Screenwriter Community |
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by Richard Everett (richardeverett88@yahoo.com)
Rated: 
Genre: Comedy
User Review: 
The Headshot is a romantic comedy about an aspiring actor who finds new love in a new city.
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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THE HEADSHOT
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EXT. MAX'S APT - DAY |
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New York skyline. MAX is seen driving down freeway. Shots of
city life. Cut to inside an apartment. Door opens, there
stands MAX and LANDLORD. |
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LANDLORD
That's the bathroom, and your
kitchen is right over there. Rent
is due on the 3rd of every month.
Other than that, I think you are
all set. |
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MAX
Thank you so much. I guess I'll be
seeing you. |
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MAX looks around and inspects the apartment. It is nice, but
definitely not glamorous. He turns around and pushes the
door shut. As it slams, one of his windows blinds fall to
the floor. |
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EXT. HOME SWEET HOME - DAY |
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MAX walks down the street on his phone, in winter attire. |
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MAX
Mom, calm down! It was my first
night, how do you think it was?
("Great I would
hope. Does your
place have bugs?")
No, it doesn't have bugs.
("Do you got
bugs?")
No, Ma, I don't got bugs.
("I'm just so
worried.")
Mom, give me a break. I'm 23. I
can handle this.
("Ok.")
Ok, Ma, I gotta go. Alright, I
love you too, Ok, alright, ma. |
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MAX enters a grocery store. In the produce by "I love you
too". A very attractive woman walks up beside him, looking
at apples. He notices her and cuts his conversation short. |
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MAX (cont'd)
Ma, I gotta go. Alright. I love
you too. |
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She laughs as he shuts his phone, and puts it away. |
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WOMAN
A bit. No worries. Mother's will
be mother's. |
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MAX
(They laugh)
Yea, I suppose. |
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MAX
Max. Nice to meet you. |
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WOMAN
You too. So how many days've you
been in town? |
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MAX
This would be the first. Got in
last night, actually. |
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WOMAN
Well then...
(Gives him her
number)
Friends see each other. Use it. |
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She leaves and he looks at the paper. He looks back at her
leaving. |
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3.
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INT. JASON REUNION - DAY |
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Scene cuts to MAX walking up to the building. He has a
briefcase bag, and is holding a manila folder staring at a
piece of paper with an address. He looks at the tall office
building, and sighs. He walks in. He walks up to the
secretary behind a desk. |
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SUSAN
(Pointing to Max,
telling him to
hold on a second.
She answers the
phone. It’s a
client.)
Good morning, Mr. Sherman's
office, this is Susan speaking,
how may I help you? Oh, well
actually he is about to step out
to lunch, I’ll let him know you
called. All right, thanks, bye.
(While she is
talking he is
looking at a wall
of photos. All
previous clients.)
Good morning, sir.
(Max turns and
walks to her.) |
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MAX
Oh, good morning, I’m here to
speak to Mr...
(Looks at the
paper)
Jason Sherman? |
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SUSAN
Oh, yes. One moment please.
(She starts
thumbing through
papers. She looks
at Max.)
You are early, Mr. Asher.
(She smiles) |
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4.
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MAX
I know, beat the traffic, I guess.
You know, it's funny, I went to
high school with a Jason Sherman. |
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SUSAN
It's a wild world. Take a seat,
and he will be right with you. |
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MAX
Oh, I'm sorry.
(Sits) |
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MAX begins looking around. A man comes out of an office, and
exits the building. |
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SUSAN
(to MAX)
Through the double doors, second
office on the left. |
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Answers another call. MAX walks through the doors to see a
hall full of office doors. He walks up to the 2nd office on
the left and knocks. |
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MAX
Umm...my name is Max Asher. I have
an appointment at 12:30. |
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JASON
(With back turned)
You know, it's funny, I was best
friends with a Max Asher in high
school.
(Hmm)
Small world. |
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5.
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JASON turns around, they realize it's each other. Ad-Lib
"Hey, how've you been?" Etc., Etc. |
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MAX
Oh, my gosh, how've you been? |
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JASON
I’ve been great, what are you
doing here? |
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MAX
I need an agent, I just moved
here! |
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JASON
This is so crazy! I haven't seen
you since senior year! |
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MAX
I know! When did you get into this
business? |
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JASON
A couple of years ago. My dad knew
some people, so I saw the
opportunity and took it! It's just
been a ladder climb from there.
Gosh, it’s been so long. So when’d
you get in? |
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JASON
Hey, Max, I’m going to lunch in a
second, are you busy? |
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MAX
Not at all, this was my plan for
the day. |
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Cut to MAX and JASON in diner. |
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JASON
So, how long are you here? |
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6.
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JASON
Really? That’s awesome, you are
gonna love it. The city, the
energy. It's amazing. Got anything
lined up yet? |
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MAX
Well, not right now, I just got
in, literally yesterday. But,
tomorrow I am going to start
looking around, see what I can
find for myself, until I get some
representation, you know? |
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JASON
Yeah, well, hey, I’ll tell you
what. Tomorrow, if nothing big
catches your eye, come back down
to my office again. I have some
clients that would be more than
interested in a fresh face. I can
get you some gigs, at least until
you get settled down. |
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INT. MAX'S APARTMENT - NIGHT |
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Scene cuts to Max later that night unpacking at his
apartment. He picks up a picture of him and his three
friends. He sets it back down and smiles. |
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EXT. SHERRY - DAY |
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Scene cuts to ELIZABETH and SHERRY walking down the street
talking. |
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SHERRY
Oh, my gosh, I’m so excited you’re
in town. How long are you here? |
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ELIZABETH
Well, just until we get this show
up. Then I'm probably off to LA,
or somewhere. I guess wherever I'm
(MORE)
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7.
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ELIZABETH (cont'd)
needed. |
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SHERRY
Aw, that's so exciting! Well, we
have to hang out, I miss you so
much. |
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ELIZABETH
Well, don’t worry about that.
While I’m here, I’ll be with you. |
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SHERRY
Aw, yay.
(They reach a
building. An
office building.)
Well, this is me. |
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ELIZABETH
Ok, well you have fun at work.
Give me a call later. Oh, hey, do
you know of any good coffee shops,
or a place that's quiet or
anything? |
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SHERRY
Um. Yes, actually, there's a nice
little place right down the
street. Gray's, i think it's
called. Yea, just go down 81st, or
is it 82nd, then take a left at
either Lexington or- |
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ELIZABETH
(Interrupting)
I should be fine. |
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SHERRY
I'll call you. It's so good to see
you again. |
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INT. COFFEE SHOP - DAY |
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Scene cuts to a shot of ELIZABETH drinking a cup of coffee.
She sits elegantly and is listening to an Mp3 player and
reading. MAX enters. He walks slightly past and stops to
look back, giving ELIZABETH a second glance. He is awestruck
by her beauty. Completely in a trance. He awkwardly sits
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four seats away. Periodically sneaking a peak. A worker
walks over to him, takes his order. MAX whispers that he
will pay for ELIZABETH's coffee. He points at her, so that
the worker will know whom he is referring to. The worker
nods and walks away, she glances at him. He immediately
looks away, as if to say he wasn't staring, but she knows he
was. MAX continues to glance. ELIZABETH smiles. The worker
walks over to a middle-aged lady, who is sitting 2 seats
down from ELIZABETH, smoking a cigarette, and whispers into
her ear and points at MAX. She looks at him, winks and
smiles. MAX's eyes grow and he looks straight ahead.
ELIZABETH laughs, and stands to go pay. MAX follows with his
'To-go Coffee'. He gets to the register standing behind her,
breathing heavy. She sneaks a peak over her shoulder.
ELIZABETH hands the cashier her tab. |
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ELIZABETH searches through her purse for money. Failing to
find any, MAX steps toward the CASHIER and hands her a $5. |
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ELIZABETH
That was easier wasn't it? |
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MAX
Thought I'd try and follow through
with it. |
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ELIZABETH
Well, thanks, anyways. |
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She walks out of the shop. MAX puts down his check with
another $5, and mutters 'Keep the change', and follows. |
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MAX
The way I see it; you can look at
this two ways... Option A, nothing
ever happened, and we go on with
our lives, never knowing what
could have been, or Option B, you
humor me with your name. |
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She stops walking. Turns around with a smirk. |
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ELIZABETH
It’s Elizabeth. |
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9.
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MAX
I was hoping for B.
(They both smile)
So, do you come here often? |
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ELIZABETH
New York? Or this particular
diner? |
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MAX
(Obviously
confused)
Either? |
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ELIZABETH
As often as I can. Taxi!
(She flags down
the first
available taxi,
and starts to get
in.)
Thanks for the coffee. See you
around. |
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MAX
You could see me tonight? For
dinner? Rue 57? 8 o'clock? |
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She smiles, gets in and drives away. |
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MAX
But...you never got my name. |
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The taxi drives away, and MAX smiles and turns to walk away
and sees a poster for auditions for an Off-Broadway
theatrical performance. |
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INT. RUE 57 - NIGHT |
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Scene cuts to MaAX sitting alone at the restuarant. A WAITER
enters with a pitcher. |
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MAX
Oh, no thanks, I'm fine. |
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WAITER
Are we waiting for another guest,
sir? |
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10.
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MAX
(Laughs)
No. It's just me. |
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WAITER
Very well, sir.
(Exits.) |
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He picks up a glass of water, smirks, and takes a drink. |
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INT. AUDITION DAY - DAY |
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Lights come up on a stage the next day. There is a table set
up stage right. The director is sitting behind it, and there
is about 20-30 people spread out around the stage. Shot cuts
to see MAX walk through the auditorium to the front of the
stage. The Director, Jonathan More, turns to see MAX walking
forward. |
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JON
Are you here to audition? |
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Awkwardly stepping forward. |
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JON
Awesome, just come up here, sign
in, and pick up a copy of the cut.
I'll call you up when I'm ready to
hear you read.
(MAX walks up
onstage and signs
in. He takes the
scene he is
supposed to read
from, and stands
there.)
Anything else? |
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MAX (Turning sharply)
Oh, haha, sorry. |
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He walks away from the table and takes a seat on a piece of
set. Moment's pass and a door opens. MAX's eyes shoot to the
direction of the door. ELIZABETH enters. MAX is shocked to
see her again. |
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JON
It’s about time you decided to
show up. |
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11.
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JON
All right, guys and gals, now that
Ms. Harmon has decided to grace us
with her presence, I believe we
are ready to begin, so if I could
get Mr. McClendon, and Mrs. Harmon
to get up here and read first. If
I could get everyone to sit in the
front two rows please. Start when
you are ready. |
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They begin to read lines from William Shakespeare’s tragic
romance “Romeo and Juliet”, Act. 1, Scene 5. |
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TRAVIS (reading for 'Romeo')
“If I profane with my unworthiest
hand
This holy shrine, the gentle fine
is this: My lips, two blushing
pilgrims, ready stand
To smooth that rough touch with a
tender kiss.”
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ELIZABETH (reading for 'Juliet')
“Good pilgrim, you do wrong your
hand too much, Which mannerly
devotion shows in this; For saints
have hands that pilgrims' hands do
touch, And palm to palm is holy
palmers' kiss.” |
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Scene cut to further down in scene 5. |
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TRAVIS
“Sin from thy lips? O trespass
sweetly urged! Give me my sin
again.” |
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They kiss. The spectators clap. Scene cuts to ELIZABETH
doing the same scene later that evening with another
gentleman. |
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MARK (reading for 'Romeo')
“Sin from thy lips? O trespass
sweetly urged! Give me my sin
again.” |
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MAX is now becoming uncomfortable. |
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12.
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JON
Ok, that’s great. Max, can you
read for Romeo now, please? |
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MAX frantically jumps up and responds as if he were just
suddenly woken up. |
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MAX
Yes! I, uh, I mean, yes. Thank
you.
(People awkwardly
stare. There is
silence.) |
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JON
Ok, then, uh... same scene, start
when ready. |
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MAX (reading for 'Romeo')
“If I profane with my unworthiest
hand
this holy shrine, the gentle fine
is this: My lips, two blushing
pilgrims, ready stand
to smooth that rough touch with a
tender kiss.” |
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ELIZABETH
“Good pilgrim, you do wrong your
hand too much, Which mannerly
devotion shows in this; For saints
have hands that pilgrims' hands do
touch, And palm to palm is holy
palmers' kiss.” |
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Scene cuts to when Romeo and Juliet kiss. |
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MAX
“Sin from thy lips? O trespass
sweetly urged! Give me my...” |
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He leans in to receive the kiss he’d been waiting for. Jon
interrupts. |
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JON
All right, thank you everyone,
thanks for coming out- |
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MAX
Wait, why can’t we finish the
scene? |
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ELIZABETH smiles and walks away. |
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13.
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JON
I’ve heard all I need to hear.
(to ACTORS)
Callbacks will be posted in a day
or so. |
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Disappointed, MAX gathers his things and leaves through a
backdoor while everyone else uses the front. Scene cuts to
MAX walking out a backdoor of the theatre. ELIZABETH comes
out after he starts to leave and stops him. She seems more
into her character this time, as opposed to how she was with
the other men. |
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ELIZABETH
“Good pilgrim, you do wrong your
hand too much, Which mannerly
devotion shows in this; For saints
have hands that pilgrims' hands do
touch, And palm to palm is holy
palmers' kiss.” |
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She kisses him. A soft kiss. He plays along and reads the
scene. |
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MAX
“Have not saints lips, and holy
palmers too?” |
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ELIZABETH
“Ay, pilgrim, lips that they must
use in prayer.” |
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MAX
“O, then, dear saint, let lips do
what hands do; They pray, grant
thou, lest faith turn to despair.” |
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ELIZABETH
“Saints do not move, though grant
for prayers' sake.” |
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MAX
“Then move not, while my prayer's
effect I take. Thus from my lips,
by yours, my sin is purged.” |
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ELIZABETH
“Then have my lips the sin that
they have took.” |
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14.
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MAX
“Sin from thy lips? O trespass
sweetly urged! Give me my sin
again.” |
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They kiss. A long, soft, beautiful kiss. She pulls away and
MAX's face is frozen. |
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ELIZABETH (Now out of character.)
You kiss by the book, Max. |
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MAX
And you owe me dinner. |
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ELIZABETH
I never agreed to anything. |
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She re-enters the theatre and MAX smiles as he leaves. |
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MAX
And how did you know my name? |
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She enters the building, he smiles and walks away. |
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INT. JASON'S OFFICE - DAY |
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The next day. MAX and JASON are in JASON's office organizing
papers trying to find MAX's resume so he can have it at his
next audition. MAX isn't focused; because he is thinking
about a girl he met yesterday afternoon at the coffee shop
and audition. |
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JASON
How can you just sit there, and
just stare off into space with
that goofy grin, while I still
can’t find your resume? |
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MAX
She’s different, Jase. She’s the
one. |
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JASON
Max, man, you’ve been through this
before. Ok? You’re just setting
yourself up for a disappointment.
It’s just how women are. They make
you feel like a loser, and then
bam, you are hooked. |
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15.
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MAX
Yea. You’re probably right. It’s
just, God, she was so beautiful.
And so simple, and yet so
complicated, and yet so- |
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JASON
Shut up, Max, and for God's sake,
help me- |
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Then both begin searching through JASON's desk and office.
MAX comes across a resume/picture of a familiar girl. It's
ELIZABETH. She had brown hair to around her shoulders, and
unmistakable blue eyes. |
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MAX
Jason, man, its her! The girl from
the coffee shop, this is her!
(Max begins to
read to himself)
“Elizabeth Harmon. 118 W.71st St.
212-755-3871.”
(He laughs)
Jason, this is her! |
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JASON
What are you talking about? |
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MAX
The girl from the coffee shop,
this is her! It’s got her address
and phone number and - I can’t
believe it’s really her! |
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JASON
Max, you can’t take her
information, it could be my job. |
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MAX
What have you always said? Always
said! If you see a penny...
(With Jason)
Pick up the penny! |
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JASON
Pick up the penny. I know, but
Max, you cant just take someones
personal information. That's
called theft. Theft. You know, the
thing people o to jail for? |
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16.
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MAX
Oh, give me a break. The only
person that would know would be
you! Are you gonna turn me in? |
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(Max dances aroung office.) |
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JASON
Give 'em back, man!
(Chasing MAX)
Max! Well you didn't get it from
me, that's for damn sure. |
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MAX
Thanks, man! Oh, no, the audition,
man, I completely forgot, she was
there! Our kiss auditioned, I mean
we auditioned a kiss... I mean... |
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MAX
She kissed me. Then just left, and
I don’t know anything about her.
But now, I have her info!
(He laughs) |
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JASON
Max, you can’t take her
information, it will end my career
if anyone finds out, not to
mention, I'll probably go to
prison. |
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MAX
No one gotsta know!
(He exits) |
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JASON (Alone in his office)
Son of a- |
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EXT. OUTSIDE JASON'S OFFICE - DAY |
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Scene cuts to JASON chasing MAX, who is now walking down the
street. |
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17.
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JASON
So what are you gonna do? |
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MAX
Minor details, Jason. Minor
details. |
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JASON
So you’re just gonna walk to this
girl, who you’ve never really met,
and confess your love to her? |
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MAX stops walking. |
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MAX
That’s the idea.
(They continue) |
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JASON
You are out of your mind. Do you
know that? |
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MAX
Well, what am I supposed to do?
(They stop)
There’s something about this girl,
this complete stranger that I
don’t understand. And I can’t
stand it. I've only met her twice,
and I can't get her out of my
mind. I have to at least let her
know! |
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JASON
You don’t even know her. |
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MAX
So what do you suggest I do? |
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JASON
I suggest you wait for your
callback and see her again, and
take it from there, like a normal
person! |
|
|
|
| |
MAX
Yea, maybe you’re right. It’s just
this feeling I get when I'm around
her. I can’t explain it. |
|
|
|
| |
JASON
I know how you feel, but trust me,
doing this, won’t do anything.
Just wait it out, and see what
(MORE)
|
|
18.
|
|
|
|
|
|
They continue walking down the street. |
|
|
| |
MAX
If this backfires, I'm going to
kill you. You know that, right? |
|
|
|
|
|
|
|
They laugh, get to a car, get in and drive away. Scene cuts
to them talking in a car. |
|
|
| |
JASON
So, how’d it go anyway? Your
audition, I mean. |
|
|
|
MAX isn't paying attention, but snaps back into gear and
answers. |
|
|
| |
MAX
I don’t know. I read the scene,
but didn’t get to finish. The
director said he had heard all he
needed to hear. |
|
|
|
| |
JASON
Well, that’s not always a bad
thing. |
|
|
|
| |
MAX
Yea, I know. I just don’t really
like Romeo and Juliet. It’s so
boring to me. |
|
|
|
| |
JASON
True, but it will put money in
your pocket, which in turn, will
put money in mine. And, plus, it’s
Off-Broadway Across; they bring in
quite a pretty penny. Not to
mention you’d be touring, so itll
be worth it. |
|
|
|
| |
MAX
Yea. It's just, I wanted to get
into this business to do what I
love, and it feels like I'm
pursuing this part for the
pay-off. |
|
|
|
19.
|
| |
JASON
Well, all you need is that first
big thing, then the rest will fall
into place, and, if you want my
advice, as a friend, just forget
about you and her. Just focus on
getting that part, and take it
from there. That’s the best I got. |
|
|
|
| |
MAX
Yea, you are probably right. |
|
|
|
| |
JASON
I am right.
(They laugh)
Where do you wanna eat? |
|
|
|
| |
MAX
Isn’t there a new café right
around the corner? |
|
|
|
| |
JASON
Umm...I think that doesn’t open
until next week. |
|
|
|
|
Pause. |
|
|
| |
MAX
How do you know she’s just like
everyone else? |
|
|
|
| |
JASON
Max, come on. Please, for the love
of God, just get over it. So you
kissed! Big deal. Do you know how
many women I have kissed and never
called back? |
|
|
|
(A group of woman give him a bad look, and Jason rolls his
window up.) |
|
|
| |
JASON (cont'd.)
I, uh mean, uh never got a chance
to talk to again? |
|
|
|
| |
|
INT. IN THE RESTURANT - DAY |
|
|
They reach a restaurant. Cut to ELIZABETH eating with a man
at same restaurant. |
|
|
20.
|
| |
KEN (Eating)
So I'm, like, sitting there, and
she says, “That’s not my dog,
that's my baby!”
(Begins laughing
uncontrollably.)
Isn’t that priceless?! |
|
|
|
Continues laughing and eating. MAX and JASON enter the
diner. ELIZABETH sees JASON, and then MAX. |
|
|
| |
ELIZABETH
Yea, that’s a good one. |
|
|
|
|
KEN eats. MAX and JASON sit. |
|
|
| |
JASON
Ok, so if this gig on 44th falls
through, I've lined up an audition
for another company – |
|
|
|
|
|
|
|
| |
JASON
You know for someone without a
job, you sure are picky. It's a
new show. It's being workshopped
in Seattle, but they want a new
cast for the actual production.
Anyways, I got you an audition
tomorrow morning at 11:00. I know
the casting director, and you've
been mentioned, so all you'll need
is your headshot. They aren't
expecting mass turnouts... |
|
|
|
ELIZABETH is starring at MAX. KEN is still talking and
telling a joke, and eating. "And that's when I turned around
and said…" |
|
|
| |
KEN (Indicating pager)
Awh! I'm sorry! I gotta run, duty
calls. |
|
|
|
| |
ELIZABETH (winks)
Oh, it’s fine, no, really, don’t
worry about it. |
|
|
|
| |
KEN (Leaving)
Well, we’ll do this again, call
me! |
|
|
|
21.
|
|
MAX notices ELIZABETH. |
|
|
| |
MAX
Oh my God, she’s here! |
|
|
|
|
He quickly puts the menu in front of his face. |
|
|
| |
JASON
What is wrong with you? |
|
|
|
| |
MAX
I can’t let her see me! |
|
|
|
|
JASON takes the menu revealing MAX's depressing state. |
|
|
| |
JASON
What’s wrong with you? |
|
|
|
|
JASON calls ELIZABETH to their table. |
|
|
| |
MAX
Wh- what are you doing? |
|
|
|
|
He quickly straightens himself up. |
|
|
| |
JASON
Hey, Beth!
(ELIZABETH walks
to them) |
|
|
|
| |
ELIZABETH
Hey, Jason, how are you? |
|
|
|
| |
JASON
I'm great, oh; this is my friend,
Max. |
|
|
|
|
Their eyes meet. |
|
|
| |
ELIZABETH
Yes, I think we’ve met.
(They shake hands) |
|
|
|
|
|
|
|
| |
JASON (to BOTH)
So, how’d the auditions go? |
|
|
|
22.
|
| |
ELIZABETH
Oh, you know, there’s a lot of
unseen talent in this city,
sometimes it’s just a matter of
finding it. |
|
|
|
|
She looks at MAX and smiles. JASON smiles. |
|
|
|
|
|
|
| |
ELIZABETH
No, I gotta run, thanks though.
Nice to meet you, Max. Call you,
Jase!
(Exits.) |
|
|
|
|
JASON sits, staring at MAX, laughing. |
|
|
| |
MAX (Taking a deep breath.)
What's so funny?
(He realizes)
Oh my God! You set that up! You-
you set this... Ugh, I hate you.
I... I hate you.
(Jokingly) |
|
|
|
| |
JASON
What, and let another good one
pass by? Besides, you should be
thanking me! |
|
|
|
|
Moment of temporary silence. |
|
|
| |
JASON (cont'd.)
Elizabeth’s great, plus, I think
she really likes you. She told me
about you the day you two met at
the coffee shop. |
|
|
|
| |
MAX
You're a bastard. I can't believe
you thought of that all by
yourself. |
|
|
|
| |
JASON (Eating)
You should be proud. I got her to
come and bring her brother, and
everything. |
|
|
|
|
|
|
|
23.
|
| |
JASON
You should be. So, anyways, I get
off the phone with Jenkins, and
this crazy woman in the middle of
71st & Columbus starts yelling at
me, and you're not even listening
to me.
(Sighs) |
|
|
|
| |
MAX
Huh?
(Awkward silence) |
|
|
|
| |
JASON
Stop thinking about her. |
|
|
|
|
|
|
|
| |
JASON
Don’t make me regret today. |
|
|
|
| |
MAX
Jason, I can’t just get over it.
She was so...imperfect. That kiss,
God, I can’t explain it. Her lips
were dry, but I don’t know. It
felt so...real.
(Thinks and smiles) |
|
|
|
| |
JASON (After a beat)
I hate you. I hate you so much
right now.
(They laugh)
Ok, so why don’t you find her, and
talk to her, and just get it over
with? |
|
|
|
| |
MAX
Isn’t that what my plan was? |
|
|
|
| |
JASON
No, you planned a felony. |
|
|
|
|
|
|
|
| |
JASON
My idea is much better. Don’t
forget about tomorrow morning,
please. |
|
|
|
|
MAX stands to leave. |
|
|
24.
|
| |
MAX
Thanks, man, I owe you one!
(Exits.) |
|
|
|
| |
JASON
Yea, a big one! Check! |
|
|
|
| |
|
EXT. OUTSIDE THE RESTURANT - DAY |
|
|
Cuts to MAX running outside the café, he finds ELIZABETH and
walks behind her. |
|
|
| |
MAX
So do you really gotta run, or was
that just to get me out here? |
|
|
|
| |
ELIZABETH
It worked, didn’t it?
(Smiles)
Come on, get in. |
|
|
|
|
(She gets in. MAX hesitates. Then gets in.) |
|
|
| |
ELIZABETH (cont'd.)
Can you take me to 34th and 5th? |
|
|
|
|
(They drive away.) |
|
|
|
|
|
|
| |
ELIZABETH
You don't know what 34th and 5th
is? |
|
|
|
| |
MAX
No, I don't. I just moved here
like 3 weeks ago.
(He laughs) |
|
|
|
| |
ELIZABETH
Then don't worry about it. |
|
|
|
| |
|
EXT. 34TH AND 5TH - DAY |
|
|
They arrive at the Empire State Building. MAX realizes where
they are. |
|
|
|
|
|
|
25.
|
| |
ELIZABETH
This is where I come when I want
to clear my head. |
|
|
|
They enter an elavator, and the door closes as she finished
the line. Cut to MAX and ELIZABETH enter the roof. |
|
|
| |
MAX
Wow. This is amazing. |
|
|
|
| |
ELIZABETH
I wish it were more clear outside. |
|
|
|
| |
MAX
(Staring at
ELIZABETH)
It's gorgeous. |
|
|
|
| |
ELIZABETH
(Looks at her
watch)
Oh, shit. I have to go. |
|
|
|
|
(She turns to him and hands him a slip of paper.) |
|
|
| |
ELIZABETH
7 P.M. There. See you then. |
|
|
|
(She smiles and leaves. Max is left at the top of the Empire
State Building. With a look as “What the God?” He stands for
a second before scene ends.) |
|
|
| |
|
EXT. JOSH'S VISIT - NIGHT |
|
|
(Lights up on ELIZABETH's house. A car pulls into the
driveway. A man gets out and staggers to her doorstep. He is
obviously drunk. He pounds on the door 3 or 4 times. Cut to
ELIZABETH eating popcorn, watching a movie. She hears the
pounding and assumes that it's MAX, just 2 hours early.
Shocked, she immediately looks at her watch and gets
confused. She smiles none-the-less, jumps off the couch, and
changes in record timing. The pounding continues. She
quickly splashes some perfume on, and pops a piece of gum
into her mouth. She chews 2 or 3 times, and spits it out.
She runs through the house, down a hallway. Cut to a view
from inside a room. You hear her trip and see her fly past
the doorway falling. The pounding continues. She runs to the
door and tries to calm herself down. The pounding continues.
She looks down and sees that she is still wearing her
slippers. She frantically kicks them off, and continues to
calm herself.) |
|
|
26.
|
| |
ELIZABETH (Softly)
Who is it? |
|
|
|
| |
JOSH
Baby, it't me.
(Beating on the
door) |
|
|
|
| |
ELIZABETH
Josh, what are you doing here? |
|
|
|
| |
JOSH
Beth, I just need to talk to you. |
|
|
|
| |
ELIZABETH
Josh, we broke up two months ago.
Are you drunk? |
|
|
|
| |
JOSH
(Screaming as he
beats the door)
Shut up!
(Pause)
Aw, baby, come on, listen, I'm
sorry. Just let me in baby,
please? We can talk about it.
Doesn't that sound good? We'll
talk. |
|
|
|
| |
ELIZABETH
Josh, just go home, I don't want
you here, I don't want to talk.
Just go home. |
|
|
|
| |
JOSH
Baby, just let me in, I'm sorry.
(Growing anger)
Beth, let me in! |
|
|
|
|
(JOSH continues to beat the door and scream.) |
|
|
| |
JOSH (cont'd.)
Let me in, damnit! |
|
|
|
| |
ELIZABETH
Josh, just go away. I don’t want
you here. |
|
|
|
MAX arrives. Confused, he looks at the directions given to
him. Sees JOSH and gets out. JOSH hears the car and stops.
ELIZABETH notices JOSH has stopped, and steps outside. |
|
|
27.
|
| |
JOSH (to Elizabeth)
Who is this? |
|
|
|
| |
MAX (to Himself)
Who is this? |
|
|
|
| |
JOSH (to Max)
Who are you? |
|
|
|
| |
MAX
(Stops walking.
Hesitates.)
I, uh, just a friend of
Elizabeth’s. Who are you? |
|
|
|
|
|
|
|
JOSH stops walking toward MAX. After a slight pause, you
hear ELIZABETH softly interjecting. |
|
|
|
|
|
|
| |
JOSH
Hey, you shut your mouth! |
|
|
|
| |
MAX
Hey... uh... Don't talk to her
like that. |
|
|
|
| |
JOSH
What are you gonna do about it? |
|
|
|
|
JOSH pushes MAX. |
|
|
| |
MAX
I don’t wanna get physical, man. |
|
|
|
| |
ELIZABETH
Josh, cut it out, just leave. |
|
|
|
| |
MAX
Listen, man, you’ve obviously had
way too much to drink, why don’t
you just listen to her and beat
it. She doesn’t want you here. |
|
|
|
| |
JOSH
Why don’t you shut up? |
|
|
|
|
JOSH hits MAX. ELIZABETH runs towards him. |
|
|
28.
|
| |
ELIZABETH
No! Josh get out of here! |
|
|
|
|
MAX starts to stand. JOSH stops ELIZABETH by the arm. |
|
|
| |
JOSH
I don’t wanna hurt you, so shut
up! |
|
|
|
| |
ELIZABETH
Josh, let go, you're hurting me.
Just let go!
(MAX stands) |
|
|
|
|
|
|
|
JOSH shoves ELIZABETH to the ground. MAX smashes JOSH across
the face, JOSH is knocked to the ground. All three are
equally astonished at what just happened. |
|
|
| |
JOSH (cont'd.)
You know what? Whatever, you’re
not even worth my time. |
|
|
|
JOSH walks to his car and drives away. There is temporary
silence. Breaking the silence, Max flings his hand around in
pain. |
|
|
| |
MAX
Geez, that hurts...a lot.
(She smiles)
Oh, you think that’s funny?! You
think this is funny? |
|
|
|
They both laugh and he moves towards her, they share a hug.
He pulls away. They look into each other's eyes for a
moment, and kiss. A soft kiss. |
|
|
|
|
|
|
| |
ELIZABETH
Come on, come sit down. |
|
|
|
They enter the apartment. ELIZABETH sits him down on the
couch, and sits next to him. |
|
|
| |
ELIZABETH (cont'd.)
Lemme see. Oh my god, I am sorry.
Are you ok, Max? Can I get you
anything? I'm so sorry. |
|
|
|
29.
|
|
|
|
|
| |
ELIZABETH
How's your nose?
(She smiles)
I'll get you some ice. |
|
|
|
|
She gets up and walks into kitchen. |
|
|
|
|
|
|
| |
ELIZABETH
Well, it gets the job done. |
|
|
|
| |
MAX (Standing)
No, really, it's very-
(Staggering)
Whoa. |
|
|
|
|
MAX sits back down. ELIZABETH rushes over. |
|
|
| |
ELIZABETH
Max! Are you ok? |
|
|
|
|
Sitting next to him, she puts her hand on his hand. |
|
|
| |
MAX
Yea, I’m fine, just a little
lightheaded. |
|
|
|
|
ELIZABETH pulls her hand away, revealing blood. |
|
|
| |
ELIZABETH
Oh my God, you’re bleeding. |
|
|
|
|
MAX's eyes explode. |
|
|
|
|
|
|
MAX sees the blood and passes out. Black out – You hear
ELIZABETH's voice saying "Max?" Moments later, he opens his
eyes. "Max?" "You ok, Max?" |
|
|
| |
ELIZABETH
Max, are you ok?
(She's smiling) |
|
|
|
30.
|
| |
MAX (Pause)
No, yea, I just have this thing
with...well I don't really want to
talk about it. |
|
|
|
|
|
|
|
|
At the sound of the word, Max moans and falls over. |
|
|
| |
ELIZABETH (cont'd.)
Oh, shit, sorry! |
|
|
|
| |
MAX
No, it's ok. It's ok, it's ok. |
|
|
|
He touches the back of his head as ELIZABETH walks into
kitchen. |
|
|
| |
MAX (cont'd.)
I must’ve hit it when I fell. |
|
|
|
He pulls his arm around to look at his hand. Sees blood and
passes out, as ELIZABETH comes out of the kitchen with ice. |
|
|
| |
|
INT. ELIZABETH'S PLACE - DAY |
|
|
Cut to a shot from above of MAX lying in a bed. He wakes up.
Confused at first, he sits up to look around. He sits up too
fast, and his head starts to hurt. All the windows are open.
It's freezing. The window shades blow toward him. He stands
up. He is wearing men's pajama pants, and a white shirt,
only the pants aren't his. He walks around the apartment and
can't find ELIZABETH. He walks through her living room and
sees her through her glass balcony door. He smiles. He walks
out onto the balcony. She's painting something. He walks to
her. |
|
|
| |
MAX
It's beautiful.
(Indicating the
skyline) |
|
|
|
|
|
|
|
| |
MAX
(Moving towards
her)
What are you painting? |
|
|
|
31.
|
| |
ELIZABETH (Smiles)
That's a dumb question. |
|
|
|
| |
MAX
I just didn't want to assume it
was the horizon and it end up
being that old guy down there.
(Studying)
Who I think just urinated on
someone's door. |
|
|
|
| |
ELIZABETH
It's beautiful.
(They laugh) |
|
|
|
| |
MAX (Sits)
Listen, I'm sorry about last
night- |
|
|
|
| |
ELIZABETH (Stops painting)
It’s ok, don’t worry, it wasn’t
your fault. |
|
|
|
| |
MAX
I just don’t want you to think I’m
that kind of person that would- |
|
|
|
| |
ELIZABETH
I don't.
(She smiles)
I don’t know why he still comes
here. I should be the one
apologizing. |
|
|
|
| |
MAX
You? I got...
(Hesitates)
that stuff all over your pillow! I
take full responsibility. |
|
|
|
| |
ELIZABETH (Laughs)
Ok. Compromise? He was my fault,
the pillows are your fault. |
|
|
|
| |
MAX (Laughs)
Deal.
(They laugh)
Well, if it helps, I really our
time together. You know, while I
was conscious. |
|
|
|
32.
|
| |
ELIZABETH (Laughing)
It helps.
(Silence) |
|
|
|
| |
MAX
I'm usually better at this, but
being knocked out in the girl’s
bed all night usually isn’t step
one. |
|
|
|
| |
ELIZABETH
Then which step would it be?
(They laugh) |
|
|
|
| |
MAX
I’d love to have lunch with you. |
|
|
|
|
|
|
|
|
|
|
|
| |
ELIZABETH
Deal. But you still owe me new
pillows. |
|
|
|
| |
MAX
Fine, and you owe me...I don't
know, some band-aids or something. |
|
|
|
| |
|
EXT. WHERE TO? - DAY |
|
|
|
Cut to MAX and ELIZABETH getting into a car. |
|
|
|
|
|
|
| |
ELIZABETH
That's completely up to you... |
|
|
|
| |
MAX (With an idea)
Deal, but you gotta close your
eyes. |
|
|
|
| |
ELIZABETH
And why might that be? |
|
|
|
|
|
|
|
|
She stares then gives in. While driving away. |
|
|
33.
|
| |
MAX (cont'd.)
Besides, you saw me all night with
my eyes closed. I'm evening the
playing fields. |
|
|
|
She hits him in the arm, but misses due to lack of sight and
hits him in the chest. |
|
|
|
|
|
|
| |
|
EXT. BACK TO THE CAFE - DAY |
|
|
|
Cut to MAX and ELIZABETH pulling up to a café. |
|
|
|
|
|
|
|
|
|
|
|
ELIZABETH opens her eyes. |
|
|
|
|
|
|
| |
MAX
This is where we met, right?
Because that would just be bad.
(They smile.)
Shall we? |
|
|
|
|
ELIZABETH takes his hand and they enter arm in arm. |
|
|
| |
|
INT. IN THE CAFE - DAY |
|
|
| |
ELIZABETH
So you write, too? Or just
perform? |
|
|
|
| |
MAX
How much did Jason tell you? |
|
|
|
| |
ELIZABETH
Enough. But, seriously. |
|
|
|
| |
MAX
Well I wouldn't call myself a
writer, but I do enjoy it. Nothing
big, just little haikus, nothing
special.
(MORE)
|
|
34.
|
| |
MAX (cont'd)
(She laughs.) |
|
|
|
| |
MAX (cont'd)
And now you are laughing. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
MAX
I'm actually working on a
screenplay right now. |
|
|
|
|
|
|
|
| |
MAX
This is why I never tell you
anything.
(They laugh)
Anyway, it's nothing life
changing, just a chick flick.
Nothing special. |
|
|
|
| |
ELIZABETH
Oh, my gosh, I love this song. |
|
|
|
|
|
|
|
| |
ELIZABETH
My Mother's Eyes. |
|
|
|
|
She closes her eyes and begins to lip-synch the chorus. |
|
|
| |
ELIZABETH (cont'd.)
Me and my dad used to play this
song over and over and just dance
in the living room. God, I
remember that like it was
yesterday.
(She pauses)
He passed away. Recently. It was
tough. |
|
|
|
| |
MAX (After a beat)
Do you want to dance? |
|
|
|
35.
|
|
|
|
|
|
|
|
|
They stand and begin to dance. They gradually get closer.
She looks into his eyes, and he into hers. They kiss. They
stop dancing. They smile and continue. |
|
|
| |
ELIZABETH
So in this dream chick flick, does
the boy get the girl? |
|
|
|
| |
MAX
I haven't found out yet. |
|
|
|
| |
|
INT. GOOD TIMES - DAY |
|
|
Cut to MAX's living room. You hear the phone ring, and see
MAX walk into the view to pick it up. |
|
|
|
|
|
|
| |
ELIZABETH
Let me in.
(She hangs up) |
|
|
|
|
|
|
|
Confused, but happy, he sets the phone down, and walks to
his door. When he opens it, he sees ELIZABETH standing there
with a fresh batch of cupcakes. They both begin to laugh. |
|
|
| |
ELIZABETH (Laughing)
Ta-da! |
|
|
|
| |
MAX (Laughing)
Wow, you are out of your mind.
Thank you, I think. |
|
|
|
Cut to the two of them walking to MAX's kitchen. She sets
the cupcakes down, and they hug. |
|
|
|
|
|
|
|
They embrace. |
|
|
| |
36.
|
|
INT. COLLAGE GOOD - DAY |
|
|
Cut to a shot of MAX and ELIZABETH walking down the street.
Music is playing. They are arm in arm, and a rose vendor
walks passed. MAX turns to him and ELIZABETH doesn't see who
it is. MAX turns back around, rose in hand and gives it to
her. She smiles, and they continue walking. Shot cuts to the
two of them sitting on a couch, wrapped in a blanket,
watching a movie, eating popcorn. He turns to her and opens
his mouth, as if to say 'Give me some popcorn.' She gets a
piece, and tries to put it in his mouth while keeping her
eyes on the screen. She misses, and sticks the piece of
popcorn up his nose, then goes back to eating it and
watching. He laughs on the inside, and continues to watch
the movie. Shot cuts to the two of them having a picnic on
the main green in central park. ELIZABETH is wearing a
blindfold sitting on the blanket. MAX finishes setting
everything up, and takes the blindfold off. She is
immediately touched, and they hug. While hugging, she gets a
finger full of whipped cream and wipes it onto MAX's face.
They begin to wrestle and NAX ends up above her, with her
laying on the ground. They start to kiss. |
|
|
| |
|
INT. OH WHAT A NIGHT - DAY |
|
|
Cut to MAX getting ready in his bathroom humming "Fly Me To
The Moon" by Frank Sinatra. The real song slowly fades in
throughout preparation. He walks from his bathroom passed
his kitchen table which is neatly set for a candle light
dinner for two. His phone rings. Thinking it's ELIZABETH, he
quickly goes to answer it. |
|
|
|
|
|
|
| |
JASON
(Over the phone)
Hey, sweetheart! |
|
|
|
| |
MAX
God damnit, Jason, what do you
want? |
|
|
|
| |
JASON
Where's the love?
(Laughs)
I was just calling to remind you
about your 11:00 tomorrow. Please,
don't forget. Please. |
|
|
|
37.
|
| |
MAX
Jason, I'm a grown man, I can tie
my own shoes, don't worry I'll be
there. But hey, Elizabeth is on
her way over, so let me let you
go. |
|
|
|
| |
JASON
Aw, that's cute. Ok, loverboy,
just please for the love of God
remmember about tomorrow! |
|
|
|
| |
MAX
Alright, I won't! Talk to you
later, man. |
|
|
|
He hangs up the phone. As he sets it down, there is a knock
at his door. He walks to it and opens it. It's ELIZABETH. |
|
|
| |
MAX
Wow. Someone out-did themselves. |
|
|
|
They embrace, and kiss. Scene cuts to them siting at the
table enjoying the dinner. Music plays as the shot rolls
across the table. Cut to MAX and ELIZABETH sitting on his
couch, watching a movie, drinking wine. |
|
|
| |
|
INT. MESSAGE - DAY |
|
|
Cut to MAX laying in his bed. He looks at the clock. It says
12:37. He sits up, and looks at his cat. Who, in turn,
meows. He sees that he has a message. He stands up and walks
over the the machine and hits 'play', then gets a shirt to
put on. |
|
|
| |
ELIZABETH
(On machine)
Hey, Max, it's me. Elizabeth.
(She laughs)
Anyways, just seeing what you were
doing. Wanted to tell you good
morning. Call me back! |
|
|
|
He smiles. Looks at himself in a mirror, then notices a
sticky note with a date and "11:00" written on it. Just then
he realizes he missed the audition JASON lined up for him. |
|
|
| |
|
INT. TRAVIS RETURNS - DAY |
|
|
Cut to ELIZABETH walking down the street listening to her
mp3 player. She passes a man who quickly recognizes her. |
|
|
38.
|
| |
TRAVIS
Elizabeth? Elizabeth! |
|
|
|
|
|
|
|
| |
TRAVIS
Oh, God, you probably don't
remember me. Travis. Travis
McClendon, from the Romeo & Juliet
audition. |
|
|
|
| |
ELIZABETH
Oh, wow, how are you? |
|
|
|
| |
TRAVIS
I'm good! You, you look great. |
|
|
|
| |
ELIZABETH
Aw, thanks so do you. |
|
|
|
| |
TRAVIS
Hey, do you have some time? I was
just on my way to grab some lunch.
I'd love some company? |
|
|
|
| |
ELIZABETH
Oh, I'm sorry. I am on my way
to... |
|
|
|
| |
TRAVIS
No, it's ok.But hey-
(Hands her a piece
of paper)
Here's my number. Use it, it'd be
great to talk to you again,
sometime. |
|
|
|
| |
ELIZABETH
Well, actually, I'm seeing
someone. |
|
|
|
| |
TRAVIS
Yeah, see, I thought this
conversation was going too well.
Keep it. Just in case. It was good
to see you again. |
|
|
|
| |
ELIZABETH
(He walks away)
Thanks... |
|
|
|
39.
|
| |
TRAVIS
(Coming back)
Actually, I'm just going to come
out and say it. I have an audition
next week, and I am completely
lost. I was wondering if you could
give me some advice. |
|
|
|
| |
ELIZABETH
(Relieved)
Of course. |
|
|
|
| |
TRAVIS
How about dinner. Tomorrow night? |
|
|
|
| |
ELIZABETH
Ok, sounds good.
(Gives her number)
Give me a call, and I'll meet you
there? |
|
|
|
| |
TRAVIS
Great, perfect. Thanks so much,
Elizabeth! |
|
|
|
| |
|
INT. LUCK OF THE ACTOR - DAY |
|
|
Cut to MAX entering JASON's office. MAX walks into his
office. JASON is busy shuffling through some paperwork that
he doesn't even acknowledge MAX. |
|
|
| |
JASON (After a beat)
You better have a damn good
excuse, and it better not be her. |
|
|
|
| |
MAX (In the doorway)
Look, Jase, I'm s- |
|
|
|
| |
JASON
(Stops shuffling
the papers)
Do you realize the kinda strings I
had to pull to get you that
audition? |
|
|
|
|
|
|
|
| |
JASON
No, Max, I really don’t think you
do. You aren’t home anymore. This
is your life. Opportunities like
that aren’t going to come as easy
(MORE)
|
|
40.
|
| |
JASON (cont'd)
as that did. If you waste your
time with this girl, you aren’t
going to ever make it out here.
Not to mention, I put my name on
the line, and you didn’t show. How
does that make my name look to
clients? |
|
|
|
| |
MAX
Look, Jason, I'm sorry.
(Pause)
Look, I'm new here, ok? I'm still
settling down. I found someone
that I really care about, and
there will be other opportunities.
Look, I'm sorry about not
showing...I really am. |
|
|
|
|
JASON sits down, obviously upset. Then a smile protrudes. |
|
|
| |
MAX (cont'd)
What's funny? |
|
|
|
| |
JASON
God, you are so lucky. |
|
|
|
|
MAX stands in the doorway, now obviously confused. |
|
|
|
|
|
|
| |
JASON
You must be amazing. The 44th
Street gig called. You got the
part. I called the other agency
and told them that's why you
didn’t show. You got a gig, and I
kept my job. Basically, I saved
your ass, yet again. |
|
|
|
|
|
|
|
|
|
|
|
BOTH are excited. Ad-libbing. JASON stops with a file in his
hand. |
|
|
| |
JASON (cont'd)
But, no more screw ups, all right? |
|
|
|
41.
|
|
|
|
|
| |
JASON (Laughing)
Whatever the hell that means!
(More excitement)
Ok, so what happened? |
|
|
|
| |
MAX
What are you talking about? |
|
|
|
| |
JASON
Oh, shut up, I know you were with
her all night. So give the
details, man. |
|
|
|
| |
MAX (Sits)
Hey, I don’t kiss and tell. |
|
|
|
Awkward silence. JASON stares at MAX. MAX bursts out of his
chair. |
|
|
| |
MAX (cont'd)
Ok, so really, we just let the
café, and ended up spending the
rest of the night together. She’s
so amazing, Jason. |
|
|
|
| |
JASON
What can I say, I've got good
taste.
(After a beat)
Just be careful, alright? |
|
|
|
|
|
|
|
| |
|
INT. CELEBRATION - NIGHT |
|
|
Cut to a shot of the cast of R&J at a cast party. The camera
is moving through the crowd hearing bits of different
conversations. There is music. The camera comes into a shot
of JASON obviously hitting on a girl. She is very pretty,
but intellectually not there. |
|
|
| |
JASON
So, I was talking to Mel, then all
of a sudden I get a call. Get
this, you'll never guess who it
was... |
|
|
|
42.
|
| |
MAX (to the girl)
Excuse me, I’m sorry, but could I
borrow Mr. Casanova, here, for a
second? |
|
|
|
| |
GIRL
I thought his name was Jason? |
|
|
|
MAX stares at the girl, then at JASON. He shakes his head
disapprovingly then brings his aside. |
|
|
| |
JASON
This better be important. |
|
|
|
| |
MAX
Oh, please. Have you seen
Elizabeth? |
|
|
|
| |
JASON
No, man, I called her earlier, to
see if she was coming, but I got
her machine. |
|
|
|
|
|
|
|
| |
JASON
I'm sure she'll show. It's not
like she skipped town. |
|
|
|
|
|
|
|
| |
JASON
But, uh, can I get back to... |
|
|
|
| |
MAX (Laughing)
By all means. |
|
|
|
MAX walks up the stares to a bedroom. He pulls out his cell
phone and calls a number. |
|
|
| |
MAX (to the phone)
Hey, babe. It’s me. Just seeing
where you were. We’re missing you
over here, call me back. |
|
|
|
| |
JASON
Max, come on! Join the party! |
|
|
|
| |
MAX
I gotta go run by my apartment for
a little bit, I'll be right back. |
|
|
|
| |
43.
|
|
INT. DINNER WITH TRAVIS - NIGHT |
|
|
Cut to MAX walking down the street. He passes a resturant
window, and sees ELIZABETH sitting with TRAVIS. They are
laughing and smiling. He stares intently, and turns away to
head back to the party. |
|
|
| |
|
INT. MAX CALLS - DAY |
|
|
Cut to MAX around his living room. He stops. Walks to a
table and picks the phone up. |
|
|
| |
ELIZABETH
(Answering machine)
"Hey guys, it's Elizabeth. I can't
come to the phone right now, so
just leave a message and i'll get
right back to you, I promise!"
(BEEP) |
|
|
|
| |
MAX
Hey Elizabeth, it's me. Just
wondering what you were up
to...Haven't heard from you in a
few days, just wanted to-
(BEEP)
Shit. |
|
|
|
|
Cut to MAX calling again, and again. |
|
|
| |
MAX (cont'd)
(BEEP)
Hey, it's me again, sorry, just
trying to get ahold of you. I
guess, just give me a call.
Please. |
|
|
|
| |
|
INT. DAYTIME - DAY |
|
|
Cut to MAX and JASON eating at the diner. As usual, JASON is
talkative, and MAX is to himself. |
|
|
| |
JASON
I mean, don't get me wrong, I
would love to be a part of that,
but I just can't pull myself to
actually get out there,
and...again. You aren't even
listening. |
|
|
|
44.
|
| |
MAX
I'm sorry. I've got a lot on my
mind. |
|
|
|
|
|
|
|
| |
MAX
She won't answer my phone calls. |
|
|
|
| |
JASON
Max, she's a grown woman, she's
got shit to do. |
|
|
|
There is short silence. MAX "gets a phone call", and stands
to leave. |
|
|
|
|
|
|
Cut to MAX walking outside. He brings out his phone and
dials a number. |
|
|
| |
ELIZABETH
"Hey guys, it's Elizabeth. I can't
come to the phone right now, so
just leave a message and-
(BEEP) |
|
|
|
| |
JAKE
(Over the phone)
Hello? |
|
|
|
|
MAX stands still. |
|
|
|
|
|
|
| |
JAKE
No, this is Jake, who's this? |
|
|
|
MAX slowly puts the phone down by his side, and hangs it up.
He stands for a moment, then walks back into the cafe. |
|
|
| |
|
INT. ROMEO & JULIET REHEARSAL - DAY |
|
|
Cut to 1 week later. Romeo & Juliet rehearsals begin. MAX
shows up to rehearsal #1. He searches, but can't seem to
find ELIZABETH. |
|
|
45.
|
| |
JON
All right, everyone. I, first,
just want to say congratulations,
and thanks to everyone here. This
is going to be a difficult, but
very fun show, and I hope
everyone- |
|
|
|
| |
MAX
Hey, Jon, could I talk to you for
a second? |
|
|
|
| |
JON
Yea, sure. We will start in five,
everyone.
(They walk away)
What's up, Max? |
|
|
|
| |
MAX
I was just wondering where
Elizabeth is? I mean, I kept
trying to call her about today's
rehearsal, but I couldn't get
ahold of her. And now, theres some
girl in there claiming she's
Juliet. |
|
|
|
| |
JON
That girl is Tracy, and she is
Juliet. |
|
|
|
|
|
|
|
| |
JON
Did you think Beth was playing
Juliet? |
|
|
|
|
|
|
|
| |
JON
Max, Elizabeth is producing this
show. She's probably already left
town, on to her next. |
|
|
|
|
Pause. |
|
|
| |
MAX
I'm sorry, Jon, I gotta go. |
|
|
|
46.
|
| |
JON
But you'll miss the first
rehearsal...
(Max runs out)
Max! Don't... |
|
|
|
| |
|
EXT. JASON'S CONFLICT - NIGHT |
|
|
Cut to MAX running down a street at night. He approaches
JASON's building right around closing time. He finds JASON
outside locking up the building. He runs towards JASON and
stops when he gets there. |
|
|
|
|
|
|
| |
MAX
Why didn't you tell me she was
leaving? |
|
|
|
| |
JASON
What are you talking about? |
|
|
|
| |
MAX
Elizabeth! She's gone. Why didn't
you tell me? |
|
|
|
| |
JASON
Max, I don’t know what you are
talking about. |
|
|
|
| |
MAX
Elizabeth. She left town. She’s
not an actress, she’s a producer.
She is producing Romeo and Juliet,
not starring in it. |
|
|
|
| |
JASON
I thought you knew... |
|
|
|
| |
MAX
How the hell was I suppose to know
that if no one was going to tell
me?! |
|
|
|
|
|
|
|
| |
MAX (cont'd)
To her next show. She's gone,
Jason. You knew she was leaving?
(Max pushes Jason.
Fighting back
(MORE)
|
|
47.
|
| |
MAX (cont'd)
tears.)
You knew she was leaving!
(Hitting him.) |
|
|
|
| |
JASON
(Backing away)
I knew she would, eventually, yes,
but not anytime soon. God, man.
(Wiping his lip)
I figured that was something she'd
tell you when she was ready. |
|
|
|
| |
MAX
Yea, well she didn't.
(After a beat)
Sorry. |
|
|
|
| |
JASON (Thinking)
I can get her here. |
|
|
|
|
|
|
|
| |
JASON
I don’t know, I’ll tell her
something. But you need to get
back to rehearsal. You can’t just
miss, Max, this is a job. |
|
|
|
|
|
|
|
| |
JASON
I don't know. Soon. |
|
|
|
|
|
|
|
| |
JASON
Max, go to rehearsal, and I’ll
give you a call later, ok? |
|
|
|
|
|
|
|
|
|
|
|
| |
48.
|
|
INT. JASON CALLS - DAY |
|
|
Cut to the next week. MAX is sitting on his couch, and he
gets a phone call. It's JASON. |
|
|
|
|
|
|
| |
JASON (Over phone)
Max, it’s Jason. |
|
|
|
| |
MAX
Jason, listen, I'm sorry about
last night, I was just- |
|
|
|
| |
JASON (Interrupting)
Don't even worry about it. You hit
like a girl anyway.
(They laugh)
Listen, man, I couldn’t get
anything out of her, but she said
she’ll be back on Monday. Just be
at my office around 4, ok? |
|
|
|
|
|
|
|
| |
JASON
I am going to get her there. Just
be there. |
|
|
|
|
|
|
|
| |
|
INT. SHE'S BACK - DAY |
|
|
Cut to the following Monday at JASON's office. The chair is
turned around, back facing the door. ELIZABETH walks in. |
|
|
| |
ELIZABETH
This better be important.
(No response)
Come on, Jason, seriously. |
|
|
|
She moves towards the chair and swings it around to find no
one sitting in it. You hear MAX clear his throat. He is
standing in the doorway. |
|
|
|
|
|
|
49.
|
| |
MAX
I think we should talk. |
|
|
|
|
|
|
|
| |
MAX
No, Elizabeth. You listen. Who do
you think you are...that you can
just walk all over me, while it’s
convenient for you? Then, just
walk away, like nothing even
happened? And, mind telling me
about Jake? |
|
|
|
| |
ELIZABETH
(Confused)
What are you talking about? |
|
|
|
| |
MAX
Save it. I called, he answered,
closed case. I saw you two
chatting it up at dinner the other
night, for Christ's sake. |
|
|
|
| |
ELIZABETH (Almost in tears)
Max, please, you don't understand- |
|
|
|
| |
MAX
No, I understand completely. I
just didn’t see you being that
person. |
|
|
|
| |
ELIZABETH
(Growing
frustrated)
Max. Please, just let me explain. |
|
|
|
| |
MAX
I think you should go. |
|
|
|
MAX opens to office door as if to say 'Get out.' He is
holding back his emotions. She bursts into tears and runs
out. MAX stands in the doorway. |
|
|
| |
|
INT. MISERY - DAY |
|
|
Cut to MAX laying in his bed, starring at the ceiling. He
face is monotonous, and obviously hurt. You hear the phone
ring, but he doesn't move. |
|
|
50.
|
| |
MAX
(Answering machine)
“Hey, it’s Max, I'm either not at
home, or I’m just screening! So
leave a message and if I’m just
not at home, I’ll get back to ya!”
(BEEP) |
|
|
|
| |
JASON
Hey, Max, it’s Jase. Just seeing
what you were up to, man. You need
out of that apartment. Call me.
Let’s go do something. Ok, I guess
just give me a call. Later, Max. |
|
|
|
|
(BEEP) |
|
|
| |
JON
Hey, Max. It’s Jon. Just seeing
how you were doing. We missed you
at rehearsal today. Hope
everything is ok. Give me a call. |
|
|
|
During these messages, there should be a collection of shots
of MAX walking around his apartment doing little business.
Moping around. Sad and hurt. He walks into a room, and you
hear a beep, followed by the message that ELIZABETH left
days ago. He pokes his head out of the room, thinking it is
her leaving a message, and darts towards the machine. He
runs into things on the way, causing him to fall down and
knock things down. He gets to his room only to find that his
cat has pushed the 'play' button on his answering machine.
He becomes dissappointed and plops back down onto his bed.
There is a knock at the door. MAX goes to answer. It's
JASON. |
|
|
| |
JASON
All right. Get your shit. We are
going somewhere. |
|
|
|
|
|
|
|
| |
JASON
And I don't remember asking. Come
on, man. You need out of this
apartment, and I'm hungry. So,
let's go. |
|
|
|
| |
MAX (Smiling)
All right, all right. |
|
|
|
|
Cut to the two eating at the café. |
|
|
51.
|
| |
JASON
So then Susan walks in, stares me
dead in the face and says ‘I heard
every word.’
(They laugh)
I almost died, I was laughing so
hard. So how are you holding up,
man? |
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MAX
I'm ok. This was good, though. So,
thanks. But, hey, I think I’m
gonna head on home. |
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JASON
All right. Well, hey, call me
tomorrow. Don’t keep yourself
locked up in that apartment. |
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MAX
I will. See you, Jason. |
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JASON
Bye, Max.
(Max exits)
Heard every word.
(Laughs) |
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INT. SURPRISE SURPRISE - NIGHT |
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Cut to ELIZABETH's front door. She is sitting on her couch,
wrapped in a blanket sulking. There is a knock at the door.
She hesitantly gets up to answer. She gets to the door,
opens and it is TRAVIS. |
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ELIZABETH
What are you doing here? |
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ELIZABETH
Come in, you'll get a cold. |
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ELIZABETH and TRAVIS sit on her couch. |
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52.
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TRAVIS
I got the part. I just wanted to
thank you for your help. It made a
world of difference. |
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ELIZABETH
Well, congratulations. Anytime
Travis. |
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TRAVIS
What's wrong, Elizabeth? |
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ELIZABETH
Oh, nothing, I'm fine. Just a
fight. |
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TRAVIS
Do you want to talk about it? |
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ELIZABETH
No, I'll be fine, I just need some
time- |
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During her line, he leans in and kisses her. |
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ELIZABETH
(Stopping him)
What are you doing? |
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TRAVIS
(Truly embarressed)
Wow. That isn't what you wanted? |
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ELIZABETH
No! I think you should leave. |
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TRAVIS
I am really sorry. |
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INT. SHERRY CALLS - DAY |
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Cut to MAX getting home. As he takes his jacket off, he gets
a phone call. He walks over and picks it up. |
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53.
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SHERRY
Hey, it's Sherry. You haven't
talked to Elizabeth lately, by any
chance, have you? |
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MAX
Sherry, she led me on, then just
left me out to dry. I can’t- |
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SHERRY
Max, her mother had been sick for
years, and just passed away last
week. She flew to Kentucky for a
week. She had no intention of
leaving you. |
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MAX (After a beat)
She didn’t leave for her next
show? |
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SHERRY
No! She’s here for good. She had
to leave on short notice, and her
phone was with me. |
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MAX
Oh, no, is she still in the city? |
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SHERRY
I don't know. I've been looking
all night. If she is, it's
somewhere I've never been. |
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MAX
Sherry, let me call you back. |
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EXT. 34TH AND 5TH REPRISE - NIGHT |
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Cut to a shot of MAX pulling up to the Empire State
Building. Cut to MAX almost all the way up. ELIZABETH is now
in the shot. Standing on the side looking out over Times
Square. She sees him, and doesn't react. |
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MAX
You didn't tell me this was your
spot. |
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54.
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ELIZABETH
(Holding back
tears)
You didn't tell me you were such
an asshole. |
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MAX walks up behind her, and stands next to her. She doesn't
react. |
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MAX
(Indicating the
skyline)
It's beautiful. |
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ELIZABETH
What do you want? |
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MAX
I want you to talk to me. |
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ELIZABETH
I'm pretty sure you should be the
one talking. |
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MAX
Elizabeth, I'm sorry. Jon told me
you left to go do your next show.
I couldn't get ahold of you, I got
upset. I had no idea... |
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MAX (cont'd)
Look, you have to beleive me, I
never would have- |
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ELIZABETH
Max, it doesn't matter. You said
what you've obviously wanted to
say. What's done is done. |
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MAX
No. I won't accept that. I messed
up. I can admit that. I am sorry,
but I am not letting go of you. I
love you.
(For the first
time, she looks
at him)
I am so sorry- |
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55.
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MAX
No, it's really not. I jumped to a
conclusion, and... |
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ELIZABETH
(Turning to him)
Max, shut up. |
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MAX
(Seeing a smile
through the tears)
I'm sitting here, pouring my heart
out, and you go on being a jerk. |
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MAX (Smiling)
Every second. |
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ELIZABETH holds her palm up to MAX. He touches palms, and
they kiss. |
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INT. PERFORMING - NIGHT |
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Cut to MAX performing Romeo and Juliet. The shot zooms out
to see JASON and ELIZABETH at the back of the auditorium. |
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TRAVIS
“For never was a story of more woe
Than this of Juliet and her
Romeo.” |
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THE END |
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| Feedback |
| From kj diagostino |
Date 8/26/2006 |
|
| Scenes do not have titles like chapters. A scene title should only tell you where the scene takes place. Example, I'm writing a scene where my main character, let's say his name is john, is making food in his kitchen. I would title the scene "JOHN'S KITCHEN". Your stage direction is far too long, you have to sum up everything in those paragraphs to no more than 4 lines. The use of parentheses needs to be taken out, stage direction should never, under any condition, be in parenthesis. Your also directing on the page, which means your writing out camera angles and movement in your stage direction. Those points are to be addressed by the director and then they can be implemented into a shooting script, but this is obviously not a shooting script, nor do you really ever need one, unless you have a lazy ass director who won't do his own storyboards. I'm not going to rate this low because your narrative is very good, nor should you take this as an insult. I've just given you the amount of information it takes most screenwriters 2 or 3 years to learn. Make sure you either edit this draft accordingly or write your next script in the aforementioned manner if you ever want to sell one of your scripts to any kind of production company. |
 |
| From Trey Everett |
Date 8/8/2006 |
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| The end needs to be more drawn out. It seems like it just happens. Very well written. |
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