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23rd & 3rd - s01e01 - pilot: my shakabuku
 

23rd & 3rd - s01e01 - pilot: my shakabuku

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Here's the script for the upcoming Production class. Hope you guys actually read it and above all else, enjoy it. Feel free to give me comments, if you feel that's necessary. But I might just delete ...

Here's the script for the upcoming Production class. Hope you guys actually read it and above all else, enjoy it. Feel free to give me comments, if you feel that's necessary. But I might just delete you from the group and replace you with a mindless crew member that does what I tell them to do.

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    23rd & 3rd - s01e01 - pilot: my shakabuku 23rd & 3rd - s01e01 - pilot: my shakabuku Document Transcript

    • 23rd & 3rd S01E01Pilot: "My Shakabuku" By Patrick JohnsonSchool of Visual Arts Production II Professor L. Hillier 3/8/12 PatrickJohnson05@yahoo.com PJohnson1@sva.edu (440)487-6073
    • EXT. MANHATTAN STREETS - DAYAARON SINGER, 20, walks out of the subway. He seems weigheddown by either the books in his backpack or, from the lookof the dark circles under his eyes, the lifestyle maintainedin New York City.Aaron squirts some hand sanitizer on his hands from a pocketsized container. A CONSTRUCTION WORKER shoves his way pastAaron, pushing him to the side. CONSTRUCTION WORKER Watch it, asshole!Aaron stops at the corner to cross. He attempts to make hisway to the other side despite the blinking red hand. Heplaces one foot carefully on the street and a car horn isimmediately heard. He quickly steps back on the sidewalk.The sounds of car horns, people chatting loudly on theircell-phones, dogs barking etc. amplify and Aaron rubs hisforehead.He takes the headphones around his neck and puts them on.Violent rap music is heard. Next song. Jazz music is heard.He rubs his eyes and yawns. When he blinks again, everythingappears in BLACK and WHITE. He continues to walk. AARON (V.O.) I used to adore New York City. I idolized it all out of proportion. No, Romanticized it all out of proportion.Aaron looks up. Tall buildings line the sky. Not seeingwhere he’s going, he bumps into a lesbian couple walking inthe opposite direction. They yell obscenities unheard due tothe Jazz music. He continues walking. AARON (V.O.) (Cont.) To me, no matter what anybody said back home, it was the place of opportunity. So what if I had to spend 20 grand a semester to get there? It meant beautiful women. Street smart guys who--A man dressed in a business suit sprints in front of Aaron,cutting him off. Aaron looks to see where he’s going. Theguy vomits in a trashcan. Aaron takes off his headphones.The music stops. The color’s back.
    • 2. AARON Really!? It’s 12:00!Aaron rounds a corner. Headphones back on, more black andwhite, he continues with his inner monologue. AARON (V.O.) Where was I? Oh yeah... New York was a place were I could prove I was as tough and romantic as the city I loved. New York was my town and it always would be--Aaron turns another corner. A HOMELESS MAN holds a cardboardsign that reads: NEED $$$ FOR DENTAL FLOSS. HOMELESS MAN Change!Aaron takes off his headphones and reaches into his backpocket out of guilt. AARON (To Self) Please don’t smile. Please don’t smile.The homeless man smiles. Aaron tries to keep his smile, butat this point it looks more like he’s grimacing in pain. Heputs a dollar in the large cup. HOMELESS MAN Thank you, sir. Have a great day, sir.The homeless man reaches out to shake Aaron’s hand,revealing he has no hand, just a nub. Aaron takes out a fewmore dollars and speed walks away. He stops at a corner andturns to the camera while rubbing his hands with sanitizer. AARON (To Camera) That’s how I used to feel about New York. You know, before I left Ohio, I watched my dad go through a mid-life crisis. He was forty-eight and I said ’I’m never going to go through that. I’m going to move to the city, and--- and I’m going to be happy.’ Of course I would be a little happier if he’d spent that money he spent on the Corvette on my tuition but--
    • 3. DAN Who the hell are you talking to?We see DAN WEISS, 20, hop off his skatebaord behind Aaron.He looks at Aaron as if he were crazy. AARON Oh, what’s up man? DAN Nothing. Are you ok?Aaron sighs. They start walking together. AARON No. Laura and I just broke up and I keep sifting through where I went wrong, you know? Where did the pieces of our relationship begin to fall apart? A year ago we were in love. DAN No, a year ago she was drunk at a party and decided your lap was the perfect substitute for a pillow. AARON Can you just let me do this? DAN Do what? AARON Grieve. This is the typical break-up conversation where I look back and reflect and you, being my best friend and all, listen. DAN This is going to suck, isn’t it? AARON Yes.INT. AARON’S BEDROOM - MORNING - FLASHBACKA girl, LAURA HANDLER, packs a duffel bag quickly with theclothes that line Aaron’s bedroom floor. The bedroom dooropens revealing Aaron in a bath towel. He stops.
    • 4. AARON So this is you leaving. LAURA You don’t have to narrate everything that happens all the time, Aaron. Yes. This is me leaving. I’m puting the clothes from the floor into this duffel bag and then, shortly after, leaving. Do you see how exhausting that is?Laura sees this hurts Aaron. LAURA I’m sorry. Look, I still want to be friends.Aaron laughs. He starts to get dressed. AARON I’m gonna have to ask you to leave the bedroom then. LAURA What? Why? We were mid-discussion. AARON We’re not dating anymore. You don’t get to see me naked. LAURA Are you serious?Aaron nods. LAURA You’re a twelve year old. CUT TO:INT. AARON’S APARTMENT LIVING ROOM - MORNING - FLASHBACKLaura waits outside. The door opens, revealing Aaron, fullyclothed. AARON You were saying? LAURA I was saying, before you scoffed at me, that I still want to be friends.
    • 5. AARON No. LAURA I’m not saying right away. Obviously there’s going to be that awkward transition period and then gradually, over time-- AARON No. This is it. If this is goodbye, this is goodbye forever. LAURA Everything is black and white with you isn’t it?Aaron thinks. CUT TO:INT. COFFEE SHOP - DAY - FLASHBACKAaron sits at a coffee shop with Laura and Dan. AARON Worst movie I’ve ever seen.EXT. MANHATTAN STREET - DAY - FLASHBACKAaron walks with Laura. They hold hands. AARON We’re going to Bluebell. Best burger in the city by far. Best burger I’ve ever had. Ever.INT. AARON’S BEDROOM - NIGHT - FLASHBACKIt’s pitch black. Nothing is seen. AARON (Catching his breath) Best. Sex. Ever. CUT TO:
    • 6.INT. AARON’S APARTMENT LIVING ROOM - MORNING - FLASHBACKAaron snaps out of it. AARON No. But regarding this particular topic, yes. We’re not gonna be friends. LAURA Why? AARON Because you’re in the position to take advantage. Women will always want something from guys. And me, loving you, will always want to get it for you.Laura rolls her eyes. LAURA And when’d you learn that? AARON I was late to the game actually. I’d say around senior year of high school. CUT TO:INT. CLASSROOM - DAY - FLASHBACKA younger looking Aaron sits behind a girl, ALANA BROOKS,17. She talks to a kid in a varsity jacket, STEVE, payingAaron no attention. Yet, Aaron taps her on the shoulder. AARON Hey, here’s that research paper you asked for.She smiles at Aaron and then turns right back around.INT. KITCHEN - NIGHT - FLASHBACKHigh school kids pour drinks in a crowded kitchen. Aaronstands there with a full bottle of vodka. He looks offscreen at Alana.
    • 7. AARON Hey, here’s that bottle of vodka you asked for.A hand reaches off screen and grabs it. Three seconds pass.The same hand hands Aaron back an empty bottle of vodka.Aaron stares at the bottle for a moment, then looks atAlana. She’s making out with STEVE (varsity jacket still on)INT. HIGH SCHOOL HALLWAY - DAY - FLASHBACKAaron holds his car keys. He looks at them for a moment. AARON Alright. Here’s the keys you asked for. But I need the car back by ten. CUT TO:INT. AARON’S APARTMENT LIVING ROOM - MORNING - FLASHBACKAaron snaps out of it. AARON And that’s how my dad’s car ended up in a river senior year. And that’s why he bought a new Corvette instead of paying my tuition. LAURA Aaron-- AARON And you know what the worst part was? Alana Brooks got a whole page in the yearbook. What a bitch. LAURA Aaron-- AARON But it all goes back to When Harry Met Sally really. The sex part does always get in the way. Every man wants to have sex with a woman he finds attract-- LAURA Aaron! I’ve seen the movie! We’ve seen the movie! Together! At least
    • 8. LAURA 100 times! You don’t listen! You want to go through the downfalls of our relationship? To where the peices started to fall apart? It doesn’t happen like that. You just didn’t listen and it’s been exhausting! AARON Well I’m listening now...Laura picks her bag up. She kisses Aaron on the cheek. LAURA The offer still stands. I’ll see you around, maybe.Aaron’s left standing there. We pan out and see he’s onlydressed to his boxers. The door slams.EXT. MANHATTAN STREETS - DAYBack to the present. Aaron and Dan continue to walk. DAN That’s depressing, man. AARON That’s it? No, ’it’ll be better. You don’t need her, man. She was bringing you down anyways?’ DAN You don’t need her, man. She was bringing you down anyways. AARON And then you tell me about a party that’s going on that she won’t be at. DAN Jeremy’s having something later.Aaron hangs his head. AARON I don’t know if I’ll want to go.
    • 9. DAN But you just said-- AARON I’m greiving. It all reminds me of my parents Senior year. I never thought I’d turn into them.Aaron thinks. CUT TO:INT. APARTMENT LIVING ROOM - DAYWe hear dramatic arguing off camera. The camera glides uprevealing a man, BARRY, 48, and KAREN, 43 pitted in ayelling match. BARRY Oh, that’s what you wanted? I knew you didn’t love me! KAREN I don’t-- I don’t love you!She cries. BARRY Well at least you admit it, you whore! KAREN Let me finish! Let me finish!Barry pants. KAREN I haven’t loved in a long time. I don’t even know what love is anymore.Barry awkwardly pushes her up against a wall. Karen cries.He pushes her again. Then he stops. He looks into thecamera. BARRY Line?
    • 10.INT. STUDIO/CLASSROOM - DAYThe camera pulls back revealing the action is taking placeon a television screen. In the background FILM STUDENTS holda camera, another struggles to hold the microphone offframe. The apartment is just a set.INT. APARTMENT LIVING ROOM - DAYA guy, TRACY, 19, holding a clip board with a script readsthe next line with no emotion. TRACY Well did you feel it? Did you feel love when you went over to David’s mansion two nights ago? Did you?The actor stops. He looks off camera at DYLAN, 20, wearing ablue baseball cap and stroking his chin thinking. He’s thedirector. DYLAN Cut! CUT TO:INT. STUDIO/CLASSROOM - DAYOff set, Aaron and Dan stand watching, trying not to laugh.Dan turns to another kid, MALIK. DAN (To Malik) Jesus, who wrote this thing?. Is this supposed to be funny? If so, kudos. AARON (To Malik) Yeah, divorce doesn’t look like this at all. I bet you it was one of those writing "pairs" where both people fight the entire time they write together because ’they feel it makes better dialogue’. It doesn’t. DAN (To Aaron) Your parents aren’t divorced.
    • 11. AARON Well, midwest family values. You just keep on pushing until it all bottles up inside and then business meetings really mean a trip to the motel six by the highway... DAN Hooker reference? AARON Nah. Coworker. I’m assuming. MALIK I wrote this.He glares at Dan. Dan laughs and slowly turns to Aaron.Malik walks away. DAN Well, the Long Island way is you just buy two dogs and put all the love there.INT. APARTMENT LIVING ROOM - DAYBack on the main set, Barry and Karen make small talk. BARRY You were in the running for that Crest commercial directed by Sofia Coppola? I envy you! KAREN No, don’t. I went through three call backs saying one sentence: ’For Happy times, make it a Crest smile’ and got the same feedback every time: ’Less emotion.’ Then I got some e-mail saying my smile wasn’t a Crest smile. But if you really wanna know I use Colgate anyways. Bastards.They laugh. Malik and Dylan approach the actors. DYLAN So Barry, what did you think about the last take? Where are you... emotionally?
    • 12. BARRY I feel like it was missing something. The anger was there. It felt real. KAREN I feel like, if he choked me--Karen grabs Barry’s hands to choke her. KAREN (Cont.) -- it’d add something to whatever this is. DYLAN Malik? What do you feel? MALIK Yeah. I feel like if you hit the wall to show her if you really wanted to you could hit her, you know? BARRY How about I just hit her?Karen nods in agreement.The professor of this class, dressed in just a t-shirt andjeans, JERRY DILLINGER, 50, enters the set. He motions toDylan and Malik to join the class. JERRY (To the actors) If you’ll excuse us for a moment.Dylan and Malik follow Jerry off set.INT. STUDIO/CLASSROOM - DAYA group of 10-15 students sit in chairs and wait for Jerryto talk. He scans the class, from the two girls sitting nextto each other to the rest of the room: full of guys judgingeach other. JERRY (To class) Ok. It’s second semester, folks. And you’re still doing it wrong.Tracy raises his hand. Jerry ignores it.
    • 13. JERRY (Cont.) You’re all too busy competing with eachother. You have to put the ego aside to make something great. Expecting this, I brought something to read today from the book you were supposed to read last semester.Jerry pulls out a peice of paper from his back pocket. JERRY (Cont.) There is a vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique... It is your business to keep it yours clearly and directly.Tracy nods enthusiastically. The snippit falls to def ears. AARON (V.O.) When I first got accepted into film school, I was excited. To learn, to study... but I quickly realized that film school is a game, a game of survival. CUT TO:INT. STUDIO/CLASSROOM - DAY - FANTASYAaron stands in front of the class with a script in hand. Hereads it. When finished, he puts the pages down to look athis classmates.They’re dressed in caveman attire. Just cloths coveringtheir privates, war paint slacked on, sharpening theircollective spears.Aaron looks down at himself, a bullseye painted on his barechest. He looks over at Jerry, sitting on an emperor’sthrone constructed of sticks and animal skins. AARON (V.O.) You take all the advice you can get, from your teachers, from your peers all the while knowing, in the back of their minds, what they
    • 14. AARON (V.O.) really want is to see your little ’masterpeice’ turn into a peice of crap, to make their peices of crap look better by comparisson.Jerry motions the signal of death, sliding his finger acrosshis neck. The class grunts and yells. CUT TO:INT. STUDIO/CLASSROOM - DAY JERRY (Cont.) Knowing this, what’s wrong with this scene?Tracy raises his hand quickly. Jerry still ignores it. Danraises his hand. JERRY Mr. Weiss, welcome back to class. Thank you for gracing us with your presence this week. You had a streak going...The class laughs. DAN Thank you, sir. Good to be back. I think the problem here is that this is riddled with cliches.Malik glares. JERRY Possible. I think the real problem is--There’s a knock on the open door. Jerry turns around to seeREEVES FILLMORE, 61, a lengthy man that, based on the wayeveryone in the classroom excluding Jerry straightened up intheir seats, must be the school’s dean.He’s accompanied by REECE "ANNIE" FILLMORE, 20. She carriestextbooks. Reeves leans in for a kiss but Annie pulls away.Reeves motions for Jerry to leave the classroom.Jerry walks over.
    • 15. JERRY (To Annie) You must be Reece. ANNIE Annie, actually.She hushes her voice. ANNIE (Whispering) I don’t paticularly like the family name.Jerry laughs. JERRY Neither do I. Welcome to class! Make yourself at home. I know the male-female ratio is a little off in this class, but if you give them enough time to prove it, you’ll find they’re all mostly woman anyways. Except that one.He points to Aaron. JERRY (Cont.) But don’t tell him I told you. He doesn’t show it. But give him time.Annie smiles and nods. She makes eye-contact with Aaron. AARON (V.O.) Maybe sulking in heartbreak is overrated after all.INT. STUDIO/CLASSROOM - DAY - FANTASYAnnie walks into the class, all still dressed in theircave-al/ tribal attire. They circle around Aaron (tied up inthe center with an apple in his mouth) chanting.Annie clears her throat. They stop and pick up their spears.She gulps. CUT TO:
    • 16.INT. REEVE’S OFFICE - DAYWar medals line the interior of Reeve’s office. Reeve’slooks at them from behind his desk, distracted. MeanwhileJerry sits back in the chair, waiting.Reeves reaches into his desk drawer. Underneath a half emptybottle of whiskey rests a pile of papers. He tries to reachthem under the bottle, but can’t.He pulls the bottle out first. Then the papers. REEVES Do you want to know what this stack is? JERRY No. I want to know what that is.He points to the bottle of whiskey. JERRY (Cont.) Top shelf stuff? If so, do you mind?Jerry reaches for the bottle. Reeves cuts him off by puttingthe bottle back in the desk drawer. Jerry leans back,pleased. REEVES These are the reviews, by your students, from last semester. It’s not good. JERRY I already know what they say. REEVES Do you?Reeves and Jerry stare eachother down.INT. STUDIO/CLASSROOM - DAYBack in the studio, Dan and Annie talk. DAN So you’re screwing the old headmaster for tuition money, then?
    • 17. ANNIE You have me pegged. My turn? DAN Go ahead and try. Just be warned the last girl that did not only found out I was too complex to be ’pegged’ but also ended up in my bedroom. You may be in elite company.Annie laughs. ANNIE Definitely from Long Island. I’m guessing you have no real interests, which normally would make it odd that you go to school where creativiy is a prerequisite, but that means you have someone in your extended family who’s a string-puller. DAN All generalizations! ANNIE But isn’t that the game? I wasn’t finished-- So you kidded yourself into coming here. Tried to sell pot once- no, three times because the one movie you actually like is the Wackness...Aaron sits in his chair typing on his old Macbook, actinglike he’s not paying attention. A laugh slides through. ANNIE (Cont.) And when you go to Brooklyn you leave the heaping amount of cash you usually carry around with you - which is from your parents and not failed drug selling endeavors - back at home which is where? Lower East Side?Annie drops her voice to a whisper. ANNIE (Cont.) ... because you’re secretly afraid of black people.
    • 18.Dan isn’t smiling anymore. Aaron is. ANNIE You don’t like losing do you? Then again I doubt you ever played sports. Skateboard? DAN Ok. I’m done. How do you know?Annie points to a chair with a skateboard deck. On the topin grip tape is the name DAN. ANNIE At least you can spell. So, what’s mopey’s deal over there?She motions her head towards Aaron. DAN Oh, you can’t figure him out?Dan walks away. Aaron types a script on his computer. Helooks up and sees Annie standing in front of him. ANNIE So what’s a screenwriting major doing in a production class? AARON Commitment problems. ANNIE You feel whoever would try and direct the glorious words you wrote would mess them up because they can’t understand their complexity?Aaron laughs. AARON Wow. You just really go out and network don’t you? ANNIE It’s because I don’t know how to write. Well, at least alone. I’ve always felt that dialogue flows better with two people writing anyways... So what are you working on?Aaron looks and Annie and smiles.
    • 19. AARON (V.O.) I can contradict myself on this one thing, right?INT. REEVE’S OFFICE - DAYBack in Reeve’s office, Jerry and Reeves continue to argue. JERRY The reviews say what they say every year: Too much time working with 16, not enough time getting to digital. Too much time on theory, not enough time letting them shoot.Reeves flips through the papers, trying to keep up. JERRY So what am I supposed to do? Cater my entire curriculum to the three students that would rather make youtube videos for 40k a year? Or try and run a legitimate production class? REEVES You’re supposed to follow our updated curriculum.Jerry shakes his head. A loud BANG goes off off screen.Reeves jumps, startled. He crouches under his desk. There’sa KNOCK at the door. His assistant, CLAIRE opens the door. CLAIRE Sorry, sir. A tray of thesis year scripts just fell to the ground. My fault. Can I get you anything?Reeves slowly gets up and back in his seat. REEVES I’m fine, Claire. I’m fine.She shuts the door quickly. JERRY See, the problem here is you’re trying to do what’s cost effective and easy. Did you forget that making movies is neither easy nor cost effective, let alone doing them right?
    • 20.Reeves doesn’t respond. Still panicked. Jerry gets up toleave. But before he can... REEVES You know you’re contract expires this year, right? And if we were to resign it, you’d be eligible for tenure? JERRY What are you getting at? REEVES I think you know. You can keep going rogue on me, Jerry, doing things your way but we both remember where that got you in the industry. Go on, I dare you not to change. That way I can sign a new kid to staff at half the price who obeys orders.Jerry’s unphased. JERRY Once again, what are you getting at? REEVES Show me a film made by one of your students by the end of semester, with your theories, that the committee approves of and I’ll let you stay. Good luck. JERRY And who’s the head of this commitee, again? REEVES I am.Jerry leaves. Reeves goes to take a sip of whiskey.EXT. REEVE’S OFFICE - DAYOutside, Jerry walks past Claire’s desk. He notices the trayfull of scripts. He politely takes them out of the tray andsets them on Claire’s desk. He smiles at her, then knocksthe tray to the floor.
    • 21.INT. REEVE’S OFFICE - DAYReeves jumps and spills the remaining whiskey.INT. STUDIO/CLASSROOM - DAYBack in the studio, Annie and Aaron shake hands. AARON Hope? Your real name is Hope? ANNIE Yeah, I know what you’re thinking. My parents were one of those liberal yuppy-type couples that never read Carawack or Hemmingway but pretended to, jumped at the chance to join any movement and then sold out at the first chance they could to turn an idea into a corporation. And their past sins have been carried out on their innocent daughter with a name like Hope, and all those kids with their clever puns: ’I had Hope. Did you have hope? Yeah, I had her but I left her in a parking lot and she had to call her friends to pick her up!’ And they were right. They all had me.Annie takes a second to breathe. And to look innocently backat Aaron and twirl her hair. ANNIE (Cont.) Do you want me? AARON Uhm. I just got out of a serious relationship. In fact she just left my apartment today, so I don’t know if I’m ready-- hold on I just got a text.Aaron opens up his iPhone. A message from Dan reads: YOU’REAN IDIOT. STOP TALKING. REBOUND!Aaron looks at Dan, across the room. Dan pretends to blowhis brains out.
    • 22. ANNIE Woah. Way too much information. I was kidding. I’m a virgin. AARON Oh. I mean, there’s nothing wrong with that. ANNIE I’m not. I lied. Now you don’t know where I’m coming from.Annie laughs. Aaron follows suit. ANNIE I’m sorry. I’m not usually this crazy. I’m just nervous. It’s nice to meet you though. What’d you say your name was again? AARON Aaron. ANNIE Aaron. Annie. I’m going by Annie from now on. AARON Annie, you have a great name. Your parents must have been completely sane. ANNIE They were. Too sane. They bought those baby books because they couldn’t pick an original name. They were like robots. They didn’t care! And then, when they were too bored with eachother, but refused to divorce, my father asked for an open marriage and-- AARON I can’t tell if we’re kidding anymore, or what the joke is at this point. ANNIE We are. My real name’s Reece. Middle name Annie. I go by Annie for obvious reasons.
    • 23. AARON People usually say talking with me is exhausting. This is the first time I ever realized what they meant. ANNIE Well, thanks. Let me know if you’re ever looking for a writing partner. AARON Wait. You think keeping up with you in a conversation is grounds for being a team?Annie nods. Jerry enters the classroom. The class gets backin their seats. JERRY The administration has spoken. You have spoken, anonymously of course, regarding the collective thoughts on first semester. And you’re all snitches. Except you.He points to Annie. JERRY (Cont.) Unless you’re a spy sent from the administration to monitor my methods. Are you? ANNIE I can’t answer that. JERRY Very well. You want to make movies and not films seems to be the conclusion. Very well then. I need scripts and production binders next week. Class dismissed.The class gets up to leave. Aaron follows Annie out thedoor, but Jerry stops him. JERRY You have that revision for me?Aaron goes into his backpack.
    • 24. AARON It’s not very good. JERRY Then why are you giving it to me? AARON I never said it wasn’t readable.He hands Jerry the script. JERRY You know, we-- you have a lot riding on this. AARON What do you mean? JERRY Like your scholarship and--Jerry stops himself. AARON And? JERRY Nothing. I’ll give it a read and send you feedback. AARON Thanks.Aaron exits.INT. HALLWAY - DAYAaron turns down the hallway to find Dan waiting for him. DAN You didn’t get her number. AARON How do you know? I could’ve-- DAN Because she gave me this...Dan hands Aaron a folded up peice of paper.
    • 25. DAN (Cont.) ... and told me that in no way was it intended for my eyes to see. That if I was to open it, I was not to contact her with the number written on it. AARON I’m guessing you opened it. DAN Yeah. I texted her about Jeremy’s later tonight, that you’d be there, and that she’s too high maitenence for me anyways. She said something about a project you were working on together? Look at you, changing your belief system for this girl. AARON I never committed to anything. DAN And I thought you were grieving. AARON Forgive and forget I guess.INT. JEREMY’S APARTMENT LIVING ROOM - NIGHTArt school students line the apartment walls, drinking andtalking. Annie checks her phone: a conversation with Aaron.One text: where are you? No response.Dylan, blue baseball hat still on, chats her up. DYLAN ...But I feel like what the Academy still doesn’t understand, or refuses to understand... because it’s too ’commericial’ or was made with the intent to profit, is that there’s a lot of romanticism in those films. ANNIE Dylan... DYLAN Annie?
    • 26. ANNIE Are we still talking about the Fast and the Furious?Dylan nods enthusiastically. DYLAN What do you think? ANNIE I think it’s time for a transitional non-sequitor. DYLAN What? ANNIE The Fast and Furious is a series of films, we study film, so I need another drink.Annie leaves for the kitchen.INT. JEREMY’S APARTMENT KITCHEN - NIGHTAaron and Dan enter the kitchen. Aaron holds a bottle ofliquor. Annie sees them and heads their way. ANNIE Welcome to the worst party on earth. You’d think people who study film would get tired of talking about it, but I’ve been hit on at least three times tonight with movie references...She tilts her head back in thought. Dan stops her. DAN What are you doing? ANNIE Thinking about those times I’ve been hit on. DAN Ok, well we don’t have time for it.A clock appears on the botton corner of the screen, countingdown the amount of time before the episodes over, 24-style.The characters look at it, and then at the camera.
    • 27. DAN (Cont.) Unless you want to make it four times. I wanna watch Field of Dreams and round your-- ANNIE Disgusting. Don’t you have a cornfield to disappear into? Or a father to play catch with?Dan leaves. AARON The father thing might’ve gone a little too far. I don’t think his dad actually ever played catch with him.They watch Dan walk into the party with his head hangingdown, sad Charlie Brown music playing. AARON Anyways I brought you something.Aaron hands her the bottle of liquor. ANNIE Thank you? AARON You’re welcome. ANNIE But I’m setting a precedent here that I’m not the kind of girl you have to do favors for and cater to my needs. AARON I get it. You’re independent. I just thought it was a nice gesture to give you alcohol... ANNIE So you could potentially get into my pants later? AARON What? No! That’s rediculous.He laughs awkwardly.
    • 28. AARON So what do you think of Jerry? ANNIE Smooth transition there, kiddo. Our teacher? I don’t know considering I shook his hand then the rest of our class consisted of sitting around talking. You pay money to go this school?Aaron takes a generous sip of the liquor. AARON I regret it every day. ANNIE (Cont.) But I do know, from my grandpa, that he tore Jerry a new one and made a wager with him that if he doesn’t present a decent enough film from his production class that he’s getting fired at the end of the year.Aaron thinks. AARON Jesus. It all makes sense now... ’we’ve got a lot riding on this’...Annie snaps her fingers. ANNIE Aaron... wow. You’re one of those characters that spends an awful lot of time in their head aren’t you? AARON (V.O.) Yes. AARON No. ANNIE So are we going to do it or not? AARON That’s a pretty forward question... I’d like to...
    • 29. ANNIE Get your head out of the gutter. Are we going to save Jerry’s job by making a good film together? AARON And how do you know I’m capable of making a good film? ANNIE Because you’re the only guy who hasn’t hit on me by using references from AFI’s top 100 movies list, and because I went through my grandad’s set of freshman dvd’s and found yours... AARON That’s embarassing for me and you. You saw that peice of crap and I just found out you have no judgement of talent... ANNIE It had heart. I imagine the lead actor was a handfull though. AARON Well he’s getting roles on stage with Carey Mulligan because he looks like Jessy Eisenberg, so...A picture of the actor Ben Rosenfield pops up. Audiencelaughter plays. Annie waits for a response. AARON And how do I know that you’re worth working with?Annie laughs. ANNIE Please. How many times have I directly quoted Arrested Development today?She tilts her head back to think. The countdown clockreappears in the corner. ANNIE You know what your problem is?
    • 30. AARON No, but please tell me, person I met two hours ago. ANNIE Can I at least take a shot at it?Aaron nods. ANNIE Shakabuku. AARON What? ANNIE You need a swift kick in the head. You’re the reluctant hero waiting for a journey. Your story needs a catalyst. Just from what I’ve seen, you’ve lost a lot of hope in what you do and yourself. You need something to believe in. AARON Alright. Let’s do it. The movie, I mean. Cheers. But only because you’ve seen Grosse Pointe Blank.Aaron sips from the bottle. He hands it to Annie. She sips.Then hands it back. They exchange sips. AARON This isn’t a competition you know... ANNIE Oh, but it is.Aaron looks over at Dan, who gives him the thumbs up from acorner. Aaron takes another gulp. Annie starts to talk tohim but her voice is muted by an alarm clock that growslouder and lourder.INT. AARON’S BEDROOM - MORNINGThe camera spins overhead getting closer to Aaron’sforehead. His eyes open. The alarm clock still blares. AARON (V.O.) I woke up with my head spinning... with ideas, or from alcohol
    • 31. AARON (V.O.) poisoning. But I was refreshed. This was the start of something new, of something gr---The toilet flush is heard. Aaron quickly sits up in bed. Hesees girl’s clothes on the floor. He peeks under thebedsheets then looks at the camera with a thumbs up.He gets back in bed, his hands behind his head and closeshis eyes. AARON (To self) I’m the man.The door opens and a girl gets back into bed. She kissesAaron on the cheek. It’s Laura. LAURA You know, it’s like you said last night. Forgive and forget.Aaron’s eyes open. He sees who it is then stares up at theceiling. All alone. AARON (V.O.) I’m an idiot.