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23rd & 3rd
        S01E01
Pilot: "My Shakabuku"

         By
  Patrick Johnson




School of Visual Arts
     Production II
 Professor L. Hillier
        3/8/12




          PatrickJohnson05@yahoo.com
          PJohnson1@sva.edu
          (440)487-6073
EXT. MANHATTAN STREETS - DAY
AARON SINGER, 20, walks out of the subway. He seems weighed
down by either the books in his backpack or, from the look
of the dark circles under his eyes, the lifestyle maintained
in New York City.
Aaron squirts some hand sanitizer on his hands from a pocket
sized container. A CONSTRUCTION WORKER shoves his way past
Aaron, pushing him to the side.

                    CONSTRUCTION WORKER
          Watch it, asshole!
Aaron stops at the corner to cross. He attempts to make his
way to the other side despite the blinking red hand. He
places one foot carefully on the street and a car horn is
immediately heard. He quickly steps back on the sidewalk.
The sounds of car horns, people chatting loudly on their
cell-phones, dogs barking etc. amplify and Aaron rubs his
forehead.

He takes the headphones around his neck and puts them on.
Violent rap music is heard. Next song. Jazz music is heard.
He rubs his eyes and yawns. When he blinks again, everything
appears in BLACK and WHITE. He continues to walk.
                    AARON (V.O.)
          I used to adore New York City. I
          idolized it all out of proportion.
          No, Romanticized it all out of
          proportion.

Aaron looks up. Tall buildings line the sky. Not seeing
where he’s going, he bumps into a lesbian couple walking in
the opposite direction. They yell obscenities unheard due to
the Jazz music. He continues walking.
                    AARON (V.O.)
               (Cont.)
          To me, no matter what anybody said
          back home, it was the place of
          opportunity. So what if I had to
          spend 20 grand a semester to get
          there? It meant beautiful women.
          Street smart guys who--
A man dressed in a business suit sprints in front of Aaron,
cutting him off. Aaron looks to see where he’s going. The
guy vomits in a trashcan. Aaron takes off his headphones.
The music stops. The color’s back.
2.

                    AARON
          Really!? It’s 12:00!

Aaron rounds a corner. Headphones back on, more black and
white, he continues with his inner monologue.
                    AARON (V.O.)
          Where was I? Oh yeah... New York
          was a place were I could prove I
          was as tough and romantic as the
          city I loved. New York was my town
          and it always would be--
Aaron turns another corner. A HOMELESS MAN holds a cardboard
sign that reads: NEED $$$ FOR DENTAL FLOSS.

                      HOMELESS MAN
          Change!
Aaron takes off his headphones and reaches into his back
pocket out of guilt.

                    AARON
               (To Self)
          Please don’t smile. Please don’t
          smile.

The homeless man smiles. Aaron tries to keep his smile, but
at this point it looks more like he’s grimacing in pain. He
puts a dollar in the large cup.
                    HOMELESS MAN
          Thank you, sir. Have a great day,
          sir.
The homeless   man reaches out to shake   Aaron’s hand,
revealing he   has no hand, just a nub.   Aaron takes out a few
more dollars   and speed walks away. He   stops at a corner and
turns to the   camera while rubbing his   hands with sanitizer.
                    AARON
               (To Camera)
          That’s how I used to feel about New
          York. You know, before I left Ohio,
          I watched my dad go through a
          mid-life crisis. He was forty-eight
          and I said ’I’m never going to go
          through that. I’m going to move to
          the city, and--- and I’m going to
          be happy.’ Of course I would be a
          little happier if he’d spent that
          money he spent on the Corvette on
          my tuition but--
3.


                    DAN
          Who the hell are you talking to?
We see DAN WEISS, 20, hop off his skatebaord behind Aaron.
He looks at Aaron as if he were crazy.

                    AARON
          Oh, what’s up man?
                    DAN
          Nothing. Are you ok?

Aaron sighs. They start walking together.
                    AARON
          No. Laura and I just broke up and I
          keep sifting through where I went
          wrong, you know? Where did the
          pieces of our relationship begin to
          fall apart? A year ago we were in
          love.
                    DAN
          No, a year ago she was drunk at a
          party and decided your lap was the
          perfect substitute for a pillow.
                    AARON
          Can you just let me do this?

                     DAN
          Do what?
                    AARON
          Grieve. This is the typical
          break-up conversation where I look
          back and reflect and you, being my
          best friend and all, listen.
                    DAN
          This is going to suck, isn’t it?
                     AARON
          Yes.


INT. AARON’S BEDROOM - MORNING - FLASHBACK
A girl, LAURA HANDLER, packs a duffel bag quickly with the
clothes that line Aaron’s bedroom floor. The bedroom door
opens revealing Aaron in a bath towel. He stops.
4.

                    AARON
          So this is you leaving.

                    LAURA
          You don’t have to narrate
          everything that happens all the
          time, Aaron. Yes. This is me
          leaving. I’m puting the clothes
          from the floor into this duffel bag
          and then, shortly after, leaving.
          Do you see how exhausting that is?
Laura sees this hurts Aaron.
                    LAURA
          I’m sorry. Look, I still want to be
          friends.
Aaron laughs. He starts to get dressed.
                    AARON
          I’m gonna have to ask you to leave
          the bedroom then.
                    LAURA
          What? Why? We were mid-discussion.

                    AARON
          We’re not dating anymore. You don’t
          get to see me naked.
                    LAURA
          Are you serious?
Aaron nods.
                    LAURA
          You’re a twelve year old.

                                                     CUT TO:

INT. AARON’S APARTMENT LIVING ROOM - MORNING - FLASHBACK

Laura waits outside. The door opens, revealing Aaron, fully
clothed.
                    AARON
          You were saying?

                    LAURA
          I was saying, before you scoffed at
          me, that I still want to be
          friends.
5.


                    AARON
          No.
                    LAURA
          I’m not saying right away.
          Obviously there’s going to be that
          awkward transition period and then
          gradually, over time--
                    AARON
          No. This is it. If this is goodbye,
          this is goodbye forever.
                    LAURA
          Everything is black and white with
          you isn’t it?

Aaron thinks.
                                                  CUT TO:

INT. COFFEE SHOP - DAY - FLASHBACK

Aaron sits at a coffee shop with Laura and Dan.
                    AARON
          Worst movie I’ve ever seen.


EXT. MANHATTAN STREET - DAY - FLASHBACK
Aaron walks with Laura. They hold hands.
                    AARON
          We’re going to Bluebell. Best
          burger in the city by far. Best
          burger I’ve ever had. Ever.

INT. AARON’S BEDROOM - NIGHT - FLASHBACK

It’s pitch black. Nothing is seen.
                    AARON
               (Catching his breath)
          Best. Sex. Ever.
                                                  CUT TO:
6.


INT. AARON’S APARTMENT LIVING ROOM - MORNING - FLASHBACK
Aaron snaps out of it.
                    AARON
          No. But regarding this particular
          topic, yes. We’re not gonna be
          friends.
                    LAURA
          Why?

                    AARON
          Because you’re in the position to
          take advantage. Women will always
          want something from guys. And me,
          loving you, will always want to get
          it for you.
Laura rolls her eyes.
                    LAURA
          And when’d you learn that?

                    AARON
          I was late to the game actually.
          I’d say around senior year of high
          school.

                                                        CUT TO:

INT. CLASSROOM - DAY - FLASHBACK
A younger looking Aaron sits behind a girl, ALANA BROOKS,
17. She talks to a kid in a varsity jacket, STEVE, paying
Aaron no attention. Yet, Aaron taps her on the shoulder.
                     AARON
          Hey, here’s that research paper you
          asked for.

She smiles at Aaron and then turns right back around.

INT. KITCHEN - NIGHT - FLASHBACK

High school kids pour drinks in a crowded kitchen. Aaron
stands there with a full bottle of vodka. He looks off
screen at Alana.
7.


                    AARON
          Hey, here’s that bottle of vodka
          you asked for.
A hand reaches off screen and grabs it. Three seconds pass.
The same hand hands Aaron back an empty bottle of vodka.
Aaron stares at the bottle for a moment, then looks at
Alana. She’s making out with STEVE (varsity jacket still on)

INT. HIGH SCHOOL HALLWAY - DAY - FLASHBACK

Aaron holds his car keys. He looks at them for a moment.
                    AARON
          Alright. Here’s the keys you asked
          for. But I need the car back by
          ten.
                                                     CUT TO:

INT. AARON’S APARTMENT LIVING ROOM - MORNING - FLASHBACK

Aaron snaps out of it.
                    AARON
          And that’s how my dad’s car ended
          up in a river senior year. And
          that’s why he bought a new Corvette
          instead of paying my tuition.
                    LAURA
          Aaron--

                    AARON
          And you know what the worst part
          was? Alana Brooks got a whole page
          in the yearbook. What a bitch.

                    LAURA
          Aaron--
                    AARON
          But it all goes back to When Harry
          Met Sally really. The sex part does
          always get in the way. Every man
          wants to have sex with a woman he
          finds attract--
                    LAURA
          Aaron! I’ve seen the movie! We’ve
          seen the movie! Together! At least
8.


                    LAURA
          100 times! You don’t listen! You
          want to go through the downfalls of
          our relationship? To where the
          peices started to fall apart? It
          doesn’t happen like that. You just
          didn’t listen and it’s been
          exhausting!
                    AARON
          Well I’m listening now...
Laura picks her bag up. She kisses Aaron on the cheek.
                    LAURA
          The offer still stands. I’ll see
          you around, maybe.
Aaron’s left standing there. We pan out and see he’s only
dressed to his boxers. The door slams.


EXT. MANHATTAN STREETS - DAY
Back to the present. Aaron and Dan continue to walk.
                    DAN
          That’s depressing, man.
                    AARON
          That’s it? No, ’it’ll be better.
          You don’t need her, man. She was
          bringing you down anyways?’

                    DAN
          You don’t need her, man. She was
          bringing you down anyways.
                    AARON
          And then you tell me about a party
          that’s going on that she won’t be
          at.
                    DAN
          Jeremy’s having something later.

Aaron hangs his head.
                    AARON
          I don’t know if I’ll want to go.
9.


                       DAN
             But you just said--
                       AARON
             I’m greiving. It all reminds me of
             my parents Senior year. I never
             thought I’d turn into them.
Aaron thinks.
                                                     CUT TO:


INT. APARTMENT LIVING ROOM - DAY
We hear dramatic arguing off camera. The camera glides up
revealing a man, BARRY, 48, and KAREN, 43 pitted in a
yelling match.
                       BARRY
             Oh, that’s what you wanted? I knew
             you didn’t love me!

                       KAREN
             I don’t-- I don’t love you!
She cries.
                       BARRY
             Well at least you admit it, you
             whore!
                       KAREN
             Let me finish! Let me finish!

Barry pants.
                       KAREN
             I haven’t loved in a long time. I
             don’t even know what love is
             anymore.

Barry awkwardly pushes her up against a wall. Karen cries.
He pushes her again. Then he stops. He looks into the
camera.

                       BARRY
             Line?
10.


INT. STUDIO/CLASSROOM - DAY
The camera pulls back revealing the action is taking place
on a television screen. In the background FILM STUDENTS hold
a camera, another struggles to hold the microphone off
frame. The apartment is just a set.


INT. APARTMENT LIVING ROOM - DAY
A guy, TRACY, 19, holding a clip board with a script reads
the next line with no emotion.
                    TRACY
          Well did you feel it? Did you feel
          love when you went over to David’s
          mansion two nights ago? Did you?

The actor stops. He looks off camera at DYLAN, 20, wearing a
blue baseball cap and stroking his chin thinking. He’s the
director.
                    DYLAN
          Cut!
                                                     CUT TO:

INT. STUDIO/CLASSROOM - DAY

Off set, Aaron and Dan stand watching, trying not to laugh.
Dan turns to another kid, MALIK.
                    DAN
               (To Malik)
          Jesus, who wrote this thing?. Is
          this supposed to be funny? If so,
          kudos.
                    AARON
               (To Malik)
          Yeah, divorce doesn’t look like
          this at all. I bet you it was one
          of those writing "pairs" where both
          people fight the entire time they
          write together because ’they feel
          it makes better dialogue’. It
          doesn’t.
                    DAN
               (To Aaron)
          Your parents aren’t divorced.
11.


                    AARON
          Well, midwest family values. You
          just keep on pushing until it all
          bottles up inside and then business
          meetings really mean a trip to the
          motel six by the highway...
                    DAN
          Hooker reference?
                    AARON
          Nah. Coworker. I’m assuming.
                    MALIK
          I wrote this.
He glares at Dan. Dan laughs and slowly turns to Aaron.
Malik walks away.
                    DAN
          Well, the Long Island way is you
          just buy two dogs and put all the
          love there.


INT. APARTMENT LIVING ROOM - DAY
Back on the main set, Barry and Karen make small talk.

                    BARRY
          You were in the running for that
          Crest commercial directed by Sofia
          Coppola? I envy you!
                    KAREN
          No, don’t. I went through three
          call backs saying one sentence:
          ’For Happy times, make it a Crest
          smile’ and got the same feedback
          every time: ’Less emotion.’ Then I
          got some e-mail saying my smile
          wasn’t a Crest smile. But if you
          really wanna know I use Colgate
          anyways. Bastards.
They laugh. Malik and Dylan approach the actors.

                    DYLAN
          So Barry, what did you think about
          the last take? Where are you...
          emotionally?
12.

                     BARRY
          I feel like it was missing
          something. The anger was there. It
          felt real.
                    KAREN
          I feel like, if he choked me--
Karen grabs Barry’s hands to choke her.

                    KAREN
               (Cont.)
          -- it’d add something to whatever
          this is.

                    DYLAN
          Malik? What do you feel?
                    MALIK
          Yeah. I feel like if you hit the
          wall to show her if you really
          wanted to you could hit her, you
          know?
                    BARRY
          How about I just hit her?

Karen nods in agreement.
The professor of this class, dressed in just a t-shirt and
jeans, JERRY DILLINGER, 50, enters the set. He motions to
Dylan and Malik to join the class.

                    JERRY
               (To the actors)
          If you’ll excuse us for a moment.
Dylan and Malik follow Jerry off set.


INT. STUDIO/CLASSROOM - DAY
A group of 10-15 students sit in chairs and wait for Jerry
to talk. He scans the class, from the two girls sitting next
to each other to the rest of the room: full of guys judging
each other.
                    JERRY
               (To class)
          Ok. It’s second semester, folks.
          And you’re still doing it wrong.
Tracy raises his hand. Jerry ignores it.
13.


                    JERRY
               (Cont.)
          You’re all too busy competing with
          eachother. You have to put the ego
          aside to make something great.
          Expecting this, I brought something
          to read today from the book you
          were supposed to read last
          semester.
Jerry pulls out a peice of paper from his back pocket.

                    JERRY
               (Cont.)
          There is a vitality, a life force,
          a quickening that is translated
          through you into action, and
          because there is only one of you in
          all time, this expression is
          unique... It is your business to
          keep it yours clearly and directly.
Tracy nods enthusiastically. The snippit falls to def ears.

                    AARON (V.O.)
          When I first got accepted into film
          school, I was excited. To learn, to
          study... but I quickly realized
          that film school is a game, a game
          of survival.
                                                     CUT TO:


INT. STUDIO/CLASSROOM - DAY - FANTASY
Aaron stands in front of the class with a script in hand. He
reads it. When finished, he puts the pages down to look at
his classmates.

They’re dressed in caveman attire. Just cloths covering
their privates, war paint slacked on, sharpening their
collective spears.
Aaron looks down at himself, a bullseye painted on his bare
chest. He looks over at Jerry, sitting on an emperor’s
throne constructed of sticks and animal skins.
                    AARON (V.O.)
          You take all the advice you can
          get, from your teachers, from your
          peers all the while knowing, in the
          back of their minds, what they
14.


                    AARON (V.O.)
          really want is to see your little
          ’masterpeice’ turn into a peice of
          crap, to make their peices of crap
          look better by comparisson.

Jerry motions the signal of death, sliding his finger across
his neck. The class grunts and yells.
                                                     CUT TO:


INT. STUDIO/CLASSROOM - DAY
                    JERRY
               (Cont.)
          Knowing this, what’s wrong with
          this scene?
Tracy raises his hand quickly. Jerry still ignores it. Dan
raises his hand.
                    JERRY
          Mr. Weiss, welcome back to class.
          Thank you for gracing us with your
          presence this week. You had a
          streak going...
The class laughs.

                    DAN
          Thank you, sir. Good to be back. I
          think the problem here is that this
          is riddled with cliches.

Malik glares.
                    JERRY
          Possible. I think the real problem
          is--

There’s a knock on the open door. Jerry turns around to see
REEVES FILLMORE, 61, a lengthy man that, based on the way
everyone in the classroom excluding Jerry straightened up in
their seats, must be the school’s dean.

He’s accompanied by REECE "ANNIE" FILLMORE, 20. She carries
textbooks. Reeves leans in for a kiss but Annie pulls away.
Reeves motions for Jerry to leave the classroom.
Jerry walks over.
15.


                    JERRY
               (To Annie)
          You must be Reece.
                    ANNIE
          Annie, actually.
She hushes her voice.
                     ANNIE
                (Whispering)
          I don’t paticularly like the family
          name.
Jerry laughs.
                    JERRY
          Neither do I. Welcome to class!
          Make yourself at home. I know the
          male-female ratio is a little off
          in this class, but if you give them
          enough time to prove it, you’ll
          find they’re all mostly woman
          anyways. Except that one.
He points to Aaron.
                    JERRY
               (Cont.)
          But don’t tell him I told you. He
          doesn’t show it. But give him time.
Annie smiles and nods. She makes eye-contact with Aaron.

                    AARON (V.O.)
          Maybe sulking in heartbreak is
          overrated after all.

INT. STUDIO/CLASSROOM - DAY - FANTASY

Annie walks into the class, all still dressed in their
cave-al/ tribal attire. They circle around Aaron (tied up in
the center with an apple in his mouth) chanting.
Annie clears her throat. They stop and pick up their spears.
She gulps.
                                                     CUT TO:
16.


INT. REEVE’S OFFICE - DAY
War medals line the interior of Reeve’s office. Reeve’s
looks at them from behind his desk, distracted. Meanwhile
Jerry sits back in the chair, waiting.

Reeves reaches into his desk drawer. Underneath a half empty
bottle of whiskey rests a pile of papers. He tries to reach
them under the bottle, but can’t.
He pulls the bottle out first. Then the papers.

                    REEVES
          Do you want to know what this stack
          is?
                    JERRY
          No. I want to know what that is.
He points to the bottle of whiskey.
                     JERRY
                (Cont.)
          Top shelf stuff? If so, do you
          mind?
Jerry reaches for the bottle. Reeves cuts him off by putting
the bottle back in the desk drawer. Jerry leans back,
pleased.

                    REEVES
          These are the reviews, by your
          students, from last semester. It’s
          not good.

                    JERRY
          I already know what they say.
                    REEVES
          Do you?

Reeves and Jerry stare eachother down.

INT. STUDIO/CLASSROOM - DAY

Back in the studio, Dan and Annie talk.
                    DAN
          So you’re screwing the old
          headmaster for tuition money, then?
17.


                    ANNIE
          You have me pegged. My turn?
                    DAN
          Go ahead and try. Just be warned
          the last girl that did not only
          found out I was too complex to be
          ’pegged’ but also ended up in my
          bedroom. You may be in elite
          company.

Annie laughs.
                    ANNIE
          Definitely from Long Island. I’m
          guessing you have no real
          interests, which normally would
          make it odd that you go to school
          where creativiy is a prerequisite,
          but that means you have someone in
          your extended family who’s a
          string-puller.

                    DAN
          All generalizations!
                    ANNIE
          But isn’t that the game? I wasn’t
          finished-- So you kidded yourself
          into coming here. Tried to sell pot
          once- no, three times because the
          one movie you actually like is the
          Wackness...

Aaron sits in his chair typing on his old Macbook, acting
like he’s not paying attention. A laugh slides through.
                     ANNIE
               (Cont.)
          And when you go to Brooklyn you
          leave the heaping amount of cash
          you usually carry around with you -
          which is from your parents and not
          failed drug selling endeavors -
          back at home which is where? Lower
          East Side?

Annie drops her voice to a whisper.
                    ANNIE
               (Cont.)
          ... because you’re secretly afraid
          of black people.
18.

Dan isn’t smiling anymore. Aaron is.
                    ANNIE
          You don’t like losing do you? Then
          again I doubt you ever played
          sports. Skateboard?
                    DAN
          Ok. I’m done. How do you know?
Annie points to a chair with a skateboard deck. On the top
in grip tape is the name DAN.
                    ANNIE
          At least you can spell. So, what’s
          mopey’s deal over there?

She motions her head towards Aaron.
                    DAN
          Oh, you can’t figure him out?

Dan walks away. Aaron types a script on his computer. He
looks up and sees Annie standing in front of him.
                    ANNIE
          So what’s a screenwriting major
          doing in a production class?

                    AARON
          Commitment problems.
                    ANNIE
          You feel whoever would try and
          direct the glorious words you wrote
          would mess them up because they
          can’t understand their complexity?
Aaron laughs.

                    AARON
          Wow. You just really go out and
          network don’t you?
                    ANNIE
          It’s because I don’t know how to
          write. Well, at least alone. I’ve
          always felt that dialogue flows
          better with two people writing
          anyways... So what are you working
          on?

Aaron looks and Annie and smiles.
19.


                    AARON (V.O.)
          I can contradict myself on this one
          thing, right?


INT. REEVE’S OFFICE - DAY
Back in Reeve’s office, Jerry and Reeves continue to argue.
                    JERRY
          The reviews say what they say every
          year: Too much time working with
          16, not enough time getting to
          digital. Too much time on theory,
          not enough time letting them shoot.
Reeves flips through the papers, trying to keep up.

                    JERRY
          So what am I supposed to do? Cater
          my entire curriculum to the three
          students that would rather make
          youtube videos for 40k a year? Or
          try and run a legitimate production
          class?
                    REEVES
          You’re supposed to follow our
          updated curriculum.

Jerry shakes his head. A loud BANG goes off off screen.
Reeves jumps, startled. He crouches under his desk. There’s
a KNOCK at the door. His assistant, CLAIRE opens the door.

                    CLAIRE
          Sorry, sir. A tray of thesis year
          scripts just fell to the ground. My
          fault. Can I get you anything?
Reeves slowly gets up and back in his seat.

                    REEVES
          I’m fine, Claire. I’m fine.
She shuts the door quickly.

                    JERRY
          See, the problem here is you’re
          trying to do what’s cost effective
          and easy. Did you forget that
          making movies is neither easy nor
          cost effective, let alone doing
          them right?
20.


Reeves doesn’t respond. Still panicked. Jerry gets up to
leave. But before he can...
                    REEVES
          You know you’re contract expires
          this year, right? And if we were to
          resign it, you’d be eligible for
          tenure?
                    JERRY
          What are you getting at?

                    REEVES
          I think you know. You can keep
          going rogue on me, Jerry, doing
          things your way but we both
          remember where that got you in the
          industry. Go on, I dare you not to
          change. That way I can sign a new
          kid to staff at half the price who
          obeys orders.
Jerry’s unphased.

                    JERRY
          Once again, what are you getting
          at?
                    REEVES
          Show me a film made by one of your
          students by the end of semester,
          with your theories, that the
          committee approves of and I’ll let
          you stay. Good luck.

                    JERRY
          And who’s the head of this
          commitee, again?
                    REEVES
          I am.
Jerry leaves. Reeves goes to take a sip of whiskey.

EXT. REEVE’S OFFICE - DAY

Outside, Jerry walks past Claire’s desk. He notices the tray
full of scripts. He politely takes them out of the tray and
sets them on Claire’s desk. He smiles at her, then knocks
the tray to the floor.
21.


INT. REEVE’S OFFICE - DAY
Reeves jumps and spills the remaining whiskey.

INT. STUDIO/CLASSROOM - DAY

Back in the studio, Annie and Aaron shake hands.
                    AARON
          Hope? Your real name is Hope?

                    ANNIE
          Yeah, I know what you’re thinking.
          My parents were one of those
          liberal yuppy-type couples that
          never read Carawack or Hemmingway
          but pretended to, jumped at the
          chance to join any movement and
          then sold out at the first chance
          they could to turn an idea into a
          corporation. And their past sins
          have been carried out on their
          innocent daughter with a name like
          Hope, and all those kids with their
          clever puns: ’I had Hope. Did you
          have hope? Yeah, I had her but I
          left her in a parking lot and she
          had to call her friends to pick her
          up!’ And they were right. They all
          had me.
Annie takes a second to breathe. And to look innocently back
at Aaron and twirl her hair.

                    ANNIE
               (Cont.)
          Do you want me?
                    AARON
          Uhm. I just got out of a serious
          relationship. In fact she just left
          my apartment today, so I don’t know
          if I’m ready-- hold on I just got a
          text.

Aaron opens up his iPhone. A message from Dan reads: YOU’RE
AN IDIOT. STOP TALKING. REBOUND!
Aaron looks at Dan, across the room. Dan pretends to blow
his brains out.
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 back
in their seats.

                    JERRY
          The administration has spoken. You
          have spoken, anonymously of course,
          regarding the collective thoughts
          on first semester. And you’re all
          snitches. Except you.
He points to Annie.
                    JERRY
               (Cont.)
          Unless you’re a spy sent from the
          administration to monitor my
          methods. Are you?
                    ANNIE
          I can’t answer that.
                    JERRY
          Very well. You want to make movies
          and not films seems to be the
          conclusion. Very well then. I need
          scripts and production binders next
          week. Class dismissed.
The class gets up to leave. Aaron follows Annie out the
door, but Jerry stops him.

                    JERRY
          You have that revision for me?
Aaron goes into his backpack.
24.


                    AARON
          It’s not very good.
                    JERRY
          Then why are you giving it to me?

                    AARON
          I never said it wasn’t readable.
He hands Jerry the script.

                    JERRY
          You know, we-- you have a lot
          riding on this.
                    AARON
          What do you mean?

                    JERRY
          Like your scholarship and--
Jerry stops himself.

                       AARON
          And?
                    JERRY
          Nothing. I’ll give it a read and
          send you feedback.

                       AARON
          Thanks.
Aaron exits.


INT. HALLWAY - DAY
Aaron turns down the hallway to find Dan waiting for him.

                    DAN
          You didn’t get her number.
                    AARON
          How do you know? I could’ve--

                    DAN
          Because she gave me this...
Dan hands Aaron a folded up peice of paper.
25.


                    DAN
               (Cont.)
          ... and told me that in no way was
          it intended for my eyes to see.
          That if I was to open it, I was not
          to contact her with the number
          written on it.
                    AARON
          I’m guessing you opened it.

                    DAN
          Yeah. I texted her about Jeremy’s
          later tonight, that you’d be there,
          and that she’s too high maitenence
          for me anyways. She said something
          about a project you were working on
          together? Look at you, changing
          your belief system for this girl.
                    AARON
          I never committed to anything.

                    DAN
          And I thought you were grieving.
                    AARON
          Forgive and forget I guess.


INT. JEREMY’S APARTMENT LIVING ROOM - NIGHT
Art school students line the apartment walls, drinking and
talking. Annie checks her phone: a conversation with Aaron.
One text: where are you? No response.

Dylan, blue baseball hat still on, chats her up.
                    DYLAN
          ...But I feel like what the Academy
          still doesn’t understand, or
          refuses to understand... because
          it’s too ’commericial’ or was made
          with the intent to profit, is that
          there’s a lot of romanticism in
          those films.

                     ANNIE
          Dylan...
                     DYLAN
          Annie?
26.


                    ANNIE
          Are we still talking about the Fast
          and the Furious?
Dylan nods enthusiastically.

                    DYLAN
          What do you think?
                    ANNIE
          I think it’s time for a
          transitional non-sequitor.
                    DYLAN
          What?
                    ANNIE
          The Fast and Furious is a series of
          films, we study film, so I need
          another drink.
Annie leaves for the kitchen.


INT. JEREMY’S APARTMENT KITCHEN - NIGHT
Aaron and Dan enter the kitchen. Aaron holds a bottle of
liquor. Annie sees them and heads their way.

                    ANNIE
          Welcome to the worst party on
          earth. You’d think people who study
          film would get tired of talking
          about it, but I’ve been hit on at
          least three times tonight with
          movie references...
She tilts her head back in thought. Dan stops her.
                    DAN
          What are you doing?
                    ANNIE
          Thinking about those times I’ve
          been hit on.

                    DAN
          Ok, well we don’t have time for it.
A clock appears on the botton corner of the screen, counting
down the amount of time before the episodes over, 24-style.
The characters look at it, and then at the camera.
27.


                    DAN
               (Cont.)
          Unless you want to make it four
          times. I wanna watch Field of
          Dreams and round your--

                    ANNIE
          Disgusting. Don’t you have a
          cornfield to disappear into? Or a
          father to play catch with?

Dan leaves.
                    AARON
          The father thing might’ve gone a
          little too far. I don’t think his
          dad actually ever played catch with
          him.
They watch Dan walk into the party with his head hanging
down, sad Charlie Brown music playing.
                    AARON
          Anyways I brought you something.
Aaron hands her the bottle of liquor.
                       ANNIE
          Thank you?

                    AARON
          You’re welcome.
                    ANNIE
          But I’m setting a precedent here
          that I’m not the kind of girl you
          have to do favors for and cater to
          my needs.
                    AARON
          I get it. You’re independent. I
          just thought it was a nice gesture
          to give you alcohol...
                    ANNIE
          So you could potentially get into
          my pants later?
                    AARON
          What? No! That’s rediculous.
He laughs awkwardly.
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. Audience
laughter plays. Annie waits for a response.

                    AARON
          And how do I know that you’re worth
          working with?
Annie laughs.

                    ANNIE
          Please. How many times have I
          directly quoted Arrested
          Development today?

She tilts her head back to think. The countdown clock
reappears in the corner.
                    ANNIE
          You know what your problem is?
30.


                    AARON
          No, but please tell me, person I
          met two hours ago.
                    ANNIE
          Can I at least take a shot at it?
Aaron nods.
                       ANNIE
          Shakabuku.

                       AARON
          What?
                    ANNIE
          You need a swift kick in the head.
          You’re the reluctant hero waiting
          for a journey. Your story needs a
          catalyst. Just from what I’ve seen,
          you’ve lost a lot of hope in what
          you do and yourself. You need
          something to believe in.

                    AARON
          Alright. Let’s do it. The movie, I
          mean. Cheers. But only because
          you’ve seen Grosse Pointe Blank.

Aaron sips from the bottle. He hands it to Annie. She sips.
Then hands it back. They exchange sips.
                    AARON
          This isn’t a competition you
          know...
                    ANNIE
          Oh, but it is.
Aaron looks over at Dan, who gives him the thumbs up from a
corner. Aaron takes another gulp. Annie starts to talk to
him but her voice is muted by an alarm clock that grows
louder and lourder.

INT. AARON’S BEDROOM - MORNING

The camera spins overhead getting closer to Aaron’s
forehead. His eyes open. The alarm clock still blares.
                    AARON (V.O.)
          I woke up with my head spinning...
          with ideas, or from alcohol
31.


                    AARON (V.O.)
          poisoning. But I was refreshed.
          This was the start of something
          new, of something gr---

The toilet flush is heard. Aaron quickly sits up in bed. He
sees girl’s clothes on the floor. He peeks under the
bedsheets then looks at the camera with a thumbs up.
He gets back in bed, his hands behind his head and closes
his eyes.

                    AARON
               (To self)
          I’m the man.
The door opens and a girl gets back into bed. She kisses
Aaron on the cheek. It’s Laura.
                    LAURA
          You know, it’s like you said last
          night. Forgive and forget.

Aaron’s eyes open. He sees who it is then stares up at the
ceiling. All alone.
                    AARON (V.O.)
          I’m an idiot.

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

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