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The Headshot
by Richard Everett (richardeverett88@yahoo.com)

Rated: R   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.


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.
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.
Thank you so much. I guess I'll be
seeing you.
Guess so.
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.
Home, sweet home.
MAX walks down the street on his phone, in winter attire.
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
No, Ma, I don't got bugs.
      ("I'm just so
Mom, give me a break. I'm 23. I
can handle this.
Ok, Ma, I gotta go. Alright, I
love you too, Ok, alright, ma.


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.
                       MAX (cont'd)
Ma, I gotta go. Alright. I love
you too.
She laughs as he shuts his phone, and puts it away.
New in town?
That obvious, huh?
A bit. No worries. Mother's will
be mother's.
      (They laugh)
Yea, I suppose.
I'm Susan.
Max. Nice to meet you.
You too. So how many days've you
been in town?
This would be the first. Got in
last night, actually.
No friends?
Besides you?
Well then...
      (Gives him her
Friends see each other. Use it.
She leaves and he looks at the paper. He looks back at her


Well then.
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.
      (Pointing to Max,
       telling him to
       hold on a second.
       She answers the
       phone. Itís a
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, Iíll 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.)
Oh, good morning, Iím here to
speak to Mr...
      (Looks at the
Jason Sherman?
Oh, yes. One moment please.
      (She starts
       thumbing through
       papers. She looks
       at Max.)
You are early, Mr. Asher.
      (She smiles)


I know, beat the traffic, I guess.
You know, it's funny, I went to
high school with a Jason Sherman.
It's a wild world. Take a seat,
and he will be right with you.
Oh, I'm sorry.
MAX begins looking around. A man comes out of an office, and
exits the building.
      (to MAX)
Through the double doors, second
office on the left.
Thank you.
My pleasure.
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.
Come in, come in.
Umm...my name is Max Asher. I have
an appointment at 12:30.
      (With back turned)
You know, it's funny, I was best
friends with a Max Asher in high
Small world.


JASON turns around, they realize it's each other. Ad-Lib
"Hey, how've you been?" Etc., Etc.
Oh, my gosh, how've you been?
Iíve been great, what are you
doing here?
I need an agent, I just moved
This is so crazy! I haven't seen
you since senior year!
I know! When did you get into this
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, itís been so long. So wheníd
you get in?
Well, actually-
Hey, Max, Iím going to lunch in a
second, are you busy?
Not at all, this was my plan for
the day.
Lunch? On me?
Sounds great!
Cut to MAX and JASON in diner.
So, how long are you here?


For good, hopefully.
Really? Thatís awesome, you are
gonna love it. The city, the
energy. It's amazing. Got anything
lined up yet?
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?
Yeah, well, hey, Iíll 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.
Thanks, Jason.
No problem.
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.
Scene cuts to ELIZABETH and SHERRY walking down the street
Oh, my gosh, Iím so excited youíre
in town. How long are you here?
Well, just until we get this show
up. Then I'm probably off to LA,
or somewhere. I guess wherever I'm


                       ELIZABETH (cont'd)
Aw, that's so exciting! Well, we
have to hang out, I miss you so
Well, donít worry about that.
While Iím here, Iíll be with you.
Aw, yay.
      (They reach a
       building. An
       office building.)
Well, this is me.
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
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-
I should be fine.
I'll call you. It's so good to see
you again.
Bye, Sherry.
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


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.
It'll be $2.72.
ELIZABETH searches through her purse for money. Failing to
find any, MAX steps toward the CASHIER and hands her a $5.
That was easier wasn't it?
Thought I'd try and follow through
with it.
Well, thanks, anyways.
She walks out of the shop. MAX puts down his check with
another $5, and mutters 'Keep the change', and follows.
Come here often?
Do this often?
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.
She stops walking. Turns around with a smirk.
Itís Elizabeth.


I was hoping for B.
      (They both smile)
So, do you come here often?
New York? Or this particular
As often as I can. Taxi!
      (She flags down
       the first
       available taxi,
       and starts to get
Thanks for the coffee. See you
You could see me tonight? For
dinner? Rue 57? 8 o'clock?
She smiles, gets in and drives away.
But...you never got my name.
The taxi drives away, and MAX smiles and turns to walk away
and sees a poster for auditions for an Off-Broadway
theatrical performance.
Scene cuts to MaAX sitting alone at the restuarant. A WAITER
enters with a pitcher.
Another, sir?
Oh, no thanks, I'm fine.
Are we waiting for another guest,


No. It's just me.
Very well, sir.
He picks up a glass of water, smirks, and takes a drink.
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
Are you here to audition?
Awkwardly stepping forward.
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
Anything else?
                       MAX (Turning sharply)
Oh, haha, sorry.
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.
Itís about time you decided to
show up.


Shut up, 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.
They begin to read lines from William Shakespeareís tragic
romance ďRomeo and JulietĒ, Act. 1, Scene 5.
                       TRAVIS (reading for 'Romeo')
ďIf I profane with my unworthiest
This holy shrine, the gentle fine
is this: My lips, two blushing
pilgrims, ready stand
To smooth that rough touch with a
tender kiss.Ē
                       ELIZABETH (reading for 'Juliet')
ďGood 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.Ē
Scene cut to further down in scene 5.
ďSin from thy lips? O trespass
sweetly urged! Give me my sin
They kiss. The spectators clap. Scene cuts to ELIZABETH
doing the same scene later that evening with another
                       MARK (reading for 'Romeo')
ďSin from thy lips? O trespass
sweetly urged! Give me my sin
MAX is now becoming uncomfortable.


Ok, thatís great. Max, can you
read for Romeo now, please?
MAX frantically jumps up and responds as if he were just
suddenly woken up.
Yes! I, uh, I mean, yes. Thank
      (People awkwardly
       stare. There is
Ok, then, uh... same scene, start
when ready.
                       MAX (reading for 'Romeo')
ďIf I profane with my unworthiest
this holy shrine, the gentle fine
is this: My lips, two blushing
pilgrims, ready stand
to smooth that rough touch with a
tender kiss.Ē
ďGood 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.Ē
Scene cuts to when Romeo and Juliet kiss.
ďSin from thy lips? O trespass
sweetly urged! Give me my...Ē
He leans in to receive the kiss heíd been waiting for. Jon
All right, thank you everyone,
thanks for coming out-
Wait, why canít we finish the
ELIZABETH smiles and walks away.


Iíve heard all I need to hear.
      (to ACTORS)
Callbacks will be posted in a day
or so.
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.
ďGood 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.Ē
She kisses him. A soft kiss. He plays along and reads the
ďHave not saints lips, and holy
palmers too?Ē
ďAy, pilgrim, lips that they must
use in prayer.Ē
ďO, then, dear saint, let lips do
what hands do; They pray, grant
thou, lest faith turn to despair.Ē
ďSaints do not move, though grant
for prayers' sake.Ē
ďThen move not, while my prayer's
effect I take. Thus from my lips,
by yours, my sin is purged.Ē
ďThen have my lips the sin that
they have took.Ē


ďSin from thy lips? O trespass
sweetly urged! Give me my sin
They kiss. A long, soft, beautiful kiss. She pulls away and
MAX's face is frozen.
                       ELIZABETH (Now out of character.)
You kiss by the book, Max.
And you owe me dinner.
I never agreed to anything.
She re-enters the theatre and MAX smiles as he leaves.
And how did you know my name?
She enters the building, he smiles and walks away.
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.
How can you just sit there, and
just stare off into space with
that goofy grin, while I still
canít find your resume?
Sheís different, Jase. Sheís the
Max, man, youíve been through this
before. Ok? Youíre just setting
yourself up for a disappointment.
Itís just how women are. They make
you feel like a loser, and then
bam, you are hooked.


Yea. Youíre probably right. Itís
just, God, she was so beautiful.
And so simple, and yet so
complicated, and yet so-
Shut up, Max, and for God's sake,
help me-
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.
Jason, man, its her! The girl from
the coffee shop, this is her!
      (Max begins to
       read to himself)
ďElizabeth Harmon. 118 W.71st St.
      (He laughs)
Jason, this is her!
What are you talking about?
The girl from the coffee shop,
this is her! Itís got her address
and phone number and - I canít
believe itís really her!
Max, you canít take her
information, it could be my job.
What have you always said? Always
said! If you see a penny...
      (With Jason)
Pick up the penny!
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?


Oh, give me a break. The only
person that would know would be
you! Are you gonna turn me in?
      (After a beat)
(Max dances aroung office.)
Give 'em back, man!
      (Chasing MAX)
Max! Well you didn't get it from
me, that's for damn sure.
Thanks, man! Oh, no, the audition,
man, I completely forgot, she was
there! Our kiss auditioned, I mean
we auditioned a kiss... I mean...
You kissed her?
She kissed me. Then just left, and
I donít know anything about her.
But now, I have her info!
      (He laughs)
Max, you canít take her
information, it will end my career
if anyone finds out, not to
mention, I'll probably go to
No one gotsta know!
      (He exits)
                       JASON (Alone in his office)
Son of a-
Scene cuts to JASON chasing MAX, who is now walking down the


So what are you gonna do?
Minor details, Jason. Minor
So youíre just gonna walk to this
girl, who youíve never really met,
and confess your love to her?
MAX stops walking.
Thatís the idea.
      (They continue)
You are out of your mind. Do you
know that?
Well, what am I supposed to do?
      (They stop)
Thereís something about this girl,
this complete stranger that I
donít understand. And I canít
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
You donít even know her.
So what do you suggest I do?
I suggest you wait for your
callback and see her again, and
take it from there, like a normal
Yea, maybe youíre right. Itís just
this feeling I get when I'm around
her. I canít explain it.
I know how you feel, but trust me,
doing this, wonít do anything.
Just wait it out, and see what


                       JASON (cont'd)
They continue walking down the street.
If this backfires, I'm going to
kill you. You know that, right?
Yea, I know.
They laugh, get to a car, get in and drive away. Scene cuts
to them talking in a car.
So, howíd it go anyway? Your
audition, I mean.
MAX isn't paying attention, but snaps back into gear and
I donít know. I read the scene,
but didnít get to finish. The
director said he had heard all he
needed to hear.
Well, thatís not always a bad
Yea, I know. I just donít really
like Romeo and Juliet. Itís so
boring to me.
True, but it will put money in
your pocket, which in turn, will
put money in mine. And, plus, itís
Off-Broadway Across; they bring in
quite a pretty penny. Not to
mention youíd be touring, so itll
be worth it.
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


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. Thatís the best I got.
Yea, you are probably right.
I am right.
      (They laugh)
Where do you wanna eat?
Isnít there a new cafť right
around the corner?
Umm...I think that doesnít open
until next week.
How do you know sheís just like
everyone else?
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?
They reach a restaurant. Cut to ELIZABETH eating with a man
at same restaurant.


                       KEN (Eating)
So I'm, like, sitting there, and
she says, ďThatís not my dog,
that's my baby!Ē
      (Begins laughing
Isnít that priceless?!
Continues laughing and eating. MAX and JASON enter the
diner. ELIZABETH sees JASON, and then MAX.
Yea, thatís a good one.
KEN eats. MAX and JASON sit.
Ok, so if this gig on 44th falls
through, I've lined up an audition
for another company Ė
What show?
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 saidÖ"
                       KEN (Indicating pager)
Awh! I'm sorry! I gotta run, duty
                       ELIZABETH (winks)
Oh, itís fine, no, really, donít
worry about it.
                       KEN (Leaving)
Well, weíll do this again, call


Oh my God, sheís here!
He quickly puts the menu in front of his face.
What is wrong with you?
I canít let her see me!
JASON takes the menu revealing MAX's depressing state.
Whatís wrong with you?
JASON calls ELIZABETH to their table.
Wh- what are you doing?
He quickly straightens himself up.
Hey, Beth!
      (ELIZABETH walks
       to them)
Hey, Jason, how are you?
I'm great, oh; this is my friend,
Their eyes meet.
Yes, I think weíve met.
      (They shake hands)
                       MAX (Softly)
                       JASON (to BOTH)
So, howíd the auditions go?


Oh, you know, thereís a lot of
unseen talent in this city,
sometimes itís just a matter of
finding it.
She looks at MAX and smiles. JASON smiles.
Take a seat, Beth.
No, I gotta run, thanks though.
Nice to meet you, Max. Call you,
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.
What, and let another good one
pass by? Besides, you should be
thanking me!
Moment of temporary silence.
                       JASON (cont'd.)
Elizabethís great, plus, I think
she really likes you. She told me
about you the day you two met at
the coffee shop.
You're a bastard. I can't believe
you thought of that all by
                       JASON (Eating)
You should be proud. I got her to
come and bring her brother, and
I'm proud.


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.
      (Awkward silence)
Stop thinking about her.
                       MAX (Laughin)
I can't.
Donít make me regret today.
Jason, I canít just get over it.
She was so...imperfect. That kiss,
God, I canít explain it. Her lips
were dry, but I donít 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 donít you find her, and
talk to her, and just get it over
Isnít that what my plan was?
No, you planned a felony.
My idea is much better. Donít
forget about tomorrow morning,
MAX stands to leave.


Thanks, man, I owe you one!
Yea, a big one! Check!
Cuts to MAX running outside the cafť, he finds ELIZABETH and
walks behind her.
So do you really gotta run, or was
that just to get me out here?
It worked, didnít it?
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.)
Where are we going?
You don't know what 34th and 5th
No, I don't. I just moved here
like 3 weeks ago.
      (He laughs)
Then don't worry about it.
They arrive at the Empire State Building. MAX realizes where
they are.
So why are we-


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.
Wow. This is amazing.
I wish it were more clear outside.
      (Staring at
It's gorgeous.
      (Looks at her
Oh, shit. I have to go.
(She turns to him and hands him a slip of paper.)
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 ďWhat the God?Ē He stands for
a second before scene ends.)
(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.)


                       ELIZABETH (Softly)
Who is it?
Baby, it't me.
      (Beating on the
Josh, what are you doing here?
Beth, I just need to talk to you.
Josh, we broke up two months ago.
Are you drunk?
      (Screaming as he
       beats the door)
Shut up!
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
Josh, just go home, I don't want
you here, I don't want to talk.
Just go home.
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!
Josh, just go away. I donít 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.


                       JOSH (to Elizabeth)
Who is this?
                       MAX (to Himself)
Who is this?
                       JOSH (to Max)
Who are you?
      (Stops walking.
I, uh, just a friend of
Elizabethís. Who are you?
I'm her boyfriend.
JOSH stops walking toward MAX. After a slight pause, you
hear ELIZABETH softly interjecting.
Hey, you shut your mouth!
Hey... uh... Don't talk to her
like that.
What are you gonna do about it?
JOSH pushes MAX.
I donít wanna get physical, man.
Josh, cut it out, just leave.
Listen, man, youíve obviously had
way too much to drink, why donít
you just listen to her and beat
it. She doesnít want you here.
Why donít you shut up?
JOSH hits MAX. ELIZABETH runs towards him.


No! Josh get out of here!
MAX starts to stand. JOSH stops ELIZABETH by the arm.
I donít wanna hurt you, so shut
Josh, let go, you're hurting me.
Just let go!
      (MAX stands)
I said shut up!
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, youíre
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
Geez, that hurts...a lot.
      (She smiles)
Oh, you think thatís 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.
                       MAX (cont'd.)
Well then.
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.


Elizabeth, I'm fine.
How's your nose?
      (She smiles)
I'll get you some ice.
She gets up and walks into kitchen.
I love your place.
Well, it gets the job done.
                       MAX (Standing)
No, really, it's very-
MAX sits back down. ELIZABETH rushes over.
Max! Are you ok?
Sitting next to him, she puts her hand on his hand.
Yea, Iím fine, just a little
ELIZABETH pulls her hand away, revealing blood.
Oh my God, youíre bleeding.
MAX's eyes explode.
Oh, God.
MAX sees the blood and passes out. Black out Ė You hear
ELIZABETH's voice saying "Max?" Moments later, he opens his
eyes. "Max?" "You ok, Max?"
Max, are you ok?
      (She's smiling)


                       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!
No, it's ok. It's ok, it's ok.
He touches the back of his head as ELIZABETH walks into
                       MAX (cont'd.)
I mustíve 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.
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
It's beautiful.
      (Indicating the
No kidding.
      (Moving towards
What are you painting?


                       ELIZABETH (Smiles)
That's a dumb question.
I just didn't want to assume it
was the horizon and it end up
being that old guy down there.
Who I think just urinated on
someone's door.
It's beautiful.
      (They laugh)
                       MAX (Sits)
Listen, I'm sorry about last
                       ELIZABETH (Stops painting)
Itís ok, donít worry, it wasnít
your fault.
I just donít want you to think Iím
that kind of person that would-
I don't.
      (She smiles)
I donít know why he still comes
here. I should be the one
You? I got...
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)
      (They laugh)
Well, if it helps, I really our
time together. You know, while I
was conscious.


                       ELIZABETH (Laughing)
It helps.
I'm usually better at this, but
being knocked out in the girlís
bed all night usually isnít step
Then which step would it be?
      (They laugh)
Iíd love to have lunch with you.
Deal. But you still owe me new
Fine, and you owe me...I don't
know, some band-aids or something.
Cut to MAX and ELIZABETH getting into a car.
Where to?
That's completely up to you...
                       MAX (With an idea)
Deal, but you gotta close your
And why might that be?
Just because.
She stares then gives in. While driving away.


                       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.
                       MAX (cont'd.)
Cut to MAX and ELIZABETH pulling up to a cafť.
Where are we?
ELIZABETH opens her eyes.
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.
So you write, too? Or just
How much did Jason tell you?
Enough. But, seriously.
Well I wouldn't call myself a
writer, but I do enjoy it. Nothing
big, just little haikus, nothing


                       MAX (cont'd)
      (She laughs.)
                       MAX (cont'd)
And now you are laughing.
No! I'm ok.
You jerk.
I'm actually working on a
screenplay right now.
Ooh, la, la.
This is why I never tell you
      (They laugh)
Anyway, it's nothing life
changing, just a chick flick.
Nothing special.
Oh, my gosh, I love this song.
It's pretty good.
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
      (She pauses)
He passed away. Recently. It was
                       MAX (After a beat)
Do you want to dance?


Right here?
                       MAX (Smiles)
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.
So in this dream chick flick, does
the boy get the girl?
I haven't found out yet.
Cut to MAX's living room. You hear the phone ring, and see
MAX walk into the view to pick it up.
Let me in.
      (She hangs up)
                       MAX (Laughs)
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)
                       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.
Good morning.
They embrace.


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.
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.
Hey baby!
      (Over the phone)
Hey, sweetheart!
God damnit, Jason, what do you
Where's the love?
I was just calling to remind you
about your 11:00 tomorrow. Please,
don't forget. Please.


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
Aw, that's cute. Ok, loverboy,
just please for the love of God
remmember about tomorrow!
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.
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.
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.
      (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.
Cut to ELIZABETH walking down the street listening to her
mp3 player. She passes a man who quickly recognizes her.


Elizabeth? Elizabeth!
Do I know you?
Oh, God, you probably don't
remember me. Travis. Travis
McClendon, from the Romeo & Juliet
Oh, wow, how are you?
I'm good! You, you look great.
Aw, thanks so do you.
Hey, do you have some time? I was
just on my way to grab some lunch.
I'd love some company?
Oh, I'm sorry. I am on my way
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,
Well, actually, I'm seeing
Yeah, see, I thought this
conversation was going too well.
Keep it. Just in case. It was good
to see you again.
      (He walks away)


      (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.
Of course.
How about dinner. Tomorrow night?
Ok, sounds good.
      (Gives her number)
Give me a call, and I'll meet you
Great, perfect. Thanks so much,
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-
      (Stops shuffling
       the papers)
Do you realize the kinda strings I
had to pull to get you that
I know...
No, Max, I really donít think you
do. You arenít home anymore. This
is your life. Opportunities like
that arenít going to come as easy


                       JASON (cont'd)
as that did. If you waste your
time with this girl, you arenít
going to ever make it out here.
Not to mention, I put my name on
the line, and you didnít show. How
does that make my name look to
Look, Jason, I'm sorry.
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?
God, you are so lucky.
MAX stands in the doorway, now obviously confused.
What do you mean?
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
didnít show. You got a gig, and I
kept my job. Basically, I saved
your ass, yet again.
Are you serious?!
BOTH are excited. Ad-libbing. JASON stops with a file in his
                       JASON (cont'd)
But, no more screw ups, all right?


Jason! Iím official!
                       JASON (Laughing)
Whatever the hell that means!
      (More excitement)
Ok, so what happened?
What are you talking about?
Oh, shut up, I know you were with
her all night. So give the
details, man.
                       MAX (Sits)
Hey, I donít kiss and tell.
Awkward silence. JASON stares at MAX. MAX bursts out of his
                       MAX (cont'd)
Ok, so really, we just let the
cafť, and ended up spending the
rest of the night together. Sheís
so amazing, Jason.
What can I say, I've got good
      (After a beat)
Just be careful, alright?
I will.
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.
So, I was talking to Mel, then all
of a sudden I get a call. Get
this, you'll never guess who it


                       MAX (to the girl)
Excuse me, Iím sorry, but could I
borrow Mr. Casanova, here, for a
I thought his name was Jason?
MAX stares at the girl, then at JASON. He shakes his head
disapprovingly then brings his aside.
This better be important.
Oh, please. Have you seen
No, man, I called her earlier, to
see if she was coming, but I got
her machine.
Yea, me too.
I'm sure she'll show. It's not
like she skipped town.
Yea, you're right.
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. Itís me. Just seeing
where you were. Weíre missing you
over here, call me back.
Max, come on! Join the party!
I gotta go run by my apartment for
a little bit, I'll be right back.


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.
Cut to MAX around his living room. He stops. Walks to a
table and picks the phone up.
      (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!"
Hey Elizabeth, it's me. Just
wondering what you were up
to...Haven't heard from you in a
few days, just wanted to-
Cut to MAX calling again, and again.
                       MAX (cont'd)
Hey, it's me again, sorry, just
trying to get ahold of you. I
guess, just give me a call.
Cut to MAX and JASON eating at the diner. As usual, JASON is
talkative, and MAX is to himself.
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


I'm sorry. I've got a lot on my
About what?
She won't answer my phone calls.
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.
Oh, let me get this.
Cut to MAX walking outside. He brings out his phone and
dials a number.
"Hey guys, it's Elizabeth. I can't
come to the phone right now, so
just leave a message and-
      (Over the phone)
MAX stands still.
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.
Cut to 1 week later. Romeo & Juliet rehearsals begin. MAX
shows up to rehearsal #1. He searches, but can't seem to


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
Hey, Jon, could I talk to you for
a second?
Yea, sure. We will start in five,
      (They walk away)
What's up, 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
That girl is Tracy, and she is
What do you mean?
Did you think Beth was playing
She's not?
Max, Elizabeth is producing this
show. She's probably already left
town, on to her next.
I'm sorry, Jon, I gotta go.


But you'll miss the first
      (Max runs out)
Max! Don't...
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? Is that you?
Why didn't you tell me she was
What are you talking about?
Elizabeth! She's gone. Why didn't
you tell me?
Max, I donít know what you are
talking about.
Elizabeth. She left town. Sheís
not an actress, sheís a producer.
She is producing Romeo and Juliet,
not starring in it.
I thought you knew...
How the hell was I suppose to know
that if no one was going to tell
So, she left?
                       MAX (cont'd)
To her next show. She's gone,
Jason. You knew she was leaving?
      (Max pushes Jason.
       Fighting back


                       MAX (cont'd)
You knew she was leaving!
      (Hitting him.)
      (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.
Yea, well she didn't.
      (After a beat)
                       JASON (Thinking)
I can get her here.
I donít know, Iíll tell her
something. But you need to get
back to rehearsal. You canít just
miss, Max, this is a job.
I don't know. Soon.
Promise me, Jason.
Max, go to rehearsal, and Iíll
give you a call later, ok?
Promise me.
I promise, Max.


Cut to the next week. MAX is sitting on his couch, and he
gets a phone call. It's JASON.
                       JASON (Over phone)
Max, itís Jason.
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 couldnít get
anything out of her, but she said
sheíll be back on Monday. Just be
at my office around 4, ok?
What for?
I am going to get her there. Just
be there.
Thanks, Jason.
Cut to the following Monday at JASON's office. The chair is
turned around, back facing the door. ELIZABETH walks in.
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.


I think we should talk.
Max, listen-
No, Elizabeth. You listen. Who do
you think you are...that you can
just walk all over me, while itís
convenient for you? Then, just
walk away, like nothing even
happened? And, mind telling me
about Jake?
What are you talking about?
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-
No, I understand completely. I
just didnít see you being that
Max. Please, just let me explain.
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.
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.


      (Answering machine)
ďHey, itís Max, I'm either not at
home, or Iím just screening! So
leave a message and if Iím just
not at home, Iíll get back to ya!Ē
Hey, Max, itís Jase. Just seeing
what you were up to, man. You need
out of that apartment. Call me.
Letís go do something. Ok, I guess
just give me a call. Later, Max.
Hey, Max. Itís 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
All right. Get your shit. We are
going somewhere.
I don't want to.
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 cafť.


So then Susan walks in, stares me
dead in the face and says ĎI heard
every word.í
      (They laugh)
I almost died, I was laughing so
hard. So how are you holding up,
I'm ok. This was good, though. So,
thanks. But, hey, I think Iím
gonna head on home.
All right. Well, hey, call me
tomorrow. Donít keep yourself
locked up in that apartment.
I will. See you, Jason.
Bye, Max.
      (Max exits)
Heard every word.
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.
What are you doing here?
Are you ok?
Come in, you'll get a cold.
ELIZABETH and TRAVIS sit on her couch.


I got the part. I just wanted to
thank you for your help. It made a
world of difference.
Well, congratulations. Anytime
What's wrong, Elizabeth?
Oh, nothing, I'm fine. Just a
Do you want to talk about it?
No, I'll be fine, I just need some
During her line, he leans in and kisses her.
      (Stopping him)
What are you doing?
      (Truly embarressed)
Wow. That isn't what you wanted?
No! I think you should leave.
I am really sorry.
Cut to MAX getting home. As he takes his jacket off, he gets
a phone call. He walks over and picks it up.


Hey, it's Sherry. You haven't
talked to Elizabeth lately, by any
chance, have you?
Why would I?
What do you mean?
Sherry, she led me on, then just
left me out to dry. I canít-
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.
                       MAX (After a beat)
She didnít leave for her next
No! Sheís here for good. She had
to leave on short notice, and her
phone was with me.
Oh, no, is she still in the city?
I don't know. I've been looking
all night. If she is, it's
somewhere I've never been.
Sherry, let me call you back.
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.
You didn't tell me this was your


      (Holding back
You didn't tell me you were such
an asshole.
MAX walks up behind her, and stands next to her. She doesn't
      (Indicating the
It's beautiful.
What do you want?
I want you to talk to me.
I'm pretty sure you should be the
one talking.
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...
                       MAX (cont'd)
Look, you have to beleive me, I
never would have-
Max, it doesn't matter. You said
what you've obviously wanted to
say. What's done is done.
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-
It's ok.


No, it's really not. I jumped to a
conclusion, and...
      (Turning to him)
Max, shut up.
      (Seeing a smile
       through the tears)
I'm sitting here, pouring my heart
out, and you go on being a jerk.
You love it.
                       MAX (Smiling)
Every second.
ELIZABETH holds her palm up to MAX. He touches palms, and
they kiss.
Cut to MAX performing Romeo and Juliet. The shot zooms out
to see JASON and ELIZABETH at the back of the auditorium.
ďFor never was a story of more woe
Than this of Juliet and her


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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 ****
The end needs to be more drawn out. It seems like it just happens. Very well written.

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