was registering with her.
Emily does not respond.
LISA (CONT'D)
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.
EMILY
(VERY DRY)
I see. And is she still inhabiting your
body? Or did she go right back to the
spirit world after it was over?
LISA
I didn't mean she ws literally inhabiting
my body. I don't believe in all that stuff
at all.
EMILY
I don't give a fuck what you believe in.
2nd Green Revised 11/20/05 - Page 129aA
143 CONTINUED: ( 3) 143
LISA
Oh my God! Why are you so mad at me!?
EMILY
Because this is not an opera!
LISA
(FLUSHING)
What? You think I think this is an opera?
2nd Green Revised 11/20/05 - Page 129A-130
143 CONTINUED: ( 4) 143
EMILY
Yes!
LISA
You think I'm making this into a dramatic
situation because I think it's dramatic?!?
EMILY
I think you're very young.
LISA
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!
EMILY
No, it means you care more easily! There's
a big difference! Except that it's not you
it's happening to!
LISA
Yes it is! I know I'm not the one who
was run over --
EMILY
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 --
LISA
I'm well aware of that!
EMILY
And this first-blush phony deepness of
yours is worth nothing.
LISA
Oh wow.
EMILY
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
games.
2nd Green Revised 11/20/05 - Page 131
143 CONTINUED: ( 5) 143
LISA
(drawing herself up)
I am not --
EMILY
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 --
LISA
Oh my God!
EMILY
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-
dramatization!
LISA
I'm not fucking dramatizing anything!
EMILY
(not having it)
OK --
LISA
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
strident?
EMILY
Strident?
LISA
Yeah.
EMILY
OK. Um, you should leave.
LISA
Why? Because I called you strident?
132
143 CONTINUED: ( 6) 143
EMILY
Yeah: Strident? You should leave. Thanks.
I don't wanna be called strident and you're
deliberately misunderstanding me!
LISA
No I'm not! You're insulting me enough as
it is: You don't have to call me stupid
too!
EMILY
Well I can't stop you doing this so I think
you had better go.
LISA
OK! I will.
EMILY
NOW!
LISA
OK! Let me get my purse!
Lisa grabs her purse and coat. Emily half-walks, half-drives
her toward the door.
LISA (CONT'D)
Does this mean we're dropping the whole
inquiry?
EMILY
It means you're leaving. I don't know what
else it means.
LISA
All I meant by saying you were strident was
that you were being emphatic! I obviously
misused the word!
EMILY
Look it up when you get home.
LISA
Jesus Christ. You're amazing.
EMILY
Yeah. Uh huh. I'm amazing.
LISA
(bursts into tears)
Why are you doing this... .!
EMILY
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!
(MORE)
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!
LISA
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
name!
EMILY
OK...
LISA
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.
EMILY
OK. I believe you. And look up "strident."
LISA
I will.
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.
JOAN
I've been in the theater my whole life and
nothing like this has ever happened to
me...
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.)
You are!
JOAN ON TV (O . C . )
(CHARMINGLY)
I guess...!
JOAN
Oh God.
Joan buries her face in her hands. Lisa watches scowling.
134
143B INT. COHEN KITCHEN. NIGHT. 143B
Joan is serving Lisa and Curtis dinner.
JOAN
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
afterwards.
LISA
All right. Let me ask her.
JOAN
Dig in everybody...
They start eating.
LISA
I was thinking about spending next year
with Dad.
JOAN
(SHOCKED)
Oh?
LISA
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
my scholarship.
JOAN
Have you talked to him about this?
LISA
We've had some general discussions.
JOAN
(TO CURTIS)
Do you want to go too?
CURTIS
(SURPRISED)
Me?
JOAN
Yeah. Do you want to move to LA too?
CURTIS
No.
JOAN
Well, just let me know if you do.
135
143B CONTINUED: 143B
LISA
Why are you being like this?
JOAN
Why am I being like what?
LISA
Why are you about to start crying?
JOAN
Because it's your intention to make me
start crying!
LISA
No it's not --
- JOAN
You want to move to LA. Move to LA.
LISA
But why can't this even be mentioned
without you taking it personally? I'm just
introducing a possibility!
JOAN
OH!
Joan upsets everything on the table and starts to go. She
comes back and upsets more things on the table.
JOAN
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!
LISA
Fine! Keep it up! It really makes me want
to stay here!
JOAN
You think you're so fucking perfect!?
She breaks something else and walks out.
LISA
No.
CURTIS
Good one.
LISA
Shut up.
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?
KLEIN
OK. Go ahead: Kirsten. Lionel: Put your
drum away.
Lionel stops drumming on his desk with his fingers.
KIRSTEN
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.
KLEIN
All right: Lisa?
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.--
LEWIS
Such as what?
LISA
Such as what? Such as, gee, I don't know:
the Hitler Youth?
KLEIN
OK... Hitler Youth.
LISA
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
critical faculties?
(MORE)
Green Revised 10/7/05 - Page 137
145 CONTINUED: 145
LISA (CONT'D)
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.
LEWIS
OK, Angie?
ANGIE
Yeah, I don't want to get into the whole
Palestinian thing again either, because
I realize I'm completely outnumbered --
ANTHONY
Not unlike the Palestinians themselves.
ANGIE
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!
LEWIS LISA
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
"frustrated!"
LEWIS
OK, OK! Monica?
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.
WHEREAS
2nd Blue Revised 10/28/05 - Page 138
145 CONTINUED: (2) 145
ANGIE
Yes. Yes!
LISA
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
ideological achievement!
ANGIE
Um, even if there's no other way to get you
out of my country?
LEWIS LISA
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!
ANGIE (CONT'D)
Oh they like it? They're just bad people
and they like it?
LISA
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!
MONICA LISA
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
Hey!
Silence.
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."
LISA
Why, adults don't yell and interrupt each
other?
2nd Blue Revised 10/28/05 - Page 138A
145 CONTINUED: (3) 145
LEWIS
Lisa!
LISA
Sorry.
LEWIS
Let's try to put this in a broader
perspective. The question was not actually
who's to blame in the Arab Israeli conflict
ANGIE
The Israelis.
139
145 CONTINUED: (4) 145
LISA
OK, you're a moron.
LEWIS
(he's had enough)
Lisa!
ANGIE KLEIN
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!
LISA
Fine. Thank you.
Lisa passes the blackboard, grabs some chalk and checks "NO. "
LISA (CONT'D)
By the way, she just proved my point.
ANGIE LEWIS
No I didn't. Lisa, GO!
Lisa leaves. Lewis turns to the class.
LEWIS
NOW:
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.
RAMON
That's the best show yet! Every time it's
a better performance.
JOAN
God, thank you! Hi, Emily, thanks so much
for coming...
EMILY
Oh, thank you for the tickets.
Pause. Joan waits for Emily or Lisa to say something nice.
JOAN
Shall we go?
147 INT. RESTAURANT/BAR. NIGHT. 147
Joan, Lisa, Emily and Ramon are having drinks.
140
147 CONTINUED: 147
LISA
-- and I guess I lost my cool a little,
but I just love it'when people start
comparing the Israelis to Nazis...
JOAN
But who is running these discussions...?
RAMON
Well, but Lisa, you have to remember, it's
always easy for the dominant side to be
content with the status quo.
JOAN
Mmm.
- EMILY
How do you mean, Ramon?
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
COLOMBIA --
EMILY
I see. And what would you like them to do?
Pause.
RAMON
"They" meaning --
EMILY
The Jew oppressors. What would you like
them to do?
Pause.
RAMON
I didn't use that expression. EMILY
But since you ask - No, you didn't. (i.e.
"You didn't have to.")
LISA
Um, I just spent the whole day arguing
about this: I didn't really mean to bring
it up again.
141
147 CONTINUED: (2) 147
EMILY
(turning on her)
Don't handle me.
LISA
I'm not handling you.
JOAN
(GENERALLY)
What did you think of the play?
RAMON LISA
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
leaving.
LISA
(agreeing with Emily)
That's what I think!
Emily tries to unhook her purse from the back of her chair.
JOAN
That seems excessive, Emily, come on --
RAMON
That's the response. That's the Jewish
response.
EMILY
It's the what?
RAMON
It's the Jewish response. You don't like
what I am saying or what I do, so you --
EMILY
That's my Jewish response.
Emily throws her drink in his face and walks away.
JOAN
Oh my God...!
RAMON
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.
142
148 INT. JOAN'S ROOM. NIGHT. 148
Joan is getting ready-for bed. Lisa appears in the doorway.
LISA
Sorry about all that tonight.
JOAN
Yeah. Your friend is a delight.
LISA
She's a really passionate person. She
really cares about things.
JOAN
She's rude, Lisa. Ramon was my guest, not
hers. And-so.was she, as a matter of fact --
LISA
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...
LISA
Oh is that supposed to be Emily's fault
too?
JOAN
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.
RAMON
(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.
143
150 CONTINUED: 150
LISA
Well...? How's that anti-Semitic piece of
shit Ramon?-
JOAN
Oh God, I don't know.
The PHONE RINGS. Lisa picks up.
LISA
Hello?
KARL
(ON PHONE)
Yeah. It's Dad.
151 INT. KARL'S HOUSE. DAY.- 151
WE CUT BETWEEN THEM.
LISA
Hi, Dad, how are you? I'm really looking
forward to our horseback riding trip...
KARL
Yeah. That's why I'm calling. I don't think
it's going to happen.
LISA
Really? What's the matter?
KARL
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.
LISA
I never said I didn't want to go.
KARL
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 --
LISA
I think-he's really looking forward to it --
KARL
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.
(MORE)
144
151 CONTINUED: 151
KARL (CONT'D)
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.
LISA
We don't detest each other
KARL
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
time being?
LISA
OK.
KARL
OK. So tell Curtis, uh, that New Mexico's
off...Ummm, and I will talk to you, ummm,
whenever.
LISA
OK...
KARL
Yeah.
He hangs up. LISA hangs up too.
JOAN
What's wrong?
LISA
Dad's cancelling the trip.
JOAN
What? Why?
LISA
He's says nobody wants to go and he doesn't
want to spend the money.
JOAN
Did you say you didn't want to go?
LISA
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.
JOAN
Oh boy.
145
151 CONTINUED: (2) 151
LISA
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.
LISA
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.
MR AARON
That's all right...
LISA
You've always been very sympathetic to my
craziness, and I may not show it all the
time, but I actually really appreciate it.
MR AARON
It's no problem, Lisa. What's been going
on?
LISA
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
know.
MR AARON
Well...I doubt that's actually true
but thank you...
LISA
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
yourself.
(MORE)
146
153 CONTINUED: 153
LISA (CONT'D)
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
at all?
MR AARON
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
been raised...
LISA
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
not.
MR AARON
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...
LISA
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.
LISA (CONT'D)
Just a little hot...A little warm .Is
this all right?
MR AARON
Sure.
LISA
Do you allow smoking in your apartment?
MR AARON
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.
147
153 CONTINUED: (2) 153
LISA
I like your apartment.
MR AARON
Thank you.
She blows some smoke out and waves it away.
LISA
Sorry.
MR AARON
That's all right.
LISA
This is terrible.
MR AARON
What is? What's terrible?
LISA
I just like you so much...(Smooths her ash
on the ashtray.) Sorry. What a moron.
MR AARON
(taking her hand)
Hey. Lisa. I'm your friend. And that's not
gonna change. That's not gonna change.
LISA
Thanks. Thank you.
She kisses his hand a couple of times.
MR AARON
Lisa...
LISA
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.
MR AARON
OK, look...
LISA
Don't stop me yet, OK?
They kiss some more. She bends down to unzip his fly.
MR AARON
Please don't do that.
148
153 CONTINUED: (3) 153
LISA
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.
MR AARON
Are you all right?
LISA
Nothing. It's OK.
- MR AARON
Maybe we should stop.
LISA
Don't stop. It's OK.
MR AARON
Are you all right?
LISA
Yes, yes, you don't have to keep asking me
that.
MR AARON
I think we should stop.
LISA
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:
LISA
All I can say is I better get a pretty
fuckin' good grade in geometry this year.
(Pause) Lighten up! I'm kidding.
MR AARON
Sorry. I really didn't expect anything like
this to happen. I'm really not sure how to
react.
LISA
Don't worry. I'm not gonna tell anybody if
that's what you're worried about. I totally
initiated the whole thing.
(MORE)
149
155 CONTINUED: 155
LISA (CONT'D)
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.
DEUTSCH
Well, they want to settle.
LISA & EMILY
They do...?
DEUTSCH
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.
EMILY
Fantastic.
Lisa gets tears in her eyes and smiles, embarrassed.
LISA
Sorry.
EMILY
That's OK.
157
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.
ABIGAIL
Mr Deutsch? Mr --
DEUTSCH ROB
I'm right here. I just had the thought --
ABIGAIL (CONT'D)
Mr Deutsch -- I'm just gonna give my
husband the floor because he had a few
QUESTIONS --
Green Revised 10/7/05 - Page 150
157 CONTINUED: 157
ROB
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...
ABIGAIL
Yes, if they're so quick to agree to a
settlement on this basis --
DEUTSCH
What you gotta realize -- What you gotta
REALLY --
EMILY
Abigail, Russel doesn't think -- Sorry, go
ahead.
DEUTSCH
No, no...
EMILY
My friend had a lot of trouble getting the
one story placed in the paper as it is --
DEUTSCH
.Could I interject?
ABIGAIL
But if they responded so strongly based on
one story...
ROB
Maybe we're cuttin' our own throats here.
DEUTSCH
They are responding to the story in the
paper...
ABIGAIL
.That's just common sense.
DEUTSCH
But what you gotta understand is they're
offering to settle now because they want to
get the story out of the paper.
EMILY LISA
That's why Russel thinks -- Besides, the main point is
not to jack up the price.
ABIGAIL
I'm sorry --
ROB
-- We didn't hear that last.
Green Revised 10/7/05 - Page 150A
157 CONTINUED: (2) 157
DEUTSCH
(to EMILY and LISA)
Ladies, let me just -- Abigail. Rob.
(MORE)
Green Revised 10/7/05 - Page 151
157 CONTINUED: (3) 157
DEUTSCH (CONT'D)
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 --
ABIGAIL
What other terms would there be?
ROB
What do you mean, like some kind of a fund?
DEUTSCH
A what?
ROB
Some kind of fund? For the kids?
DEUTSCH
I don't understand what you mean by a
fund...
ROB ABIGAIL
(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?
LISA
These people are retarded.
ABIGAIL
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...
DEUSTCH
I don't really know what kind of fund
you're talking about...
LISA
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
Pause.
ABIGAIL
We're still here.
LISA
We're talking about the driver, getting
the driver fired --
ABIGAIL
Oh, yes --
LISA
-- as part of the conditions.
EMILY
Yes, Abigail, it's very important to us
that the company know that's an absolute
pre-condition to making any kind of
settlement whatsoever.
ABIGAIL
Oh yes. Absolutely. If you think he's at
FAULT --
ROB
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?
DEUTSCH
Absolutely.
ROB
What we're most concerned about here is the
amount.
EMILY
Yes, we're getting that, Rob.
ROB
But you see what I mean?
DEUTSCH
Yes -- Rob? Yes I do.
ROB
I just want to go on record as saying I
think this whole meeting is premature.
ABIGAIL
Absolutely. We're not lawyers --
DEUTSCH
Abigail? Rob? I just wanna make something
clear. One conversation does not commit you
to anything.
(MORE)
Green Revised 10/7/05 - Page 152A
157 CONTINUED: (5) 157
DEUTSCH (CONT'D)
And I'm not gonna agree to anything without
consulting you. But I'm working for you.
(MORE)
153
157 CONTINUED: (6) 157
DEUTSCH (CONT'D)
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.
JOAN
Lisa, I'm really proud of you!
LISA
Thank you.
JOAN
Really, really proud...!
LISA
Thank you.
Pause. Joan gets to her feet and starts tidying up.
LISA (CONT'D)
Are you upset about something...?
JOAN
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?
LISA
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
to him.
JOAN
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
it.
LISA
No shit. You're on your own, Mom.
JOAN
Thanks a lot.
LISA
You're welcome.
The PHONE RINGS. Joan picks it up.
154
158 CONTINUED: 158
JOAN
(INTO PHONE)
Hello? -Yes . WHAT DO YOU MEAN??
LISA
What's the matter?
JOAN
(LISTENING)
Yes? . Yes? (To LISA) Ramon had a heart
attack.
LISA
What? Is he gonna be --
JOAN
uiet!
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.
LISA
OK, I'm really not trying to be funny, but
isn't this a Jewish funeral home?
JOAN
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.
RODRIGO
Excuse me. Joan?
JOAN
Yes. You must be Rodrigo. Oh my God, oh I'm
so sorry.
She impulsively embraces him.
JOAN (CONT'D)
Rodrigo, this is my --
155
160 CONTINUED: 160
RODRIGO
I want to tell you, Joan, my Dad talked
about you all the time.
JOAN
He did?
RODRIGO
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
died.
JOAN
Really?
RODRIGO
I don't know if this is appropriate...
JOAN
No it's OK...!
RODRIGO
.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.
JOAN
(at a total loss)
Well -- he was a very sweet man. And I know
he loved you and your brother very much.
RODRIGO
(GETTING TEARFUL)
Yeah, I know he did. Thank you.
161 INT. LISA'S ROOM. DAY. 161
Lisa is at her computer. Joan is by the doorway.
JOAN
Thanks for coming with me today. I really
appreciate it.
LISA
Oh, you're welcome.
JOAN
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
LISA
Um, I'll go.
JOAN
OK. It's Monday night. We can dress up.
LISA
OK.
JOAN
What did you make of that?
LISA
(STILL TYPING)
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.
JOAN
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.
LISA
I'm not trying to hurt your feelings.
It's just a general observation.
JOAN
OK...Hey, could I get a hug?
LISA
Sure.
Lisa rises and hugs Joan. It's not a good hug.
JOAN
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.
MR AARON
I've thought about this a great deal, and
I'm going to come forward.
LISA
Oh brother.
MR AARON
What does that mean?
2nd Pink Revised 11/17/05 - Page 156A
162 CONTINUED: 162
LISA
"You're gonna come forward." And do what?
You didn't kill anybody.
(MORE)
157
162 CONTINUED: (2) 162
LISA (CONT'D)
You just had sex with me after I
practically begged you to. You're a guy.
"I'm gonna come forward."
MR AARON
Well, that's what I'm comfortable doing.
LISA
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?
MR AARON
I'm not sure I know how to do that.
LISA
You'll learn.
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.
LISA
Good news!
165 INT. LISA'S BATHROOM. NIGHT. 165
Joan and Lisa are looking at the little stick.
JOAN
OK. What do you want to do?
LISA
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... .?
JOAN
Yes! Now who is the father?
LISA
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.
JOAN
Who.
158
165 CONTINUED: 165
LISA
I'm never gonna tell you, Mom! It's against
my principles! Such as they are.
JOAN
(ON "SUCH")
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.
NURSE
Mrs. Cohen?
TRACKING Joan as she gets up and follows the Nurse down a
hall...
NURSE (CONT'D)
.she's still a little woozy from the
anaesthetic...
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.
LISA
Hi.
JOAN
Hi honey.
LISA
I'm sorry, Mom.
JOAN
Let's talk about it later.
167 INT. DEUTSCH'S OFFICE. DAY.
Deutsch sits with Emily and Lisa. The Berwitzes are on the
speaker phone.
DEUTSCH
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!
159
167 CONTINUED: 167
DEUTSCH
I'm assuming this is agreeable to
EVERYBODY --
ABIGAIL ROB
Yes, fantastic That is fantastic!
DEUTSCH (CONT'D)
But I gotta -- obviously I gotta bring
the offer to you, get your approval --
ROB
Mr Deutsch...?
DEUTSCH
Now, I know there was a concern after our
last call that we were jumping the gun a
little bit --
ROB
That's OK --
ABIGAIL
We're only --
EMILY
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...
ROB
Yes. Sorry. Fire away.
DEUTSCH
I was gonna say I know there was a concern
after our last call that we were jumping
the gun a little bit --
ROB
That's OK --
ABIGAIL
We were just --
EMILY
Would you let him talk please?!
DEUTSCH
It's OK.
ABIGAIL
We're sorry.
DEUTSCH
I want to tell you I think it's a very good
offer.
(MORE)
160
167 CONTINUED: (2) 167
DEUTSCH (CONT'D)
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 --
ABIGAIL
Hey. Three hundred and fifty thousand
dollars...
ROB
OK, now let me just --
ABIGAIL
.that's nothin' to sneeze at.
ROB ABIGAIL
I just want to introduce Now, 1 think -- Can
the thought -- you all hear me?
DEUTSCH, EMILY, LISA
Yes!
ABIGAIL
Yeow! Was that everybody? OK:
LISA
What about --
ABIGAIL
-- Emily? What do you think?
EMILY
I think it sounds like we should do it.
But I'd like to discuss some of the --
ABIGAIL
(ON "BUT")
Hey, if that's the vote...
ROB
Unless you think there's something to be
gained from holding out for more.
DEUTSCH
I think it would be a big mistake.
ABIGAIL
Robbie, what do you think?
ROB
Sold!
ABIGAIL
Sold!
161
167 CONTINUED: (3) 167
DEUTSCH
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?
LISA
What do you mean?
ROB
The driver?
LISA EMILY
Then forget it. Tell them to What do you mean they
forget it. won't discuss the removal
of the driver?
DEUTSCH
Please. Ladies. Let me ROB
finish what I'm saying. Whoa -- hello!
ABIGAIL
It's just a blast in our ears.
EMILY
(TO LISA)
Let him finish.
LISA
Finish what? Forget it!
DEUTSCH
(TO EMILY)
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 --
LISA
What does giving us three hundred thousand
dollars mean?
DEUTSCH
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
NOW:
162
167 CONTINUED: (4) 167
LISA
Yeah, we know all about that! Just tell
them to forget it.'
DEUTSCH
I know that's your reaction...
LISA
It's the only reason we're here.
ROB
Can I jump in here? Russel?
DEUTSCH
(TO LISA)
.but it's really not your decision.
ROB ABIGAIL
Hello? Are you still with us? Please!
LISA
It's Emily's decision.
EMILY
No.
DEUTSCH
No.
ROB
Hello?
LISA
It's not?
ABIGAIL
They're not listening, Robbie.
DEUTSCH
It's Abigail's decision because she's the
next of kin.
LISA
But she didn't even know about it!
EMILY
That doesn't matter.
ABIGAIL
Could we get back in this conversation
please?
DEUTSCH
Yes. I'm sorry. Obviously there's some very
strong emotions going either way on this --
163
167 CONTINUED: (5) 167
ABIGAIL
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 --
ROB
Exactly.
ABIGAIL
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?
LISA
The entire point of the lawsuit was to get
the guy fired so he doesn't kill somebody
else -- !
DEUTSCH
Lemme just clarify --
LISA
-- 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... !
ABIGAIL
This is a distortion --
LISA
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 --
EMILY
For getting him, Abigail!
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.
(MORE)
164
167 CONTINUED: (6) 167
ABIGAIL (CONT'D)
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.
LISA
None of that matters --
ABIGAIL
Unless I'm wrong about that. Just what is
your interest in this?
LISA
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
it before!
ABIGAIL
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 --
LISA
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
Lisa!
LISA
You sleazy fucking lawyer! And you're a
moralistic cunt!
She runs out.
165
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.
BONNIE
Hey, Lisa. What's Up?
- LISA
Hey, did you guys know I had an abortion
last week?
Pause.
MR AARON
No. I didn't know that.
LISA
Yeah, it cost four hundred dollars.
BONNIE
Um, should I...
MR AARON
No, no, don't go anywhere.
LISA
Yeah, don't go anywhere.
Bonnie doesn't know what to make of this. Mr Aaron looks
steadily at Lisa.
MR AARON
Do you want to tell us about it?
LISA
Yeah. I do.
MR AARON
OK. -Go ahead.
LISA
Well...
She doesn't speak. Pause.
BONNIE
Do your parents know about this, Lisa?
166
169 CONTINUED: 169
LISA
Yes.
BONNIE
Have you told the father, honey?
LISA
No...There's a couple of people it could
be.
MR AARON
I think you better tell them. Whoever they
are.
LISA
No...No...Never mind ...I'm sure he's sorry
anyway, whichever one he is.
MR AARON
I don't see what difference that makes, if
he's sorry. And I think whoever it is
should know about this.
LISA
I'm sorry. I shouldn't have brought this
up. Please don't tell anyone.
BONNIE
We're not gonna tell anyone. But you're
gonna have to tell whoever it could be --
LISA
(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.
BONNIE
What was that...?
170 INT. COHEN APARTMENT. DAY. 170
Lisa comes in. Curtis is doing his homework at the table.
CURTIS
Mom's looking for you.
LISA
What for?
CURTIS
She thinks you're going out with her
tonight.
167
170 CONTINUED: 170
LISA
Where are we going?
CURTIS
I don't know.
Lisa heads for her room. Joan appears, half-dressed.
JOAN
Lisa? Honey? Did you forget we're going to
the opera?
LISA
Yes.
JOAN
I didn't-remind you because I didn't want
to nag you.
LISA
It's OK.
171 EXT. BROADWAY -- NEAR LINCOLN CENTER. DUSK. 171
Lisa starts to cross the street against the light. Joan takes
her arm.
JOAN
Don't get run over.
A cab rattles by. Lisa looks down the street. A BUS is
approaching.
LISA
Wait. I want to see if that's him.
JOAN
What.
They wait. The bus gets closer, heading straight toward them
and stops at the bus stop. Lisa grabs her mother's arm.
LISA
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.
JOAN
Come on. We're gonna miss the curtain.
168
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.
JOAN
Well, so far it's not the greatest opera I
ever heard.
LISA
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.
THE END
