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| − | FADE IN: |
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| − | 1 EXT. TUNNEL - NIGHT 1 |
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| − | The titles begin over black. We hear the sound of an old |
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| − | Typewriter. Someone reaching out to us. The bell dings, |
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| − | Announcing the end of a line, and we see our title... |
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| − | THE PERKS OF BEING A WALLFLOWER |
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| − | Music begins, picture fades up, and we are in the city. |
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| − | Downtown Pittsburgh. Looking out of the back window like a |
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| − | Child in the back of a station wagon. |
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| − | We see lights on buildings and everything that makes us |
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| − | Wonder. We see the bridge. And the river below. And then |
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| − | We enter... |
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| − | The Tunnel. |
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| − | We keep moving backwards, watching the lights. Golden, |
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| − | Alive, and hypnotic. The music carries us as we float out of |
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| − | The tunnel. Onto another bridge. And over the highway. |
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| − | We move into the night sky, back through the trees, through a |
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| − | Window, and into... |
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| − | 2 INT. CHARLIE'S BEDROOM - NIGHT 2 |
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| − | It is a neat and tidy little room. Few posters or books. |
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| − | CHARLIE is 15. He is innocent, hopeful, awkward, and likable |
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| − | to everyone but his classmates. He sits at his desk, writing |
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| − | a letter in pencil as he tapes the title song through the |
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| − | radio on his cassette boom box. |
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| − | CHARLIE (V.O.) |
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| − | Dear Friend, I am writing to you because |
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| − | she said you listen and understand and |
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| − | didn't try to sleep with that person at |
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| − | that party even though you could have. |
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| − | Please don't try to figure out who she is |
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| − | because then you might figure out who I |
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| − | am, and I don't want you to do that. I |
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| − | just need to know that people like you |
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| − | exist. Like if you met me, you wouldn't |
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| − | think I was the weird kid who spent time |
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| − | in the hospital. And I wouldn't make you |
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| − | nervous. |
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| − | 3 INT. CHARLIE'S HOUSE - MOMENTS LATER 3 |
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| − | Charlie anxiously walks through the hallway of his suburban |
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| − | split level house. |
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| − | CHARLIE (V.O.) |
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| − | I hope it's okay for me to think that. |
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| − | You see, I haven't really talked to |
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| − | anyone outside of my family all summer. |
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| − | Charlie moves to the living room where dad watches a football |
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| − | game. Mom reads a page turner and sips her white wine. |
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| − | Charlie waits for them to notice him. And waits. And waits. |
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| − | 4 INT. CHARLIE'S BEDROOM - NIGHT 4 |
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| − | Charlie sits at his desk, continuing his letter in pencil. |
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| − | CHARLIE (V.O.) |
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| − | But tomorrow is my first day of high |
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| − | school ever, and I really need to turn |
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| − | things around this year. |
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| − | (hopeful) |
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| − | So, I have a plan. |
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| − | 5 INT. MILL GROVE HIGH SCHOOL HALLWAY - LAST DAY 5 |
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| − | We see it in Charlie's mind. Slow motion and wondrous. The |
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| − | kids clear out their lockers by throwing their old papers in |
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| − | the air like a New York confetti parade. |
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| − | CHARLIE (V.O.) |
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| − | As I enter the school for the first time, |
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| − | I will visualize what it will be like on |
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| − | the last day of my senior year. |
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| − | Charlie walks down the hall. Triumphant. Confident. Happy. |
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| − | CHARLIE (V.O.) (CONT'D) |
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| − | Unfortunately, I counted, and that's... |
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| − | SMASH CUT TO: |
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| − | 6 INT. MILL GROVE HIGH SCHOOL HALLWAY - FIRST DAY 6 |
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| − | Reality. The bell rings, and we see the chaotic maze from |
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| − | Charlie’s POV. A SENIOR BULLY leads the ritual, making |
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| − | dozens of freshmen hop down the hall. |
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| − | SENIOR BULLY |
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| − | Hop, freshman toads. Hop! Move it, boys! |
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| − | As seniors grab more victims, Charlie moves to the wall. |
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| − | CHARLIE (V.O.) |
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| − | ... 1,385 days from now. |
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| − | VARSITY FOOTBALL PLAYERS pass, wearing their letter jackets. |
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| − | 2. |
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| − | LINEBACKER |
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| − | Man, you got big. |
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| − | NOSE TACKLE |
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| − | Worked out all summer. Rock hard, dude. |
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| − | At the front of the pack is BRAD HAYS (17), the quarterback. |
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| − | He's good looking, charismatic, and friendly. The big man on |
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| − | campus. Nice guy, too. |
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| − | BRAD HAYS |
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| − | Would you guys get a room? |
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| − | They laugh. Charlie turns to the trophy case to avoid them. |
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| − | Trying to make himself as small as possible. |
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| − | CHARLIE (V.O.) |
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| − | (trying to be optimistic) |
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| − | Just 1,385 days. |
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| − | 7 INT. MILL GROVE HIGH SCHOOL - CAFETERIA - LUNCH 7 |
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| − | Charlie moves down the lunch line with his sister. CANDACE |
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| − | KELMECKIS is 17 and a beautiful type A, straight A priss. |
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| − | CHARLIE (V.O.) |
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| − | In the meantime, I'd hoped that my sister |
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| − | Candace and her boyfriend Derek would |
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| − | have let me eat lunch with their earth |
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| − | club. |
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| − | CANDACE |
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| − | Seniors only. |
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| − | (barks to Derek) |
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| − | What are you doing with a plastic spork? |
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| − | Candace turns to her boyfriend, DEREK, 17. Derek is such a |
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| − | pussy, the most masculine thing about him is his pony-tail. |
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| − | DEREK |
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| − | I don't want to bring back silverware-- |
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| − | CANDACE |
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| − | Derek, you're Earth Club Treasurer. |
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| − | Derek takes the silverware like a beaten dog. Charlie |
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| − | watches them move into the intimidating cafeteria. |
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| − | 8 INT. CAFETERIA - LATER 8 |
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| − | Charlie sits in the corner alone, observing everyone having a |
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| − | great time with their friends. He sees a pretty girl with |
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| − | blonde hair having the best first day. This is SUSAN, 14. |
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| − | 3. |
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| − | CHARLIE (V.O.) |
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| − | When my sister said no, I thought maybe |
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| − | my old friend Susan would want to have |
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| − | lunch with me. |
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| − | Charlie catches her eye and waves, but she looks away. |
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| − | CHARLIE (V.O.) (CONT'D) |
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| − | In middle school, Susan was very fun to |
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| − | be around, but now she doesn't like to |
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| − | say hi to me anymore. |
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| − | Charlie turns his attention to the quarterback, Brad Hays. |
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| − | CHARLIE (V.O.) (CONT'D) |
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| − | And then there's Brad Hays, who's the |
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| − | quarterback of our team. Before my |
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| − | brother went to play football for Penn |
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| − | State, he and Brad played together. So, |
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| − | I thought maybe he'd say hi to me. But |
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| − | Brad's a senior, and I'm me, so... who am |
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| − | I kidding? |
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| − | Brad catches Charlie staring at him. Awkward. |
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| − | 9 INT. SHOP CLASS - DAY 9 |
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| − | Charlie sits by himself, watching the freshmen boys laugh as |
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| − | a senior paints a goatee on his face with a grease pencil. |
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| − | CHARLIE (V.O.) |
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| − | On the bright side, one senior decided to |
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| − | make fun of the teacher instead of the |
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| − | freshmen. He even drew on Mr. Callahan's |
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| − | legendary goatee with a grease pencil. |
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| − | Meet PATRICK (18), full of confidence, mischief, and so over |
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| − | high school. He is the class clown, performing a perfect |
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| − | imitation of the teacher, Mr. Callahan. |
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| − | PATRICK |
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| − | Boys, the prick punch is not a toy. I |
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| − | learned that in 'Nam back in '68. |
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| − | "Callahan," the sergeant said, "put down |
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| − | that prick punch and go kill some gooks." |
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| − | The laughter suddenly dies as the real MR. CALLAHAN (57) |
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| − | walks up behind the oblivious Patrick. |
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| − | PATRICK (CONT'D) |
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| − | But you know what happened? That prick |
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| − | punch killed my best friend in a Saigon |
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| − | whorehouse. |
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| − | 4. |
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| − | Patrick suddenly feels Mr. Callahan behind him. Oops. |
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| − | MR. CALLAHAN |
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| − | I heard you were going to be in my class. |
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| − | Are you proud being a senior taking |
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| − | freshman shop, Patty-Cakes? |
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| − | PATRICK |
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| − | My name is Patrick. You call me Patrick |
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| − | or you call me nothing. |
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| − | MR. CALLAHAN |
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| − | Okay... Nothing. |
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| − | The class laughs. Except Charlie. He watches Patrick take |
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| − | the long walk back to his seat. |
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| − | CHARLIE (V.O.) |
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| − | I felt really bad for Patrick. He wasn't |
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| − | saying the impersonation to be mean or |
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| − | anything. He was just trying to make us |
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| − | freshmen feel better. |
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| − | MR. CALLAHAN |
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| − | Everyone open your safety guides. |
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| − | Nothing... why don't you read first? |
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| − | Patrick opens the book. |
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| − | PATRICK |
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| − | Chapter 1. Surviving your fascist shop |
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| − | teacher, who needs to put kids down to |
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| − | feel big. |
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| − | (to the class) |
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| − | Oh, wow. This is useful guys. We should |
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| − | read on. |
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| − | Charlie smiles. He loves him already. |
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| − | 10 INT. ENGLISH CLASS - MORNING 10 |
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| − | The kids pass back paperback copies of To Kill A Mockingbird. |
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| − | Charlie opens his Trapper Keeper, takes a pencil out of the |
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| − | plastic pouch, and writes... “ENGLISH CLASS... DAY ONE.” |
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| − | CHARLIE (V.O.) |
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| − | My last class of the day is advanced |
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| − | English, and I'm excited to finally start |
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| − | learning with the smartest kids in the |
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| − | school... |
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| − | A SMART ASS FRESHMAN girl with braces smiles at him. |
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| − | 5. |
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| − | SMART ASS FRESHMAN |
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| − | (whispers) |
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| − | Nice Trapper Keeper, faggot. |
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| − | The kids around him laugh. Charlie's ears turn red. At the |
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| − | blackboard, the teacher writes his name... Mr. Anderson. But |
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| − | you can call him BILL (27). Bill is an idealist. |
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| − | BILL |
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| − | Shhh. I'm Mr. Anderson. And thanks to |
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| − | Teach for America, I'm going to be your |
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| − | teacher for freshman English. This |
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| − | semester, we're going to be learning |
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| − | Harper Lee's To Kill a Mockingbird. |
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| − | Genius book. Now, who wants to get out |
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| − | of the first pop quiz? |
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| − | All hands go up. Except Charlie's. Bill paces the rows. |
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| − | BILL (CONT'D) |
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| − | I'm shocked. Alright. You can skip the |
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| − | quiz if you tell me which author invented |
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| − | the paperback book. Anyone? |
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| − | As kids think, Bill confiscates contraband, removes hats. |
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| − | BILL (CONT'D) |
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| − | He’s British. He also invented the |
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| − | serial. In fact, at the end of chapter 3 |
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| − | of his first novel, he had a man hanging |
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| − | off a cliff by his fingernails. Hence, |
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| − | the term cliffhanger. Anybody? |
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| − | FRESHMAN GIRL |
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| − | Shakespeare. |
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| − | BILL |
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| − | That's a great guess, but no, Shakespeare |
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| − | didn’t write novels. Anybody else? |
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| − | (off their silence) |
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| − | The author was... |
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| − | Bill is about to give the answer when he notices Charlie has |
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| − | already written... Charles Dickens. |
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| − | BILL (CONT'D) |
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| − | ... Charles Dickens. However, if you and |
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| − | I had gone to a play in Shakespeare's |
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| − | time, it would have cost 4 pennies. Can |
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| − | you imagine that? We would have put |
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| − | those pennies in a metal box, which the |
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| − | ushers would lock in the office. And |
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| − | that's where we get the term... anyone? |
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| − | 6. |
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| − | KIDS (O.S.) |
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| − | "Office Depot!" "Office Supplies!" |
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| − | Charlie writes down Box Office, then looks up to find that |
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| − | Bill is staring at him. Waiting for him to raise his hand. |
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| − | BILL |
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| − | I'll give you a free "A" on anything but |
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| − | the final term paper if you get it right. |
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| − | Charlie looks down. He's not going to answer. |
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| − | BILL (CONT'D) |
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| − | Box office. |
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| − | The kids groan. They should have known. Charlie smiles to |
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| − | himself. He's going to like this class. |
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| − | 11 INT. ENGLISH CLASS - LATER 11 |
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| − | The bell rings. The students chatter their way out of class. |
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| − | The last to leave is Charlie. |
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| − | BILL |
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| − | You should learn to participate. |
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| − | Charlie stops and turns to find Bill erasing the board. |
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| − | BILL (CONT'D) |
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| − | Why didn't you raise your hand? |
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| − | (off Charlie's shrug) |
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| − | They call you teacher’s pet? Freak? |
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| − | (off Charlie's nod) |
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| − | I used to get spaz. I mean, come on, |
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| − | spaz? |
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| − | Charlie smiles. Bill takes a moment. Then... |
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| − | BILL (CONT'D) |
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| − | So, I heard you had a tough time last |
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| − | year. But they say if you make one friend |
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| − | on your first day, you're doing okay. |
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| − | CHARLIE |
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| − | Thank you, sir, but if my English teacher |
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| − | is the only friend I make today, that |
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| − | would be sort of depressing. |
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| − | BILL |
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| − | Yeah. I could see that. |
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| − | CHARLIE |
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| − | Don't worry, Mr. Anderson. I'm okay. |
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| − | 7. |
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| − | Bill nods and watches Charlie exit. He gets swallowed up by |
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| − | the hallway as the bell rings. |
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| − | 12 INT. MILL GROVE HIGH SCHOOL - HALLWAY - DAY 12 |
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| − | Charlie looks through the thick office glass. He sees |
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| − | Patrick use his charms on MRS. SMALL, (58) the Principal. |
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| − | PATRICK |
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| − | (to Mrs. Small) |
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| − | I would happily not take shop... |
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| − | Out of nowhere, the SENIOR BULLY grabs Charlie's book. |
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| − | SENIOR BULLY |
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| − | Hey, Freshman Toad. |
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| − | The bully rips the cover. He throws it on the ground as his |
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| − | friends laugh and disappear down the hall. Charlie walks up |
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| − | and picks up his book. |
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| − | CHARLIE (V.O.) |
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| − | Well, I have 1,384 days to go. And just |
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| − | so I say it to someone, high school is |
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| − | even worse than middle school. |
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| − | 13 EXT. CHARLIE'S HOUSE - DAY 13 |
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| − | Charlie walks up the path to his house. |
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| − | CHARLIE (V.O.) |
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| − | If my parents ask me about it, I probably |
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| − | won't tell them the truth because I don't |
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| − | want them to worry that I might get bad |
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| − | again. |
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| − | 14 INT. CHARLIE'S HOUSE - AFTERNOON 14 |
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| − | Charlie tapes his book cover back together. He looks up as |
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| − | his dad comes home from a long day. Charlie's mom hugs him. |
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| − | CHARLIE (V.O.) |
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| − | If my Aunt Helen were still here, I could |
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| − | talk to her. And I know she would |
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| − | understand how I am both happy and sad, |
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| − | and I'm still trying to figure out how |
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| − | that could be. I just hope I make a |
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| − | friend soon. Love always, Charlie. |
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| − | 15 INT. CHARLIE'S DINING ROOM - EARLY EVENING 15 |
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| − | Charlie stands in the kitchen, pouring his milk. |
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| − | 8. |
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| − | MOTHER (O.S.) |
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| − | Charlie, come on. |
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| − | His family is seated around the table. Candace's boyfriend, |
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| − | Derek, is their special guest. |
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| − | DEREK |
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| − | Mmmm. This chicken paprikash is |
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| − | delicious, Mrs. Kelmeckis. |
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| − | Charlie's father rolls his eyes, then reads his sports page. |
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| − | MOTHER |
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| − | Thank you, Derek. It's Charlie's |
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| − | favorite. He was a little nervous about |
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| − | starting high school, so I made it. |
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| − | FATHER |
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| − | You feel a little silly being nervous |
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| − | now, huh, champ? |
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| − | CHARLIE |
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| − | Yes, sir. I sure do. |
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| − | Charlie carries his milk back to the table. He quickly sits, |
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| − | hoping someone will change the subject. |
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| − | FATHER |
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| − | I told you. Just give 'em a smile and be |
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| − | yourself. That's how you-- |
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| − | CANDACE |
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| − | "--make friends in the real world." |
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| − | FATHER |
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| − | You're cruisin' for a bruisin'. |
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| − | DEREK |
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| − | Freshman year is tough, but you really |
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| − | find yourself. |
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| − | FATHER |
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| − | (deep eye roll) |
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| − | Thanks, Derek. |
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| − | 16 INT. LIVING ROOM / ENTRY HALL - EVENING 16 |
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| − | Charlie's father and mother watch a local sports show. |
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| − | Charlie passes by them with ice cream on his way downstairs. |
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| − | MOTHER |
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| − | I think you could be a little nicer to |
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| − | Derek. |
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| − | 9. |
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| − | FATHER |
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| − | I'm sorry. The kid's a pussy. I can't |
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| − | stand him. |
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| − | Charlie moves to the entry hall. He looks through the screen |
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| − | door to the porch where Candace kisses Derek's cheek goodbye. |
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| − | As Derek walks to his mom's Mercedes, Candace joins Charlie. |
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| − | DEREK |
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| − | (waving from car) |
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| − | I hope you love the mix I made. The |
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| − | cover is hand-painted. |
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| − | When he gets into his car, she hands Charlie the mix tape. |
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| − | CANDACE |
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| − | Charlie, do you want this? |
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| − | CHARLIE |
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| − | Are you sure? |
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| − | CANDACE |
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| − | He gives me one every week. |
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| − | 17 INT. CHARLIE'S BED ROOM - DUSK 17 |
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| − | Charlie sits on his bed, reading To Kill a Mockingbird, the |
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| − | cover taped back together. We see Derek's mix... Autumn |
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| − | Leaves... rotate in his old tape recorder. |
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| − | DEREK (V.O.) |
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| − | Hey, Babe. This next one might be a |
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| − | little sad, but it reminded me of your |
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| − | eyes. |
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| − | The first notes of The Smiths' "Asleep" begins. As Morrissey |
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| − | sings, Charlie keeps reading. And reading. |
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| − | CUT TO: |
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| − | 18 INT. CHARLIE'S BEDROOM - DAY 18 |
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| − | The reading is done. Charlie proudly puts To Kill a |
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| − | Mockingbird on his newly dubbed "Shelf of Fame." |
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| − | 19 INT. MILL GROVE HIGH SCHOOL - HALLWAY - AFTERNOON 19 |
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| − | The songs continues as we see glimpses of Charlie's day to |
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| − | day life over the next few weeks. Charlie exits his English |
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| − | class. FRESHMEN BULLIES wait for him, led by... |
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| − | SMART ASS FRESHMAN |
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| − | Did you already do the term paper on To |
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| − | 10. |
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| − | Silence. They grab and drag him into the boy's room. We |
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| − | hear the toilet flush for the swirly. |
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| − | 20 INT. CHARLIE'S BEDROOM - DUSK 20 |
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| − | Charlie looks at the new bottle of prescription Wellbutrin. |
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| − | He puts a pill in his mouth and washes it down with RC cola. |
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| − | 21 INT. CHARLIE'S LIVING ROOM - AFTERNOON 21 |
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| − | Charlie watches his brother and the Penn State Nittany Lions |
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| − | on TV. He looks over at his father, but his dad is too busy |
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| − | building Charlie's clock for shop class to notice him. |
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| − | 22 INT. MILL GROVE HIGH SCHOOL - CAFETERIA - LUNCH 22 |
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| − | Charlie carries his tray through the intimidating cafeteria. |
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| − | Not giving up. Looking for somewhere to sit. |
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| − | CUT TO: |
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| − | 23 INT. MILL GROVE HIGH SCHOOL - CAFETERIA - LUNCH 23 |
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| − | Charlie sits by himself in the corner. He looks around the |
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| − | cafeteria, wanting to break in. Not knowing how. After a |
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| − | moment, he returns to his book. The song ends. |
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| − | 24 EXT. MILL GROVE HIGH SCHOOL - FOOTBALL STADIUM - NIGHT 24 |
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| − | Friday Night Football in Western, PA. Charlie buys his Coke |
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| − | and nachos and wanders to the bleachers. He sits alone, |
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| − | trying to blend in by cheering with the rest of students. |
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| − | When the Mill Grove Devils recover a fumble, he hears... |
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| − | PATRICK |
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| − | Come on Devils! Woooooo! |
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| − | Charlie looks up at Patrick, cheering his head off. TWIN |
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| − | SENIOR GIRLS pass him, taunting. |
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| − | TWIN SENIOR GIRLS |
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| − | Hey, Nothing. Hey, Nothing. |
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| − | PATRICK |
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| − | Suck it, virginity pledges! |
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| − | Charlie wants to go up to Patrick so badly. After driving |
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| − | himself crazy, sitting up and down twice, he approaches. |
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| − | CHARLIE |
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| − | Hey... Patrick. |
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| − | 11. |
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| − | PATRICK |
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| − | Hey! You're in my shop class, right? |
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| − | How's your clock coming? |
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| − | CHARLIE |
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| − | My dad's building it. |
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| − | PATRICK |
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| − | Yeah. Mine looks like a boat. |
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| − | (off Charlie's awkward silence) |
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| − | You want to sit over here, or are you |
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| − | waiting for your friends? |
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| − | CHARLIE |
||
| − | No. I'll sit if that's okay. |
||
| − | Patrick motions for Charlie to sit. Charlie sits. Elated. |
||
| − | PATRICK |
||
| − | Thanks for not calling me "Nothing" by |
||
| − | the way. It's an endless nightmare. And |
||
| − | these assholes actually think they're |
||
| − | being original. |
||
| − | Brad Hays puts on his helmet and rushes onto the field. |
||
| − | Charlie dries his hands on his pants. So nervous. A 5 |
||
| − | second silence that feels like a year. Think of something to |
||
| − | say. Anything. |
||
| − | CHARLIE |
||
| − | So, uh... you like football? |
||
| − | PATRICK |
||
| − | Love it. |
||
| − | CHARLIE |
||
| − | Then, maybe you know my broth-- |
||
| − | PATRICK |
||
| − | Hey, Sam. |
||
| − | Charlie looks up. Standing there is the prettiest girl he's |
||
| − | ever seen. SAM (17) would make every mother proud and every |
||
| − | father nervous. She is alive, adventurous, and a world class |
||
| − | flirt. Great attitude. Great taste. Great banter. |
||
| − | SAM |
||
| − | Question. Could the bathrooms here be |
||
| − | more disgusting? |
||
| − | PATRICK |
||
| − | Yes, they call it the men's room. |
||
| − | 12. |
||
| − | Sam sits down, sandwiching Charlie between her and Patrick. |
||
| − | Charlie tries to remain casual. Hang in there, buddy. |
||
| − | SAM |
||
| − | Well, I finally got hold of Bob. |
||
| − | PATRICK |
||
| − | Party tonight? |
||
| − | SAM |
||
| − | No. He's still trying to shag that |
||
| − | waitress from the Olive Garden. |
||
| − | PATRICK |
||
| − | He's never tossing that salad. |
||
| − | Brad Hays marches the Devils offense down the field. The |
||
| − | kids clap. Sam looks at Charlie, then turns back to Patrick. |
||
| − | SAM |
||
| − | (about Charlie) |
||
| − | Patrick... who's this? |
||
| − | PATRICK |
||
| − | This is... |
||
| − | CHARLIE |
||
| − | Uh... Charlie... Kelmeckis. |
||
| − | PATRICK |
||
| − | Kelmeckis! No shit! Your sister dates |
||
| − | Pony Tail Derek, doesn't she? |
||
| − | CHARLIE |
||
| − | Is that what they call him? |
||
| − | SAM |
||
| − | Awww. Leave Pony Tail Derek alone. You |
||
| − | put the "ass" in "class," Patrick. |
||
| − | PATRICK |
||
| − | I try, Sam. I try. |
||
| − | SAM |
||
| − | It's nice to meet you, Charlie. I'm Sam. |
||
| − | Sam extends her hand to Charlie. Every nail a different |
||
| − | color. They shake. Then, Sam grabs a nacho. Zoinks! |
||
| − | PATRICK |
||
| − | So, what's the plan, Sam? You want to go |
||
| − | to Mary Elizabeth's house? |
||
| − | 13. |
||
| − | SAM |
||
| − | Can't. She got caught watering down her |
||
| − | parent's brandy with iced tea. Let's |
||
| − | just go to Kings. |
||
| − | PATRICK |
||
| − | (turns to Charlie) |
||
| − | Hey... we're going to Kings after the |
||
| − | game if you want to come. |
||
| − | Charlie nods just as Brad Hays tosses a touchdown pass. The |
||
| − | fans go crazy. Especially Patrick. Charlie smiles. |
||
| − | 25 INT. KINGS FAMILY RESTAURANT - NIGHT 25 |
||
| − | The Devils' faithful cheer as Brad Hays and his guys enter! |
||
| − | The place is packed. Patrick and Sam drink coffee while |
||
| − | Charlie eats his brownie. They're all excited. |
||
| − | SAM |
||
| − | Do you have a favorite band? |
||
| − | CHARLIE |
||
| − | I think The Smiths are my favorite. |
||
| − | SAM |
||
| − | Are you kidding!? I love The Smiths! |
||
| − | The best breakup band ever. What's your |
||
| − | favorite song? |
||
| − | CHARLIE |
||
| − | Asleep. It's from Louder Than Bombs. I |
||
| − | heard it on Pony Tail Derek's mix tape. |
||
| − | PATRICK |
||
| − | That works on so many levels. |
||
| − | CHARLIE |
||
| − | I could make a copy for you. |
||
| − | SAM |
||
| − | Thanks. What about Eide's? You love |
||
| − | Eide's, right? |
||
| − | CHARLIE |
||
| − | (never heard of it) |
||
| − | Yeah. They're great. |
||
| − | PATRICK |
||
| − | Not a band, Charlie. |
||
| − | SAM |
||
| − | It's an old record store downtown. |
||
| − | 14. |
||
| − | PATRICK |
||
| − | I used to be popular before Sam got me |
||
| − | some good music. So, watch out, Charlie. |
||
| − | She'll ruin your life forever. |
||
| − | CHARLIE |
||
| − | That's okay. |
||
| − | Brad Hays, the quarterback, passes with his posse. Taunting. |
||
| − | NOSE TACKLE & LINEBACKER |
||
| − | Hey, Nothing. Hey, Nothing. |
||
| − | PATRICK |
||
| − | Let it go! Jesus! It's an old joke! |
||
| − | It's over! |
||
| − | Sam laughs. She loves watching Patrick get riled up. |
||
| − | SAM |
||
| − | So, Charlie... what are you going to do |
||
| − | when you get out of here? |
||
| − | CHARLIE |
||
| − | My Aunt Helen said I should be a writer, |
||
| − | but I don't know what I'd write about. |
||
| − | SAM |
||
| − | You could write about us. |
||
| − | PATRICK |
||
| − | Yeah. Call it Slut and The Falcon. Make |
||
| − | us solve crimes. |
||
| − | Sam laughs. Charlie smiles. |
||
| − | CHARLIE |
||
| − | You guys look happy together. How long |
||
| − | have you been boyfriend and girlfriend? |
||
| − | (off their laughs) |
||
| − | What? |
||
| − | SAM |
||
| − | He's my step-brother. My mom finally |
||
| − | left my worthless dad and married his |
||
| − | nice dad 3 years ago. |
||
| − | PATRICK |
||
| − | But Sam's not bitter. Make no mistake. |
||
| − | SAM |
||
| − | Absolutely. I'm not a bulimic. I'm a |
||
| − | bulim-ist. |
||
| − | 15. |
||
| − | They laugh at their inside joke. Charlie has no idea what's |
||
| − | so funny. |
||
| − | CHARLIE |
||
| − | I'm sorry. I don't know what that means. |
||
| − | PATRICK |
||
| − | She just really believes in bulimia. |
||
| − | SAM |
||
| − | (cracking up) |
||
| − | I love bulimia. |
||
| − | 26 EXT. CHARLIE'S HOUSE - NIGHT 26 |
||
| − | Charlie hops out of Sam's old truck. The music blares. |
||
| − | PATRICK |
||
| − | Thanks for paying, Charlie. |
||
| − | CHARLIE |
||
| − | (so eager) |
||
| − | No problem. Thanks for the ride. Hey... |
||
| − | maybe I'll see you around in school? |
||
| − | SAM |
||
| − | (distracted - to Patrick) |
||
| − | God, would you turn that down? You're |
||
| − | going to make us deaf. Bye, Charlie. |
||
| − | PATRICK |
||
| − | Bye, Charlie. |
||
| − | CHARLIE |
||
| − | Okay. Bye. |
||
| − | Charlie waves as the truck leaves. The look on his face. |
||
| − | The happiness from one night of company. |
||
| − | 27 INT. CHARLIE'S HOUSE - NIGHT 27 |
||
| − | Charlie enters the house, excited to tell someone his news. |
||
| − | He runs up the stairs to find the living room empty. He |
||
| − | hears the TV playing downstairs in the basement. |
||
| − | 28 INT. DOORWAY TO BASEMENT - NIGHT 28 |
||
| − | As Charlie approaches, he hears muffled sounds of fighting. |
||
| − | DEREK (O.S.) |
||
| − | I'm sorry. I can't do anything about it. |
||
| − | Please talk to me. |
||
| − | 16. |
||
| − | CANDACE (O.S.) |
||
| − | Maybe your mom and I should have a "drive |
||
| − | us to our hair appointment" contest. |
||
| − | Then, I could spend a Saturday with you. |
||
| − | Charlie looks through a slit in the open door to find... |
||
| − | DEREK |
||
| − | There's nothing I can do-- |
||
| − | CANDACE |
||
| − | Do you always want to be a mama's boy? |
||
| − | DEREK |
||
| − | I am not a mama's boy-- |
||
| − | CANDACE |
||
| − | Yes! You are! Every time I go to your |
||
| − | house-- |
||
| − | DEREK |
||
| − | Shhh. Shut u-- |
||
| − | CANDACE |
||
| − | -- your mom says, "Don't go to Columbia |
||
| − | with Candace. Go to Pitt, Derek. Mommy |
||
| − | needs you to stay at home because she |
||
| − | can't drive herself." She's only 51. |
||
| − | DEREK |
||
| − | SHUT UP, CANDACE! |
||
| − | 29 INT. CHARLIE'S HOUSE - BASEMENT - CONTINUOUS 29 |
||
| − | Charlie enters, wanting to stop the fight. Derek's neck is |
||
| − | red. Dangerous angry. Candace keeps digging. |
||
| − | CANDACE |
||
| − | And you just stand there like a little |
||
| − | bitch dog. |
||
| − | SNAP! Out of nowhere, Derek slaps her across the face. It's |
||
| − | not a movie slap. It's a real slap. Dead sound. And after |
||
| − | it, silence. Candace turns and sees Charlie. It sobers her |
||
| − | up. Charlie moves at Derek. Candace stops him. |
||
| − | CANDACE (CONT'D) |
||
| − | Charlie, just go. I can handle it. Just |
||
| − | don't wake up mom and dad. |
||
| − | She pushes him out of the room and closes the door. |
||
| − | 17. |
||
| − | 30 INT. CHARLIE'S BEDROOM - NIGHT 30 |
||
| − | Charlie sits at his desk. So disturbed. He hears a car |
||
| − | start outside. He moves to his window and looks down at |
||
| − | Derek and Candace near Derek's mother's Mercedes. Derek is |
||
| − | crying. Candace comforts. After a beat... they kiss. |
||
| − | Charlie stands frozen, a look creeping across his face. |
||
| − | MOTHER (V.O.) |
||
| − | Hey, look who's here... |
||
| − | FLASHBACK TO: |
||
| − | 31 INT. ENTRY HALL - NIGHT (FLASHBACK) 31 |
||
| − | The door opens to reveal Charlie's mom and AUNT HELEN |
||
| − | entering the house. Aunt Helen carries a suitcase. The |
||
| − | children don't know where she's been or why she looks sad. |
||
| − | They just know they love her. Little Charlie stands at the |
||
| − | top of the stairs with his brother and sister in their Sunday |
||
| − | clothes. There are balloons. And streamers. |
||
| − | LITTLE CANDACE |
||
| − | Welcome home, Aunt Helen! |
||
| − | AUNT HELEN |
||
| − | Oh. Look at you all, dressed so nice. |
||
| − | Aunt Helen smiles at Little Charlie on top of the stairs. |
||
| − | MATCH CUT TO: |
||
| − | 32 INT. ENTRY HALL - NIGHT (PRESENT) 32 |
||
| − | Charlie stands at the top of the stairs as Candace enters the |
||
| − | house. She is startled when she sees Charlie. They whisper. |
||
| − | CHARLIE |
||
| − | What are you doing? |
||
| − | CANDACE |
||
| − | Look, I egged him on. You saw it. He's |
||
| − | never hit me before. I promise he'll |
||
| − | never hit me again. |
||
| − | She's about to go back downstairs when... |
||
| − | CHARLIE |
||
| − | Like Aunt Helen's boyfriends? |
||
| − | A silence passes between them. Then... |
||
| − | 18. |
||
| − | CANDACE |
||
| − | Charlie... this is Pony Tail Derek. I |
||
| − | can handle him. Will you trust me? |
||
| − | Please, don't tell mom and dad. |
||
| − | With a desperately confident nod, Candace goes downstairs. |
||
| − | Charlie stands in the entry hall, troubled. |
||
| − | 33 INT. GYMNASIUM - NIGHT 33 |
||
| − | The Homecoming Dance is in full swing. God bless everyone. |
||
| − | Especially Charlie. He's alone at the wall, dressed in his |
||
| − | Sunday suit. To us, adorable. To himself, in living hell. |
||
| − | Charlie watches his sister, slow dancing with Derek. As |
||
| − | happy as she looks, Charlie still isn't sure if he did the |
||
| − | right thing by keeping quiet. The song ends to applause. |
||
| − | After a beat, Charlie turns away. That's when he sees Sam |
||
| − | and Patrick at the punch bowl. We hear the first notes of |
||
| − | "Come On, Eileen" by Dexy's Midnight Runners. |
||
| − | SAM |
||
| − | Oh, my God. They're playing good music. |
||
| − | PATRICK |
||
| − | Holy shit. They are! They're playing |
||
| − | good music! |
||
| − | SAM |
||
| − | (total mischief) |
||
| − | Living room routine? |
||
| − | PATRICK |
||
| − | Living room routine! |
||
| − | Charlie watches Sam and Patrick run to the center of the |
||
| − | floor and show this stiff crowd what dancing is. It starts |
||
| − | slow. "So over it" hand moves. A little shoulder. And |
||
| − | then, the best of swing. 30 seconds of genius. |
||
| − | Charlie takes a breath. Then, he tries desperately not to |
||
| − | look like he's dancing toward them as he dances toward them. |
||
| − | He bobs his head like a dork. And once he gets close, |
||
| − | Patrick and Sam turn and find him. |
||
| − | SAM & PATRICK |
||
| − | Hey! |
||
| − | Without a pause, they grab his hands, and move together in a |
||
| − | circle. Their own island. After a moment, Sam moves around |
||
| − | Charlie like a maypole as the whole gym explodes into dance. |
||
| − | 19. |
||
| − | 34 EXT. BOB'S HOUSE - NIGHT 34 |
||
| − | The party rages inside this mansion in the rich part of town. |
||
| − | Patrick and Sam walk up the steps with Charlie tailing. |
||
| − | SAM |
||
| − | God, it's freezing. |
||
| − | PATRICK |
||
| − | But you wore that toasty costume. It's |
||
| − | not like you're trying too hard to be |
||
| − | original. |
||
| − | SAM |
||
| − | Piss off, Tennessee Tuxedo. |
||
| − | CHARLIE |
||
| − | Are you sure it's okay that I come? |
||
| − | SAM |
||
| − | Of course. Just remember, Charlie... |
||
| − | Bob's not paranoid. |
||
| − | PATRICK |
||
| − | "He's sensitive." |
||
| − | Sam knocks. The door opens, revealing BOB (20). Bob was the |
||
| − | cool high school kid, who never quite left. He's stoned so |
||
| − | often that people can't tell the difference anymore. |
||
| − | BOB |
||
| − | Sam... that waitress from the Olive |
||
| − | Garden is a tease. Will you marry me? |
||
| − | SAM |
||
| − | Only if I have Patrick's blessing. |
||
| − | BOB |
||
| − | Patrick? |
||
| − | PATRICK |
||
| − | You're a hopeless stoner who attends the |
||
| − | culinary institute. So, I'm going to |
||
| − | have to say "no" on that one, but nice |
||
| − | try. Charlie? |
||
| − | Patrick leads Charlie inside, leaving Bob staring at Sam. |
||
| − | BOB |
||
| − | Touché. |
||
| − | 35 INT. BOB'S BASEMENT - MOMENTS LATER 35 |
||
| − | 20. |
||
| − | PATRICK |
||
| − | Charlie... this is a party. |
||
| − | The music blasts. Charlie's eyes are our guide. As they |
||
| − | walk through the crowd, you can smell it. Stale beer and |
||
| − | cigarette smoke. High school parties. The room is packed |
||
| − | with kids playing quarters. Others pouring vodka into a * |
||
| − | watermelon. |
||
| − | PATRICK (CONT'D) |
||
| − | This is what fun looks like. |
||
| − | Patrick smiles when he spots two friends. |
||
| − | PATRICK (CONT'D) |
||
| − | You ready to meet some desperate women? |
||
| − | MARY ELIZABETH and ALICE (both 17) sit on the sofa together. |
||
| − | Mary Elizabeth is smart, a little overweight, and extremely |
||
| − | bossy. Alice will figure out that she's a lesbian in |
||
| − | college. Right now, she just likes movies and is Mary |
||
| − | Elizabeth's "beta female." |
||
| − | PATRICK (CONT'D) |
||
| − | Here, have a seat. Hey, ladies, meet |
||
| − | Charlie. Charlie, meet ladies. |
||
| − | They shake hands and say their hellos. |
||
| − | PATRICK (CONT'D) |
||
| − | This is Charlie's first party ever. So, |
||
| − | I expect nice, meaningful, heartfelt blow |
||
| − | jobs from both of you. |
||
| − | MARY ELIZABETH |
||
| − | Patrick, you're such a dick. |
||
| − | PATRICK |
||
| − | Where the hell did you go? |
||
| − | MARY ELIZABETH |
||
| − | The dance was a little boring, don't you |
||
| − | think? |
||
| − | PATRICK |
||
| − | You're so selfish. We looked everywhere |
||
| − | for you. You could have told someone. |
||
| − | MARY ELIZABETH |
||
| − | Cry me a river. |
||
| − | PATRICK |
||
| − | How is it that you got meaner since |
||
| − | 21. |
||
| − | MARY ELIZABETH |
||
| − | Just lucky I guess. |
||
| − | PATRICK |
||
| − | I think you're doing something wrong. |
||
| − | MARY ELIZABETH |
||
| − | Or something very right. |
||
| − | Patrick and Mary Elizabeth laugh at their banter, just as Sam |
||
| − | calls out from the other side of the room. |
||
| − | SAM (O.S.) |
||
| − | Hey! Look who's here! |
||
| − | The party turns, and Charlie sees Brad Hays, the quarterback, |
||
| − | enter with Sam and Bob. Patrick approaches them. Charlie |
||
| − | sits on the beat up couch next to the girls. He's shocked. |
||
| − | CHARLIE |
||
| − | Is that Brad Hays? |
||
| − | ALICE |
||
| − | Yeah. He comes here sometimes. |
||
| − | CHARLIE |
||
| − | But he's a popular kid. |
||
| − | MARY ELIZABETH |
||
| − | (offended) |
||
| − | Then, what are we? |
||
| − | Charlie tries to think of something, but he can't. The girls |
||
| − | turn, ignoring him. Bob approaches with a tray. |
||
| − | BOB |
||
| − | Charlie, you look like you could use a |
||
| − | brownie. |
||
| − | CHARLIE |
||
| − | Thank you. I was so hungry at the dance. |
||
| − | I was going to go to King's, but I didn't |
||
| − | really have any time. Thanks. |
||
| − | Bob smiles. Mary Elizabeth gives Alice a knowing glance. |
||
| − | Charlie bites into the brownie. The icing gushing between |
||
| − | his teeth. The image goes up into the smoke like an inhale |
||
| − | as he chews and chews and chews. |
||
| − | 36 INT. BOB'S BASEMENT - LATER 36 |
||
| − | After a beat, the music changes, and the image exhales back |
||
| − | down to Charlie, who is now... baked out of his mind. The |
||
| − | 22. |
||
| − | whole party surrounds him now, pissing themselves with |
||
| − | laughter as this shy kid talks and talks and talks. |
||
| − | CHARLIE |
||
| − | Have you guys felt this carpet? This |
||
| − | carpet feels so darn good. |
||
| − | MARY ELIZABETH |
||
| − | (laughing) |
||
| − | Charlie, what do you think about high |
||
| − | school? |
||
| − | CHARLIE |
||
| − | High school? Bullshit. The cafeteria is |
||
| − | called the Nutrition Center. And people |
||
| − | wear their letter jackets even when it's |
||
| − | 98 degrees out. And why do they give out |
||
| − | letters for marching band? That's not a |
||
| − | sport, and we all know it. |
||
| − | MARY ELIZABETH |
||
| − | This kid is crazy. |
||
| − | Charlie looks at Mary Elizabeth with her new wave haircut. |
||
| − | CHARLIE |
||
| − | And Mary Elizabeth, I think you're really |
||
| − | going to regret that haircut when you |
||
| − | look back at old photographs. |
||
| − | (off their laughter) |
||
| − | I'm really sorry. That sounded like a |
||
| − | compliment in my head. |
||
| − | MARY ELIZABETH |
||
| − | Oh, my God! |
||
| − | ALICE |
||
| − | Well, it's kind of true. |
||
| − | MARY ELIZABETH |
||
| − | Shut up! |
||
| − | Sam enters the room. Takes quick stock. Then... |
||
| − | SAM |
||
| − | Bob, did you get him stoned? |
||
| − | BOB |
||
| − | Come on, Sam. He likes it. Just look at |
||
| − | him. |
||
| − | SAM |
||
| − | How do you feel, Charlie? |
||
| − | 23. |
||
| − | CHARLIE |
||
| − | I just really want a milkshake. |
||
| − | The entire room explodes with laughter. Charlie loves that |
||
| − | people find him so funny. |
||
| − | 37 INT. BOB'S KITCHEN - NIGHT 37 |
||
| − | Sam takes the ice cream from the freezer to the blender. |
||
| − | Charlie watches her make the perfect vanilla milkshake. |
||
| − | CHARLIE |
||
| − | Sam, you have such pretty brown eyes, the |
||
| − | kind of pretty that deserves to make a |
||
| − | big deal about itself. You know what I |
||
| − | mean? |
||
| − | SAM |
||
| − | Okay, Charlie. Let me make the milkshake. |
||
| − | CHARLIE |
||
| − | What a great word. Milkshake. It's like |
||
| − | when you say your name over and over |
||
| − | again in the mirror, and after awhile, it |
||
| − | sounds crazy. |
||
| − | SAM |
||
| − | I'm guessing you've never been high |
||
| − | before? |
||
| − | CHARLIE |
||
| − | Me? No. My best friend Michael. His |
||
| − | dad was a big drinker. So, he hated all |
||
| − | that stuff. Parties, too. |
||
| − | SAM |
||
| − | Well, where is Michael tonight? |
||
| − | CHARLIE |
||
| − | Oh, he shot himself last May. |
||
| − | Sam looks up. Shocked silent. Charlie is just stoned. |
||
| − | CHARLIE (CONT'D) |
||
| − | I kind of wish he'd left a note. You |
||
| − | know what I mean? |
||
| − | (off her sad nod) |
||
| − | Where's the bathroom? |
||
| − | SAM |
||
| − | It's up the stairs. |
||
| − | CHARLIE |
||
| − | 24. |
||
| − | Charlie wanders off. Sam watches him go. |
||
| − | 38 INT. HALLWAY - NIGHT 38 |
||
| − | Charlie leaves the bathroom and stops when he sees himself in |
||
| − | a large ornate mirror in the hallway. |
||
| − | CHARLIE |
||
| − | Charlie. Charlie. Weird. |
||
| − | Charlie wanders down the hallway, a little lost. He finds |
||
| − | the door to the master bedroom and opens it. He sees Patrick |
||
| − | and Brad Hays... kissing. |
||
| − | CHARLIE (CONT'D) |
||
| − | Woah. |
||
| − | PATRICK |
||
| − | Charlie? |
||
| − | BRAD HAYS |
||
| − | (nervous) |
||
| − | Who is that kid? |
||
| − | PATRICK |
||
| − | Relax. Relax. He's a friend of mine. |
||
| − | Stay here. |
||
| − | Patrick closes the bedroom door and follows Charlie. |
||
| − | CHARLIE |
||
| − | I didn't see anything. |
||
| − | PATRICK |
||
| − | I know you saw something, but it's okay. |
||
| − | Patrick takes a quick peek to make sure no one is watching. |
||
| − | PATRICK (CONT'D) |
||
| − | Listen, Brad doesn't want anyone to |
||
| − | know... wait, are you baked? |
||
| − | CHARLIE |
||
| − | "Like a cake." That's what Bob said. |
||
| − | And how you can't have 3 on a match |
||
| − | because they would find us. And everyone |
||
| − | laughed, but I don't know what's funny. |
||
| − | PATRICK |
||
| − | Okay, Charlie, listen. I need you to |
||
| − | promise that you're not going to say |
||
| − | anything to anyone about me and Brad. |
||
| − | This has to be our little secret. |
||
| − | 25. |
||
| − | CHARLIE |
||
| − | Our little secret. Agreed. |
||
| − | PATRICK |
||
| − | Thank you. We'll talk later. |
||
| − | CHARLIE |
||
| − | I look forward to that big talk. |
||
| − | Patrick laughs, goes back to the room, and closes the door. |
||
| − | 39 INT. BOB'S BASEMENT - NIGHT 39 |
||
| − | The party has thinned. Sam watches Charlie drink his |
||
| − | milkshake obsessively with Alice and Mary Elizabeth. |
||
| − | CHARLIE |
||
| − | Isn't this the best milkshake, Alice? |
||
| − | It's even better than the first one. |
||
| − | Patrick walks downstairs. Sam motions him over. |
||
| − | SAM |
||
| − | (barely audible whisper) |
||
| − | I need to talk to you. Charlie just told |
||
| − | me that his best friend shot himself. I |
||
| − | don't think he has any friends. |
||
| − | Patrick turns to look at Charlie. He feels so bad for the |
||
| − | kid. Patrick raises his plastic cup to the remaining crowd. |
||
| − | PATRICK |
||
| − | Everyone. Raise your glasses to Charlie. |
||
| − | Charlie looks up. A little paranoid. Everyone is staring. |
||
| − | CHARLIE |
||
| − | What did I do? |
||
| − | PATRICK |
||
| − | You didn't do anything. We just want to |
||
| − | toast our new friend. |
||
| − | (off his look) |
||
| − | You see things. And you understand. |
||
| − | You're a wallflower. |
||
| − | Charlie dries his sweaty hands on his pants. He looks around |
||
| − | the room at the nods and friendly faces. |
||
| − | PATRICK (CONT'D) |
||
| − | What is it? What's wrong? |
||
| − | CHARLIE |
||
| − | 26. |
||
| − | PATRICK |
||
| − | Well, we didn't think there were any cool |
||
| − | people left to meet. So, everyone... |
||
| − | SAM & EVERYONE |
||
| − | To Charlie. |
||
| − | They all drink. Sam approaches him. A knowing smile. |
||
| − | SAM |
||
| − | Welcome to the island of misfit toys. |
||
| − | Charlie smiles, and the soundtrack comes rushing up loud. |
||
| − | SMASH CUT TO: |
||
| − | 40 EXT./INT. SAM'S TRUCK - NIGHT 40 |
||
| − | The truck speeds on Highway 376 toward the Fort Pitt Tunnel. |
||
| − | Patrick drives. Sam cranks the radio, blaring "The Tunnel |
||
| − | Song." The Star's anthem, "Your Ex-Lover is Dead" is our |
||
| − | prototype for tone. |
||
| − | SAM |
||
| − | My God. What is this song!? |
||
| − | PATRICK |
||
| − | Right? I have no idea. |
||
| − | SAM |
||
| − | (to Charlie) |
||
| − | Have you heard it before? |
||
| − | CHARLIE |
||
| − | Never. |
||
| − | SAM |
||
| − | (light bulb) |
||
| − | Wait! Let's go through the tunnel! |
||
| − | PATRICK |
||
| − | Sam, it's freezing. |
||
| − | SAM |
||
| − | Patrick, it's the perfect song! |
||
| − | PATRICK |
||
| − | No. Mama Patrick says no. |
||
| − | SAM |
||
| − | Patrick, it's Sam. It's Sam talking to |
||
| − | you, I'm begging you to drive me-- |
||
| − | 27. |
||
| − | PATRICK |
||
| − | (laughing) |
||
| − | Alright! I concede! |
||
| − | Sam climbs through the window to the flat bed. She grips the |
||
| − | flood lights to steady herself as she stands. |
||
| − | CHARLIE |
||
| − | What is she doing? |
||
| − | PATRICK |
||
| − | Don't worry. She does it all the time. |
||
| − | SAM |
||
| − | Turn it up! |
||
| − | PATRICK |
||
| − | You got it, your highness. |
||
| − | Patrick turns up the volume and drums on the steering wheel, |
||
| − | just as the truck flies into... |
||
| − | THE TUNNEL |
||
| − | We go behind the truck. Rising as Sam puts her arms in the |
||
| − | air. The image moves to Charlie's point of view, rising from |
||
| − | Sam's feet up her shivering legs. Past the band-aid on her |
||
| − | right knee. To Sam's face as she looks down. Into the |
||
| − | camera. Right at us. For we are now... |
||
| − | Charlie, looking up at Sam, so in love with this free-spirit. |
||
| − | So happy to have friends. Happy to be alive. Charlie gets |
||
| − | this look on his face. Patrick notices and smiles. |
||
| − | PATRICK (CONT'D) |
||
| − | What? |
||
| − | CHARLIE |
||
| − | I feel infinite. |
||
| − | The truck flies out of the Fort Pitt Tunnel onto the bridge. |
||
| − | Patrick and Charlie laugh as Sam raises her arms. Free and |
||
| − | young and alive on the greatest night of Charlie's life. |
||
| − | CUT TO: |
||
| − | 41 INT. CHARLIE'S BEDROOM - AFTERNOON 41 |
||
| − | We see Charlie proudly put a Smiths poster on his wall next |
||
| − | to photos of his new friends. He dances to his desk, |
||
| − | listening to Air Supply's "All Out of Love" on his Walkman. |
||
| − | 28. |
||
| − | CHARLIE (V.O.) |
||
| − | Dear Friend, I'm sorry I haven't written |
||
| − | for awhile, but I've been trying hard not |
||
| − | to be a loser. |
||
| − | As the lyrics begin, Charlie unabashedly lip-synchs... |
||
| − | AIR SUPPLY |
||
| − | I'm lying alone with my head on the |
||
| − | phone, thinking of you 'til it hurts. |
||
| − | Charlie sits at his desk, writing and lip-synching. |
||
| − | CHARLIE (V.O.) |
||
| − | For example, I am trying to participate |
||
| − | by listening to Sam's collection of big |
||
| − | rock ballads and thinking about love. |
||
| − | Sam says they are kitschy and brilliant. |
||
| − | I completely agree. |
||
| − | 42 INT. BILL'S CLASSROOM - MORNING 42 |
||
| − | As the students file out, Charlie hands his paper to Bill in |
||
| − | exchange for a beat up copy of The Great Gatsby. |
||
| − | CHARLIE (V.O.) |
||
| − | I am also studying extra books outside of |
||
| − | class. As it turns out, Mr. Anderson is |
||
| − | a writer. He even had a play put up in |
||
| − | New York once, which I think is very |
||
| − | impressive. He and his wife might go |
||
| − | back there after this year. I know this |
||
| − | is selfish, but I really hope he doesn't. |
||
| − | Charlie pauses in the doorway and turns back to look at Bill. |
||
| − | 43 INT. CAFETERIA - LUNCH 43 |
||
| − | Charlie turns from the lunch line with The Great Gatsby on |
||
| − | his tray. He looks at the gang at their table. He sits with |
||
| − | them as they debate the design of this month's fanzine. |
||
| − | CHARLIE (V.O.) |
||
| − | My favorite time, though, is lunch because |
||
| − | I get to see Sam and Patrick. We spend |
||
| − | the time working on Mary Elizabeth's |
||
| − | fanzine about music and The Rocky Horror |
||
| − | Picture Show. It's called Punk Rocky. |
||
| − | Mary Elizabeth is really interesting |
||
| − | because she is a Buddhist and a punk, but |
||
| − | somehow she always acts like my father at |
||
| − | the end of a "long day." |
||
| − | 29. |
||
| − | 44 INT. LIBRARY - AFTERNOON 44 |
||
| − | The xerox spits out copies of PUNK ROCKY! Halloween Issue! |
||
| − | Alice staples while Mary Elizabeth works her like a sled dog. |
||
| − | CHARLIE (V.O.) |
||
| − | Her best friend Alice loves vampires and |
||
| − | wants to go to film school. She also |
||
| − | steals jeans from the mall. I don't know |
||
| − | why because her family is rich, but I'm |
||
| − | trying not to be judgemental. Especially |
||
| − | since I know how they were all there for |
||
| − | Patrick last year. Patrick never likes |
||
| − | to be serious, so it took me awhile to |
||
| − | get what happened. |
||
| − | Sam and Alice laugh when Patrick begins stapling Mary |
||
| − | Elizabeth's fanzines to within an inch of their life. |
||
| − | [Note: The following sequence will come from Charlie's POV of |
||
| − | Patrick and Brad's activities over a weekend.] |
||
| − | 45 EXT. FOOTBALL STADIUM - NIGHT 45 |
||
| − | Brad Hays leads the football team through the banner onto the |
||
| − | field as Charlie, Patrick, and Sam cheer. Moments later, |
||
| − | Brad pulls his helmet on and rushes onto the field. |
||
| − | CHARLIE |
||
| − | When he was a junior, Patrick started |
||
| − | seeing Brad on the weekends in secret. I |
||
| − | guess it was hard, too, because Brad had |
||
| − | to get drunk every time they fooled |
||
| − | around. |
||
| − | 46 INT. CAFETERIA - LUNCH 46 |
||
| − | Patrick whispers while the gang studies their SAT books. |
||
| − | CHARLIE (V.O.) |
||
| − | Then, Monday in school, Brad would say, |
||
| − | "Man, I was so wasted. I don't remember |
||
| − | a thing." This went on for 7 months. |
||
| − | 47 INT. ST. THOMAS MORE CATHOLIC CHURCH - MORNING 47 |
||
| − | Charlie sits with his family in itchy church clothes. He |
||
| − | turns to see Brad with his father and mother. Proper family. |
||
| − | Brad's dad gives him a pat on the back. |
||
| − | CHARLIE (V.O.) |
||
| − | When they finally did it, Brad said he |
||
| − | loved Patrick. Then, he started to cry. |
||
| − | 30. |
||
| − | saying his dad would kill him. And |
||
| − | saying he was going to hell. |
||
| − | 48 INT. LIBRARY - DAY 48 |
||
| − | We see Patrick and Brad walking in the library. They reach |
||
| − | the stacks, and just when it looks like they'll speak, they |
||
| − | simply... PASS EACH OTHER WITHOUT A WORD. |
||
| − | CHARLIE (V.O.) |
||
| − | Patrick was eventually able to help Brad |
||
| − | get sober. I asked Patrick if he felt |
||
| − | sad that he had to keep it a secret, and |
||
| − | he said no because at least now, Brad |
||
| − | doesn't have to get drunk to love him. |
||
| − | Brad sits down with his football pals. Patrick joins Charlie |
||
| − | and Sam at their table. Charlie looks over at Sam, studying |
||
| − | hard for her SAT's. |
||
| − | CHARLIE (CONT'D) |
||
| − | I think that I understand because I |
||
| − | really like Sam. I asked my sister about |
||
| − | her, and she said that when Sam was a |
||
| − | freshman, the upper classmen used to get |
||
| − | her drunk at parties. I guess she had a |
||
| − | reputation. But I don't care. I'd hate |
||
| − | for her to judge me based on what I used |
||
| − | to be like. |
||
| − | 49 INT. CHARLIE'S BEDROOM - DUSK 49 |
||
| − | We see Charlie making a mix tape on his boom box. |
||
| − | CHARLIE (V.O.) |
||
| − | So, I've been making her a mix tape so |
||
| − | she will know how I feel. |
||
| − | The two cassettes run. The song is just about to finish |
||
| − | when... the side runs out of tape and snaps off. |
||
| − | CHARLIE (CONT'D) |
||
| − | Ah, shit! |
||
| − | 50 EXT. DORMONT HOLLYWOOD MOVIE THEATER - MIDNIGHT 50 |
||
| − | The marquee announces it's time for the... |
||
| − | 51 INT. DORMONT HOLLYWOOD MOVIE THEATER - MIDNIGHT 51 |
||
| − | ... Rocky Horror Picture Show! The ROCKY EMCEE, dressed as |
||
| − | Riff Raff, whips the crowd into a frenzy. |
||
| − | 31. |
||
| − | CHARLIE (V.O.) (CONT'D) |
||
| − | ROCKY EMCEE |
||
| − | Gimme an R! Gimme an O! |
||
| − | Gimme a C! Gimme a K! Gimme |
||
| − | a Y! What's that spell!? |
||
| − | CROWD |
||
| − | R-O-C-K-Y! Rocky! Rocky! |
||
| − | Rocky! |
||
| − | The crowd cheers! Charlie claps from the front row. |
||
| − | 52 INT. DORMONT HOLLYWOOD MOVIE THEATER - LATER 52 |
||
| − | The movie is in full swing. Charlie watches Sam as Janet in |
||
| − | the Floor Show. Sam mimics Susan Sarandon perfectly. |
||
| − | Especially the body. She winks at Charlie as "Fanfare/Don't |
||
| − | Dream It" begins and arriving regally as Frank 'n Furter in |
||
| − | full drag is... Patrick. |
||
| − | PATRICK |
||
| − | Whatever happened to Fae Wray? That |
||
| − | delicate, satin draped frame? As it clung |
||
| − | to her thigh, how I started to cry 'cause |
||
| − | I wanted to be dressed just the same. |
||
| − | Patrick is a rock star. He approaches Charlie. Putting his |
||
| − | ass in his face. Charlie is freaked out and laughing! |
||
| − | Especially when he sees Brad, alone in the back, smiling. |
||
| − | PATRICK (CONT'D) |
||
| − | Give yourself over to absolute pleasure. |
||
| − | Swim the warm waters of sins of the |
||
| − | flesh. Erotic nightmares beyond any |
||
| − | measure. And sensual daydreams to |
||
| − | treasure forever. Can't you just see it? |
||
| − | Woah oh oh! |
||
| − | Charlie stops laughing when the orgy begins between Patrick, |
||
| − | Mary Elizabeth (as Columbia), CRAIG (21), an art student with |
||
| − | a model's body (as Rocky)... and of course... Sam. Charlie |
||
| − | watches Sam until he can't take his lust (or guilt). |
||
| − | 53 INT. CRAIG'S LOFT APARTMENT - KITCHEN - NIGHT 53 |
||
| − | We hear the chorus of "Don't Dream It, Be It" as Charlie |
||
| − | watches all of the exciting cast members at the after-show |
||
| − | party. Charlie sees a photo of Sam's naked back on the wall |
||
| − | of Craig's loft. Very arty. Very black & white. Charlie's |
||
| − | lust (and guilt) are now at 11. Alice looks at the photo. |
||
| − | ALICE |
||
| − | It's gorgeous, Craig. What did you use? |
||
| − | Craig is impressive to high school kids. He's a little |
||
| − | pretentious. But his art school life. His red wine. His |
||
| − | loft. Wow. Right now, he holds court in the wine line. |
||
| − | 32. |
||
| − | CRAIG |
||
| − | Color film, but black and white paper for |
||
| − | the printing. My professor gave me an |
||
| − | "A," but for the wrong reasons. Most of |
||
| − | them are idiots. You'll see what I mean |
||
| − | when you get to college. How were your |
||
| − | SAT's by the way? |
||
| − | ALICE |
||
| − | (worried) |
||
| − | 1150. I think I'll get into NYU. |
||
| − | CRAIG |
||
| − | Yeah, I hope so. |
||
| − | MARY ELIZABETH |
||
| − | (cruel to Alice) |
||
| − | 1490. Harvard. Face! |
||
| − | 54 INT. CRAIG'S LOFT APARTMENT - MOMENTS LATER 54 |
||
| − | Charlie sees Sam alone on the loft steps. She looks a little |
||
| − | down. He hands Sam a plastic cup and sits next to her. |
||
| − | CHARLIE |
||
| − | Hey. Are you okay? |
||
| − | SAM |
||
| − | Yeah. Yeah. But I got my SAT results |
||
| − | back. Oops. |
||
| − | CHARLIE |
||
| − | You can take them again. |
||
| − | SAM |
||
| − | Yeah, it's just if I'm going to Penn |
||
| − | State main campus, I have to do much |
||
| − | better. I wish I would have studied |
||
| − | freshman year. I was a bit of a mess. |
||
| − | CHARLIE |
||
| − | I'll help you study for the next one. |
||
| − | SAM |
||
| − | Will you? |
||
| − | CHARLIE |
||
| − | Yeah, of course. |
||
| − | SAM |
||
| − | Thanks, Charlie. |
||
| − | Charlie summons his courage. He hands her the mix tape. |
||
| − | 33. |
||
| − | SAM (CONT'D) |
||
| − | What's this? |
||
| − | CHARLIE |
||
| − | Just a mix tape. No big deal. My |
||
| − | parents have a pretty good stereo. It's |
||
| − | all about that night in the tunnel. I |
||
| − | couldn't find that song we were listening |
||
| − | to, but I'm still searching for it, so-- |
||
| − | SAM |
||
| − | It's okay. These are great. You have |
||
| − | really good taste, Charlie. |
||
| − | CHARLIE |
||
| − | Really? |
||
| − | SAM |
||
| − | Yeah. Way better than me as a freshman. |
||
| − | I used to listen to the worst top 40. |
||
| − | CHARLIE |
||
| − | No. |
||
| − | SAM |
||
| − | Yeah, I did. But then I heard this old |
||
| − | song. Pearly Dew Drops Drop. And I |
||
| − | thought someday I would be at a party in |
||
| − | college or something. And I'd look up |
||
| − | and see this person across the room. And |
||
| − | from that moment, I'd know everything was |
||
| − | going to be okay. You know what I mean? |
||
| − | CHARLIE |
||
| − | (devastated in love) |
||
| − | Yeah. |
||
| − | 55 INT. CRAIG'S LOFT APARTMENT - LATER 55 |
||
| − | The tape revolves in the stereo, playing a beautiful ballad. |
||
| − | Charlie watches Sam sway to his music like a serenade. Like |
||
| − | she is dancing with him. But she isn't. A wider angle |
||
| − | reveals that she is slow dancing with... Craig. |
||
| − | Charlie is 15 year old CRUSHED. No filter. Just feeling. |
||
| − | Patrick, Alice, and Mary Elizabeth watch Sam across the room. |
||
| − | ALICE |
||
| − | So, what do you think? |
||
| − | PATRICK |
||
| − | I don't know. |
||
| − | 34. |
||
| − | ALICE |
||
| − | I hope it works out. Craig would be a |
||
| − | big step up from her last boyfriend. |
||
| − | MARY ELIZABETH |
||
| − | No, shit. Who could forget Mr. Car Wash |
||
| − | Loser? |
||
| − | PATRICK |
||
| − | I just hope she stops playing dumb with |
||
| − | these guys. I keep telling her... don't |
||
| − | make yourself small. You can't save |
||
| − | anybody. |
||
| − | Craig dips a smiling Sam as the song ends. Sam goes into the |
||
| − | kitchen. Craig approaches Charlie. Turns off his mix tape. |
||
| − | CRAIG |
||
| − | Man, your mix is morbidly sad, kid. How |
||
| − | about something a little more upbeat? |
||
| − | Craig grabs a record from the pile and slaps it down. |
||
| − | CRAIG (CONT'D) |
||
| − | Sam tells me you want to be a writer. |
||
| − | CHARLIE |
||
| − | Yeah. |
||
| − | ALICE |
||
| − | Don't you write poetry, Craig? |
||
| − | CRAIG |
||
| − | No. Poetry writes me. You know? |
||
| − | Charlie sighs. Craig's upbeat song begins to play. He |
||
| − | dances over to Sam. Charlie's heart breaks as he watches Sam |
||
| − | hug on Craig. |
||
| − | 56 INT. MILL GROVE HIGH SCHOOL - HALLWAY - DAY 56 |
||
| − | In a mirror image, Candace hugs on Derek near the lockers. |
||
| − | Charlie closes his own locker and moves down the hall. |
||
| − | 57 INT. ENGLISH CLASS - MORNING 57 |
||
| − | The bell rings. Charlie sets down his On the Road paper. |
||
| − | BILL |
||
| − | Wow. That was fast. You want another |
||
| − | one? |
||
| − | 35. |
||
| − | Charlie nods. Bill smiles and reaches into his desk. He |
||
| − | hands Charlie a copy of A Separate Piece. Charlie takes the |
||
| − | book and starts to walk out, but he turns back. |
||
| − | CHARLIE |
||
| − | Mr. Anderson... can I ask you something? |
||
| − | BILL |
||
| − | Yeah. |
||
| − | CHARLIE |
||
| − | Why do nice people choose the wrong |
||
| − | people to date? |
||
| − | BILL |
||
| − | Are we talking about anyone specific? |
||
| − | Charlie nods. Bill looks straight at him. Not preaching. |
||
| − | Coming from a history of personal experience and pain. |
||
| − | BILL (CONT'D) |
||
| − | We accept the love we think we deserve. |
||
| − | CHARLIE |
||
| − | Can we make them know they deserve more? |
||
| − | BILL |
||
| − | We can try. |
||
| − | Charlie smiles. |
||
| − | 58 INT. KINGS FAMILY RESTAURANT - MORNING 58 |
||
| − | Charlie waits nervously at a booth. He sees Sam enter. He |
||
| − | fixes his hair, then pretends to read his SAT PREP BOOK. |
||
| − | SAM |
||
| − | Hey, Charlie. |
||
| − | CHARLIE |
||
| − | Hey, Sam. I didn't see you come in. You |
||
| − | want to work on probabilities and |
||
| − | statistics? |
||
| − | Sam nods. They open their books, and a Christmas song |
||
| − | begins. In a quick passage of time, we see them study next |
||
| − | to Halloween decorations. Then, Thanksgiving. And finally, |
||
| − | Christmas decorations. |
||
| − | 59 INT. CHARLIE'S HOUSE - NIGHT 59 |
||
| − | The song continues. Charlie's mom and sister hang the |
||
| − | Christmas ornaments as Charlie helps his dad find that "one |
||
| − | 36. |
||
| − | CHARLIE |
||
| − | Hey, dad. Can I have 30 dollars? |
||
| − | FATHER |
||
| − | (old joke) |
||
| − | 20 dollars? What do you want 10 dollars |
||
| − | for? |
||
| − | CHARLIE |
||
| − | Sam is doing secret santa. It's her |
||
| − | favorite thing in the world. Please. |
||
| − | Charlie's father reaches into his pocket and hands Charlie a |
||
| − | bill. It's a fifty. Dad winks, in a great mood. |
||
| − | FATHER |
||
| − | Have fun. |
||
| − | CHARLIE |
||
| − | Thanks. |
||
| − | 60 INT. MILL GROVE HIGH SCHOOL - DAY 60 |
||
| − | Lockers are opened by Charlie. Sam. Patrick. Wrapped gifts |
||
| − | are deposited. Mischief smiles. Lockers closed. Everyone |
||
| − | loves getting their presents except Charlie - who got socks. |
||
| − | 61 INT. BILL'S CLASSROOM - MORNING 61 |
||
| − | Bill hands Charlie a well worn copy of The Catcher in the |
||
| − | Rye. He smiles. |
||
| − | BILL |
||
| − | Charlie... this was my favorite book |
||
| − | growing up. This is my copy, but I want |
||
| − | you to have it. |
||
| − | CHARLIE |
||
| − | Thanks. |
||
| − | BILL |
||
| − | Have a great Christmas break. |
||
| − | CHARLIE |
||
| − | You too, Mr. Anderson. |
||
| − | 62 INT. SHOP CLASS - DAY 62 |
||
| − | Mr. Callahan, the shop teacher, looks at a Sad Sack Girl's |
||
| − | clock. He takes a moment, and then... |
||
| − | MR. CALLAHAN |
||
| − | Terrible stain. |
||
| − | 37. |
||
| − | He moves to Charlie's dad's amazing clock. He hands Charlie |
||
| − | an A on a piece of paper. |
||
| − | MR. CALLAHAN (CONT'D) |
||
| − | That's pretty good, Charlie. |
||
| − | Mr. Callahan moves to Patrick's SHITTY WOODEN CLOCK. No |
||
| − | stain. No finish. Lop-sided. The ugliest clock you've ever |
||
| − | seen in your life. |
||
| − | MR. CALLAHAN (CONT'D) |
||
| − | You've got to be kidding me. |
||
| − | PATRICK |
||
| − | If you fail me, you get me next semester. |
||
| − | Mr. Callahan writes a grade and slaps it down. |
||
| − | 63 EXT. WEST END OVERLOOK - NIGHT 63 |
||
| − | The song continues as Patrick holds up the grade. C minus! |
||
| − | Charlie and Sam cheer as Patrick screams at the top of his |
||
| − | lungs... |
||
| − | PATRICK |
||
| − | Woo! C Minus! It's over! It's over! |
||
| − | Ladies and gentlemen, I am below average! |
||
| − | SAM |
||
| − | Below average! |
||
| − | Patrick screams at the city in the distance. Below average! |
||
| − | 64 INT. DORMONT HOLLYWOOD MOVIE THEATER - GREEN ROOM - NIGHT 64 |
||
| − | We move to find Sam, holding her SAT score up to the group. |
||
| − | SAM |
||
| − | Hey, guys. 1210. |
||
| − | Everyone cheers. Sam hugs Charlie. |
||
| − | 65 INT. SAM AND PATRICK'S HOUSE - GAMES ROOM - NIGHT 65 |
||
| − | Charlie carries Sam on his shoulders past the Christmas Tree. |
||
| − | Sam wears a Santa Hat like a hot elf. |
||
| − | SAM |
||
| − | No more applications! No more SAT's! |
||
| − | Thank you, Charlie! |
||
| − | They pass Mary Elizabeth as she opens her final present. |
||
| − | 38. |
||
| − | MARY ELIZABETH |
||
| − | Multiple pairs of blue jeans. Wow. This |
||
| − | is a really tough one, but I'm going to |
||
| − | have to guess... Alice. |
||
| − | Alice smiles. Bob nudges her. Guilty as charged. Mary |
||
| − | Elizabeth pulls one last item out of the gift bag. |
||
| − | MARY ELIZABETH (CONT'D) |
||
| − | Wait, guys... a receipt! She actually |
||
| − | paid! |
||
| − | PATRICK |
||
| − | Impossible! |
||
| − | MARY ELIZABETH |
||
| − | I'm so touched. |
||
| − | Alice laughs. Patrick pours everyone brandy. The kids look |
||
| − | ridiculous, but they don't feel ridiculous. |
||
| − | CHARLIE |
||
| − | Where's Craig? |
||
| − | SAM |
||
| − | He went home to Connecticut. He'll be |
||
| − | back for New Year's Eve. |
||
| − | CHARLIE |
||
| − | I'm sorry we won't be seeing him tonight. |
||
| − | Sam nods, then turns. Charlie is delighted. No Craig. The |
||
| − | kids settle in the living room in front of the fire. |
||
| − | SAM |
||
| − | Alright, big brother by 3 weeks. Who's |
||
| − | your secret santa? |
||
| − | PATRICK |
||
| − | I'll tell you, Sam. This one's tough. I |
||
| − | have received a harmonica, a magnetic |
||
| − | poetry set, a book about Harvey Milk, and |
||
| − | a mix with the song "Asleep" on it... |
||
| − | twice. |
||
| − | Charlie starts snickering. He can't help himself. |
||
| − | PATRICK (CONT'D) |
||
| − | I mean, I have no idea. This collection |
||
| − | of presents is so gay that I think I must |
||
| − | have given them to myself. But despite |
||
| − | that distinct possibility, I'm going to |
||
| − | have to go with... drum roll... Charlie. |
||
| − | 39. |
||
| − | Charlie holds up his hands. Yay! They all cheer. |
||
| − | SAM |
||
| − | Alright, Charlie... it's your turn. |
||
| − | Charlie and Patrick switch places. Charlie stands. |
||
| − | CHARLIE |
||
| − | Okay. Uh, I have received socks, pants, |
||
| − | a shirt, and a belt. I was ordered to |
||
| − | wear them all tonight. So, I'm guessing |
||
| − | my secret santa is Mary Elizabeth. |
||
| − | PATRICK |
||
| − | Huh. Now, why do you say that? |
||
| − | CHARLIE |
||
| − | I don't know. She bosses people around |
||
| − | sometimes. |
||
| − | The gang cracks up. Mary Elizabeth is pissed. |
||
| − | MARY ELIZABETH |
||
| − | What the hell is wrong with you? |
||
| − | CHARLIE |
||
| − | Sorry. |
||
| − | PATRICK |
||
| − | Well, you'll be surprised to know that |
||
| − | your secret santa is actually... me. |
||
| − | CHARLIE |
||
| − | You got me clothes? Why? |
||
| − | PATRICK |
||
| − | Because all the great writers used to |
||
| − | wear great suits. Your last present is |
||
| − | on a towel rack in the bathroom. Delve |
||
| − | into our facilities. Emerge a star. |
||
| − | Charlie gives Sam a sack of presents. |
||
| − | CHARLIE |
||
| − | Can you hand these out while I'm gone? |
||
| − | MARY ELIZABETH |
||
| − | Wait a second. There's only secret santa |
||
| − | presents. There are rules, Charlie. |
||
| − | PATRICK |
||
| − | Mary Elizabeth, why are you trying to eat |
||
| − | Christmas? Hand them out, Sam. |
||
| − | 40. |
||
| − | Sam gives out the presents. The group rips them open. Alice |
||
| − | looks at a book about Martin Scorsese with the inscription... |
||
| − | ALICE |
||
| − | "Alice, I know you'll get into NYU." |
||
| − | Alice turns to Mary Elizabeth who holds up a card with... |
||
| − | MARY ELIZABETH |
||
| − | 40 dollars. |
||
| − | (reads card) |
||
| − | "To print Punk Rocky in color next time." |
||
| − | Bob blows soap bubbles into the air. Stoned. Mesmerized. |
||
| − | BOB |
||
| − | He knows me. He really knows me. |
||
| − | Sam looks at her present. An old 45 record of The Beatles |
||
| − | classic "Something" with a card. She reads the card. Holds |
||
| − | it to her chest. Very moved. |
||
| − | SAM |
||
| − | Come on out, Charlie. |
||
| − | They all chime in. "Let's go, young man!" "Charlie! |
||
| − | Charlie!" Charlie opens the door off camera, and we see his |
||
| − | entrance play off their faces. The reverse angle reveals... |
||
| − | Charlie dressed in his suit. Like the best of English mods |
||
| − | in the 60's. For those of you who know the book, this is the |
||
| − | cover. They all clap. It's magic. |
||
| − | PATRICK |
||
| − | Yeah! What a display of man I have ever |
||
| − | seen! |
||
| − | Sam and Charlie look at each and smile. |
||
| − | 66 INT. SAM'S BEDROOM - LATER 66 |
||
| − | The door opens. Sam and Charlie walk into the dark room. |
||
| − | CHARLIE |
||
| − | Where are we going? |
||
| − | SAM |
||
| − | It's a surprise. |
||
| − | Sam flips the switch, bathing the room in light. Sam's room |
||
| − | is so cool. A shrine to music. A xerox that says "The |
||
| − | Beatings Will Continue Until Morale Improves." Virgin Mary |
||
| − | icons. Snow globes. Kitsch. |
||
| − | 41. |
||
| − | CHARLIE |
||
| − | Is this your room? It's so cool. |
||
| − | SAM |
||
| − | Thanks. |
||
| − | Sam points to a green box with a red ribbon on her desk. |
||
| − | CHARLIE |
||
| − | You got me a present? |
||
| − | SAM |
||
| − | With all that help on my Penn State |
||
| − | application? Of course I did. Open it. |
||
| − | Charlie lifts up the box to reveal an OLD MANUAL TYPEWRITER. |
||
| − | CHARLIE |
||
| − | I don't know what to say. |
||
| − | SAM |
||
| − | You don't have to say anything. |
||
| − | Sam goes over and types. "Write about us sometime." He |
||
| − | smiles and types back. "I will." They look at each other. |
||
| − | We can hear a lovely ballad playing downstairs. |
||
| − | SAM (CONT'D) |
||
| − | I'm sorry we can't be here for your |
||
| − | birthday. |
||
| − | CHARLIE |
||
| − | That's okay. I'm just sorry you have to |
||
| − | go back and visit your dad. |
||
| − | SAM |
||
| − | I'm in such a great mood, I don't think |
||
| − | even he could ruin it. I feel like I'm |
||
| − | finally doing good. |
||
| − | CHARLIE |
||
| − | You are. |
||
| − | SAM |
||
| − | Me? What about you? When I met you, you |
||
| − | were this scared freshman. And look at |
||
| − | you in that suit. You're like a sexy |
||
| − | English school boy. I saw Mary Elizabeth |
||
| − | checking you out. |
||
| − | CHARLIE |
||
| − | (innocent laugh) |
||
| − | No. |
||
| − | 42. |
||
| − | SAM |
||
| − | Innocent. Worst kind of guys. Never see |
||
| − | you coming. And parents love you. That's |
||
| − | like... extra danger. |
||
| − | CHARLIE |
||
| − | Well, it hasn't worked so far. |
||
| − | SAM |
||
| − | Come on. You've never had a girlfriend? |
||
| − | Not even a 2nd grade valentine? |
||
| − | He shakes his head. |
||
| − | SAM (CONT'D) |
||
| − | Have you ever kissed a girl? |
||
| − | CHARLIE |
||
| − | No. What about you? |
||
| − | SAM |
||
| − | Have I ever kissed a girl? |
||
| − | CHARLIE |
||
| − | (laughs) |
||
| − | No! Your first kiss... |
||
| − | Sam gets this strange look in her eyes. A little haunted. |
||
| − | SAM |
||
| − | My first kiss? I was 11. His name was |
||
| − | Robert. He would come over to the house |
||
| − | all the time. |
||
| − | CHARLIE |
||
| − | Was he your first boyfriend? |
||
| − | SAM |
||
| − | He was my dad's boss. |
||
| − | Charlie goes silent. |
||
| − | SAM (CONT'D) |
||
| − | You know Charlie, I used to sleep with |
||
| − | guys who treated me like shit. And get |
||
| − | wasted all the time. But now... I feel |
||
| − | like I have a chance. I could even get |
||
| − | into a real college. |
||
| − | CHARLIE |
||
| − | It's true. You can do it. |
||
| − | SAM |
||
| − | 43. |
||
| − | CHARLIE |
||
| − | My Aunt... she had that same thing done |
||
| − | to her, too. And she turned her life |
||
| − | around. |
||
| − | SAM |
||
| − | She must have been great. |
||
| − | CHARLIE |
||
| − | She was my favorite person in the |
||
| − | world... until now. |
||
| − | Sam smiles. She's very moved. |
||
| − | SAM |
||
| − | Charlie, I know that you know I like |
||
| − | Craig. But I want to forget that for a |
||
| − | minute. Okay? I just want to make sure |
||
| − | that the first person who kisses you |
||
| − | loves you. Okay? |
||
| − | Charlie nods. And with that, Sam leans over and kisses him. |
||
| − | It starts softly, then Sam wraps her thin arms around him. |
||
| − | Holding on for lonely life. When the song crescendos, and |
||
| − | they part, Charlie and Sam look at each other. Finally... |
||
| − | SAM (CONT'D) |
||
| − | I love you, Charlie. |
||
| − | CHARLIE |
||
| − | I love you, too. |
||
| − | 67 EXT. SAM AND PATRICK'S HOUSE - NIGHT 67 |
||
| − | The porch lights are as golden as Charlie feels right now. |
||
| − | We see the girls wave to each other and hug Sam. |
||
| − | GANG |
||
| − | "Merry Christmas!" "Good luck at your |
||
| − | dad's!" "See you at New Year's!" |
||
| − | Patrick approaches Charlie in the doorway. |
||
| − | CHARLIE |
||
| − | Have a good time at your mom's. |
||
| − | PATRICK |
||
| − | Thanks. And Charlie... since you were |
||
| − | born on Christmas Eve, I figure you don't |
||
| − | get a lot of birthday presents. So, I |
||
| − | thought you should have my clock. From |
||
| − | the heart. |
||
| − | 44. |
||
| − | CHARLIE |
||
| − | Thank you, Patrick. |
||
| − | Sam gives Charlie one last hug. Patrick and Sam watch their |
||
| − | friends leave. |
||
| − | PATRICK |
||
| − | I love you guys! |
||
| − | 68 EXT. DOWNTOWN PITTSBURGH - NIGHT 68 |
||
| − | We fly as high as Charlie feels. Above the city on Christmas |
||
| − | Eve. |
||
| − | 69 INT. CHARLIE'S HOUSE - NIGHT 69 |
||
| − | The front door opens, revealing Charlie's dad. |
||
| − | FATHER |
||
| − | Hey! Look who's here! |
||
| − | He moves out of the way, and standing there is Charlie's |
||
| − | older brother, CHRIS KELMECKIS (19). Chris is handsome, |
||
| − | charismatic, and an all around winner. |
||
| − | CHRIS |
||
| − | Come here, little sister. |
||
| − | CANDACE |
||
| − | Hey, Chris. |
||
| − | Big hug. Chris smiles big and "son flirts" with his mom. |
||
| − | CHRIS |
||
| − | Ma, you look so thin! |
||
| − | MOTHER |
||
| − | 10 pounds... Weight Watchers. |
||
| − | Big kiss. When he lets go, he sees Charlie and smiles. |
||
| − | CHRIS |
||
| − | Charlie... |
||
| − | Chris and Charlie look at each other in silence. Then, hug. |
||
| − | As the family moves into the dining room to celebrate, Chris |
||
| − | gives him a quiet... |
||
| − | CHRIS (CONT'D) |
||
| − | Happy birthday. |
||
| − | 70 INT. CHARLIE'S DINING ROOM - MOMENTS LATER 70 |
||
| − | 45. |
||
| − | MOTHER |
||
| − | Make a wish, honey. |
||
| − | We move closer to Charlie as he makes his wish and blows out |
||
| − | his 16 candles. |
||
| − | MATCH CUT TO: |
||
| − | 71 EXT. CHARLIE'S STREET - NIGHT (PRESENT) 71 |
||
| − | The wind blows out a candle in one of the luminaria bags. |
||
| − | The suburb is quiet. Not a creature is stirring. Except... |
||
| − | Charlie. He fills a brown paper bag with sand and a candle. |
||
| − | He lights the candle, making the bag glow like a beautiful |
||
| − | lantern. He looks down his street, where families are out |
||
| − | with their kids, doing the same luminaria ritual. |
||
| − | MATCH CUT TO: |
||
| − | 72 EXT. CHARLIE'S STREET - NIGHT (FLASHBACK) 72 |
||
| − | The same street. Christmas Eve. Many years ago. Aunt Helen |
||
| − | and the kids finish their luminaria bags. Aunt Helen lights |
||
| − | up the candles. They glow. |
||
| − | AUNT HELEN |
||
| − | Can you see it, Charlie? The luminaria |
||
| − | is a landing strip for Santa Claus. |
||
| − | The image goes wide. All of these bags glowing. Beautiful. |
||
| − | Aunt Helen rattles her keys. Whispers. |
||
| − | AUNT HELEN (CONT'D) |
||
| − | Keep an eye out for him with your brother |
||
| − | and sister. I'll be right back. |
||
| − | She bends down and whispers into his ear. |
||
| − | AUNT HELEN (CONT'D) |
||
| − | I'm going to get your birthday present. |
||
| − | She musses his hair and gets in the car. |
||
| − | END FLASHBACK |
||
| − | 73 EXT. CHARLIE'S STREET - NIGHT (PRESENT) 73 |
||
| − | Charlie hovers over the glowing luminaria. Something is |
||
| − | bothering him. He shakes it off. |
||
| − | 46. |
||
| − | 74 INT. CHARLIE'S HOUSE - KITCHEN/DINING ROOM - NIGHT 74 |
||
| − | Charlie wanders through the quiet house. He turns the corner |
||
| − | where he finds Chris sitting at the table. He's lit by a |
||
| − | couple of candles and the blinking lights of the Christmas |
||
| − | Tree. He's surrounded by leftovers. Charlie sits. |
||
| − | CHARLIE |
||
| − | Hey. |
||
| − | Chris chews and swallows. Famished. They both whisper. |
||
| − | CHRIS |
||
| − | Hey. God, I missed mom's cooking. You |
||
| − | have no idea how good you have it. I'm |
||
| − | actually beginning to hate pizza. |
||
| − | Charlie smiles. Grabs a Hershey Kiss cookie. |
||
| − | CHARLIE |
||
| − | How are you liking school? |
||
| − | CHRIS |
||
| − | Not bad. I'm no brainiac like you or |
||
| − | Candace. But I'm doing okay. |
||
| − | CHARLIE |
||
| − | Okay? You're playing in a Bowl Game. |
||
| − | Chris laughs. Charlie smiles. A moment passes. Chris |
||
| − | changes his tone. Cautious. |
||
| − | CHRIS |
||
| − | How are you feeling, Charlie? |
||
| − | CHARLIE |
||
| − | Good. |
||
| − | CHRIS |
||
| − | You know what I mean. Is it bad tonight? |
||
| − | CHARLIE |
||
| − | No. |
||
| − | CHRIS |
||
| − | No? |
||
| − | CHARLIE |
||
| − | I'm not picturing things anymore. And |
||
| − | when I do, I can just shut it off. |
||
| − | CHRIS |
||
| − | (relieved) |
||
| − | 47. |
||
| − | now. And maybe if it does get bad again, |
||
| − | you can just talk to them, yeah? |
||
| − | CHARLIE |
||
| − | Yeah. Especially Sam. I'm going to ask |
||
| − | her out at New Years. I think the time |
||
| − | is right now. |
||
| − | Chris smiles at his kid brother. We hear the church organ. |
||
| − | 75 INT. ST. THOMAS MORE CHURCH - MORNING 75 |
||
| − | The family moves down the line to receive Holy Communion at |
||
| − | Christmas Mass. Charlie's father, then mother, then sister, |
||
| − | take the sacrament. Charlie is next. The PRIEST makes the |
||
| − | motion of the cross with the communion wafer. He places it |
||
| − | in Charlie's hand. Charlie brings the sacrament to his mouth |
||
| − | with his fingers... |
||
| − | MATCH CUT TO: |
||
| − | 76 INT. BOB'S LIVING ROOM - NIGHT 76 |
||
| − | We move in closer to Charlie's fingers in his mouth. When he |
||
| − | takes his hand out, we see... a tab of LSD. The church organ |
||
| − | is now a rock organ. And it's now... New Year's Eve. |
||
| − | Charlie closes his mouth. He looks down the hall of the |
||
| − | smoky room where Craig has his arm around Sam. Charlie turns |
||
| − | to Mary Elizabeth, who's also dosed. |
||
| − | CHARLIE |
||
| − | How long does this take to work? |
||
| − | 77 EXT. BOB'S HOUSE - NIGHT 77 |
||
| − | About 45 minutes. The sound is muted thick. Slight echoes. |
||
| − | Charlie shovels the snow. Crunch. Fascinated by his breath |
||
| − | making fog. Sam comes outside. She's worried about him. |
||
| − | SAM |
||
| − | Shoveling snow, huh? |
||
| − | CHARLIE |
||
| − | I have to get this driveway clean. Then, |
||
| − | I have to congratulate you for being |
||
| − | happy because you deserve it. |
||
| − | SAM |
||
| − | You said that an hour ago. |
||
| − | CHARLIE |
||
| − | Was that tonight? God. I was looking at |
||
| − | this tree, but it was a dragon, and then |
||
| − | 48. |
||
| − | CHRIS (CONT'D) |
||
| − | SAM |
||
| − | Okay, Charlie. Don't freak out. Just |
||
| − | give me the shovel. Calm down. Look up. |
||
| − | She points. Charlie looks up. Sees the stars. |
||
| − | SAM (CONT'D) |
||
| − | Isn't it quiet? |
||
| − | CHARLIE |
||
| − | Sam, you ever think that if people knew |
||
| − | how crazy you really were, no one would |
||
| − | ever talk to you? |
||
| − | SAM |
||
| − | All the time. So, you want to put on |
||
| − | these glasses? They'll protect you. |
||
| − | Sam puts her arm around his shoulder. Protecting him. |
||
| − | Charlie looks through the glasses. The sky bends like a |
||
| − | globe. When he breathes, the sky ripples. |
||
| − | 78 INT. BOB'S HOUSE - NIGHT 78 |
||
| − | Charlie wanders through the party, tripping out of his mind. |
||
| − | He sits down on the sofa. The world unbends as Charlie takes |
||
| − | off the glasses. Kids walk around the party, leaving ghosts |
||
| − | of themselves behind. |
||
| − | Charlie looks upstairs to find... Sam and Craig kissing. |
||
| − | Craig leads her to the bedroom. |
||
| − | Charlie looks back at the party as kids gather for the New |
||
| − | Years countdown. Patrick leads the charge. |
||
| − | PATRICK |
||
| − | 10-9-8... |
||
| − | 79 EXT. CHARLIE'S STREET - NIGHT (FLASHBACK) 79 |
||
| − | In a QUICK FLASH, we see 7 year old Charlie with Aunt Helen |
||
| − | on Christmas Eve. She bends to whisper in his ear. |
||
| − | AUNT HELEN |
||
| − | It'll be our little secret, all right? |
||
| − | 80 INT. BOB'S HOUSE - NIGHT (PRESENT) 80 |
||
| − | We are BACK TO PRESENT as Charlie takes a deep breath and |
||
| − | tries to remember that he's at a New Year's party. |
||
| − | PATRICK |
||
| − | 7-6-5-4-3-2-1. Happy New Year! |
||
| − | 49. |
||
| − | The crowd cheers, leaving ghosts of themselves. Charlie gets |
||
| − | up from the sofa and walks out of Bob's house. |
||
| − | 81 EXT. CHARLIE'S STREET - NIGHT 81 |
||
| − | Charlie walks down the road under a streetlight. Silhouette. |
||
| − | The road is icy. Charlie lays down and starts moving his |
||
| − | arms in the snow. The memories begin to haunt him. |
||
| − | 82 EXT. CHARLIE'S STREET - NIGHT (FLASHBACK) 82 |
||
| − | 7 year old Charlie waves goodbye to Aunt Helen as she drives |
||
| − | away through the landing strip for Santa Claus. |
||
| − | 83 EXT. CHARLIE'S STREET - NIGHT (PRESENT) 83 |
||
| − | 16 year old Charlie blinks. The memories come faster. |
||
| − | 84 INT. AUNT HELEN'S CAR - NIGHT (FLASHBACK) 84 |
||
| − | Aunt Helen drives past a tall snow drift. She looks down at |
||
| − | the 45 of The Beatles in the seat next to her. She smiles at |
||
| − | Charlie's birthday present. Then, she looks up as the |
||
| − | headlights of the semi truck smash the windows with a CRASH! |
||
| − | 85 INT. CHARLIE'S HOUSE - NIGHT (FLASHBACK) 85 |
||
| − | Charlie's mother opens the door, revealing a POLICEMAN. He |
||
| − | turns to Charlie in his party hat. 7 years old and confused. |
||
| − | 86 EXT. CHARLIE'S STREET - NIGHT (PRESENT) 86 |
||
| − | 16 year old Charlie lays on the snow, shivering, as the image |
||
| − | goes high above to reveal he's made a snow angel. |
||
| − | 87 INT. HOSPITAL ROOM - AFTERNOON 87 |
||
| − | The Emergency room is bustling on New Year's Day. Charlie |
||
| − | looks up as the POLICE, DOCTORS, and his PARENTS tower over |
||
| − | him. He is terrified and does what any kid would do. He |
||
| − | lies his ass off. |
||
| − | POLICEMAN |
||
| − | Did your older friends pressure you? |
||
| − | CHARLIE |
||
| − | No one pressured me into anything. I |
||
| − | would never do drugs, officer. Never. |
||
| − | POLICEMAN |
||
| − | Then, how did you happen to be passed out |
||
| − | on the ground at 6 in the morning? |
||
| − | 50. |
||
| − | CHARLIE |
||
| − | Well, um... I was really tired, and uh... |
||
| − | I was feeling feverish. So, I went |
||
| − | outside for a walk, just to get some cold |
||
| − | air. And I started seeing things. So, I |
||
| − | passed out. |
||
| − | He waits to see if this worked. And then, unexpectedly... |
||
| − | MOTHER |
||
| − | (worried) |
||
| − | You're seeing things again, Charlie? |
||
| − | CHARLIE |
||
| − | (oops) |
||
| − | Not, uh... Not really. |
||
| − | 88 EXT. MILL GROVE HIGH SCHOOL - PARKING LOT - MORNING 88 |
||
| − | The tires squish the grey slush puddle as the busses pull |
||
| − | into the dreary parking lot. School is back in session. |
||
| − | 89 INT. HALLWAY - MORNING 89 |
||
| − | Charlie shakes off the cold, then takes off his overcoat to |
||
| − | reveal... he's wearing his suit from Secret Santa. All the |
||
| − | kids stare. Charlie realizes he made a terrible mistake. |
||
| − | CHARLIE |
||
| − | It was a Christmas present. |
||
| − | 90 INT. BILL'S CLASSROOM - MORNING 90 |
||
| − | Charlie sits as Bill hands out the book for the semester... |
||
| − | The Great Gatsby. As the kids chatter, Bill gives Charlie |
||
| − | his own book to start the year... The Stranger. |
||
| − | CHARLIE |
||
| − | Did you have fun on your break? |
||
| − | BILL |
||
| − | More fun than you're going to have today, |
||
| − | Sinatra. |
||
| − | Bill pats his shoulder and moves on. The Smart Ass Freshman |
||
| − | looks at Charlie and whispers. |
||
| − | SMART ASS FRESHMAN |
||
| − | Nice look, jag off. |
||
| − | 91 EXT. DORMONT HOLLYWOOD MOVIE THEATER - NIGHT 91 |
||
| − | The Rocky Horror faithful enter the theater. |
||
| − | 51. |
||
| − | SAM (O.S.) |
||
| − | I called him 30 times. |
||
| − | 92 INT. DORMONT HOLLYWOOD MOVIE THEATER - GREEN ROOM - NIGHT 92 |
||
| − | Mary Elizabeth and the kids get ready for the floor show. |
||
| − | MARY ELIZABETH |
||
| − | Well what are we supposed to do? We're |
||
| − | going on in 10 minutes! |
||
| − | The phone rings. Mary Elizabeth picks up. Charlie turns to |
||
| − | Brad, sitting next to him. Charlie is freaking out. |
||
| − | CHARLIE |
||
| − | But they said in health class-- |
||
| − | BRAD HAYS |
||
| − | They say that about LSD to scare you. |
||
| − | CHARLIE |
||
| − | Are you sure? |
||
| − | BRAD HAYS |
||
| − | Charlie, you're fine, man. |
||
| − | Mary Elizabeth hangs up the phone, frustrated. |
||
| − | MARY ELIZABETH |
||
| − | Guys, we have an emergency. Craig flaked |
||
| − | out on us again. I need a Rocky. Brad? |
||
| − | BRAD HAYS |
||
| − | (scared) |
||
| − | No way. There are people out here. |
||
| − | The group is deflated. They all start thinking. After a |
||
| − | beat, Mary Elizabeth looks at Charlie. |
||
| − | MARY ELIZABETH |
||
| − | Charlie... take off your clothes. |
||
| − | 93 INT. DORMONT HOLLYWOOD MOVIE THEATER - LATER 93 |
||
| − | You know those dreams you have when you are standing in front |
||
| − | of 200 people in your underwear? Well, this is no dream. |
||
| − | We hear a heart beat as Charlie dances out of the Rocky gauze |
||
| − | and finds himself standing in tight gold underwear, looking |
||
| − | out at 200 people, cheering him on. |
||
| − | His friends can't stop smiling. Especially Mary Elizabeth, |
||
| − | who watches Charlie's little butt in the gold undies. She |
||
| − | 52. |
||
| − | 94 INT. DORMONT HOLLYWOOD MOVIE THEATER - LATER 94 |
||
| − | "Touch-A, Touch-A, Touch Me" is in full swing. Sam slinks |
||
| − | over to Charlie dressed in her white bra and slip. |
||
| − | SAM |
||
| − | (as Janet) |
||
| − | So if anything grows while you pose. |
||
| − | I'll oil you up and drop you down. And |
||
| − | that's just one small fraction of the |
||
| − | main attraction. You need a friendly |
||
| − | hand. And I need action! |
||
| − | Sam grabs Charlie's hands and rubs them all over her chest. |
||
| − | SAM (CONT'D) |
||
| − | Ah! Touch a touch a touch me! I wanna |
||
| − | be dirty! Thrill me. Chill me. Fulfill |
||
| − | me! Creature of the night! |
||
| − | The song continues. We see flashes of the night's |
||
| − | performance as Charlie goes from train wreck to triumph. |
||
| − | Charlie joins Sam in the kick line, and it feels like it's |
||
| − | just the two of them. On the final beat, Sam gasps... |
||
| − | SAM (CONT'D) |
||
| − | Creature of the night! |
||
| − | The song ends. The cast bows. Sam and Patrick push Charlie |
||
| − | in front for his own curtain call. Everyone cheers. It's |
||
| − | the night he'll never forget. |
||
| − | 95 EXT. DORMONT HOLLYWOOD MOVIE THEATER - NIGHT 95 |
||
| − | The wind whips. That bracing February cold. Charlie helps |
||
| − | Mary Elizabeth carry the costumes outside to her car. |
||
| − | CHARLIE |
||
| − | Maybe I could join the cast as an |
||
| − | alternate or something? |
||
| − | MARY ELIZABETH |
||
| − | We're filled up now, but they'll need |
||
| − | people after we leave for college. I |
||
| − | could put in a good word for you. |
||
| − | CHARLIE |
||
| − | That'd be great. Thanks. |
||
| − | They put the box in her trunk. Snap it closed. We can't |
||
| − | help but notice the "Keep Your Laws Off My Body" bumper |
||
| − | sticker as Mary Elizabeth tries her best to flirt. |
||
| − | 53. |
||
| − | MARY ELIZABETH |
||
| − | Charlie... have you heard of the Sadie |
||
| − | Hawkins dance? |
||
| − | CHARLIE |
||
| − | The one where the girl asks the guy. |
||
| − | MARY ELIZABETH |
||
| − | Yeah. Well, obviously, it's completely |
||
| − | stupid and sexist. It's like, "Hey, |
||
| − | thanks for the crumb." And normally, I'd |
||
| − | just blow it off because school dances |
||
| − | suck torture. But, you know, it's my |
||
| − | last year, and... would you maybe want to |
||
| − | go with me? |
||
| − | CHARLIE |
||
| − | You want to go with me? |
||
| − | MARY ELIZABETH |
||
| − | I'm sick of macho guys. And you looked |
||
| − | really cute in your costume. So, what do |
||
| − | you say? |
||
| − | Charlie thinks and thinks and... |
||
| − | 96 INT. CHARLIE'S HOUSE - DUSK 96 |
||
| − | Ding dong. Charlie's mom opens the door for MARY ELIZABETH. |
||
| − | Charlie straightens out his church suit. So nervous. |
||
| − | MOTHER |
||
| − | You must be Mary Elizabeth. It's so good |
||
| − | to meet you. |
||
| − | MARY ELIZABETH |
||
| − | You, too, Mrs. Kelmeckis. |
||
| − | FATHER |
||
| − | (shit eating grin) |
||
| − | Charlie tells me you're a Buddhist. |
||
| − | 97 INT. CHARLIE'S HOUSE - FIREPLACE - DUSK 97 |
||
| − | Charlie and Mary Elizabeth stand next to Candace and Derek. |
||
| − | FATHER |
||
| − | OK, a little closer together. That looks |
||
| − | nice. Buddhist, I need you to smile a |
||
| − | little bit more. There you go. Nice. |
||
| − | Cheese! White flash. The picture of 4 kids. Smiling big. |
||
| − | 54. |
||
| − | 98 INT. MILL GROVE HIGH SCHOOL - GYMNASIUM - NIGHT 98 |
||
| − | Charlie and Mary Elizabeth slow dance to an 80's love song. |
||
| − | Sweaty palms. Awkward. Hands on hips. Horror. |
||
| − | Charlie looks around the gym. He sees Alice dancing with her |
||
| − | date, an EFFEMINATE GOTH KID (17). We'll never meet him, but |
||
| − | he'll make us laugh once. |
||
| − | Charlie then watches Patrick dance with Sam. He follows |
||
| − | Patrick's gaze across the floor to Brad, who dances with a |
||
| − | SENIOR GIRL (18). Charlie sees the boys look at each other. |
||
| − | For one moment, it's like they're dancing together. |
||
| − | 99 INT. MILL GROVE HIGH SCHOOL - GYMNASIUM - LATER 99 |
||
| − | Mary Elizabeth is at the punch bowl with the gang. Charlie |
||
| − | sees Sam, standing by the wall, looking sad. He approaches. |
||
| − | CHARLIE |
||
| − | Are you having a good time? |
||
| − | SAM |
||
| − | Not really. How about you? |
||
| − | CHARLIE |
||
| − | I don't know. This is my first date, so |
||
| − | I don't know what to compare it to. |
||
| − | SAM |
||
| − | Don't worry. You're doing fine. |
||
| − | Charlie joins her at the wall. Mary Elizabeth gives them a |
||
| − | quick, jealous look. |
||
| − | CHARLIE |
||
| − | I'm sorry Craig didn't come. |
||
| − | SAM |
||
| − | Yeah. He said he didn't want to go to |
||
| − | some stupid high school dance. Can't say |
||
| − | I blame him. |
||
| − | CHARLIE |
||
| − | I don't know. If you like it, he should |
||
| − | come. |
||
| − | SAM |
||
| − | Thanks, Charlie. Have a beautiful first |
||
| − | date. You deserve it. |
||
| − | CHARLIE |
||
| − | I'll try not to make you too jealous. |
||
| − | 55. |
||
| − | He said it to cheer her up. Sam forces a smile and leaves. |
||
| − | 100 INT. MARY ELIZABETH'S DEN/LIVING ROOM - NIGHT 100 |
||
| − | Mary Elizabeth approaches Charlie on the antique sofa. She |
||
| − | uncorks a bottle of wine. POP! She hands him the bottle. |
||
| − | MARY ELIZABETH |
||
| − | Mmmm. Now, let it breathe. |
||
| − | Mary Elizabeth walks over to the vintage turntable. She |
||
| − | turns on the gas fireplace with a remote control. Roar! |
||
| − | CHARLIE |
||
| − | This is sure a nice house. |
||
| − | MARY ELIZABETH |
||
| − | Thanks. |
||
| − | Mary Elizabeth drops the needle on a vinyl LP. A Doo Wop |
||
| − | make-out classic begins to play. She dances over to Charlie. |
||
| − | MARY ELIZABETH (CONT'D) |
||
| − | Mmmm. Don't you just love old music? |
||
| − | (off his nod) |
||
| − | Good. Because I made you a mix of it. |
||
| − | I'd love to expose you to great things. |
||
| − | Like Billie Holiday and foreign films. |
||
| − | She pours the wine. Charlie looks at the bottle. |
||
| − | CHARLIE |
||
| − | This merlot is really fancy. |
||
| − | MARY ELIZABETH |
||
| − | Yeah. My dad collects wine, but he |
||
| − | doesn't drink. That's weird, isn't it? |
||
| − | CHARLIE |
||
| − | I guess. Where are your parents? |
||
| − | MARY ELIZABETH |
||
| − | Their club is hosting a cotillion or |
||
| − | something racist. They'll be gone all |
||
| − | night. |
||
| − | Mary Elizabeth drops her necklace with a thud. Charlie looks |
||
| − | around. Heart beating. |
||
| − | CHARLIE |
||
| − | That's sure a nice fire. |
||
| − | 56. |
||
| − | MARY ELIZABETH |
||
| − | Yeah. After I'm done being a lobbyist, I |
||
| − | want to move to a house like this in Cape |
||
| − | Cod. That sounds nice, doesn't it? |
||
| − | CHARLIE |
||
| − | Yeah. |
||
| − | She reaches out and touches his chest. |
||
| − | MARY ELIZABETH |
||
| − | Your heart is beating really fast. |
||
| − | CHARLIE |
||
| − | Is it? |
||
| − | MARY ELIZABETH |
||
| − | Here, feel. |
||
| − | She puts her hand on his. Moves it to his chest. |
||
| − | MARY ELIZABETH (CONT'D) |
||
| − | Charlie? |
||
| − | CHARLIE |
||
| − | Uh-huh? |
||
| − | MARY ELIZABETH |
||
| − | Do you like me? |
||
| − | CHARLIE |
||
| − | Uh-huh. |
||
| − | MARY ELIZABETH |
||
| − | You know what I mean. |
||
| − | CHARLIE |
||
| − | I think so. |
||
| − | MARY ELIZABETH |
||
| − | Don't be nervous. |
||
| − | She slowly moves his hand to her dress strap. It falls off |
||
| − | her shoulder. She leans in for a red wine kiss. She guides |
||
| − | his hand over her bra. He feels her breast. Wow. |
||
| − | MATCH CUT TO: |
||
| − | 101 INT. MARY ELIZABETH'S BASEMENT - FANTASY 101 |
||
| − | For a quick moment, Charlie imagines he is kissing Sam. |
||
| − | Broken by... |
||
| − | 57. |
||
| − | 102 INT. MARY ELIZABETH'S BASEMENT - MOMENTS LATER 102 |
||
| − | Mary Elizabeth moves his hand away. Charlie blinks, taking a |
||
| − | moment to realize Sam's not the one in the room. The song is |
||
| − | over. The needle turns at the end of the record. |
||
| − | MARY ELIZABETH |
||
| − | Charlie... |
||
| − | She gives him one last kiss. Content, she lays down on his |
||
| − | lap. Peaceful. |
||
| − | MARY ELIZABETH (CONT'D) |
||
| − | I didn't know how it was going to go |
||
| − | tonight, but it was really nice, huh? |
||
| − | CHARLIE |
||
| − | Yeah. |
||
| − | MARY ELIZABETH |
||
| − | I can't believe it. You of all people. |
||
| − | I just can't believe you're my boyfriend. |
||
| − | We land on Charlie's face. "What?" And then, we hear the |
||
| − | GARAGE DOOR OPEN. |
||
| − | MARY ELIZABETH (CONT'D) |
||
| − | Oh, shit! My parents! |
||
| − | The mad scramble for clothes begins. |
||
| − | CUT TO: |
||
| − | 103 EXT. CHARLIE'S HOUSE - NIGHT 103 |
||
| − | Mary Elizabeth's car pulls in front of Charlie's house. |
||
| − | Charlie gets out. Wanting to say he's not her boyfriend. |
||
| − | Not knowing how. Mary Elizabeth smiles. Smitten. |
||
| − | MARY ELIZABETH |
||
| − | See you Monday. |
||
| − | With that, she backs out of the driveway. We see him from |
||
| − | the back of her car, getting smaller and smaller. His |
||
| − | stomach already filling with acid. |
||
| − | CHARLIE (V.O.) |
||
| − | Dear Friend... I'm sorry I haven't |
||
| − | written for awhile, but things are a |
||
| − | total disaster. |
||
| − | 58. |
||
| − | 104 INT. CAFETERIA - LUNCH 104 |
||
| − | Sam, Patrick, and Alice are seated around the table. Mary |
||
| − | Elizabeth has her arms around Charlie. Smothering him. |
||
| − | MARY ELIZABETH |
||
| − | We're literally making out, and I'm in my |
||
| − | bra. Hello! And the front door opens. |
||
| − | It's my parents! I'm scrambling to get |
||
| − | my dress on. It was crazy. Right, babe? |
||
| − | Charlie nods, tortured. |
||
| − | CHARLIE (V.O.) |
||
| − | I probably should have been honest about |
||
| − | how I didn't want to go out with Mary |
||
| − | Elizabeth after Sadie's, but I really |
||
| − | didn't want to hurt her feelings. |
||
| − | 105 EXT. MILL GROVE HIGH SCHOOL PARKING LOT - MORNING 105 |
||
| − | Ash Wednesday. Charlie gets out of the school bus to |
||
| − | immediately find Mary Elizabeth waiting for him. She sees |
||
| − | the cross of ashes on his forehead. She thinks his ashes are |
||
| − | a smudge. She cleans it. |
||
| − | CHARLIE (V.O.) |
||
| − | You see, Mary Elizabeth is a really nice |
||
| − | person underneath the part of her that |
||
| − | hates everyone. And since I heard that |
||
| − | having a girlfriend makes you happy, I |
||
| − | tried hard to love her like I love Sam. |
||
| − | MARY ELIZABETH |
||
| − | Can you believe it's almost our two week |
||
| − | anniversary? |
||
| − | CHARLIE |
||
| − | I know. |
||
| − | 106 EXT. DORMONT HOLLYWOOD MOVIE THEATER - NIGHT 106 |
||
| − | A double date. Craig and Sam buy the tickets to see the |
||
| − | silent classic, The Cabinet of Dr. Caligari. |
||
| − | CHARLIE (V.O.) |
||
| − | So, I took her on double dates. |
||
| − | MARY ELIZABETH |
||
| − | (proud) |
||
| − | Your first foreign film. |
||
| − | CHARLIE |
||
| − | 59. |
||
| − | MARY ELIZABETH |
||
| − | Vegans don't eat butter. |
||
| − | Charlie tries not to feel Mary Elizabeth's sweaty hand. |
||
| − | CHARLIE (V.O.) |
||
| − | And I tried not to mind that she loves to |
||
| − | hold hands even when her hands are |
||
| − | sweaty. |
||
| − | 107 INT. MARY ELIZABETH'S DEN/LIVING ROOM - NIGHT 107 |
||
| − | Just like Sadie's except... the fire in the fireplace is out. |
||
| − | We move from the fireplace to Charlie, touching Mary |
||
| − | Elizabeth's breasts over her sweater. |
||
| − | CHARLIE (V.O.) |
||
| − | And I had to admit something really |
||
| − | upsetting. But I am tired of touching |
||
| − | her boobs. I thought maybe if she would |
||
| − | just let me pick the make-out music once |
||
| − | in awhile, we might have a chance. |
||
| − | Charlie looks at the Ani DiFranco Mix on the stereo. Sighs. |
||
| − | 108 INT. CAFETERIA - LUNCH 108 |
||
| − | The gang is there. Walden rests on Charlie's lunch tray. |
||
| − | CHARLIE (V.O.) |
||
| − | And maybe if she didn't put down the |
||
| − | books that Mr. Anderson gives me. |
||
| − | MARY ELIZABETH |
||
| − | Walden? I read it in 7th grade. I would |
||
| − | have called it "On Boring Pond." |
||
| − | 109 INT. CHARLIE'S BEDROOM - AFTERNOON 109 |
||
| − | Ring! Charlie grabs the cordless. He looks at Patrick's |
||
| − | clock. 3:13pm. His voice can no longer hide his quiet rage. |
||
| − | CHARLIE (V.O.) |
||
| − | Or if she would stop calling me the |
||
| − | minute I get home from school when I have |
||
| − | absolutely nothing to talk about other |
||
| − | than the bus ride home... |
||
| − | MARY ELIZABETH (V.O.) |
||
| − | That dairy just sits with you. It walks |
||
| − | with you. |
||
| − | Charlie calmly puts down the phone and leaves the room. We |
||
| − | 60. |
||
| − | 110 INT. CHARLIE'S KITCHEN - MOMENTS LATER 110 |
||
| − | Charlie is so miserable. His mom is sympathetic. |
||
| − | MOTHER |
||
| − | She's on the phone right now? Charlie, |
||
| − | you have to break up with her. |
||
| − | CHARLIE |
||
| − | I can do that? |
||
| − | Charlie's father leans back from the sofa and his newspaper. |
||
| − | FATHER |
||
| − | For Christ's sake... I need to use the |
||
| − | phone! |
||
| − | 111 INT. CHARLIE'S BEDROOM - MOMENTS LATER 111 |
||
| − | He returns. Mary Elizabeth is still talking on the cordless. |
||
| − | MARY ELIZABETH (V.O.) |
||
| − | I'll give you this book. It's really how |
||
| − | I became a vegan-- |
||
| − | CHARLIE (V.O.) |
||
| − | I know I should have been honest, but I |
||
| − | was getting so mad, it was starting to |
||
| − | scare me. |
||
| − | He looks back at the clock. 3:23pm. |
||
| − | CHARLIE (CONT'D) |
||
| − | Um... Mary Elizabeth. Can I talk to you-- |
||
| − | MARY ELIZABETH (V.O.) |
||
| − | Charlie. Please, don't interrupt. You |
||
| − | know I hate that. |
||
| − | Charlie goes to his quiet place. Tick. Tick. Tick. |
||
| − | CHARLIE (V.O.) |
||
| − | I just wish I could have found another |
||
| − | way to break up. In hindsight, I |
||
| − | probably could not have picked a worse |
||
| − | way to be honest with Mary Elizabeth. |
||
| − | 112 INT. CRAIG'S LOFT APARTMENT - NIGHT 112 |
||
| − | Truth or dare. The gang is seated in a circle, drinking from |
||
| − | plastic cups. Charlie sits between Mary Elizabeth and Sam. |
||
| − | BOB |
||
| − | 61. |
||
| − | PATRICK |
||
| − | Who are you talking to? |
||
| − | BOB |
||
| − | I dare you to kiss Alice. |
||
| − | PATRICK |
||
| − | (licks his lips) |
||
| − | Get ready, breeder. |
||
| − | As Patrick approaches an apprehensive Alice... |
||
| − | CRAIG |
||
| − | Mary Elizabeth? Samantha told me that |
||
| − | you got into Harvard. Congratulations. |
||
| − | MARY ELIZABETH |
||
| − | Thank you. |
||
| − | (re: Charlie) |
||
| − | This one still hasn't gotten me flowers. |
||
| − | (to Charlie) |
||
| − | But I forgive you. |
||
| − | She kisses him. Charlie bites his cheeks. Sam looks a |
||
| − | little depressed. |
||
| − | CRAIG |
||
| − | (to Sam) |
||
| − | Don't worry about Penn State. You're |
||
| − | just wait-listed. |
||
| − | PATRICK |
||
| − | Excuse me, everyone, but you're missing |
||
| − | some hot "fag on goth" action. |
||
| − | Anticipation. Patrick is getting ready to plant the biggest |
||
| − | kiss on Alice when she jumps him. Everyone groans. Ew! |
||
| − | Laughter. Patrick looks for the next person. Charlie's |
||
| − | heart pounds. Don't pick me! Please! |
||
| − | PATRICK (CONT'D) |
||
| − | Okay. My turn. Um... let's think... |
||
| − | Charlie... truth or dare? |
||
| − | Silence. Thinking. Finally... |
||
| − | CHARLIE |
||
| − | Truth. |
||
| − | PATRICK |
||
| − | How is your first relationship going? |
||
| − | 62. |
||
| − | CHARLIE |
||
| − | It's so bad that I keep fantasizing that |
||
| − | one of us is dying of cancer, so I don't |
||
| − | have to break up with her. |
||
| − | PATRICK |
||
| − | Charlie? Truth or dare? |
||
| − | Charlie blinks. It was all fantasy. |
||
| − | CHARLIE |
||
| − | Dare. |
||
| − | PATRICK |
||
| − | I dare you to kiss the prettiest girl in |
||
| − | the room on the lips. Notice I |
||
| − | charitably said girl and not person |
||
| − | because let's face it... I'd smoke all |
||
| − | you bitches. |
||
| − | Alice hits him. Laughter. Charlie thinks. He looks at Mary |
||
| − | Elizabeth, then turns to Sam. Before Sam can even react... |
||
| − | Charlie plants a kiss right on her lips. When he opens his |
||
| − | eyes, he looks around, and realizes the magnitude of his |
||
| − | mistake. Everyone stares. After a horrible silence... |
||
| − | PATRICK (CONT'D) |
||
| − | Now that's fucked up. |
||
| − | Without a word, Mary Elizabeth just stands, dignified, and |
||
| − | goes into the kitchen. |
||
| − | CHARLIE |
||
| − | Mary Elizabeth, I'm sorry. I'm-- |
||
| − | Alice follows Mary Elizabeth. Sam is close behind. |
||
| − | CHARLIE (CONT'D) |
||
| − | Sam?! Sam! I'm sorry. I didn't mean |
||
| − | anything by it. I'm sorry. |
||
| − | Sam turns and looks at him. She doesn't even recognize him. |
||
| − | SAM |
||
| − | What the hell is wrong with you? |
||
| − | Charlie is devastated. |
||
| − | 113 EXT. BOB'S HOUSE - NIGHT 113 |
||
| − | They move to the driveway. Charlie feels awful. Panicky. |
||
| − | CHARLIE |
||
| − | 63. |
||
| − | PATRICK |
||
| − | Trust me. You don't want to go back |
||
| − | there. |
||
| − | CHARLIE |
||
| − | But, I... I'm sorry... I didn't mean to |
||
| − | do anything. |
||
| − | PATRICK |
||
| − | I know you didn't, but look... I hate to |
||
| − | be the one to break this, but there's |
||
| − | history with Mary Elizabeth and Sam. |
||
| − | Other guys. Things that have nothing to |
||
| − | do with you. But... it's best if you |
||
| − | stay away for awhile. |
||
| − | CHARLIE |
||
| − | (crushed) |
||
| − | Oh. Okay. How long do you think? |
||
| − | Silence. Charlie looks over at Patrick, who wears a grave |
||
| − | expression. It's going to be a long time. We hear the sound |
||
| − | of the typewriter. |
||
| − | 114 INT. CHARLIE'S BEDROOM - MORNING 114 |
||
| − | Charlie sits at his desk. It looks like he's barely slept. |
||
| − | He begins typing. The keys up close and loud. Clak. |
||
| − | CLOSE UP TYPING: "Dear friend, I have not seen my friends for |
||
| − | 2 weeks now. I am starting to get bad again." |
||
| − | Charlie stares at the typewriter. And remembers. |
||
| − | SMASH CUT TO: |
||
| − | 115 INT. CHARLIE'S KITCHEN - NIGHT (FLASHBACK) 115 |
||
| − | Little Charlie pops his head around the corner from the |
||
| − | hallway. He looks at something we can't see yet. |
||
| − | BACK TO: |
||
| − | 116 INT. CHARLIE'S BEDROOM - MORNING (PRESENT) 116 |
||
| − | Present. Knock. Knock. Charlie's mom opens the door. |
||
| − | MOTHER |
||
| − | We're going to be late for Easter Mass. |
||
| − | CHARLIE |
||
| − | I'll... I'll be there in a minute. |
||
| − | 64. |
||
| − | Charlie forces a smile, then looks back at the typewriter. |
||
| − | And tries to shake off the memory. |
||
| − | SMASH CUT TO: |
||
| − | 117 INT. CHARLIE'S KITCHEN - NIGHT (FLASHBACK) 117 |
||
| − | Little Charlie looks at Aunt Helen as she smokes her |
||
| − | cigarette and sobs. |
||
| − | BACK TO: |
||
| − | 118 INT. ST. THOMAS MORE CHURCH - MORNING 118 |
||
| − | Charlie is lost. His family sits in the pews for Easter |
||
| − | Mass. Charlie watches the PRIEST recite the Lord's prayer. |
||
| − | PRIEST |
||
| − | Our Father who art in Heaven. Hallowed |
||
| − | be Thy name. Thy kingdom come-- |
||
| − | MATCH CUT TO: |
||
| − | 119 INT. ST. THOMAS MORE CHURCH - MORNING (FLASHBACK) 119 |
||
| − | 7 year old Charlie watches the PRIEST recite the Lord's |
||
| − | prayer. He looks at Aunt Helen's picture on the coffin. |
||
| − | PRIEST |
||
| − | Thy will be done on earth as it is in |
||
| − | Heaven. Give us this day our daily bread. |
||
| − | MATCH CUT TO: |
||
| − | 120 INT. ST. THOMAS MORE CHURCH - MORNING (PRESENT) 120 |
||
| − | 16 year old Charlie looks haunted by the memory. |
||
| − | PRIEST |
||
| − | And forgive us our trespasses as we |
||
| − | forgive those who trespass against us-- |
||
| − | The voices drift away and all Charlie can see is... |
||
| − | CUT TO: |
||
| − | 121 INT. CHARLIE'S KITCHEN - NIGHT (FLASHBACK) 121 |
||
| − | 7 year old Charlie takes Aunt Helen's hand to make her stop |
||
| − | crying. |
||
| − | CUT TO: |
||
| − | 65. |
||
| − | 122 INT. ST. THOMAS MORE CHURCH - MORNING (PRESENT) 122 |
||
| − | 16 year old Charlie blinks as the voices come back. |
||
| − | PRIEST |
||
| − | And lead us not into temptation. But |
||
| − | deliver us from-- |
||
| − | SMASH CUT TO: |
||
| − | 123 INT. CHARLIE'S BEDROOM - NIGHT 123 |
||
| − | Charlie on the phone. His voice wavers a bit. Desperate. |
||
| − | CHARLIE (V.O.) |
||
| − | Mary Elizabeth... I... uh... I've been |
||
| − | listening to the Billie Holiday CD every |
||
| − | night and-- |
||
| − | MARY ELIZABETH (V.O.) |
||
| − | It's too late, Charlie. |
||
| − | CHARLIE |
||
| − | I know. I just feel really bad about |
||
| − | what I did. I just get so messed up |
||
| − | inside like I'm - not there or something. |
||
| − | MARY ELIZABETH (V.O.) |
||
| − | Tell it to someone who cares. |
||
| − | CHARLIE |
||
| − | I know. I'm sorry. I just. We've all |
||
| − | become such good friends-- |
||
| − | MARY ELIZABETH (V.O.) |
||
| − | Good friends? You mean the people I've |
||
| − | known since kindergarten that you've |
||
| − | known for 6 months? Those good friends? |
||
| − | CHARLIE |
||
| − | Oh. Yeah. I mean I don't want to do |
||
| − | anything to ruin our-- |
||
| − | MARY ELIZABETH (V.O.) |
||
| − | It's ruined. Okay? So, stop calling |
||
| − | everyone. Stop embarrassing yourself. |
||
| − | CHARLIE |
||
| − | Okay. I will. Goodbye, Mar-- |
||
| − | Dial tone. Charlie hangs up the phone. |
||
| − | 66. |
||
| − | 124 INT. BOB'S BASEMENT - NIGHT 124 |
||
| − | Charlie is terribly anxious. He watches Bob groom some pot. |
||
| − | CHARLIE |
||
| − | Something's wrong with me-- |
||
| − | BOB |
||
| − | Don't worry about it. Hey... you hear |
||
| − | from Patrick? |
||
| − | CHARLIE |
||
| − | No. He told me to stay away. |
||
| − | BOB |
||
| − | Oh... you don't know? |
||
| − | CHARLIE |
||
| − | (concerned) |
||
| − | Why? Why? What happened? |
||
| − | BOB |
||
| − | Brad's father caught them together. |
||
| − | 125 INT. MILL GROVE HIGH SCHOOL - HALLWAY - MORNING 125 |
||
| − | As kids open lockers and move to morning period, Charlie |
||
| − | stares at Brad. He has a black eye and cuts on his face. He |
||
| − | look like he was beaten up badly. Students whisper gossip. |
||
| − | GOSSIP WHISPERS (O.S.) |
||
| − | "Some Lebo kids jumped him outside the |
||
| − | O." "It was some kids from North Hills." |
||
| − | "That's not what I heard." |
||
| − | Brad moves into the arms of CHARLOTTE (18), cheerleader cute. |
||
| − | As Brad kisses her, Charlie sees Patrick down the hall, |
||
| − | watching them. Patrick closes his locker. Hurting. |
||
| − | CHARLIE |
||
| − | Are you okay? |
||
| − | PATRICK |
||
| − | Not now, Charlie. I'm sorry. |
||
| − | Patrick storms off. |
||
| − | 126 INT. CAFETERIA - LUNCH 126 |
||
| − | Charlie sits at his table, alone. He watches Patrick leave |
||
| − | the lunch line, passing a chorus of... |
||
| − | TWIN SENIOR GIRLS |
||
| − | 67. |
||
| − | Patrick says nothing. He's too sad to fight the mob today. |
||
| − | He just moves to his table when the Nose Tackle sticks out |
||
| − | his leg. Patrick falls on his tray. The kids laugh. |
||
| − | NOSE TACKLE |
||
| − | Oops. Sorry, Nothing. |
||
| − | Patrick smiles to himself, dusts off, and turns to Brad. |
||
| − | PATRICK |
||
| − | You going to do something? |
||
| − | BRAD HAYS |
||
| − | What are you talking about? |
||
| − | PATRICK |
||
| − | Your pet ape just tripped me. Are you |
||
| − | going to say something? |
||
| − | BRAD HAYS |
||
| − | Why would I? |
||
| − | PATRICK |
||
| − | You know why. |
||
| − | It's too far. Brad can feel people staring. |
||
| − | BRAD HAYS |
||
| − | This is pathetic, man. Your fixation on |
||
| − | me. |
||
| − | Brad's friends laugh. Patrick's eyes narrow. |
||
| − | PATRICK |
||
| − | Do you want your friends to know how you |
||
| − | got those bruises? Really? |
||
| − | BRAD HAYS |
||
| − | I got jumped in a parking lot. |
||
| − | PATRICK |
||
| − | Where? In Schenley Park? Do they know |
||
| − | about Schenley Park? |
||
| − | (to Brad's friends) |
||
| − | Do you guys know about Schenley Park? |
||
| − | Brad stands and gets right in Patrick's face. |
||
| − | BRAD HAYS |
||
| − | I don't know what kind of sick shit |
||
| − | you're trying to pull. |
||
| − | (real warning) |
||
| − | But you better walk away now... Nothing. |
||
| − | 68. |
||
| − | PATRICK |
||
| − | Fine. Say hi to your dad for me. |
||
| − | Patrick turns and leaves. And then, as an afterthought... |
||
| − | BRAD HAYS |
||
| − | Whatever... faggot. |
||
| − | Brad's friends laugh. Patrick stops and turns. Last chance. |
||
| − | PATRICK |
||
| − | What did you call me? |
||
| − | BRAD HAYS |
||
| − | I called you a faggo-- |
||
| − | Smack. |
||
| − | Before Brad can even finish, Patrick throws a vicious right |
||
| − | to the cheek. Brad tackles him. And the two start fighting. |
||
| − | The cafeteria erupts in NOISE. |
||
| − | PATRICK |
||
| − | Say that shit again! Say that shit |
||
| − | again! |
||
| − | Brad's football buddies rise and peel Patrick off Brad. Mary |
||
| − | Elizabeth and Sam jump up from their corner table. |
||
| − | MARY ELIZABETH |
||
| − | It's Patrick! |
||
| − | The cafeteria gets louder. The Nose Tackle holds Patrick up. |
||
| − | More Noise. The Linebacker hits Patrick in the face. |
||
| − | SAM |
||
| − | No! No! |
||
| − | Sam rushes up and the Nose Tackle pushes her down. She lands |
||
| − | on her tail bone. Thud. Patrick gets hit a couple of times |
||
| − | in the face. The kids cheer the fight. It's getting louder |
||
| − | and louder with more and more noise. And then... |
||
| − | SMASH CUT TO: |
||
| − | Silence. |
||
| − | Charlie comes out from a blink. He calmly looks around. For |
||
| − | a moment, he doesn't understand where he is. He looks up. |
||
| − | All the kids are staring at him. Mary Elizabeth. Alice. |
||
| − | Brad. They are all quiet. Afraid of him. Charlie looks at |
||
| − | his hand, clenched in a fist. It is already covered with... |
||
| − | 69. |
||
| − | Charlie's confused until he sees the Linebacker holding his |
||
| − | broken, bloody nose. He's looking at Charlie... |
||
| − | Terrified. |
||
| − | The image pans over. The Nose Tackle is on the ground. |
||
| − | Charlie stands over them. He is disconnected. It's an out |
||
| − | of body experience. He reaches out and helps Patrick to his |
||
| − | feet. Then, he calmly turns and stares right through Brad. |
||
| − | CHARLIE |
||
| − | (icy calm) |
||
| − | If you touch my friends again, I'll blind |
||
| − | you. |
||
| − | Brad is stunned. So is everyone... except Sam. |
||
| − | 127 INT. PRINCIPAL'S OFFICE - AFTERNOON 127 |
||
| − | Charlie sits in the waiting room of the principal's office. |
||
| − | He looks through the glass where Principal Small talks to |
||
| − | Brad. After a beat, she pats Brad's shoulder and opens the |
||
| − | door. Leaving Charlie and Brad alone in the waiting room. |
||
| − | Just as Brad is about to leave... |
||
| − | BRAD HAYS |
||
| − | Charlie? |
||
| − | CHARLIE |
||
| − | Yeah? |
||
| − | BRAD HAYS |
||
| − | Thanks for stopping them. |
||
| − | CHARLIE |
||
| − | Sure, Brad. |
||
| − | Brad doesn't look at him. He just moves on. |
||
| − | 128 EXT. MILL GROVE HIGH SCHOOL - PARKING LOT - AFTERNOON 128 |
||
| − | Charlie exits the building. Kids stare at him. Then, look |
||
| − | away. Charlie feels very lost until he sees... Sam. She |
||
| − | smiles. It brings him back instantly. And then, gently... |
||
| − | SAM |
||
| − | How you doing, Charlie? |
||
| − | CHARLIE |
||
| − | I don't know. I keep trying, but... I |
||
| − | can't really remember what I did. |
||
| − | Sam can see he's afraid of himself. She nods, sympathetic. |
||
| − | 70. |
||
| − | SAM |
||
| − | Do you want me to tell you? |
||
| − | CHARLIE |
||
| − | (scared) |
||
| − | Yeah. |
||
| − | SAM |
||
| − | You saved my brother. That's what you |
||
| − | did. |
||
| − | CHARLIE |
||
| − | So, you're not scared of me? |
||
| − | SAM |
||
| − | No. |
||
| − | CHARLIE |
||
| − | And can we be friends again? |
||
| − | SAM |
||
| − | Of course. |
||
| − | The minute she hugs him, the numb goes away. She kisses the |
||
| − | top of his head and puts her arm around his shoulder. They |
||
| − | begin walking away. |
||
| − | SAM (CONT'D) |
||
| − | Come on. Let's go be psychos together. |
||
| − | 129 INT. PATRICK AND SAM'S HOUSE - KITCHEN - NIGHT 129 |
||
| − | Mary Elizabeth looks at us because she wants us to know... |
||
| − | MARY ELIZABETH |
||
| − | I'm dating Peter now. |
||
| − | She motions to PETER. College. Glasses. Good looking-ish. |
||
| − | MARY ELIZABETH (CONT'D) |
||
| − | He's in college with Craig. He's |
||
| − | opinionated, and we have intellectual |
||
| − | debates. You were very sweet, but our |
||
| − | relationship was too one-sided. I know |
||
| − | this is hard for you. |
||
| − | CHARLIE |
||
| − | I'm just glad you're happy. |
||
| − | MARY ELIZABETH |
||
| − | Okay. |
||
| − | Mary Elizabeth joins Peter. Charlie looks at his friends. |
||
| − | 71. |
||
| − | that says, "They forget. I don't." After a beat, Patrick |
||
| − | comes downstairs. He looks sad with his bruises. |
||
| − | PATRICK |
||
| − | Hey Craig, Sam will be down soon. |
||
| − | MARY ELIZABETH |
||
| − | We're going to miss the movie. |
||
| − | CRAIG |
||
| − | Yeah, I'll go put some pep in her step. |
||
| − | As Craig moves upstairs, Patrick approaches Charlie. |
||
| − | PATRICK |
||
| − | Hey... you wanna get out of here? |
||
| − | CHARLIE |
||
| − | Sure, Patrick. |
||
| − | 130 EXT. WEST END OVERLOOK - NIGHT 130 |
||
| − | Patrick drives Sam's truck up the hill to the overlook. |
||
| − | PATRICK (V.O.) |
||
| − | I'll tell you something, Charlie. I feel |
||
| − | good. You know what I mean? Maybe |
||
| − | tomorrow I'll take you to this karaoke |
||
| − | place downtown. And this club off the |
||
| − | strip. They don't card. And the |
||
| − | Schenley Park scene. You gotta see the |
||
| − | "fruit loop" at least one time. |
||
| − | 131 EXT. WEST END OVERLOOK - NIGHT 131 |
||
| − | Charlie and Patrick walk the lighted path, howling at the |
||
| − | moon. Patrick holds a thermos, filled with who knows what. |
||
| − | PATRICK |
||
| − | Oh, my God. My life is officially an |
||
| − | after school special. Son of a bitch! |
||
| − | CHARLIE |
||
| − | (laughing) |
||
| − | It kind of is. It so is. |
||
| − | More laughter. They arrive at the lookout. They drink. |
||
| − | PATRICK |
||
| − | So, you ever hear the one about Lily |
||
| − | Miller? |
||
| − | CHARLIE |
||
| − | I don't know. |
||
| − | 72. |
||
| − | PATRICK |
||
| − | Really? I thought your brother would |
||
| − | have told you. It's a classic. |
||
| − | CHARLIE |
||
| − | Maybe. |
||
| − | PATRICK |
||
| − | So, Lily comes here with this guy Parker. |
||
| − | And this was going to be the night they |
||
| − | were going to lose their virginity. So, |
||
| − | she did it really proper. She packed a |
||
| − | picnic. Stole a bottle of wine. |
||
| − | Everything was perfect, and they're just |
||
| − | about to 'do it' when they realize they |
||
| − | forgot the condoms. So, what do you |
||
| − | think happened? |
||
| − | CHARLIE |
||
| − | I don't know. |
||
| − | PATRICK |
||
| − | They did it with one of the sandwich |
||
| − | bags. |
||
| − | They start laughing and screaming. |
||
| − | CHARLIE |
||
| − | Ew! That's disgusting! |
||
| − | PATRICK |
||
| − | Yes! It is! Let's keep the train |
||
| − | rolling. Suburban legends. Charlie! |
||
| − | Patrick points to Charlie, who thinks... |
||
| − | CHARLIE |
||
| − | Uh. Well... there was this girl named |
||
| − | Second Base Stace. She had boobs in the |
||
| − | 4th grade-- |
||
| − | PATRICK |
||
| − | Mosquito bites. Promising. Go. |
||
| − | CHARLIE |
||
| − | And she let some of the boys feel them. |
||
| − | PATRICK |
||
| − | That's your suburban legend? Did you at |
||
| − | least cop a feel? |
||
| − | CHARLIE |
||
| − | No. |
||
| − | 73. |
||
| − | PATRICK |
||
| − | Of course not. You went home, listened |
||
| − | to "Asleep," wrote a poem about her selfesteem-- |
||
| − | CHARLIE |
||
| − | Fine! Okay. Your turn. |
||
| − | Patrick walks over and sits down next to Charlie. |
||
| − | PATRICK |
||
| − | Yeah, I've got one. Well, there was this |
||
| − | one guy. Queer as a 3 dollar bill. |
||
| − | Guy's father didn't know about his son. |
||
| − | So, he comes down into the basement one |
||
| − | night when he's supposed to be out of |
||
| − | town. Catches his son with another boy. |
||
| − | So, he starts beating him. But not like |
||
| − | the slap kind. Like the real kind. And |
||
| − | the boyfriend says, "Stop. You're |
||
| − | killing him." And the son just yells |
||
| − | "Get out." And eventually the boyfriend |
||
| − | just did. |
||
| − | Patrick stops. Gripped by sad. He can't shake. |
||
| − | PATRICK (CONT'D) |
||
| − | Why can't you save anybody? |
||
| − | CHARLIE |
||
| − | I don't know. |
||
| − | PATRICK |
||
| − | Forget it. I'm free now, right? I could |
||
| − | meet the love of my life any second now. |
||
| − | Things will be different now, and that's |
||
| − | good. I just need to meet a good guy. |
||
| − | CHARLIE |
||
| − | Yeah. |
||
| − | Patrick looks at him. Charlie has never seen him so |
||
| − | vulnerable. After a beat... Patrick kisses Charlie on the |
||
| − | mouth. Unsure of what to do, Charlie lets it happen. His |
||
| − | eyes open the whole time. A moment, then Patrick looks at |
||
| − | Charlie. He collapses into his chest. |
||
| − | PATRICK |
||
| − | I'm sorry. |
||
| − | CHARLIE |
||
| − | It's alright. |
||
| − | 74. |
||
| − | Charlie holds his friend as Patrick begins to cry. And we |
||
| − | leave them, the city lights small in the distance. |
||
| − | 132 EXT. CITY HIGHWAY - NIGHT 132 |
||
| − | We see the truck glide down the highway. |
||
| − | CHARLIE (V.O.) |
||
| − | I've been spending a lot of time with |
||
| − | Patrick. He begins every night really |
||
| − | excited. |
||
| − | 133 EXT. SCHENLEY PARK - NIGHT 133 |
||
| − | Patrick and Charlie are parked at the entrance of Schenley |
||
| − | Park. Patrick speaks, very animated, until... |
||
| − | CHARLIE (V.O.) |
||
| − | He always says he feels free, and tonight |
||
| − | is his destiny. But after awhile, he |
||
| − | runs out of things to keep himself numb. |
||
| − | ... the words leave him, and we can see how sad he really is. |
||
| − | 134 INT. SAM AND PATRICK'S HOUSE - MOMENTS LATER 134 |
||
| − | Patrick hands Sam an envelope. Sam holds it. Pins and |
||
| − | needles. |
||
| − | CHARLIE (V.O.) |
||
| − | Then, Sam got her letter from Penn State. |
||
| − | Sam opens the letter. She reads. Tears instantly well up in |
||
| − | her eyes. She leaves the room and walks down the hall. |
||
| − | Patrick picks up the letter. |
||
| − | PATRICK |
||
| − | (reading) |
||
| − | "We will require you to take our summer |
||
| − | session at the main campus immediately |
||
| − | following your high school graduation." |
||
| − | (off Charlie's look) |
||
| − | She got in, Charlie. |
||
| − | Charlie turns back to Sam. She holds him with sweet relief |
||
| − | and redemption. |
||
| − | 135 INT. CAFETERIA - DAY 135 |
||
| − | Charlie laughs with his friends in the cafeteria. |
||
| − | CHARLIE (V.O.) |
||
| − | After that all Patrick could talk about |
||
| − | 75. |
||
| − | did get into NYU Film School. Patrick is |
||
| − | going to the University of Washington |
||
| − | because he wants to be near the music in |
||
| − | Seattle. |
||
| − | 136 INT. SHOP CLASS - DAY 136 |
||
| − | Charlie and a group of students stand, looking up at the |
||
| − | wall, which is covered with... |
||
| − | CHARLIE (V.O.) |
||
| − | But he wasn't going to leave without |
||
| − | organizing the best senior prank ever. |
||
| − | ... All The Shop Tools Painted Pink |
||
| − | The shop teacher, Mr. Callahan stares at the wall, furious. |
||
| − | As the students gawk, Charlie smiles to himself. |
||
| − | 137 INT. CAFETERIA - LUNCH 137 |
||
| − | Sam and the girls chat excitedly. Summer is almost here. |
||
| − | CHARLIE (V.O.) |
||
| − | Sam is going to leave right after |
||
| − | graduation. It all feels very exciting; |
||
| − | I just wish it were happening to me. |
||
| − | 138 INT. CHARLIE'S BEDROOM - DAY 138 |
||
| − | Charlie sits on his bed, finishing the letter. |
||
| − | CHARLIE |
||
| − | Especially because ever since I blacked |
||
| − | out in the cafeteria, it's been getting |
||
| − | worse. And I can't turn it off this |
||
| − | time. |
||
| − | Charlie puts down the letter. |
||
| − | 139 INT. BILL'S CLASSROOM - MORNING 139 |
||
| − | The kids pass their copies of The Great Gatsby up to the |
||
| − | front, where Bill collects them for next year's freshmen. |
||
| − | The class is buzzing loud. |
||
| − | BILL |
||
| − | Guys, you want to pass your copies of |
||
| − | Gatsby up to the front please? And I |
||
| − | know it's the last day, but if we could |
||
| − | just keep it to a dull roar, I'd |
||
| − | appreciate it. |
||
| − | The class quiets down. |
||
| − | 76. |
||
| − | CHARLIE (V.O.) (CONT'D) |
||
| − | BILL (CONT'D) |
||
| − | Thank you for such a great year. I had a |
||
| − | blast. I hope you did, too. And I hope |
||
| − | you have a great time this summer on your |
||
| − | vacations. Now, who here is going to be |
||
| − | reading for pleasure this summer? |
||
| − | Charlie looks to see if anyone is watching... then, decides |
||
| − | to raise his hand anyway. Bill is proud. |
||
| − | BILL (CONT'D) |
||
| − | Very good, Charlie. Who else? |
||
| − | Charlie looks at the Smart Ass Freshman who tormented him all |
||
| − | year. She sighs. Nothing left to say to him. |
||
| − | 140 INT. BILL'S CLASSROOM - LATER 140 |
||
| − | The last kids exit the classroom. Charlie walks down the |
||
| − | aisle and stands in front of Bill. |
||
| − | BILL |
||
| − | Last day. |
||
| − | CHARLIE |
||
| − | Yeah. So, uh, I know it's none of my |
||
| − | business, but have you decided... are you |
||
| − | going to New York? |
||
| − | BILL |
||
| − | Well, my wife and I like it here, and I |
||
| − | think I might be better at teaching than |
||
| − | writing. |
||
| − | Charlie is relieved. Bill is staying. |
||
| − | BILL (CONT'D) |
||
| − | So, uh Charlie... I was thinking maybe I |
||
| − | could still give you books next year. |
||
| − | CHARLIE |
||
| − | Yeah. Yeah. |
||
| − | BILL |
||
| − | I think you could write one of them one |
||
| − | day. |
||
| − | CHARLIE |
||
| − | (fragile belief) |
||
| − | Really? |
||
| − | BILL |
||
| − | I do. |
||
| − | 77. |
||
| − | Charlie is quiet. Then... |
||
| − | CHARLIE |
||
| − | You're the best teacher I ever had. |
||
| − | BILL |
||
| − | Thank you. |
||
| − | He gives Bill a shy sideways hug. The two men say nothing |
||
| − | else. Charlie waves and leaves. Bill smiles to himself. |
||
| − | 141 INT. MILL GROVE HIGH SCHOOL - HALLWAY - AFTERNOON 141 |
||
| − | Times Square has nothing on these seniors. Charlie watches |
||
| − | the gang on their last day of high school. When the clock |
||
| − | hits 10 seconds to 3pm, all the students chant... |
||
| − | SAM & COMPANY |
||
| − | 10-9-8-7-6-5-4-3-2... |
||
| − | STUDENT (O.S.) |
||
| − | Oh, my God, get me the hell out of here! |
||
| − | ALL |
||
| − | 1! |
||
| − | They all cheer and hug each other. Patrick loses his mind |
||
| − | with joy and charges down the hallway. |
||
| − | SMASH CUT TO: |
||
| − | 142 EXT. MILL GROVE FOOTBALL STADIUM - SUNSET 142 |
||
| − | A brilliant sunset. We see the gang. In silhouette. |
||
| − | Running up the bleachers after the sun. |
||
| − | CHARLIE (V.O.) |
||
| − | Dear Friend... I wanted to tell you about |
||
| − | us running. There was this beautiful |
||
| − | sunset. And just a few hours before, |
||
| − | everyone I love had their last day of |
||
| − | high school ever. And I was happy |
||
| − | because they were happy, even though I |
||
| − | counted, and I have 1,095 days to go. |
||
| − | 143 INT. CHARLIE'S HOUSE - FIREPLACE - LATE AFTERNOON 143 |
||
| − | Prom night. Charlie sees Candace posing for Dad's camera. |
||
| − | For a moment, we think Candace went to prom with Derek. |
||
| − | CHARLIE (V.O.) |
||
| − | I kept thinking about what school was |
||
| − | going to be like without them as they |
||
| − | 78. |
||
| − | As mom and dad move out of the way, we realize Candace is |
||
| − | standing with her 3 best girlfriends. They look beautiful. |
||
| − | CHARLIE (V.O.) (CONT'D) |
||
| − | My sister finally decided to break up |
||
| − | with Derek and go stag with her |
||
| − | girlfriends instead. |
||
| − | 144 EXT. SAM AND PATRICK'S HOUSE - SUNSET 144 |
||
| − | Prom night continues. The antique limo is so garish, it's |
||
| − | great. Charlie snaps pictures with Sam's mom and Patrick's |
||
| − | dad. Mary Elizabeth is with her boyfriend, Peter. Alice |
||
| − | stands with Patrick, dashing in his Mod Suit Tux. |
||
| − | CHARLIE (V.O.) |
||
| − | And then there was Sam... |
||
| − | The image moves to the front of the house, where Sam emerges. |
||
| − | She wears a vintage flapper dress from the 20's. Radiant. |
||
| − | CHARLIE (V.O.) (CONT'D) |
||
| − | I've looked at her pictures since that |
||
| − | night. I like to see how happy she was |
||
| − | before she knew. |
||
| − | Sam joins Craig. They kiss for the cameras, then run with |
||
| − | the rest of the gang to the limosine. |
||
| − | CHARLIE (V.O.) (CONT'D) |
||
| − | They were in a hotel suite after prom |
||
| − | when the truth came out... |
||
| − | The gang poses for more pictures in front of the limo. |
||
| − | CHARLIE (V.O.) (CONT'D) |
||
| − | Basically, Craig has been cheating on Sam |
||
| − | the whole time. When I heard that, I |
||
| − | kept thinking about the happy girl in |
||
| − | these pictures. Because she doesn't have |
||
| − | 1,095 days to go. |
||
| − | 145 EXT. PARKING LOT - AFTERNOON 145 |
||
| − | Graduation Day. The place is packed with graduating seniors |
||
| − | and families. Charlie's mom and dad fawn over Candace with |
||
| − | the video camera. Charlie finally finds... Sam. |
||
| − | CHARLIE (V.O.) |
||
| − | She made it. This is her time. And no |
||
| − | one should be able to take that away. |
||
| − | They approach each other and hug. |
||
| − | 79. |
||
| − | CHARLIE (CONT'D) |
||
| − | Congratulations. |
||
| − | PATRICK |
||
| − | Oh, Charlie's here! Guys, group photo! |
||
| − | We should all take a group photo. Get |
||
| − | against the railing and try to look |
||
| − | suave! |
||
| − | The kids line up for the picture they will always remember. |
||
| − | PATRICK (CONT'D) |
||
| − | Yeah, this is the one. That's going to |
||
| − | be a great angle. |
||
| − | Patrick bows to reveal the top of his cap reads, "Nothing |
||
| − | Hates You." The parents line up cameras. "Cheese!" Snap. |
||
| − | SMASH CUT TO: |
||
| − | 146 INT. SAM AND PATRICK'S KITCHEN/LIVING ROOM - NIGHT 146 |
||
| − | The grandfather clock reads 9:30pm. The room is festive |
||
| − | under streamers wishing Sam luck at Penn State. The kids |
||
| − | sign each other's yearbooks. Charlie sees Sam smile at old |
||
| − | photos. He misses her already. |
||
| − | CHARLIE (V.O.) |
||
| − | At her going away party, I wanted her to |
||
| − | know about that night we went through the |
||
| − | tunnel. And how for the first time, I |
||
| − | felt like I belonged somewhere. |
||
| − | CUT TO: |
||
| − | 147 INT. SAM AND PATRICK'S KITCHEN/LIVING ROOM - LATER 147 |
||
| − | 10:28pm. Charlie doesn't know where the time keeps going. |
||
| − | Sam opens goodbye presents from her friends. |
||
| − | CHARLIE (V.O.) |
||
| − | And tomorrow, she's leaving. So, I |
||
| − | wanted to give her a part of me. |
||
| − | Charlie watches Sam pick up his present. She carefully peels |
||
| − | the tape to reveal that Charlie gave her all of his books. |
||
| − | SAM |
||
| − | Are these all your books, Charlie? |
||
| − | He nods. They lock eyes and do not speak. |
||
| − | 80. |
||
| − | 148 INT. SAM'S BEDROOM - NIGHT 148 |
||
| − | The pictures are down. The dressers empty. The suitcase is |
||
| − | open on the bed. Charlie watches Sam fold clothes and put |
||
| − | them in her suitcase. He has promised himself he will not |
||
| − | cry. Even when she packs away his Beatles 45 of "Something." |
||
| − | Instead, he looks at her and tries to remember every detail. |
||
| − | Her hair and brown eyes and sound of her voice. |
||
| − | SAM |
||
| − | Thanks for staying up with me. |
||
| − | CHARLIE |
||
| − | Sure. My brother said Penn State has a |
||
| − | restaurant called Ye Olde College Diner. |
||
| − | You have to get a grilled stickie on your |
||
| − | first night. It's a tradition. |
||
| − | SAM |
||
| − | That sounds like fun. |
||
| − | CHARLIE |
||
| − | Yeah. Pretty soon, you'll have a whole |
||
| − | new group of friends, and you won't even |
||
| − | think about this place anymore. |
||
| − | SAM |
||
| − | Yes, I will. |
||
| − | Sam moves some suitcases over to the pile in the room. They |
||
| − | stand next to each other. Close. |
||
| − | SAM (CONT'D) |
||
| − | I had lunch with Craig today. |
||
| − | CHARLIE |
||
| − | Yeah? |
||
| − | SAM |
||
| − | He said he was sorry, and that I was |
||
| − | right to break up with him. But I'm |
||
| − | driving away, and I just felt so small. |
||
| − | Just asking myself why do I and everyone |
||
| − | I love pick people who treat us like |
||
| − | we're nothing? |
||
| − | CHARLIE |
||
| − | We accept the love we think we deserve. |
||
| − | He says it sober. Without judgement. Sam lets it sink in. |
||
| − | Charlie walks over to the bed to do more packing. Then, she |
||
| − | turns to him. |
||
| − | 81. |
||
| − | SAM |
||
| − | Then, why didn't you ever ask me out? |
||
| − | Charlie didn't expect that. He is silent. Heart pounding. |
||
| − | CHARLIE |
||
| − | I, uh, I just didn't think you wanted |
||
| − | that. |
||
| − | SAM |
||
| − | Well, what did you want? |
||
| − | CHARLIE |
||
| − | I just want you to be happy. |
||
| − | SAM |
||
| − | Don't you get it, Charlie? I can't feel |
||
| − | that. It's really sweet and everything, |
||
| − | but you can't just sit there and put |
||
| − | everybody's lives ahead of yours and |
||
| − | think that counts as love. I don't want |
||
| − | to be somebody's crush. I want people to |
||
| − | like the real me. |
||
| − | CHARLIE |
||
| − | I know who you are, Sam. |
||
| − | Sam waits. And Charlie finally speaks from the heart. |
||
| − | CHARLIE (CONT'D) |
||
| − | I know I'm quiet, and I know I should |
||
| − | speak more, but if you knew the things |
||
| − | that were in my head most of the time, |
||
| − | you'd know what it really meant. How |
||
| − | much we are alike. And how we've been |
||
| − | through the same things. And you're not |
||
| − | small. You're beautiful. |
||
| − | He can't contain himself anymore. He moves to her and kisses |
||
| − | her. They stand. Move to the bed. Kissing. Charlie's |
||
| − | heart pounds. They sit on the bed. Still kissing. |
||
| − | We see her fingertips. Her hand on Charlie's knee. When she |
||
| − | touches him, Charlie pulls away from her. Shocked. Like |
||
| − | he's seen a ghost. It hits Charlie like freezing water. |
||
| − | SAM |
||
| − | What's wrong, Charlie? |
||
| − | CHARLIE |
||
| − | Oh, ah... nothing. |
||
| − | Charlie shakes off whatever was bothering him and continues |
||
| − | 82. |
||
| − | 149 EXT. SAM AND PATRICK'S HOUSE - MORNING 149 |
||
| − | It's like a dream for Charlie. He watches Sam hug Alice and |
||
| − | Mary Elizabeth goodbye. But Charlie is somewhere else. |
||
| − | SAM |
||
| − | I'll call all the time. |
||
| − | MARY ELIZABETH |
||
| − | Promise. |
||
| − | SAM |
||
| − | And we'll all see each other in New York. |
||
| − | SAM'S MOM |
||
| − | Come on, Sam. |
||
| − | Charlie can't take it. He moves to the side of the truck and |
||
| − | puts in the last suitcase. He looks over at Sam. |
||
| − | SMASH CUT TO: |
||
| − | 150 INT. SAM'S BEDROOM - NIGHT 150 |
||
| − | QUICK FLASH... Charlie remembers kissing Sam the night |
||
| − | before. Her hand touches Charlie's knee. |
||
| − | BACK TO PRESENT: |
||
| − | 151 EXT. SAM AND PATRICK'S HOUSE - MORNING 151 |
||
| − | Charlie snaps himself out of it. He turns back as Mary |
||
| − | Elizabeth and Alice part ways. Charlie locks eyes with Sam. |
||
| − | They take a moment. And then they come together to hug. She |
||
| − | kisses him goodbye, trying not to cry. |
||
| − | After a moment, Sam climbs into the driver's seat of her |
||
| − | truck with Patrick riding shotgun. Charlie looks dazed. |
||
| − | SMASH CUT TO: |
||
| − | 152 INT. SAM'S BEDROOM - NIGHT 152 |
||
| − | QUICK FLASH... Charlie remembers pulling away from Sam. |
||
| − | Shocked. Like he's seen a ghost. |
||
| − | SAM |
||
| − | What's wrong, Charlie? |
||
| − | BACK TO PRESENT: |
||
| − | 83. |
||
| − | 153 EXT. SAM AND PATRICK'S HOUSE - MORNING 153 |
||
| − | Sam starts the truck. Charlie wants to scream for her to |
||
| − | stop. But he's frozen. She drives away. He watches her go. |
||
| − | The truck gets smaller in the distance until it turns at the |
||
| − | stop sign. And disappears. Charlie stands there, alone. |
||
| − | SMASH CUT TO: |
||
| − | 154 INT. SAM'S BEDROOM - NIGHT 154 |
||
| − | QUICK FLASH... Charlie remembers the night with Sam. We see |
||
| − | her put her hand on his knee. The image moves up the arm. |
||
| − | To the shoulder. To the face. And we reveal, we are not in |
||
| − | Sam's bedroom. And it is not Sam touching Charlie. But... |
||
| − | Aunt Helen |
||
| − | AUNT HELEN |
||
| − | Don't wake your sister. |
||
| − | BACK TO REALITY: |
||
| − | 155 EXT. SAM AND PATRICK'S HOUSE - MORNING 155 |
||
| − | The memory only registers as a small blink of his eye. |
||
| − | Charlie sees his friends are crying. He's not. He's numb. |
||
| − | 156 EXT. SUBURBAN STREET - MORNING 156 |
||
| − | Charlie walks down the street. His eyes far away. The |
||
| − | images and memories are short, violent bursts. If you've |
||
| − | never had an anxiety attack, this is how it feels. |
||
| − | 157 EXT. CHARLIE'S STREET - NIGHT (FLASHBACK) 157 |
||
| − | QUICK FLASH. It's Christmas Eve. Aunt Helen smiles to |
||
| − | Little Charlie. |
||
| − | AUNT HELEN |
||
| − | It'll be our little secret, okay? |
||
| − | Little Charlie nods. |
||
| − | 158 EXT. SUBURBAN STREET - MORNING (PRESENT) 158 |
||
| − | BACK TO PRESENT. Charlie walks toward us on the sidewalk. |
||
| − | We see him through a long lens. His image fractures. We see |
||
| − | him in different planes of the image. He's beginning to |
||
| − | break apart. One image. Two images. |
||
| − | 84. |
||
| − | 159 INT. CHARLIE'S LIVING ROOM - NIGHT (FLASHBACK) 159 |
||
| − | QUICK FLASH. Little Candace is asleep on the floor. Aunt |
||
| − | Helen sits next to Little Charlie on the sofa. |
||
| − | AUNT HELEN |
||
| − | Look, Charlie. She's fast asleep. |
||
| − | 160 EXT. SUBURBAN STREET - MORNING (PRESENT) 160 |
||
| − | BACK TO PRESENT. We see Charlie fracturing. The pieces |
||
| − | scattered. Out of focus. Lost. He's all over the frame. |
||
| − | 161 INT. CHARLIE'S LIVING ROOM - NIGHT (FLASHBACK) 161 |
||
| − | QUICK FLASH. Aunt Helen points to Little Candace. |
||
| − | AUNT HELEN |
||
| − | Don't wake your sister. |
||
| − | 162 INT. CHARLIE'S HOUSE - DAY (PRESENT) 162 |
||
| − | BACK TO PRESENT. Charlie enters his house. |
||
| − | SMASH CUT TO: |
||
| − | 163 INT. AUNT HELEN'S CAR - NIGHT (FLASHBACK) 163 |
||
| − | QUICK FLASH. Aunt Helen gets hit by the semi-truck. |
||
| − | 164 INT. ENTRY HALL - NIGHT (FLASHBACK) 164 |
||
| − | QUICK FLASH. Little Charlie's mom opens the door to reveal a |
||
| − | policeman. |
||
| − | 165 INT. CHARLIE'S HOUSE - DAY (PRESENT) 165 |
||
| − | BACK TO PRESENT. Charlie is in the same entry hall in the |
||
| − | same house 8 years later. Banging his head against the wall. |
||
| − | "It's my fault. It's all my fault." |
||
| − | He passes the photo wall on the stairs. We see the images of |
||
| − | the family. Church. Communion. Baby pictures. Years of |
||
| − | history staring at us. Ghosts on the wall. |
||
| − | 166 INT. CHARLIE'S BEDROOM - DAY (PRESENT) 166 |
||
| − | BACK TO PRESENT. Charlie sits at his desk. We see him from |
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| − | behind. Perfectly still. Trying to keep himself calm. |
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| − | CHARLIE |
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| − | Stop crying. |
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| − | 85. |
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| − | 167 INT. VARIOUS LOCATIONS - DAY (FLASHBACK) 167 |
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| − | QUICK FLASH. Charlie thinks everyone is staring at him. His |
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| − | sister and her friends. His brother and mother. Mary |
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| − | Elizabeth and Alice. And worst of all... Sam and Patrick the |
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| − | night they toasted him. A paranoid nightmare. |
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| − | 168 INT. CHARLIE'S BEDROOM - DAY (PRESENT) 168 |
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| − | BACK TO PRESENT. Charlie's falling to pieces. The tears run |
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| − | down his face. |
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| − | CHARLIE |
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| − | Stop crying. |
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| − | 169 INT. VARIOUS LOCATIONS - VARIOUS TIMES (FANTASY) 169 |
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| − | QUICK FLASH. Derek hits Candace. Patrick hits Brad. The |
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| − | cafeteria erupts into violence. |
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| − | And Charlie remembers what he's blacked out. |
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| − | We see him in the cafeteria. Terrifying. He thinks he sees |
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| − | Aunt Helen as he breaks the Linebacker's nose. Hits another |
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| − | in the throat. And pushes another. Charlie looks at his |
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| − | hand, covered in blood. The whole school staring at him. |
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| − | 170 INT. CHARLIE'S BEDROOM - DAY (PRESENT) 170 |
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| − | BACK TO PRESENT. Charlie holds his head. Trying to stuff |
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| − | the pictures back in his brain. But he can't. They keep |
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| − | coming and coming, faster and faster. Sam's hand, Little |
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| − | Charlie on top of the stairs, the police telling him Aunt |
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| − | Helen is dead. |
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| − | CHARLIE (V.O.) |
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| − | It'll be our little secret. |
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| − | We go behind his head. The image moves closer and closer. |
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| − | Until it feels like we are inside Charlie's mind. |
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| − | SMASH CUT TO: |
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| − | 171 EXT. HOUSE SWIMMING POOL - DAY 171 |
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| − | We see Candace hanging out with her girlfriends at a friend's |
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| − | backyard pool. Her FRIEND (18, pretty) holds the cordless. |
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| − | CANDACE'S FRIEND |
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| − | Candace... your brother's on the phone. |
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| − | Candace casually picks up the phone. |
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| − | 86. |
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| − | CANDACE |
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| − | Hello. |
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| − | CHARLIE (V.O.) |
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| − | Hey, Candace. |
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| − | CANDACE |
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| − | Charlie? |
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| − | CHARLIE |
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| − | Sam and Patrick left, and um, I just |
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| − | can't stop thinking something. |
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| − | CANDACE |
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| − | What? |
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| − | CHARLIE |
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| − | Candace, I killed Aunt Helen, didn't I? |
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| − | She died getting my birthday present, so |
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| − | I guess I killed her, right? I've tried |
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| − | to stop thinking that, but I can't. She |
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| − | keeps driving away and dying over and |
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| − | over. |
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| − | Candace looks like she got hit with ice water. She knows her |
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| − | brother. She knows this voice. Candace covers the phone. |
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| − | CANDACE |
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| − | Call the police and send them to my |
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| − | house. |
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| − | CHARLIE |
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| − | And I can't stop her. I'm crazy again. |
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| − | CANDACE |
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| − | No, Charlie, listen to me. Mom and dad |
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| − | are going to be home with Chris any |
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| − | second. |
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| − | CHARLIE |
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| − | I was just thinking... what if I wanted |
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| − | her to die, Candace? |
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| − | CANDACE |
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| − | What? Charlie... Charlie! |
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| − | Dial tone. |
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| − | 172 INT. CHARLIE'S HOUSE - DAY 172 |
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| − | We begin in the house. It's silent. The hallway. The entry |
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| − | hall. The empty bedroom. Charlie's typewriter on his desk. |
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| − | 87. |
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| − | It's all so quiet. And then, we see Charlie walking down the |
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| − | hallway. He turns the corner and enters the... |
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| − | MATCH CUT TO: |
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| − | 173 INT. CHARLIE'S KITCHEN - DAY (PAST AND PRESENT) 173 |
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| − | Kitchen. One room. Charlie doesn't know where he is |
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| − | anymore. The past and present have bled together. |
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| − | QUICK FLASH. We see Little Charlie turn the corner into the |
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| − | kitchen. BACK TO PRESENT as 16 year old Charlie stands in |
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| − | the same kitchen, breathing shallow. |
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| − | QUICK FLASH. 7 year old Charlie walks up to Aunt Helen |
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| − | sitting at the kitchen table. BACK TO PRESENT as 16 year old |
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| − | Charlie begins to have a full blown anxiety attack. |
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| − | QUICK FLASH. 7 year old Charlie takes Aunt Helen's hand and |
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| − | turns it over... to reveal her wrist scars. |
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| − | BACK TO PRESENT as Charlie looks from the table to the |
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| − | counter with the bread and the KNIVES. He stares at the |
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| − | knives for a moment. Just as... |
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| − | The Policemen break down the door. |
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| − | SMASH CUT TO: |
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| − | 174 INT. HOSPITAL ROOM - NIGHT 174 |
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| − | We see Charlie's reflection in the window. The door opens |
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| − | slowly, and his psychiatrist, Dr. Burton, enters. She finds |
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| − | him sitting in the corner. He has been crying. |
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| − | DR. BURTON |
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| − | Charlie? I'm Dr. Burton. |
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| − | CHARLIE |
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| − | Where am I? |
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| − | DR. BURTON |
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| − | Mayview hospital. |
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| − | This news hits Charlie hard. He begins to panic. |
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| − | CHARLIE |
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| − | You have to let me go. My dad can't |
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| − | afford it. |
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| − | DR. BURTON |
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| − | Don't worry about that. |
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| − | 88. |
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| − | CHARLIE |
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| − | No. I saw them when I was little. And I |
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| − | don't want to be a Mayview kid. Just |
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| − | tell me how to stop it. |
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| − | DR. BURTON |
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| − | Stop what? |
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| − | CHARLIE |
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| − | Seeing it. All their lives. All the |
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| − | time. Just... how do you stop seeing it? |
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| − | DR. BURTON |
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| − | Seeing what, Charlie? |
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| − | Charlie breaks. |
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| − | CHARLIE |
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| − | There is so much pain. And I don't know |
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| − | how to not notice it. |
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| − | DR. BURTON |
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| − | What's hurting you? |
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| − | CHARLIE |
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| − | No! Not me. It's them. It's everyone. |
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| − | It never stops. Do you understand? |
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| − | Dr. Burton smiles, sympathetic. Charlie nods, relieved that |
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| − | someone finally understands. Until... |
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| − | DR. BURTON |
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| − | What about your Aunt Helen? |
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| − | Like cold water. What was tears is now confusion and soon to |
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| − | be shame. Dr. Burton is gentle to him. |
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| − | CHARLIE |
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| − | What about her? |
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| − | DR. BURTON |
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| − | Can you see her? |
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| − | CHARLIE |
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| − | Yes, she had a terrible life. But... I |
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| − | mean, what am I... |
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| − | DR. BURTON |
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| − | You said some things about her in your |
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| − | sleep. |
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| − | CHARLIE |
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| − | I don't care. |
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| − | 89. |
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| − | DR. BURTON |
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| − | If you want to get better, you have to-- |
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| − | Charlie looks at her, nodding her encouragement. |
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| − | CHARLIE |
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| − | She was... insane. |
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| − | The minute he says one word of truth, he feels ashamed. He |
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| − | stops talking. Dr. Burton does not press him. Not today. |
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| − | DR. BURTON |
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| − | Charlie, are you going to let me help you |
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| − | here? |
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| − | Charlie cries and nods. |
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| − | CHARLIE |
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| − | Okay. |
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| − | DR. BURTON |
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| − | Do you remember anything before you |
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| − | blacked out? |
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| − | CHARLIE |
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| − | I, uh... I remember leaving Sam's house, |
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| − | and walking home... |
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| − | We move away from them as Charlie's voice trails off. |
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| − | 175 INT. HOSPITAL ROOM - MORNING 175 |
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| − | The sun creeps through the windows. We can hear birds |
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| − | outside. The intercom is quiet. Charlie is alone. He looks |
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| − | at Sam's typewriter. "Dear Friend" is already typed. |
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| − | CHARLIE (V.O.) |
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| − | I was in the hospital for awhile. I won't |
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| − | go into detail about all of it. But I |
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| − | will say there were some very bad days. |
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| − | And some unexpected beautiful days. |
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| − | Charlie picks up a get well card from Sam. |
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| − | 176 INT. HOSPITAL HALLWAY - DAY 176 |
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| − | Dr. Burton walks Charlie's parents down the hallway. |
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| − | CHARLIE (V.O.) |
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| − | The worst day was the time my doctor told |
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| − | my mom and dad what Aunt Helen did to me. |
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| − | In the distance, we see Charlie's mom and dad stop. Shocked. |
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| − | 90. |
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| − | 177 INT. HOSPITAL ROOM - DAY 177 |
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| − | Charlie looks up and sees his mom and dad in the doorway. |
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| − | MOTHER |
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| − | Honey? |
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| − | His mother comes to hold him. |
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| − | MOTHER (CONT'D) |
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| − | I'm so sorry. |
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| − | For a second, we see the emotion his father hides behind the |
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| − | sports page, before he chokes it down. He walks over to his |
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| − | son and kisses his forehead. |
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| − | 178 INT. HOSPITAL ROOM - MORNING 178 |
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| − | Charlie, Chris, and Candace sit on the bed, playing cards. |
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| − | CHARLIE (V.O.) |
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| − | The best days were those when I could |
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| − | have visitors. My brother and sister |
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| − | always came for those until Chris had to |
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| − | go to training camp. He's going to be |
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| − | first string this year. And my sister |
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| − | told me she met a nice guy at her summer |
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| − | job. |
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| − | 179 INT. HOSPITAL HALLWAY - AFTERNOON 179 |
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| − | Charlie leaves his room with his suitcase in hand. His |
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| − | mother waits in the hallway with Dr. Burton. |
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| − | DR. BURTON |
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| − | There he is. So, I'll see you Thursday |
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| − | at 6, right? |
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| − | Charlie nods and leaves the hospital with his mother. |
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| − | CHARLIE (V.O.) |
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| − | My doctor said we can't choose where we |
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| − | can come from, but we can choose where we |
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| − | go from there. I know it's not all the |
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| − | answers, but it was enough to start |
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| − | putting these pieces together. |
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| − | Dr. Burton smiles, then turns back into the hospital. |
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| − | 180 INT. CHARLIE'S DINING ROOM - NIGHT 180 |
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| − | The family sits at the dinner table. |
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| − | 91. |
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| − | FATHER |
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| − | God bless this food that we are about to |
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| − | receive. We thank You for this bounty in |
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| − | the name of our Lord Jesus Christ. Amen. |
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| − | After they say "Amen," the room falls silent. The family is |
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| − | on pins and needles. No one touches their food. Until... |
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| − | CHARLIE |
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| − | How do you think the Penguins are going |
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| − | to do this year, dad? |
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| − | FATHER |
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| − | God damn Penguins. I think they're |
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| − | allergic to God damn defense. |
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| − | CHARLIE |
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| − | What do the players call a puck again? |
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| − | FATHER |
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| − | A biscuit. |
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| − | CANDACE |
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| − | Are you sure it's not a "God damn |
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| − | biscuit?" |
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| − | FATHER |
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| − | You're cruisin' for a bruisin'. |
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| − | As things return to normal, dad picks up his paper. Candace |
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| − | talks about the books she'll need for college. Everyone |
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| − | starts eating. And Charlie smiles, happy to just be home. |
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| − | 181 INT. CHARLIE'S HOUSE - DUSK 181 |
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| − | Ding dong. The door opens to reveal Patrick, smiling. |
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| − | PATRICK |
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| − | Can Charlie come out and play? |
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| − | Charlie's mother smiles. Charlie smiles, too. Especially |
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| − | when he sees... Sam. Standing next to Patrick. Her hair a |
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| − | little different. Her eyes alive and happy. |
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| − | 182 INT. KINGS FAMILY RESTAURANT - NIGHT 182 |
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| − | The gang of three sit at their booth. Sam and Patrick have |
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| − | their coffee. Charlie has his brownie. Like always. |
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| − | SAM |
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| − | That first night, I had grilled stickies. |
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| − | It was so good. You have to visit in the |
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| − | Fall. We'll have some. Okay? |
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| − | 92. |
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| − | CHARLIE |
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| − | Definitely. |
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| − | PATRICK |
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| − | Sorry, Sam. Charlie has a breakdown |
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| − | scheduled for October. |
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| − | Charlie laughs. Sam smiles. After a beat... |
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| − | SAM |
||
| − | Well, can I tell you something? I've |
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| − | been away for two months. It's another |
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| − | world. And it gets better. |
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| − | (off Charlie's smile) |
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| − | And my roommate Katie has the best taste |
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| − | in music. |
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| − | Sam puts a cassette tape down on the table. |
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| − | SAM (CONT'D) |
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| − | I found the tunnel song. |
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| − | Charlie looks at Sam and Patrick, who smile. |
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| − | SAM (CONT’D) |
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| − | Let's drive. |
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| − | 183 EXT. KINGS FAMILY RESTAURANT - NIGHT 183 |
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| − | The three leave the restaurant and jump into Sam's truck. |
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| − | Patrick drives. Charlie in the middle. Sam the passenger. |
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| − | CHARLIE (V.O.) |
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| − | I don't know if I will have the time to |
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| − | write any more letters because I might be |
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| − | too busy trying to participate. So, if |
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| − | this does end up being the last letter, I |
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| − | just want you to know that I was in a bad |
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| − | place before I started high school. And |
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| − | you helped me. |
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| − | 184 INT. SAM'S TRUCK - NIGHT 184 |
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| − | The three friends are flying down the highway in Sam's truck. |
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| − | The music blaring. The wind making their hair dance. |
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| − | CHARLIE (V.O.) |
||
| − | Even if you didn't know what I was |
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| − | talking about. Or know someone who's |
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| − | gone through it. It made me not feel |
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| − | alone. |
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| − | With Sam's help, Charlie climbs through the little window |
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| − | 93. |
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| − | 185 EXT. HIGHWAY 376 NORTH - NIGHT 185 |
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| − | Charlie gets into the back of the truck. He sits down, |
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| − | looking back at the highway. Watching everywhere he's been. |
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| − | CHARLIE (V.O.) |
||
| − | Because I know there are people who say |
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| − | all of these things don't happen. And |
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| − | there are people who forget what it's |
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| − | like to be 16 when they turn 17. |
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| − | We see Charlie in profile. The night sky behind him until... |
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| − | 186 INT. FORT PITT TUNNEL - NIGHT 186 |
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| − | ... they enter the tunnel, and we realize just how fast |
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| − | they're driving. The white tiles of the tunnel whiz by at |
||
| − | blinding speed. A perfect night. A perfect drive. Flying. |
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| − | CHARLIE (V.O.) |
||
| − | I know these will all be stories someday. |
||
| − | And our pictures will become old |
||
| − | photographs. And we'll all become |
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| − | somebody's mom or dad. But right now, |
||
| − | these moments are not stories. |
||
| − | Charlie turns to face forward. To the moment. To Sam, |
||
| − | Smiling at him from the front seat. |
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| − | CHARLIE (V.O) (CONT'D) |
||
| − | This is happening. I am here. And I am |
||
| − | Looking at her. And she is so beautiful. |
||
| − | Sam kisses Charlie. Then, she turns, and all three kids look |
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| − | Ahead to everything in front of them. Charlie begins to |
||
| − | Stand in the back of the truck. Ready to leave the tunnel. |
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| − | CHARLIE (V.O.) (CONT'D) |
||
| − | I can see it. This one moment when you |
||
| − | know you're not a sad story. You are |
||
| − | alive. And as you stand up and see the |
||
| − | lights on buildings and everything that |
||
| − | makes you wonder. And you are listening |
||
| − | to that song on that drive with the |
||
| − | people you love most in this world. |
||
| − | Charlie stands in the back of the truck. The wind on his |
||
| − | face. He is free. |
||
| − | CHARLIE (V.O.) (CONT'D) |
||
| − | And in this moment, I swear... |
||
| − | 94. |
||
| − | We see the moment as Charlie sees it. The tunnel's exit |
||
| − | getting bigger and brighter with the lights of the city |
||
| − | behind it. |
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| − | CHARLIE (V.O.) (CONT'D) |
||
| − | ... we are infinite. |
||
| − | The tunnel song blasts over the speakers as the truck flies |
||
| − | out of the tunnel. Sam and Patrick scream with excitement. |
||
| − | Charlie holds his arms in the air. The weight of the world |
||
| − | gone. If only for a moment. This one moment. We see the |
||
| − | city. A million lights like white stars in a glass dome. We |
||
| − | crane to the sky. We are in Heaven. |
||
| − | FADE OUT. |
||