Coda
Executive Summary
Poster
Overview
Genres: Drama, Comedy, Family, Musical, Romance, Coming-of-age, Music, Slice of Life, Teen
Setting: Contemporary, Cape Ann, Massachusetts, primarily in Gloucester and surrounding areas
Overview: In 'Coda,' we follow Ruby Rossi, a spirited 17-year-old girl who is the only hearing member of her deaf family. Set against the backdrop of the fishing community in Gloucester, Massachusetts, Ruby navigates the challenges of balancing her family's fishing business with her burgeoning passion for music. As she grapples with her identity and aspirations, Ruby faces conflicts with her family, particularly her father Frank and brother Leo, who rely on her as their interpreter. The story unfolds as Ruby joins the school choir, confronts her fears of singing, and ultimately must decide between supporting her family's needs and pursuing her dreams. The narrative culminates in a heartfelt exploration of family dynamics, self-discovery, and the pursuit of one's voice.
Themes: Family Dynamics and Communication, Economic Hardship and Class Struggle, Self-Discovery and Identity, Communication Barriers and Cultural Differences, First Love and Relationships
Conflict and Stakes: Ruby's struggle to balance her passion for music with her family's reliance on her as their interpreter, leading to tensions about independence and responsibility.
Overall Mood: Bittersweet and uplifting, with moments of tension and humor.
Mood/Tone at Key Scenes:
- Scene 1: Light-hearted and joyful as Ruby sings on the fishing boat, showcasing family camaraderie.
Standout Features:
- Unique Hook: The protagonist is a hearing child in a deaf family, creating a unique perspective on communication and family dynamics.
- Major Twist: Ruby's journey culminates in her acceptance to Berklee College of Music, challenging her family's expectations.
- Distinctive Setting: The coastal fishing community of Cape Ann provides a rich backdrop for the story, enhancing its authenticity.
- Innovative Ideas: The integration of music and sign language throughout the screenplay highlights the importance of communication in various forms.
Comparable Scripts:
- CODA
- The Sound of Music
- A Star is Born
- Little Fish
- The Perks of Being a Wallflower
- Sing Street
- The Greatest Showman
- Inside Out
- The Fault in Our Stars
Writing Style:
The screenplay exhibits a diverse writing style, blending elements of realistic dialogue with witty humor and emotional depth. It frequently showcases intimate character interactions and explores complex family dynamics and personal relationships, often within the context of specific settings (high school, family homes, workplaces). While there's variety, a consistent thread of authenticity and relatable characters runs throughout.
Style Similarities:
- Greta Gerwig
- Aaron Sorkin
- Tina Fey
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for 'Coda' is a heartwarming and well-crafted story that follows the journey of Ruby Rossi, a hearing daughter of a deaf family, as she navigates her passion for singing and her family's fishing business. The screenplay is a strong character-driven drama that explores themes of identity, family, and the pursuit of dreams. The writing is consistently engaging, with well-developed characters, compelling conflicts, and a strong narrative arc. While there are a few areas for improvement, the screenplay's unique perspective, strong emotional resonance, and thematic depth make it a compelling and noteworthy work.
USP: What sets 'Coda' apart is its authentic representation of a deaf family and the unique challenges they face, particularly through the lens of a hearing daughter who feels torn between her family's needs and her own aspirations. The integration of American Sign Language not only enriches the dialogue but also deepens the emotional resonance of the story, making it relatable to a wide audience while highlighting the importance of communication and understanding in all relationships.
Market Analysis
Budget Estimate:$15-25 million
Target Audience Demographics: Young adults aged 16-30, families, and fans of coming-of-age dramas and musicals.
Marketability: The screenplay features a unique blend of music and family dynamics, appealing to a broad audience and potential for critical acclaim.
The story's themes of independence and self-discovery resonate with young adults, making it relatable and marketable.
The diverse cast and focus on the deaf community provide a fresh perspective that can attract attention and generate discussions.
Profit Potential: Moderate to high, as the film could perform well at festivals and attract a dedicated audience, especially if it garners positive reviews.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a sharp, witty, and realistic style that blends humor and emotional depth. The dialogue is consistently sharp, capturing authentic working-class vernacular and the nuances of teenage interactions, family dynamics, and the complexities of a close-knit deaf community. The narrative seamlessly interweaves detailed descriptions of the Gloucester fishing community with introspective moments, creating a vivid and engaging world. Direction emphasizes physical actions and gestures to convey emotion, particularly in scenes involving the deaf characters, further enhancing authenticity and emotional resonance.
Best representation: Scene 7 - Dinner Table Distractions. Scene 7 best encapsulates the writer's unique voice because it masterfully blends humor and realism within a deeply relatable family dynamic. The awkwardness of the situation, the sharp dialogue that captures the characters' personalities, and the subtle cultural element (Ruby translating for her deaf parents) all work together to create a scene that is both funny and emotionally resonant. This blend of humor, realism, and insightful character interactions is a consistent hallmark of the writer's style throughout the screenplay.
Memorable Lines:
- Frank: You know why God made farts smell? So deaf people could enjoy them too. (Scene 8)
- Gertie: What about like 'We should totally get it on'? (Scene 14)
- MS. SIMON: Sadly, there was no amendment protecting the right to nap - Ruby! (Scene 4)
- Leo: Damn, Leo got hot. (Scene 13)
- Frank: I'd give my left nut to tell them to go screw themselves. (Scene 18)
Characters
Ruby Rossi:A 17-year-old girl who is passionate about singing and feels the weight of her family's expectations.
Frank Rossi:Ruby's father, a fisherman who struggles with the challenges of his profession and the family's financial situation.
Jackie Rossi:Ruby's mother, who feels disconnected from the hearing community and is concerned about her family's future.
Leo Rossi:Ruby's older brother, who grapples with feelings of inadequacy and the desire to take charge of the family business.
Miles Patterson:Ruby's love interest, who shares her passion for music but struggles with his own insecurities.
Bernardo Villalobos:Ruby's choir teacher who encourages her to pursue her musical dreams despite her fears.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Morning Catch | Hardworking, Nostalgic, Routine | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 6 | 8 | 8 | 9 | 8 | 8 | 8 | |
2 - Struggles at Salgado Fish Wharf | Sarcastic, Defiant, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
3 - Family Tides | Sarcastic, Humorous | 8.2 | 8 | 8 | 9 | 9 | 7 | 8 | 6 | 7 | 7 | 6 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
4 - A Sleepy Ride to Class | Serious, Reflective, Embarrassed | 7.5 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
5 - Invisible in the Hallway | Humorous, Sarcastic, Awkward | 7.5 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
6 - Choir Dreams and Parental Embarrassment | Embarrassment, Isolation, Humor | 8.2 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
7 - Awkward Consultations | Awkward, Humorous, Embarrassed | 8.5 | 8 | 8 | 8 | 8 | 5 | 8 | 7 | 4 | 7 | 3 | 5 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
8 - Dinner Table Distractions | Humorous, Family-oriented, Lighthearted | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 5 | 6 | 4 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
9 - The First Note: A Choral Challenge | Humorous, Embarrassed, Judgmental | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
10 - Echoes of Conflict | Tense, Reflective, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
11 - Caught in the Tide of Change | Tense, Serious, Confrontational | 8.5 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
12 - Finding Her Voice | Introspective, Encouraging, Anxious | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 6 | 8 | 6 | 7 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
13 - Generational Tensions | Humorous, Light-hearted, Awkward | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7 | 5 | 7 | 4 | 7 | 6 | 7 | 9 | 8 | 8 | 9 | 9 | |
14 - Flirting and Confusion | Humorous, Light-hearted, Awkward | 8.5 | 8 | 8 | 8 | 9 | 5 | 8 | 7 | 4 | 7 | 2 | 5 | 7 | 6 | 9 | 9 | 9 | 8 | 8 | |
15 - Finding Confidence in Song | Humorous, Embarrassing, Encouraging | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 7 | 7 | 6 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
16 - Duet Dilemmas | Embarrassment, Disappointment, Encouragement | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | |
17 - Confrontation at the Auction | Tense, Confrontational, Assertive | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
18 - Family Tensions | Tense, Defiant, Family-oriented | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
19 - Finding Harmony | Encouraging, Inspirational, Playful | 8.5 | 9 | 8 | 9 | 9 | 9 | 8 | 7.5 | 7 | 8 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
20 - Breakfast Tensions | Tension, Defiance, Resentment | 8.2 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
21 - Fractured Ties at Salgado Fish Wharf | Tense, Frustrated, Defiant | 7.5 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
22 - Brawl at Pratty's Bar | Tense, Chaotic, Aggressive | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
23 - Flirting in the Shadows | Tension, Seduction, Conflict | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 6 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
24 - Awkward Harmonies | Intimate, Awkward, Nostalgic | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | |
25 - Awkward Revelations | Awkward, Humorous, Confrontational | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
26 - Rumors and Regrets | Embarrassment, Humor, Awkwardness | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
27 - Rumors and Tears | Emotional, Tense, Dramatic | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
28 - Finding Her Voice | Frustration, Encouragement, Empowerment | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
29 - A Bold Proposal at the Fisheries Council | Tense, Defiant, Confrontational | 8.5 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
30 - Tensions in the Rossi Living Room | Tense, Defensive, Resentful | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
31 - Ruby's Morning Hustle | Determined, Emotional, Upbeat | 7.5 | 8 | 7 | 8 | 8 | 6 | 8 | 7.5 | 5 | 8 | 4 | 7 | 8 | 8 | 7 | 9 | 8.5 | 8 | 8 | |
32 - Struggles in Harmony | Intense, Emotional, Playful | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
33 - Tension Over Time | Tense, Serious, Confrontational | 7.5 | 8 | 8 | 8.5 | 8 | 7 | 8 | 7.5 | 8 | 8 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
34 - Unspoken Struggles | Tense, Emotional, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
35 - Tangled Priorities | Tense, Emotional, Frustrated, Determined | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
36 - Tension in Translation | Agitated, Tense, Defeated | 8.5 | 8 | 9 | 8 | 9 | 8 | 7 | 6 | 9 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
37 - Confrontation in the Choir Room | Intense, Confrontational, Emotional | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 9 | 8 | |
38 - Breaking Free | Frustration, Determination, Conflict | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
39 - Tensions at Home | Tension, Conflict, Frustration, Worry | 8.5 | 8 | 8 | 7 | 9 | 7 | 8 | 7 | 9 | 7 | 8 | 8 | 6 | 8 | 9 | 9 | 8 | 8 | 8 | |
40 - Turbulent Waters | Tense, Awkward, Serious | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
41 - Leap of Faith | Playful, Intimate, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 9 | 9 | |
42 - Communication Barrier | Tense, Informative, Serious | 8.2 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
43 - Leap of Courage | Humorous, Adventurous, Youthful | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7 | 5 | 7 | 6 | 6 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
44 - Silent Violation | Tense, Romantic, Conflicted, Surprising | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
45 - Tensions in the Kitchen | Tense, Frustrated, Blaming | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
46 - Navigating Compliance | Tense, Serious, Confrontational | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
47 - Tides of Tension | Sad, Resigned, Defiant | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
48 - A Moment of Connection | Emotional, Reflective, Intimate | 9.2 | 9 | 9 | 9 | 10 | 8 | 9 | 7 | 3 | 6 | 2 | 6 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
49 - Tides of Frustration | Tension, Frustration, Resentment | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
50 - A Disheartening Performance | Somber, Intimate, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 6 | 9 | 9 | 8 | 8 | 9 | 9 | |
51 - Silent Serenade | Emotional, Inspiring, Heartfelt | 9.2 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 3 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | |
52 - A Comical Misunderstanding | Awkward, Light-hearted, Misunderstanding | 8.2 | 8 | 8 | 8.5 | 9 | 7 | 8 | 7.5 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
53 - Under the Stars | Reflective, Emotional, Intimate | 9.2 | 9 | 9 | 8 | 9 | 8 | 9 | 7 | 2 | 6 | 3 | 7 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
54 - Facing the Stage Alone | Tense, Emotional, Humorous | 8.5 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
55 - Nerves and Support | Nervous, Intimate, Hopeful | 8.5 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 8 | 6 | 9 | 8 | 8 | 8 | 9 | 9 | |
56 - The Jury's Gaze | Tense, Emotional, Serious | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 8 | |
57 - Finding Her Voice | Anxious, Hopeful, Emotional, Proud | 9.2 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 8 | 8 | 9 | 7 | 10 | 9 | 9 | 8 | 9 | 9 | |
58 - A New Horizon | Hopeful, Heartwarming, Tense | 8.5 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | |
59 - A Leap of Faith | Romantic, Playful, Adventurous | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 3 | 6 | 4 | 7 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | |
60 - Bittersweet Farewell | Emotional, Heartfelt, Bittersweet | 9.2 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 3 | 7 | 6 | 8 | 7 | 10 | 9 | 9 | 9 | 9 | 9 |
Scene 1 - Morning Catch
Open ocean. Cape Ann, off the coast of Gloucester,
Massachusetts. A rusty thirty-foot FISHING TRAWLER, the
Angela Rose, slices the grey water. Waves slap the boat, the
engine roars, the winch creaks, and gulls circle overhead as
the nets come up, hoping for a fish. “Something’s Got a Hold
on Me” by Etta James plays from a small radio.
On deck, RUBY (17, in fishing Grundens), belts out the song
as she runs the winch, raising the net above the sorting bin.
She sings along with the radio as she works. Her father,
FRANK (50s, bearded, weathered) and brother, LEO (early 20s,
handsome, tattooed) guide the catch into position. They
signal to Ruby. She pulls the release and the net opens,
dropping an impressive haul of fish onto the deck.
Ruby, Leo and Frank sort the fish into tubs, measuring them
and tossing the bycatch back overboard. Leo and Frank pay no
attention to Ruby’s singing. They sort and clean fish with
the efficiency of guys who have done this their whole lives.
Reaching into the pile of fish, Ruby pulls out an old shoe.
She laughs, tosses it to Leo. He gestures that it’s too
small. Throws it overboard.
Frank shovels ice over the layers of fish. Leo cleans the
fish by slushing them around in a bucket with his boot. The
radio crackles.
RADIO (O.S.)
Angela Rose, do you copy?
INT. ANGELA ROSE WHEELHOUSE - OCEAN - DAWN, CONTINUOUS
Ruby enters the wheelhouse, snatching up the receiver.
RUBY
OK, copy.
RADIO
Are you guys coming in?
EXT. ANGELA ROSE - ON THE WATER - MORNING
As the boat sails past the breakwall into the harbor, Ruby
leans over the rail, watching the rocky granite shoreline.
Gloucester City Hall towers above town. The quaint shopping
district fades into the working wharf. In the harbor,
lobstermen pull up their traps.
Ratings
Scene 2 - Struggles at Salgado Fish Wharf
The Angela Rose pulls into the dock. Ruby, Frank and Leo off-
load their catch. The processor, TONY SALGADO, (heavy,
Italian) weighs their haul. The Salgados run everything
around here, as evidenced by the family name on warehouses,
trucks and the auction house.
Fishermen mingle, loading and unloading boats. As Ruby weaves
through them, ARTHUR, the ice distributor, calls to her.
ARTHUR
I see you, Ruby! I’m cutting off
your ice! I’m not a freaking
charity!
RUBY
It’s coming!
Ruby approaches Tony and he hands over her paperwork.
TONY
How you doing honey?
Ruby ignores him, flipping through the forms. Another
fisherman, BRADY, loads his boat with his crew.
BRADY
Hey, Ruby! I thought you guys were
fishing First Ledge. You’re done
already for the day?
RUBY
Piece of shit quotas.
BRADY
Bullshit quotas, right?
(gesturing to Tony)
What are you gonna give her on
those haddock, two bucks a pound?
TONY
Two-fifty and I’m being generous.
RUBY
Two-fifty? What’re you guys getting
at auction?
TONY
Calm ya livah, honey, you let me
worry about the numbers. Sign over
here.
Rolling her eyes, Ruby signs.
BRADY
What’re you gonna take her lunch
money too?
Ruby hands over the paperwork and heads back to the boat.
Ratings
Scene 3 - Family Tides
Ruby approaches the boat where Frank and Leo work the boom,
unloading tubs of fish on ice.
ALL following conversations in ITALICS are signed and
subtitled AMERICAN SIGN LANGUAGE. This is where it is clear--
Ruby’s family is deaf.
RUBY
What a dick.
LEO
I keep saying, let’s sell our own
fish.
FRANK
They tried it down the Cape. That
all went to hell.
LEO
So keep bitching. That’ll work.
Ruby’s heard this argument a million times.
RUBY
Gotta go. Love you Daddy.
FRANK
Don’t forget about the doctor. And
the nets.
RUBY
I know.
(to Leo)
Bye shit-face.
LEO
Bye twat waffle.
RUBY
(spoken)
Twat waffle.
(signed and spoken)
That’s a new one! That’s good.
Ratings
Scene 4 - A Sleepy Ride to Class
Ruby hops on her bike and puts in her headphones. Etta James
drowns out the sounds of the wharf as she bikes to school.
The landscape changes from boarded up warehouses to the
polished commercial district, through town and ending at the
high school.
EXT. HIGH SCHOOL - DAY
Ruby parks her bike at the rack and runs up the empty front
steps of the school, late.
INT. HIGH SCHOOL - CLASSROOM - DAY
MS. SIMON lectures Ruby’s history class.
MS. SIMON
Where the Bill of Rights protected
people from the federal government,
Amendments 13, 14, and 15 protected
them from their state
governments...
The faint sound of SNORING comes from the back of the class.
Ms. Simon stares at Ruby, passed out on her desk.
MS. SIMON (CONT'D)
Sadly, there was no amendment
protecting the right to nap - Ruby!
Disoriented, Ruby awakes with a start and signs as she talks.
RUBY
(signing)
What’s wrong?
Kids exchange looks. Ruby catches herself. She looks around,
embarrassed. The bell rings, saving her.
MS. SIMON
Ok, let’s re-read and we will
resume this tomorrow. You are free
to go!
Ratings
Scene 5 - Invisible in the Hallway
Ruby opens her locker. Her friend GERTIE (17, wry, Gloucester
to the core) launches in without missing a beat.
GERTIE
Guess what!
RUBY
What?
GERTIE
I did it. I hooked up with Tiny
Fingers.
RUBY
Why?!
GERTIE
I don’t know! Curiosity got the
better of me. Also, totally wrong.
Despite those little baby hands...
Gertie holds her hands like a foot apart.
RUBY
Really?!
GERTIE
Yeah, we have to change the
nickname.
AUDRA, beautiful and horrible, walks by them with a group of
girls. She shoots Ruby a look as she passes.
AUDRA
(quietly, to her friends)
Do you smell fish?
The girls snicker. Gertie watches them with disgust.
GERTIE
Well, at least she’s not doing deaf
voice anymore. That’s progress.
Ruby watches as Audra passes MILES, (17, king among choir
kids) carrying his guitar. Audra slaps his ass. Her friends
crack up. Ruby stares at Miles, feeling invisible.
Ratings
Scene 6 - Choir Dreams and Parental Embarrassment
Ruby and Gertie stand in line to sign up for electives.
Gertie flips through a course book.
GERTIE
The goal is to find the elective
that asks the least of you.
(MORE)
GERTIE (CONT'D)
Like film club. Also known as “put
your backpack down and go smoke a
bowl.”
Ruby glances furtively at Miles, inching forward in the line
next to hers.
GERTIE (CONT'D)
Plus, Mr. Wabatch is actually
pretty hot, you know. In a Comic
Con kind of way.
Ruby reaches the registration desk and the GUIDANCE COUNSELOR
behind it. Miles is also at the front of his line. Ruby
eavesdrops.
MILES
Yeah, choir please.
Ruby suddenly turns to her counselor.
RUBY
Choir.
GUIDANCE COUNSELOR GERTIE
Okay. Just fill this out. Choir?! Are you high?
Ruby eye-shushes her as Miles moves away from the table.
RUBY
I sing all the time!
GERTIE
You’re already socially challenged
enough around here, but sure...
(off Ruby’s look)
If you start, you know, beat-
boxing, or doing that cup/clapping
thing, we’re done, yeah?
EXT. HIGH SCHOOL - DAY
Ruby waits at the curb. She watches clusters of kids
socialize. Everyone belongs to a group except her. Suddenly,
a crazy THUMPING BASS makes heads turn. Ruby’s parents pull
up in front of the school, Frank driving and JACKIE,
(beautiful, 40s, heavy-handed makeup), shotgun. They blast
GANGSTA’ RAP. Ruby, mortified, quickly climbs in.
RUBY
(signing)
Turn that down! It’s loud.
JACKIE
You didn’t change after fishing?
You stink.
FRANK
I love this song. Feel that beat.
My whole ass is vibrating.
RUBY
Just drive please!
Ruby stares out the window at the kids laughing.
Ratings
Scene 7 - Awkward Consultations
Ruby sits between her parents in a tiny exam room,
translating for them. She’s done this many times. That
doesn’t make it any less awkward.
FRANK
It’s definitely itchy as hell.
RUBY
It itches.
FRANK
My nuts are on fire.
RUBY
His, you know...
FRANK
They’re like angry hard little
beets. Covered in barnacles.
RUBY
I got it.
FRANK
And your mother’s got it even
worse. Like a boiled lobster claw.
Ruby squirms, mortified.
DOCTOR
Right, so the layman’s term for
what you both have is “jock itch.”
It’s common if you spend a lot of
time in damp clothes. And it’s
easily transferable via
intercourse.
RUBY
(to her dad)
You guys have jock itch.
DOCTOR
I’ll give you an antifungal cream.
But you both have to keep the area
dry and avoid sex for two weeks.
RUBY
(to her parents)
You two need clean underwear. And
you’re not allowed to do it
anymore.
FRANK
What?! For how long?
RUBY
(to her parents)
Never again. Done for life.
Frank and Jackie stare at her.
RUBY (CONT'D)
(caving)
Two weeks.
JACKIE
Can’t do it.
FRANK
Impossible.
Ratings
Scene 8 - Dinner Table Distractions
Ruby tries to focus on her homework as Jackie cooks. It’s not
easy - Jackie bangs pots and clangs lids. Frank noisily
scrapes the grill, oblivious to the racket. Leo swipes Tinder
on his iPhone, sound on.
Ruby puts her headphones on, drowning them out. Jackie hits
the table to get Ruby’s attention.
JACKIE
Take those off. It’s rude.
RUBY
(signed and spoken)
What’s rude is how noisy you guys
are!
(signed)
I can’t focus.
Jackie heads back to the kitchen, ushering Leo to the table.
JACKIE
(to Leo)
Go eat.
Frank sits. He lets out a fart. Ruby kicks his leg. He looks
up with feigned innocence.
FRANK
You know why God made farts smell?
So deaf people could enjoy them
too.
Frank grins. Ruby rolls her eyes. Jackie comes in with the
wine, taps on Ruby’s shoulders.
JACKIE
Don’t slouch. You’ll get stuck.
Ruby slumps more and puffs out her cheeks, makes her dad
laugh. Frank picks up a wine bottle, looks at the price.
FRANK
Fifteen bucks, really?
JACKIE
You choose weed, I choose wine.
Jackie looks over Leo’s shoulder as he Tinder swipes a couple
of girls. She whacks him.
JACKIE (CONT'D)
You don’t want her! Swipe left.
None of them smile?
LEO
So? She’s hot.
JACKIE
When I was modeling...
RUBY
(aloud)
Here we go.
FRANK RUBY (CONT'D)
Yes! Your mother was the (speaking aloud)
best. First year I met her ...she won the Yankee Miss
she won the Yankee Miss Pageant.
Pageant. Beat all those
hearing girls. She was hotter
than all of them.
Frank lovingly slaps her ass. Jackie beams, turns her
attention back to Tinder.
JACKIE
(back to the phone)
What about her?
RUBY
I thought we said no Tinder at the
table!? How is music rude but
Tinder’s okay?
JACKIE
Because Tinder is something we can
all do as a family.
Frank chews loudly and grins. Ruby stares at him. She looks
around at her crazy family.
Ratings
Scene 9 - The First Note: A Choral Challenge
First day of choir. KIDS stream in, take their seats. Ruby,
in a flannel, watches Miles socialize with some CHOIR GIRLS.
BERNARDO VILLALOBOS (quick-witted and wearing abnormally
tight pants) stands by the piano, coffee in hand.
BERNARDO
I did not tell you to sit! On your
feet, my friends. Up! They made my
latte with some kind of disgusting
nutmilk this morning, so I’m in a
mood. My name is Bernardo
Villalobos. Berrrnardo. If you
can’t roll your r’s, please don’t
embarrass yourself and just call me
Mr. V. Okay, all of you, on this
side. Come on, move! Let’s see if
you’re an alto, a soprano, or just
watched too many episodes of Glee.
He steps to the piano.
BERNARDO (CONT'D)
My birthday was last Tuesday, so in
lieu of gifts, I will be accepting
the Happy Birthday song. I do not
need an entire meal, I just want to
place your voice. You, Harry
Potter, let’s hear it.
Ruby watches as a BOY WITH ROUND GLASSES steps forward.
HARRY POTTER BOY
(singing)
Happy birthday to you...
BERNARDO
Tenor. Next.
Various kids step forward and sing. Bernardo barks out
critiques and directs them into their sections.
STIFF GIRL
(singing)
Happy birthday to you...
BERNARDO
Alto. Next!
DEEP VOICE BOY
(singing)
Happy birthday to you...
SOFT VOICE GIRL
(singing)
Happy Birthday...
MILES
(singing)
To you. Happy Birthday...
BROADWAY BOY
(singing)
Mr. Berrrrnardo!
VOCALIZING GIRL
(singing)
Happy Bir...ir...ir...
ADELE GIRL
(singing)
Happy birthday...
SMOOTH GUY
...to you.
BERNARDO
Suave. Tenor. Next.
Bernardo turns to Ruby, who has been watching this
progression of singers with growing terror.
BERNARDO (CONT'D)
Next. Yes, you! The red shirt.
Ruby steps to the front.
BERNARDO (CONT'D)
Bless me with your birthday wishes.
Ruby freezes. She glances at Miles, who’s staring right back
at her. She turns red. Bernardo catches this.
BERNARDO (CONT'D)
Forget the words? Don’t look at
them. They’re not gonna help you.
Ruby is unable to make a sound. Faces of judgement stare back
at her. She looks like she might be sick. Without a word, she
bolts from the room.
BERNARDO (CONT'D)
We have a runner!
Ratings
Scene 10 - Echoes of Conflict
Ruby treks through the woods alone. Breaking through the
trees, she reaches a massive granite quarry. It’s breath-
taking. She sits on the sheer edge, looking out over the
lake. She starts to sing “HAPPY BIRTHDAY.” Her voice is
lovely and clear, echoing off the quarry walls.
INT. ROSSI HOME - KITCHEN/DECK - NIGHT
In her pajamas, Ruby pulls a load out of the laundry, then
heads out of the kitchen. As she passes the porch, she
notices her parents heatedly arguing. She watches, unseen.
JACKIE
The card was declined!
FRANK
I’ll move money around tomorrow.
JACKIE
It’s so embarrassing!
FRANK
What do you want me to do? I gotta
pay for ice, fuel!
JACKIE
Maybe we should sell the boat?
FRANK
And then what? It’s the one thing I
know how to do!
Ruby closes her eyes. She doesn’t want to watch her parents
fight. This is how she turns it off. When she opens her eyes
again, Frank leans against the counter, defeated.
FRANK (CONT'D)
If we lose that boat, we got
nothing.
Ratings
Scene 11 - Caught in the Tide of Change
Ruby cleans fish in a bucket with her boot. She pulls a hose
in to wash the deck, but her eyes aren’t on her work, they
keep drifting over to Frank, who looks lost in thought. He
sits on the rail, smoking, looking out over the ocean.
EXT. SALGADO FISH WHARF - LATE MORNING
Frank does paperwork as Ruby and Leo finish unloading fish.
Frank notices Tony Salgado addressing a group of fishermen
gathered at the end of the wharf, including Brady, CHUBS (big
and congenial), JIMMY (rough, 30s), and MONDO (Hispanic,
20s). Frank gestures to Ruby and Leo to join him.
As Ruby and Leo climb up, Frank points out the group.
FRANK
What’s going on?
RUBY
I don’t know.
They join the crowd, which is mid-discussion.
BRADY
I thought they weren’t gonna do
this observer shit!
TONY
Hey, I ain’t making the rules, I’m
just telling you how it is.
BRADY
Yeah, well how it is I can barely
feed my family.
MONDO
It’s bullshit.
As the fishermen talk, Ruby interprets.
TONY
The Feds are insisting on “at sea
monitors.” Observers are gonna come
onto your boat to make sure you’re
not breakin’ any rules.
BRADY
That’s outta my pocket? So I gotta
pay to have a spy on my boat?
CHUBS
How much is that gonna cost?
TONY
Eight hundred bucks a day.
MONDO
Come on, that’s gonna kill us.
Ruby turns to Frank, delivering this blow.
RUBY
Eight hundred a day.
FRANK
That’s more than we make in a day.
RUBY
Don’t tell me, tell them.
Ruby gestures that he should address the group. Frank shakes
her off, not comfortable speaking up.
Ratings
Scene 12 - Finding Her Voice
Ruby enters between classes. She finds Bernardo alone,
sitting at the piano, eyes closed.
RUBY
(hesitant)
Mr. V?
BERNARDO
I’m meditating.
He opens one eye, checks his phone timer. Closes his eyes.
BERNARDO (CONT'D)
Two minutes to go.
RUBY
Okay. Do you want me to wait or --
Bernardo opens his eyes, pauses the timer.
BERNARDO
Most people who are terrified of
singing don’t sign up for choir.
Ruby nods, not sure how to explain herself.
RUBY
Other kids make me nervous. I used
to get made fun of. I talked funny
when I first started school.
BERNARDO
You’re the girl with the deaf
family?
Ruby nods. Bernardo looks her over.
BERNARDO (CONT'D)
Everyone but you?
RUBY
Yeah.
BERNARDO
And you sing? Interesting. Are you
any good?
RUBY
I don’t know.
BERNARDO
Why did you run out of class?
RUBY
I got scared.
BERNARDO
Of what? Other kids?
RUBY
Maybe. Or maybe finding out that
I’m bad.
BERNARDO
Do you know what Bowie said about
Bob Dylan? “A voice like sand and
glue.” There are plenty of pretty
voices with nothing to say. Do you
have something to say?
RUBY
I think so.
BERNARDO
Good. Then, I’ll see you in class,
Bob.
He shoos her out with a wave. As Ruby leaves, a timer goes
off on his phone, signaling the end of his meditation.
Bernardo sighs, annoyed.
BERNARDO (CONT'D)
(calling after Ruby)
Thank you. Thank you!
Ratings
Scene 13 - Generational Tensions
Leo lounges in an armchair on the deck, swiping Tinder.
Jackie preps dinner in the kitchen. She looks up as Ruby and
Gertie walk in. She waves down the girls, nodding hello to
Gertie before turning to Ruby.
JACKIE
Do you have a second to call
Grandma?
RUBY
Use the video relay.
JACKIE
It’s awkward to talk to a stranger.
RUBY
(signed and spoken)
I have a friend over!
Leo interjects, exasperated with his mom.
LEO
Leave her alone. She’s with a
friend.
Ruby, momentarily freed, yanks her friend away. Gertie checks
Leo out as she goes.
GERTIE
Damn, Leo got hot.
RUBY
Ew.
GERTIE
What? He can’t hear me.
Ratings
Scene 14 - Flirting and Confusion
Gertie sprawls across Ruby’s bed. Ruby takes out a record and
puts it on an old Fisher Price record player.
GERTIE
Does he work out, or are those like
fishing muscles?
RUBY
OK, stop. You cannot date my
brother.
GERTIE
Why?
RUBY
Because for you, “dating” just
means sex, which I don’t even want
to think about!
GERTIE
Okay, I’m sure he doesn’t need his
little sister protecting him.
RUBY
Will you go back to trying to get
with teachers? It’s more
entertaining.
Ruby drops the needle onto the record. “My Pal Foot Foot” by
the Shaggs plays. Ruby dances across the room to Gertie.
GERTIE
Oh, okay.
(re: the music)
What the hell are we listening to?
Ruby grins and flops onto the bed next to Gertie, holding up
the record cover with delight.
RUBY
The Shaggs!
(laughs)
This song is called “My Pal Foot
Foot.”
GERTIE
Ruby.
RUBY
Wait, wait...
The chorus of the song kicks in. It’s weird.
RUBY (CONT'D)
That’s my favorite part, right
there!
GERTIE
You find the weirdest shit. Did you
get this in the dollar bin?
(beat)
Wait, I have a serious question.
What’s the sign for, um, for
“You’re really smoking hot”?
RUBY
No.
GERTIE
What about like “We should totally
get it on”?
RUBY
No!
GERTIE
Is it just... this?
Gertie thrusts her hips up and down.
RUBY
Oh my God. No. Stop!
GERTIE
Then show me!
Ruby gives her a hard look, but then smiles, caving.
INT. ROSSI HOME - STAIRS/LIVING ROOM - EVENING
Gertie exits. Leo is lying on the couch. She smiles at him
and SIGNS.
He stares at her. She winks and exits. Ruby appears.
LEO
What’s up with Gertie? She just
told me she has herpes.
Ratings
Scene 15 - Finding Confidence in Song
The choir sings “Let’s Get it On” by Marvin Gaye like it’s a
funeral dirge. Bernardo rants.
BERNARDO
Energy! I’m falling asleep! Guys,
sounds like a funeral.
Bernardo stops playing.
BERNARDO (CONT'D)
Come on! Guys, come on! You’re
teenagers! All you think about is
getting it on!
Ruby snickers. Bernardo’s eyes fall on her.
BERNARDO (CONT'D)
Bob!
Ruby is startled out of her reverie.
BERNARDO (CONT'D)
Come! Get up here. Come on!
Ruby walks to the front of the class, and stands nervously.
Bernardo approaches her.
BERNARDO (CONT'D)
Come on, sing.
RUBY
(tentatively singing)
I’ve been really tryin’ baby...
BERNARDO
No, no, no! You’re not breathing.
There’s no sound without breath and
none of you are breathing. Fill
your belly. Fill it up.
Ruby breathes in. Bernardo stares at her stomach.
BERNARDO (CONT'D)
Come on, that is not a belly!
This... This is a belly!
He grabs his own belly as he puffs it out.
BERNARDO (CONT'D)
Okay, follow me. Remember the
“little dog, big dog” exercise?
Okay, “little dog.”
He holds up his arms in front of his body like paws and hangs
his tongue out, panting like a “little dog.”
BERNARDO (CONT'D)
Hah hah hah.
Ruby doesn’t move. Bernardo claps at her to follow his lead.
BERNARDO (CONT'D)
Do it! Come on! Hah hah hah hah.
Push, push, push!
Embarrassed, Ruby pokes her belly out and pants, holding her
hands up like paws. Bernardo seems completely unfazed.
BERNARDO (CONT'D)
Medium dog!
(slightly deeper pants)
Hah hah hah hah. Big dog!
Bernardo makes a crazy low “big dog” sound. Ruby stops,
completely mortified.
BERNARDO (CONT'D)
You’re embarrassed? Really?
He turns to the class, commanding them all to participate.
BERNARDO (CONT'D)
Everyone! “Little dog, big dog”!
Come on! And...
He makes “little dog” pants again. The class reluctantly
joins the exercise, “paws” up, tongues out.
BERNARDO (CONT'D)
Pant, pant! Push. Medium dog! Big
dog! Engage your core. Blow it out.
Push, push!
Now he is focused on Ruby, pushing only her to breathe.
BERNARDO (CONT'D)
Push, push, push! Engage your core!
More, more! Now... sing!
He sits at the piano, plays the first line of the song.
RUBY
(singing)
I've been really tryin', baby.
Her voice comes out with surprising clarity. Other students
react. As does she. Bernardo smiles.
BERNARDO
Yes!
RUBY
Tryin' to hold back these feelings
for so long...
BERNARDO
Now we’re talking!
RUBY
And if you feel, like I feel, baby.
Come on... come on.
Bernardo stops playing. Ruby stops, unsure.
BERNARDO
Well. It’s not sand and glue.
A flicker of a smile crosses Miles’s face. Bernardo grins.
Ratings
Scene 16 - Duet Dilemmas
The class heads out. Bernardo stops Ruby and Miles.
BERNARDO
Ruby. Miles. Come here.
They look at each other and head over.
BERNARDO (CONT'D)
Today, if it’s possible. Thank you.
Do you two know each other?
RUBY MILES
Yeah. Kind of.
Ruby looks mortified. Bernardo clocks this.
BERNARDO
Okay... I need a duet. I need a
duet for the Fall Concert. “You’re
All I Need to Get By,” you know it?
MILES
Yeah.
Ruby shakes her head. Bernardo looks disappointed.
BERNARDO
Educate yourself.
He hands them each music.
BERNARDO (CONT'D)
We’ll work next class.
EXT. GLOUCESTER STREETS - SEQUENCE - DAY
”You’re All I Need to Get By” by Marvin Gaye and Tammi
Terrell plays.
Ruby bikes from school to Salgado’s along the water, passing
sailboats and kids playing on the beach. Bucolic vistas
juxtaposed with “For Lease” signs, boarded up buildings -
this is a beautiful place that has been hit hard.
EXT. SALGADO’S PROCESSING - PARKING LOT - DAY
She reaches the “SALGADO SEAFOOD COMPANY.” Parks her bike.
Takes her earbuds out, the song stops.
Ratings
Scene 17 - Confrontation at the Auction
Ruby walks through the auction. Workers move pallets of fish,
shovel ice. Graders walk around assessing the tubs. She waves
at some people.
She spots Leo. He types on his iPad, back and forth with GIO
SALGADO (the auction owner). As Ruby approaches, she passes
Tony haggling with another FISHERMAN and eavesdrops.
TONY
Eight hundred for three. It’s as
good as I can do. But I’ll take
them all, okay?
Ruby’s just overheard the price, she’s armed for battle. She
approaches Leo and Gio. Leo’s annoyed to see her.
LEO
Dad’s out back.
Ruby ignores Leo, turning to Gio to negotiate.
RUBY
What are you giving him?
LEO
Ruby, stop, I got this.
GIO
2.75.
RUBY
I just heard Tony tell McKinny it
was three. And his shit looks like
it’s been baking in the sun.
(MORE)
RUBY (CONT'D)
Come on. It’s three or we take our
catch back.
LEO
Ruby, get out of here! Out of here!
RUBY
(signed and spoken)
He’s ripping you off!
Ruby heads out. Leo stares at Gio, livid.
Ratings
Scene 18 - Family Tensions
Ruby exits to find Frank, sitting on a stack of lobster
traps, smoking a joint.
RUBY
(signed and spoken)
We’re out in public.
FRANK
It’s medicinal.
RUBY
(signed and spoken)
I don’t think being deaf makes it
legal to spark a fatty.
Leo emerges from the auction house, angry.
LEO
What the hell was that?!
RUBY
I got the price up didn’t I?
LEO
I was handling it! You made me look
stupid.
RUBY
No, you look stupid when Gio throws
out any number he wants and you
can’t cross-check it!
FRANK
Guys! You want to fight, go fight
those assholes! Our family sticks
together.
(beat)
I’d give my left nut to tell them
to go screw themselves.
RUBY
So do it.
FRANK
Who’s gonna sell our fish?
RUBY LEO
Us! Us!
Frank shakes his head. He walks away.
Ratings
Scene 19 - Finding Harmony
The Choir sings “It’s Your Thing” by The Isley Brothers.
Bernardo conducts. They stomp and clap for percussion.
CHORUS
(singing)
It's your thing, do what you wanna
do. I can't tell you, who to sock
it to. It's your thing, do what you
wanna do.
They laugh, dance. Excited, Bernardo jumps around, handing
out percussion instruments.
He gives a shaker to a girl with no rhythm and then
immediately takes it back.
The kids jam on the song, having fun.
INT. HIGH SCHOOL - CHOIR ROOM - LATER
Kids head out. Ruby collects her things. She walks up to join
Mr. V and Miles at the piano.
BERNARDO
Did you work on the song?
(off their nods)
Good! Blow my tiny mind.
He begins to play. They begin.
RUBY AND MILES
(singing)
You’re all I need to get by. Like
the sweet morning dew, I took one
look at you. And it was plain --
Bernardo interrupts them.
BERNARDO
You did not work on this.
RUBY
We did. Just not, like, together.
BERNARDO
Dios mio. DU-ET. It’s in the word.
You must DO-ET together! Face each
other. Come on! Face each other.
(to Miles)
You are afraid of her? You are
wise.
(to Ruby)
Come on, he does not have piojos.
(to both)
Guys, this is not the Pledge of
Allegiance. It’s a love song. A
love song. Try to imagine what it’s
like to sacrifice everything for
another human!
They stare at him.
MILES
(carefully)
So, again?
BERNARDO
No.
(he sits)
Of course, again! You go first
Miles. Okay? Let’s take it from the
verse. Ready?
Bernardo nods and plays. They sing again.
MILES
(singing)
Like the sweet morning dew, I took
one look at you. And it was plain
to see, you were my destiny.
RUBY
(singing)
With my arms open wide, I threw
away my pride --
Ruby’s voice soars. Their voices blend nicely.
BERNARDO
Good, good. Stop, stop! Good. In
the chorus, try the harmony up.
(demonstrating)
(MORE)
BERNARDO (CONT'D)
“There’s no, no looking back for
us.” Got it?
MILES
(copying the harmony)
“No looking back for us.”
BERNARDO
Good! I’m not angry at this. Go
work and come back.
Miles steals a look at Ruby, then grabs his stuff and
beelines for the door.
BERNARDO (CONT'D)
(to Miles)
Try it on the guitar.
MILES
Cool.
Ruby collects her things.
BERNARDO
You can sing.
(Ruby turns)
You have no control but your tone
is lovely.
RUBY
Thanks. It’s my favorite thing.
Bernardo takes this in.
BERNARDO
What are you doing next year?
RUBY
I don’t know. Working with my dad.
BERNARDO
No college?
RUBY
I’m not good at school.
BERNARDO
Miles is auditioning for Berklee
College of Music. I’ve been
coaching him for his audition.
(off her blank look)
You don’t know Berklee?
RUBY
I’ve heard of it.
BERNARDO
Come on, I grew up in Mexico City
and even I knew Berklee! Abraham
Laboriel, the famous bassist went
there. I did too.
RUBY
I can’t afford school.
BERNARDO
They have scholarships.
(beat)
How do you feel when you sing?
RUBY
I don’t know. It’s hard to explain.
BERNARDO
Try.
Ruby thinks. Then, unsure of how to express it, she SIGNS.
Her two fingers make a figure standing still while her other
hand circles to become the “universe,” which spins and grows
out of her hands into the air around her.
Bernardo considers her.
BERNARDO (CONT'D)
You would need to sight-read and
learn a classical piece. I need
your nights and weekends. I do not
waste my time. So, if I am
offering, it is because I hear
something.
Ruby takes this in, moved that someone is finally seeing her.
Ratings
Scene 20 - Breakfast Tensions
Ruby eats some cereal with Jackie. Jackie nurses her coffee.
Ruby watches her mom for a moment.
RUBY
I joined the choir.
Jackie looks at her, curious.
JACKIE
Why?
RUBY
I like to sing.
Jackie laughs, rolls her eyes.
RUBY (CONT'D)
What?
JACKIE
You’re a teenager. If I was blind,
would you want to paint?
Ruby stares at her.
RUBY
(signed and spoken)
Why is it always about you?
Jackie looks taken aback. Ruby grabs her stuff for school.
She turns back.
RUBY (CONT'D)
(signed and spoken)
I’m meeting people! I’m making
friends. You know what, you should
get out in the world too.
Ruby starts to leave. Jackie bangs the table, gesturing that
Ruby didn’t clear her plate. Ruby grabs her cereal bowl and
stomps into the kitchen. Jackie looks after her.
Ratings
Scene 21 - Fractured Ties at Salgado Fish Wharf
Frank and Leo dock their boat and tie it off.
LEO
We should do a Co-Op. Look, there’s
empty warehouses all over the
place.
Frank looks annoyed with this conversation, but Leo persists.
LEO (CONT'D)
We could organize a business, get
the other boats on board...
FRANK
(blowing up)
How?! Who’s gonna support us? We’re
the deaf guys!
This is the truth. The reason Frank has been so reluctant.
FRANK (CONT'D)
They look at us like we’re a joke.
Leo stares at his Dad. Frank can’t see it.
A group of fishermen make their way up the wharf. Brady calls
out to some guys.
BRADY
Hey! I’m going to Pratty’s for a
brew. Who wants to go?
Fishermen raise their hands to join him. Leo turns to Frank.
LEO
I’m gonna go.
FRANK
You want me to text Ruby?
LEO
(angry)
No. I’m a grown man.
Leo waves at Brady. The guys look surprised to see him
joining them, but wave him over.
Ratings
Scene 22 - Brawl at Pratty's Bar
Raucous, loud fisherman’s bar. Leo sits at a table with
Brady, Chubs, Jimmy and the other guys. Gertie is working her
shift as a bus-girl.
BRADY
So then, he hooks his arm around
the pole, bear hugging it. But when
he does, he loses his pants! They
go down to his knees. There he is
hanging, with his milky white,
ginger ass hanging out. And he’s
still like thirty feet from the
pole! But of course, he’s shit-
faced--
JIMMY
Shocker!
Leo watches the conversation -- we see it through his eyes.
He focuses on Brady’s lips, but the banter is too fast for
him. He’s only catching some of it. After awhile, he’s
exhausted and tunes out.
MIKE, a meathead, makes his way past the table to join Gio
and Tony at the bar. He accidentally bumps the table,
spilling his beer on Leo. He doesn’t apologize. Leo turns,
gestures “What the fuck?” Mike does fake sign language,
mocking him.
Suddenly, Leo is out of his chair. He yanks Mike off his bar
stool, throwing him to the floor. The bar erupts in chaos.
Mike is up like a rocket and lands a punch back as --
The two guys brawl. Shouts as the fishermen jump in, trying
to separate them. Tony and Gio lead their guy away. Leo,
pissed, shakes off the other guys as they try to corral him.
BRADY
Hey buddy, come have a seat.
Leo brushes them off angrily and heads to the bar.
Ratings
Scene 23 - Flirting in the Shadows
Leo sits at the bar, fuming, an empty beer glass in front of
him. He rubs a shiner on the left side of his face.
BARTENDER
(loudly, slowly)
Want some ice for your eye?
Leo shakes his head no. He points at the beer tap.
BARTENDER (CONT'D)
(understanding)
Ah, yeah.
The bartender pours him another. Leo notices Gertie, hanging
behind the bar, carefully watching him.
Gertie gestures, “You okay?” He shrugs, “Whatever.”
Leo gestures, “What are you doing in here?” She points to her
bar-rag and apron, indicating that she’s working.
They stare at each other for a moment. Gertie boldly takes
his phone and types in her number. Then pulls her own phone
out of her pocket, waiting. He considers it. Then TEXTS HER.
Leo: You work here? You’re not even old enough to drink.
She texts back.
Gertie: These guys can’t count to 21.
Then...
Gertie: Good punch.
They share a grin, the sexual tension palpable.
INT. PRATTY’S BAR - STORAGE CLOSET - AFTERNOON
Leo and Gertie go at it, making-out in the storage closet.
Ratings
Scene 24 - Awkward Harmonies
Miles and Ruby walk into the yard, strewn with fishing nets,
buoys, gear. Miles carries his guitar. Ruby looks around,
embarrassed it’s a dump.
RUBY
At least they support you, right?
Your music?
MILES
(shrugs)
Well, my dad insists guitar is a
waste of time because it’s not a
true string instrument. They suck
the fun right out of it.
RUBY
I’m sorry about all of this. My
house is kind of gross.
MILES
It’s cool.
Ruby leads him up the rickety porch steps into the house.
INT. ROSSI HOME - HALLWAY/RUBY’S ROOM - DAY
Ruby leads Miles up the stairs and into her room. Miles spies
the Shaggs record on her player.
MILES
No way! The Shaggs. I’m really here
to just steal these ladies.
(re: the record player)
I can’t believe this actually
works.
RUBY
It sounds like shit, but so does my
stereo. My mom thought it was a
waste of money. It was two dollars
from Goodwill.
MILES
Do they even get what music is?
RUBY
My dad really likes gangsta rap
‘cause of the bass.
Miles laughs. He studies her.
MILES
When we were little I used to see
you guys in town.
RUBY
We were hard to miss.
MILES
This one time, I think it was like
third grade, you were at the
Seaport Grille. You were ordering
for your parents, talking to the
waiter like a total baller. And
then you ordered two beers. I
thought it was so cool.
RUBY
Really?
MILES
Yeah. My parents wouldn’t even let
me ride the bus by myself.
(beat)
They’re weird, and they hate each
other, so there’s that.
Ruby takes this in. No one’s ever seen it like that.
RUBY
So how should we do this? Stand?
MILES
Maybe we face each other.
They face each other, nervously. Miles plays guitar, they
begin to sing.
MILES (CONT'D)
(singing)
Like the sweet morning dew, I took
one look at you. And it was plain
to see, you were my destiny --
RUBY
(singing)
With my arms open wide, I threw
away my pride --
(interrupting herself)
Sorry, this is super weird.
MILES
Okay.
RUBY
I don’t know where to look.
MILES
Well, do you want to try, like,
going back to back?
RUBY
Yeah, please.
Miles turns and leans against her. It’s almost more intimate.
MILES
(singing)
Like the sweet morning dew, I took
one look at you. And it was plain
to see, you were my destiny --
RUBY
(singing)
With my arms open wide, I threw
away my pride. I'll sacrifice for
you, dedicate my life for you. I
will go where you lead. Always
there in time of need --
MILES
(singing)
And when I lose my will, you'll be
there to push me up the hill --
Ruby relaxes. It’s romantic to hear their voices harmonizing.
Through the wall comes a THUMPING SOUND. Ruby ignores it.
RUBY AND MILES
(singing)
There's no, no looking back for us.
We got love sure 'nough, that's
enough. You're all, you're all I
need to get by.
The sounds through the wall grow louder. They are clearly SEX
SOUNDS. LOUD SEX SOUNDS. Grunting and headboard banging.
Miles hears a moan.
MILES
Is that your mom?
RUBY
Uh. Yeah.
MILES
Is she okay?
Ruby stares at him for a beat. The parental sex noises
escalate. Mortified, Ruby abruptly runs from the room.
Ratings
Scene 25 - Awkward Revelations
Ruby opens the door a crack, averts her eyes and then
flickers the lights on and off.
INT. ROSSI HOME - PARENTS’ ROOM/HALLWAY - DAY
As the bedroom lights flicker, Frank and Jackie freeze, like
busted teenagers.
INT. ROSSI HOME - LIVING ROOM - DAY
Ruby and Miles sit awkwardly across from Frank and Jackie,
who wear bathrobes.
FRANK
We need to discuss this.
RUBY
No, we don’t.
JACKIE
We had no idea you were home.
RUBY
The doctor said you’re not even
supposed to have sex!
FRANK
Look at your mother! Hot! How am I
supposed to control myself?
MILES
(gesturing to the door)
Maybe I should go.
Miles stands to leave. Frank gestures for him to sit down.
MILES (CONT'D)
Okay.
FRANK
I want to know what your intentions
are.
RUBY
(signed and spoken)
Dad, no!
FRANK
Are you two having sex?
MILES
What is he saying?
Ruby won’t interpret. Frank signs it again. It’s vulgar
looking and pretty damn clear what he’s saying.
FRANK
You screwing my daughter?
JACKIE
You two have to use condoms.
FRANK
Put a helmet on that soldier.
Frank makes the gesture of putting on a condom. Miles’s eyes
go wide and he laughs. Ruby jumps up.
RUBY
Oh my god! Miles go!
(to her parents)
You guys are the worst!
Miles stands, awkwardly moving toward the door.
MILES
Nice to meet you?
RUBY
Go!
Miles takes off. Ruby stares at her parents, horrified.
RUBY (CONT'D)
(signed and spoken)
Ugh! I hate you!
Ratings
Scene 26 - Rumors and Regrets
Ruby and Gertie make their way through the cafeteria line.
GERTIE
Good for them. I don’t think my
mom’s had sex since my dad left.
Except with her divorce attorney.
RUBY
It was so embarrassing. I can’t
ever see him again.
GERTIE
I’m sure he’s forgotten about it
already.
Ruby carries her tray to a table. She passes Audra and her
friends. They make SEX NOISES. Ruby stares at them, trying to
figure out what they’re doing. Audra mimes putting a condom
on her own hand. Ruby catches Miles’s eye. He looks slightly
horrified. Finally it clicks. Miles must have told them.
It starts to spread. The next table over makes sex noises
too. The whole school knows.
Horrified, Ruby bolts out of the cafeteria. Miles watches her
go, then jumps up and follows.
Ratings
Scene 27 - Rumors and Tears
Ruby hurries down the hallway on the verge of tears. Miles
catches up with her.
MILES
Hey, Ruby --
RUBY
Get away from me!
MILES
Wait, I didn’t do that, okay? I
didn’t tell them --
RUBY
Yes, you did.
MILES
No, no... I didn’t. I told Jay. One
person. We were laughing. I thought
it was funny!
Ruby stares at him, then hurries away. Miles doesn’t follow.
INT. HIGH SCHOOL - STAIRS - CONTINUOUS
Ruby runs into the stairwell. Alone and hidden, she cries.
Ratings
Scene 28 - Finding Her Voice
Bernardo works with Ruby at the piano, trying to release her
voice. She sings a few bars of “Both Sides Now” by Joni
Mitchell.
RUBY
(singing)
They shake their heads, they say
I’ve changed.
BERNARDO
Breathe!
RUBY
(singing)
Well, something’s lost, but
something’s gained. In living every
day.
BERNARDO
Let it out! Don’t hold it.
RUBY
(singing)
I’ve looked at life from both sides
now. From --
BERNARDO
Don’t hold it!
Ruby stops, frustrated.
BERNARDO (CONT'D)
Ruby, no! If you’re gonna pick Joni
Mitchell, you gotta sing it. This
is one of the great songs.
RUBY
Yeah, I know!
BERNARDO
You either find a way to connect to
it or pick a different song.
He jumps up from the piano.
BERNARDO (CONT'D)
Okay, come on! Shake your body,
shake it. Shake your arms. Now,
sing back at me.
Bernardo sings a note at her. She sings the note back. It’s
fine, but there’s tension in her voice.
BERNARDO (CONT'D)
No, no! You’re holding it.
RUBY
I’m not.
BERNARDO
Yeah, you’re trying to sound
pretty.
RUBY
I’m not.
BERNARDO
Yes, you are.
Bernardo studies her for a moment.
BERNARDO (CONT'D)
Okay, you said, when you started
school you talked funny. Funny how?
RUBY
I talked like a deaf person.
BERNARDO
What does a deaf person sound like?
RUBY
(hesitates)
You know.
BERNARDO
No, no I don’t know. I want you to
tell me.
RUBY
Different?
BERNARDO
Different how?
RUBY
(reluctantly)
Like, wrong. Ugly.
BERNARDO
Ugly, okay. Make an ugly sound for
me.
RUBY
What?
BERNARDO
Come on! Yeah. You think you were
the only kid who ever got bullied?
Who ever had a funny accent?! Look
in my eyes. Push against my hands
as hard as you can. Push! Make the
ugliest, grossest, sound you can.
Come on! URRGHHH!
Ruby lets go with an ugly sound. Reluctantly.
RUBY
UUUUUGH!
BERNARDO
ARRRGGHHH!
RUBY
UURRRRGHHHHHHH!
BERNARDO
No! Be a monster!
BERNARDO (CONT'D)
UARRRRGGHHHH!
RUBY
(screaming)
AAAUURRRRGHHHHHHH!
BERNARDO
Now sing at me!
Ruby belts back at him. Her voice comes out clear, resonant
and LOUD. Bernardo looks satisfied.
BERNARDO (CONT'D)
Yes! That’s it. THAT’S IT. THAT’S
what I was waiting for. Hey!
Bernardo gives her a high five.
BERNARDO (CONT'D)
Yes!
Ratings
Scene 29 - A Bold Proposal at the Fisheries Council
The Fisheries Council addresses a crowd of fishermen,
including Frank and Leo. Gio Salgado, head of the Council and
JOHN KAUFMAN, a representative of NOAA (National Oceanic and
Atmospheric Administration) run the meeting.
BRADY
You guys raise the quotas every
year. It used to be 100 boats in
that harbor, it must be 15 now.
JIMMY
What are you doing? Taking
kickbacks from the government?
MONDO
You want to control the fishing,
but you don’t know what’s going on
out there!
JOHN KAUFMAN
That’s the point of the monitors.
MONDO
Right, a snitch.
GIO
Hey, hey, settle down. Settle down!
Let’s be respectful.
Ruby sneaks in to join her father and brother.
JOHN KAUFMAN
We’re out there to collect data.
CHUBS
Yeah well, your data is wrong,
okay? The water’s gettin’ warmer,
the fish are goin’ deeper.
JOHN KAUFMAN
Oh you’ve tested?
CHUBS
Yeah. I see what’s coming up in my
nets, you asshole!
RUBY
Sorry.
FRANK
You gotta interpret, I’m lost.
RUBY
What’s going on?
As the meeting continues, Ruby signs.
JOHN KAUFMAN
We understand that the observers
are a financial hardship, but it’s
critical to protect the fishery.
GIO
It’s John’s job to look out for the
fish, and as head of the council,
it’s my job to look out for you!
The fishermen react -- calling bullshit.
GIO (CONT'D)
It’s not the old days anymore.
Everyone has to make some
sacrifices.
JOHN KAUFMAN
Guys, we are not the enemy here.
Frank raises his hand. He stands up suddenly, banging his
chair to get the room’s attention, then...
FRANK
Suck my dick!
Frank gestures for Ruby to translate. She stares at him. Ruby
stands, not sure what to do.
RUBY
Suck my dick.
(quickly)
That’s from him, not me.
GIO
Got a problem, Frank?
Frank looks at Leo, he’s made a decision. Ruby waits
nervously. Here we go. She translates as Frank vents.
FRANK (VIA RUBY)
We’re tired of this shit, Gio! You
don’t care if these guys regulate
us to death, ‘cause you’re the only
one making money here! No one’s
getting paid what their catch is
worth!
The other fishermen look shocked at his ferocity.
FRANK (VIA RUBY) (CONT'D)
My dad fished, and his dad. So I’m
gonna fight like hell to stay out
on the water. Screw yourself. I’m
done with the auction.
GIO
Oh yeah, what are you gonna do?
Frank gestures for Leo to stand.
FRANK (VIA RUBY)
We’re gonna sell our own fish! Any
of you want to join us?
Leo looks shocked. Did his dad really just say that? Looks
are exchanged in the crowd. Brady and Chubs look interested.
GIO
Hey, what is this?
Leo stands up to help him out.
LEO (VIA RUBY)
You like giving this asshole 60% of
your paycheck? Bring us your catch
and we’ll double what you’re
getting now!
There’s silence. Then a few of the fishermen clap. Ruby
shoots Leo a look.
RUBY
Double it?
LEO
I have no idea. It sounded good
though, right?
Ratings
Scene 30 - Tensions in the Rossi Living Room
Jackie stares at her family, who look sheepish.
JACKIE
What?!
FRANK
It just came out. I was in the
moment.
JACKIE
How would that even work?
LEO
We get customers to sign up. They
buy fish right off the boat.
JACKIE
Do you know how much work that is?
There are so many steps!
LEO
I’ve looked into it.
JACKIE
There’s no money for it.
FRANK
You do our books. You could work
with the other wives.
JACKIE
Those hearing bitches want nothing
to do with me.
RUBY
(spoken)
Maybe if you didn’t call them
hearing bitches?
JACKIE
(to Frank)
And you! You hate people!
LEO
We could finally be part of the
community.
JACKIE
We have our community.
RUBY
Who? Your deaf friends? You see
them once a month.
LEO
What’s the problem? It’s a great
idea.
Jackie takes them in, seeing her family’s determination.
JACKIE
We can’t talk to these people.
Frank looks to Ruby. Ruby’s heart sinks - what did she just
get herself into? Leo storms out.
Ratings
Scene 31 - Ruby's Morning Hustle
Ruby’s alarm goes off. 3 am. She rolls over, exhausted.
Before she does anything else, she presses play on her
stereo.
“I Fought the Law” by The Clash blasts. She turns the volume
up. LOUD. She pulls a sweater over her pajama top and throws
on a wool hat. Her fishing clothes clearly laid out from the
night before.
INT. ROSSI HOME - PARENTS’ ROOM - CONTINUOUS
Ruby enters her parents’ room. Their bed VIBRATES, a BRIGHT
LIGHT FLASHES - the ALARM. Frank, incredibly, sleeps through
it. She shakes him awake.
The SONG continues over the following MONTAGE --
EXT. ANGELA ROSE DECK - OPEN OCEAN - DAY
Out on the water, Leo hoses the decks, throws the fish into a
slushy brine. Ruby is buried in classical sheet music,
working on her Italian pronounciation.
Leo douses her with the hose, she shrieks.
EXT. SALGADO FISH WHARF - DAY
A folding table is set up with flyers for Fresh Catch. Ruby,
Jackie, Leo and Frank pass out information.
RUBY
Get your fresh catch here! Sign up
now and get fish right off the
boat! Ocean to your mouth!
EXT. GLOUCESTER - VARIOUS LOCATIONS - MONTAGE - DAY
Ruby goes from boat to boat, talking to fishermen. Several
shake their heads no, reluctant to join the Fresh Catch
Program. A few sign up.
Ratings
Scene 32 - Struggles in Harmony
Bernardo and Ruby look over music notation together as he
explains the words.
BERNARDO
Forte. Very loudly, fortissimo.
Softly, piano, very softly,
pianissimo.
EXT. WAREHOUSE - DAY
A retired fisherman hands the Rossis the keys to a boarded up
warehouse. Jackie signs the paperwork.
INT. BERNARDO’S HOUSE - EVENING
Ruby sings “The Marriage of Figaro.” Bernardo shows her how
to breathe. Bernardo smells Ruby. She smells fishy.
INT. WAREHOUSE - DAY
The Rossis clean the inside of an old abandoned warehouse.
It’s dingy, but it’s cheap. Ruby stares down at her sheet
music, humming. Jackie observes her, feeling the distance
between them.
EXT. BERNARDO'S HOUSE - DAY
Ruby walks into her lesson, blowing past Miles on his way
out.
MILES
Hey.
She ignores him. Bernardo appears, looking annoyed.
MILES (CONT'D)
Ruby, come on! I said I’m sorry.
BERNARDO
(to Ruby)
You’re late.
EXT. BERNARDO’S HOUSE - BACK DECK - EVENING
Ruby and Bernardo look at sheet music set up on a music
stand. They clap out the rhythm. She repeats what he does.
MISHA, Bernardo’s six-year-old daughter, plays nearby.
EXT. WAREHOUSE - DAY
Frank spray paints a stencil “FRESH CATCH” on the wall.
Leo and Gertie make out against the building. Ruby enters the
warehouse and sees this. She looks disgusted.
INT. WAREHOUSE - DAY
Some FISHERMEN’S WIVES help Ruby and Jackie fill orders, put
fish on ice, wrap packages. Ruby, harried, juggles phone
calls as she moves boxes; this is way more work than she
expected. A few of the wives crack up about something. Jackie
watches, left out of the joke.
Ratings
Scene 33 - Tension Over Time
Ruby lies on the floor with Bernardo, working on deep
breathing. Bernardo looks over at her. She’s sound asleep.
EXT. BERNARDO’S HOUSE - DAY
Bernardo opens the door to find Ruby talking business on the
phone. Ruby holds up a finger, mouths “one second.” Bernardo
shakes his head.
The SONG ends --
BERNARDO
Get your ass inside.
INT. BERNARDO’S HOUSE - KITCHEN - DAY
Bernardo and Ruby argue.
BERNARDO
That’s the third time you’re late!
RUBY
It’s only twenty minutes.
BERNARDO
I don’t care if it’s one minute! It
shows me that you don’t respect me
or my time.
RUBY
I have a lot going on.
BERNARDO
Me too! I have a whole life that
has nothing to do with you. If you
waste my time, I will not work with
you. Okay?
RUBY
I’m sorry, it won’t happen again.
BERNARDO
It better not.
Ratings
Scene 34 - Unspoken Struggles
Ruby opens her locker. Miles catches up with her.
MILES
You gonna avoid me till we
graduate?
Ruby ignores him, putting books in her bag.
MILES (CONT'D)
I wasn’t laughing at them for being
deaf.
RUBY
Okay.
MILES
It was the situation.
Miles waits. She’s not giving him anything.
MILES (CONT'D)
Look, I know it’s not an excuse,
but it sucks in my house right now.
And you’ve got, like, this like
perfect life and...
Ruby whips around.
RUBY
What?
MILES
Your parents are madly in love,
they can’t keep their hands off
each other and your house is...
RUBY
Disgusting. My house is disgusting.
MILES
It’s not! It’s a home. You all work
together and laugh and my family’s
not like that! And then I listen to
you sing and... I just do it ‘cause
it’s expected from me.
Ruby stares at him.
RUBY
You have no idea what it’s like to
hear people laugh at your family --
MILES
You’re right. I don’t.
RUBY
And have to protect them. Because
they can’t hear it, but I can.
MILES
I know. I’m sorry, Ruby. I am. I’m
a dick.
Ruby softens.
MILES (CONT'D)
Can I make it up to you? Please.
Ruby rolls her eyes and walks away.
MILES (CONT'D)
(shouting after her)
I’m gonna text you every few
minutes till you agree to hang out
with me!
RUBY
(without stopping)
That’s psychotic!
MILES
Okay! I will NOT DO THAT!
Ratings
Scene 35 - Tangled Priorities
Ruby, Jackie and a few fishermen’s wives, NINA, BARB and
ANGELA, sort through orders, packaging fish. Ruby is managing
it all. Angela reads an order.
ANGELA
These foodie people eat anything
now...
NINA
Heads, tails, all sorts of garbage.
Next thing you know, fish dick’s
gonna be a new delicacy.
BARB
Fish don’t have dicks.
The women crack up. Jackie watches with a polite smile. An
alarm goes off on Ruby’s phone. She heads out.
NINA
This is your last free batch, kid.
RUBY
Yeah, yeah I got you.
INT. WAREHOUSE - HALLWAY - CONTINUOUS
Leo wheels a stack of crates on a hand-truck toward the
loading dock. Ruby walks alongside him. Jackie appears behind
them, chasing them down.
LEO
I can’t fit all these in the car.
RUBY
(signed and spoken)
We need a truck.
Jackie catches up to them, stopping Ruby at the door.
JACKIE
Where are you going?
RUBY
I have my music practice.
JACKIE
You can’t go...
Jackie gestures to the parking lot, where a NEWS CREW is
unloading their van. Ruby freezes. She turns to her mother.
RUBY
What’s this?
JACKIE
The news! They’re doing a story on
the family!
RUBY
Now? I can’t.
JACKIE
How are we gonna do the interview?
LEO
(stepping in)
I can lip-read.
JACKIE
You’re not going to get all of it!
(to Ruby)
This is important.
RUBY
(signed and spoken)
My stuff is important too! I can’t.
JACKIE
You want us to fail?!
Ruby stares at her mom, furious that she’s in this position.
A reporter, CHET TURNER, appears in the loading dock,
extending his hand.
CHET
Hi, you must be Jackie Rossi?
Ratings
Scene 36 - Tension in Translation
Frank and Jackie sit for the interview with the film crew.
Ruby interprets, but her focus is split. Agitated, she keeps
glancing down at her phone. Leo watches, increasingly
annoyed.
FRANK (VIA RUBY)
Hopefully, people will support us
and will buy their fish here.
CHET
That’s great! So, how does this
program work?
FRANK
Basically, the fishermen are at the
mercy of the big guys.
Ruby glances down at her phone as a text comes in.
BERNARDO: We have a lot to work on.
She TEXTS BERNARDO: Sorry. Family thing. Running late.
Leo kicks Ruby’s chair to get her attention. She looks up,
briefly.
FRANK (CONT'D)
The goal is to sell fish directly
to the people.
Ruby’s eyes drift back to her phone as more texts come in.
BERNARDO: I told you, no more of this.
BERNARDO: I mean it Ruby.
Frank waits for Ruby to translate, but she’s distracted,
looking at her phone.
Ruby glances up to see everyone waiting.
EXT. BERNARDO’S HOUSE - DUSK
Ruby races up to Bernardo’s house. Leaping off her bike, she
knocks on his door. Bernardo doesn’t answer. She bangs
harder. Locked out.
RUBY
Mr. V! Mr. V!
She sits on the stoop, defeated.
Ratings
Scene 37 - Confrontation in the Choir Room
Bernardo sits at the piano playing a beautiful piece to an
empty room. Ruby appears in the doorway, listening. Bernardo
notices her. He stops.
RUBY
Is that yours?
Bernardo raises his eyebrows, waits. Ruby works up her nerve.
RUBY (CONT'D)
I’m sorry. I want to do this.
BERNARDO
I don’t think so.
RUBY
Are you serious?
Bernardo stands, crosses to his desk.
BERNARDO
You have no discipline. You’re
late, you’re unprepared.
(MORE)
BERNARDO (CONT'D)
You wouldn’t last two days at
Berklee. Out! Go!
Ruby is shocked at his intensity. Bernardo turns away from
her. Ruby starts to leave, then angrily hits back at him.
RUBY
It’s not like that school did you
any good.
Bernardo turns and stares at her.
BERNARDO
You have what, seventeen years on
this planet? You don’t know shit.
Ruby takes this in, stunned.
BERNARDO (CONT'D)
You want to know why I’m a teacher?
I’m good at this. But I can’t do my
job unless you do yours. And I
certainly don’t need a lesson in
failure from someone who’s too
afraid to even try.
Ruby stares at him, silent, trying to form a response.
RUBY
I’ve never done anything without my
family before.
Bernardo takes this in, sensing she’s genuine.
Ratings
Scene 38 - Breaking Free
Ruby stands in front of Jackie, Frank and Leo. A hockey game
is on, but she has their attention.
RUBY
I want to go to college. At
Berklee. Music school. My teacher’s
been helping me with my audition.
They stare at her, stunned.
FRANK
College? In Boston? That city is
full of assholes.
RUBY
(signed and spoken)
So is everywhere.
JACKIE
You can’t go now. We just started
the business. With you!
RUBY
That’s all you care about? Losing
your free interpreter?
Frank shakes this off, it’s not about that.
FRANK
You’re an important part of this.
JACKIE
It’s terrible timing.
RUBY
(signed and spoken)
There will never be a good time. I
can’t stay with you for the rest of
my life!
FRANK
Nobody expects that from you.
RUBY
I have been interpreting my whole
life. This is exhausting. Singing
is what I love. It’s everything.
Ruby, frustrated, storms upstairs. Jackie turns to Leo.
JACKIE
Did you know about this?
Leo shakes his head.
Ratings
Scene 39 - Tensions at Home
Frank lies in bed as Jackie paces the room. They argue.
JACKIE
We can’t let her go.
FRANK
It’s college.
JACKIE
It’s not! It’s music school. And
what if she can’t sing? Maybe she’s
awful.
FRANK
She’s not awful.
JACKIE
Really? Have you heard her?
Frank rolls his eyes, puts his book away.
JACKIE (CONT'D)
I’m worried. What if she fails?
FRANK
I’m tired. I don’t wanna talk
anymore.
Frank rolls over, turning away. Jackie smacks him to get his
attention. He looks at her.
JACKIE
What do we do if she gets in? Then
she’s gone. Our baby is gone!
FRANK
She’s not a baby.
JACKIE
She’s my baby.
FRANK
She was never a baby!
INT. ROSSI HOME - RUBY’S ROOM - NIGHT
Ruby crawls into bed and sets her alarm for 3am. She stares
at it. She lets out a scream of frustration.
RUBY
AAAUURRRRGHHHHHHH!
Her phone pings. A text from Miles.
MILES: What do I have to do to make it up to you? ANYTHING!
Ruby stares for a moment. A small smile flickers across her
face. She types back.
Ratings
Scene 40 - Turbulent Waters
Frank and Leo prep the boat for departure.
LEO
Where’s Ruby?
FRANK
(shrugs)
She’s pissed.
LEO
Yeah, but today?
He gestures down the dock. A middle-aged woman, JOANNE BILES,
dressed in a paddler’s hat and brand new fleece, is stepping
gingerly toward them. She wheels a rolling bag.
FRANK
Is that the observer? Seriously?
JOANNE
Hello!
LEO
I should make her jump.
She reaches the edge of the dock. Leo hesitates.
JOANNE
I’m Joanne Biles. I’m your “At Sea
Monitor.” I’ll be going out with
you today.
Leo stares at her, giving her nothing. Reluctantly, he takes
the wooden plank and throws it across with a bang.
Joanne awkwardly hoists her bag up onto the plank.
JOANNE (CONT'D)
Could you help me with... I don’t
think I can get across.
Leo lets her struggle with it for a moment, then grabs the
bag and pulls it onboard.
EXT./INT. ANGELA ROSE DECK/WHEELHOUSE - OPEN OCEAN - DAY
The Angela Rose leaves harbor with Joanne on board.
Out in open water, Frank drives in the wheelhouse, eating a
jar of peanut butter with a spoon. Joanne, oblivious, tries
to make conversation.
JOANNE
Feels like rough seas today.
Frank doesn’t respond. Joanne is used to being ignored. No
one likes having her there. She awkwardly climbs into some
brand new Grundens, pulling the tag off them.
Leo enters the wheelhouse, joining his dad by the captain’s
chair. He and Frank exchange a look.
LEO
Should I throw her overboard?
Ratings
Scene 41 - Leap of Faith
Ruby and Miles march along a trail. Aspen leaves quiver,
throwing dappled light down onto the path. Ruby blows past a
“NO SWIMMING” sign.
MILES
So, you gonna murder me?
RUBY
I haven’t decided.
They exit the woods, stepping out onto the edge of the
quarry, thirty feet above the water. Ruby walks to the edge.
She glances back at Miles. She strips off her sweatshirt and
kicks off her shoes.
MILES
Really? No, no, no...
RUBY
Just don’t belly flop.
Ruby leaps off the edge, flies through the air and hits the
water with a smack. Miles watches, stunned, as she surfaces
and swims out, hair glistening in the sun. He peels off his
clothes and takes a deep breath, swallowing his fear.
MILES
Are you crazy? That looks freezing.
RUBY
Get in!
MILES
Clear! Incoming!
Miles leaps after her, yelling on the way down. He surfaces.
MILES (CONT'D)
Oh god, it’s so cold. It went up my
nose!
Ruby splashes him and begins to swim away. He follows.
MILES (CONT'D)
So, we good now?
RUBY
After we do The Barge.
MILES
Which one’s The Barge?
Ruby points across the quarry to an even taller cliff.
MILES (CONT'D)
Wait, that’s like, 40 feet.
Ratings
Scene 42 - Communication Barrier
Frank and Leo work setting out the nets. Joanne lays out all
of her marine kit, her scales. She approaches Frank.
JOANNE
Hey, is the engine regularly
maintained?
Frank shrugs. She tries again.
JOANNE (CONT'D)
When was the last time you had your
engine checked?
Frank gestures to his ears and shakes his head - Can’t hear.
JOANNE (CONT'D)
Yeah, it’s loud! That’s why I’m
asking.
Finally Frank grabs her notebook from her and scribbles.
Deaf.
Joanne stares at him in surprise. She gestures to Leo.
JOANNE (CONT'D)
Him too?
Frank nods, then returns to work. Joanne sits down, stunned.
She looks concerned, pulls out her phone and turns away from
them a call.
Ratings
Scene 43 - Leap of Courage
Ruby and Miles climb out of the water, up the rocks.
MILES
Haven’t kids like died doing this?
RUBY
It will definitely flip your
eyelids inside out and give you the
worst wedgie of your life.
Miles reluctantly follows.
RUBY (CONT'D)
Your legs are gonna start shaking,
like cartoon style. So jump fast to
save yourself.
MILES
Okay.
RUBY
And there’s a branch sticking out
about halfway down. So jump out.
MILES
You’re really selling this.
They emerge from the woods at the top of the cliff.
MILES (CONT'D)
Is that poison ivy?
Ruby shrugs, walks to the edge. Miles cautiously joins her.
MILES (CONT'D)
Holy shit. Should we leave a note?
In case people think this was a
joint suicide?
RUBY
Let’s keep ‘em guessing.
They look down over the edge. It’s really high.
MILES
Yeah, there’s the shaky legs.
RUBY
Okay. One. Two...
MILES
Wait, wait, wait.
Ruby stops. As soon as she does, Miles leaps off the edge.
MILES (CONT'D)
Three! Saving myself!
RUBY
No!
Ruby jumps after him. It’s a huge leap. They fly, screaming
in terror and joy. They hit the water with a resounding
smack. They both disappear. After a moment, they break the
surface, gasping.
MILES
Yeah! That hurt!
RUBY
OWWWW!
Their laughter and howls echo off the quarry walls.
Ratings
Scene 44 - Silent Violation
Frank and Leo work on deck, sorting the fish. Joanne weighs a
fish, makes some notes in her notebook, but she scans the
horizon, waiting. The guys continue to work, oblivious. A
RADIO TRANSMISSION comes in.
RADIO (V.O.)
Fishing vessel Angela Rose, fishing
vessel Angela Rose. Coast Guard. 25
off your starboard quarter. Channel
16. Over.
A WARNING LIGHT FLASHES in the empty wheelhouse. No one sees
it except Joanne, who watches, but doesn’t alert them. The
RADIO CRACKLES and goes unanswered.
RADIO (V.O.)
Fishing vessel Angela Rose. Coast
Guard. 24, E21. 25, E21. Channel
16. Come in. Over.
Leo and Frank continue to work. A COAST GUARD BOAT
approaches, speeding toward them, SIRENS BLARING.
RADIO (V.O.)
Fishing vessel Angela Rose. Fishing
vessel Angela Rose. Coast Guard.
24, E21. 25, E21. Come in, over.
Fishing vessel Angela Rose. Fishing
vessel Angela Rose. Coast Guard 25.
You are in violation.
The Coast Guard boat speeds up alongside the Angela Rose. Two
BOARDING OFFICERS clear the rail, leaping onto deck. Frank
and Leo jump up, startled by the flashing lights and the
angry faces of the officers.
COAST GUARD OFFICER
You sir, stand up! Drop the pick.
Stand up! Stand up!
Frank and Leo throw their hands up, confused and terrified,
trying to understand what’s happening.
COAST GUARD OFFICER (CONT'D)
What’s going on here? Why is no one
answering the radio?
Frank points at his ear. The Coast Guard officers turn to
Joanne. Dialogue fades out and we watch the scene from
Frank’s perspective as Joanne explains that they’re deaf.
Frank stares at Joanne, the revelation slowly washing over
him - this is her doing.
EXT. MANSHIP QUARRY - WATER - DAY
Ruby and Miles float on a downed tree in the quarry. They
attempt to jump up on the log at the same time.
MILES
Nailed it.
The log spins. They tumble into the water.
MILES (CONT'D)
Check it out!
Miles scrambles up, loses his balance, splashes in. Ruby
makes it up and runs the length as Miles cheers.
Exhausted, they rest their arms on opposite sides, drifting
quietly. Miles leans over and kisses her. It’s perfect.
Ratings
Scene 45 - Tensions in the Kitchen
Ruby enters, riding high from her day. Her parents and Leo
are arguing fiercely in the kitchen.
RUBY
What happened?
FRANK
You didn’t come to work. We’re done
fishing. They suspended my license.
Ruby stares at him - oh shit.
RUBY
Who did?
LEO
Coasties. The observer saw we were
deaf and tipped them off.
RUBY
(signed and spoken)
They can’t do that!
LEO
We were just working and they came
to board us. We didn’t know.
RUBY
I told you. You need a hearing
deckhand.
FRANK
Yeah, that’s you! You were that
person.
RUBY
(signed and spoken)
I can’t always be that person.
LEO
She’s right. We need another guy.
JACKIE
We can’t afford it!
FRANK
If you’d told me you weren’t
coming, I’d have figured something
out. But you didn’t.
RUBY
You’re seriously blaming me?
JACKIE
Your father was counting on you.
RUBY
(signed and spoken)
No. Don’t put this on me! It’s not
my fault.
Ratings
Scene 46 - Navigating Compliance
Frank, Jackie and Leo sit in front of a couple of COAST GUARD
HEARING OFFICERS reviewing their case. Ruby interprets.
COAST GUARD OFFICER
You failed to obey an order by
federal law enforcement to board
your vessel. On top of that, you
were operating your vessel in a
negligent and dangerous manner due
to your... disability. I have no
choice but to administer the
minimum fine, which is $1,000. And
an additional penalty of $1,500.
FRANK
We can’t pay that unless we can get
back on the water.
RUBY
Officer, what do they need to do to
be able to fish again?
COAST GUARD OFFICER
You will be required to have a
hearing individual on board at all
times to answer radios, hear ship
whistles, etcetera. We will be
monitoring you regularly to make
sure you are in compliance. Do you
have that person?
Ruby stares at him, considering this.
Ratings
Scene 47 - Tides of Tension
The Rossi family eats a subdued, sad dinner.
FRANK
I’ll sell the boat. Take the money
we can. That’ll be that.
RUBY
It’s fine. I’ll stay. I’ll work
with you on the boat.
Her family stares at her.
LEO
No!
RUBY
Yes. We can’t afford to pay someone
else. And there’s nobody that’s
gonna know how to sign.
FRANK
Are you sure?
RUBY
School can wait. I already decided.
I’m excited.
Her parents look relieved. Frustrated, Leo pushes back.
LEO
Oh, Saint Ruby! We’ll make a shrine
to you on the boat.
JACKIE
Wait. She’s trying to help!
LEO
Well, thank God you have her.
Leo storms out, leaving the three of them looking after him.
Ratings
Scene 48 - A Moment of Connection
Ruby lies in bed, headphones on, listening to “Both Sides
Now.” Jackie enters, sets a shopping bag down.
JACKIE
Don’t kill me. I bought you a red
dress for your concert. If you
don’t like it, you don’t have to
wear it.
Ruby makes a face. Jackie lingers.
JACKIE (CONT'D)
I’m really glad you’re staying.
RUBY
Leo isn’t.
JACKIE
It’s complicated. He feels left
out.
RUBY
That’s crazy. It’s always the three
of you and then me.
JACKIE
I get it.
They take each other in for a beat.
RUBY
(genuine)
Do you ever wish I was deaf?
Jackie sits on the edge of the bed. She thinks for a long
moment before she speaks.
JACKIE
When you were born, at the
hospital, they gave you a hearing
test. And there you were, so tiny
and sweet, with these electrodes
all over you. And I... prayed that
you would be deaf. When they told
us that you were hearing, I felt...
my heart sank.
RUBY
Why?
JACKIE
I was worried that we wouldn’t
connect. Like me and my mom, we’re
not close. I thought I would fail
you. That being deaf would make me
a bad mom.
RUBY
Don’t worry. You are a bad mom for
so many other reasons.
Jackie smiles.
JACKIE
I know I drive you crazy, with the
clothes, the makeup. But honestly,
I’m happy that you know who you
are. You’re brave. Not like me.
Ruby hugs her. It’s been a long time since she’s hugged her
mom like this. Ruby folds into Jackie’s lap like a little
kid. Jackie strokes her hair.
Ratings
Scene 49 - Tides of Frustration
Leo sits on a rock, looking out at the water. Ruby walks
toward him. Leo sees her. She waves, joins him.
RUBY
You hiding?
LEO
Not very well.
Leo hops down, walking away from her. Ruby chases him down.
RUBY
You still mad at me?
LEO
You can’t fish full time.
RUBY
Why not?
LEO
Gertie told me that you can really
sing. That’s special.
(beat)
You can’t stay here. They’ll keep
looking to you for everything.
RUBY
What else am I supposed to do?
Leo erupts, his frustration exploding.
LEO
Let me do this! I got this! I’m the
older brother and I get treated
like a baby. I haven’t been able to
do a thing with Fresh Catch!
RUBY
Because it all involves talking to
hearing people!
LEO
So what? Who cares! You’re so
afraid that we’ll look stupid. Let
them figure out how to deal with
deaf people! We’re not helpless!
(beat)
Our family was fine before you were
born. Go!
Ruby is at a loss for how to respond. She knows they’ll be
fine. It’s not them she’s worried about.
Ratings
Scene 50 - A Disheartening Performance
Ruby peeks through the curtain, watching her parents find
their seats. Bernardo bustles around, getting kids in place.
As a boy passes, Bernardo pulls off his Red Sox hat.
BERNARDO
We are not at Fenway, my friend.
You must be ready to walk on stage
in two minutes or you are not
performing!
Ruby looks nervous.
INT. HIGH SCHOOL - AUDITORIUM - DAY
Frank, Jackie and Leo sit in the audience, looking around,
taking in the other families. Gertie walks in and slides into
the seat next to Leo. Bernardo comes on stage.
BERNARDO
Good evening, ladies and gentlemen!
For those of you who don’t know,
I’m Bernardo Villalobos, the
choirmaster. Most of these kids
call me Mr. V... to my face, I
don’t know what they call me behind
my back!
The crowd laughs. Jackie notices. She nudges Leo.
JACKIE
Can you read his lips?
Leo shakes his head “no.” Jackie looks back to the stage.
BERNARDO
But I am very proud of this group.
They have worked hard. So, I will
shut up now and let you see your
children, which is what you came
for...
The Choir busts out with “I’ve Got the Music in Me" by Kiki
Dee. Frank and Jackie watch Ruby with pride.
JACKIE
Ruby looks beautiful.
FRANK
You have good taste.
JACKIE
I like how her dress matches the
curtains.
Gertie signs to Leo that Ruby’s good. Leo nudges his mom.
LEO
She’s good.
JACKIE
No idea.
LEO
No, she said.
JACKIE
Oh!
The audience claps, dances in their seats. Frank and Jackie
look around. Trying to participate, they clap along.
Leo laces fingers with Gertie. They sit there, holding hands,
both newbies to this kind of intimacy.
The Choir sings “Starman” by David Bowie. Ruby watches her
parents in the audience. Jackie mom picks her nails. Frank
looks around, fiddles with his shirt.
JACKIE (CONT'D)
What’s wrong?
FRANK
My buttons are off.
Jackie sits for a beat, then turns to him again.
JACKIE
What do you want for dinner?
FRANK
Spaghetti.
JACKIE
I’ll have to go to the grocery
store.
Ruby watches this from the stage. They’re clearly bored. Her
heart sinks.
Ratings
Scene 51 - Silent Serenade
As a song finishes up, Bernardo walks out on stage.
BERNARDO
And now, I have a special treat.
Sometimes you hear a voice. And it
reminds you to keep making music.
Please welcome Miles Patterson and
Ruby Rossi.
Ruby and Miles walk onstage, Miles carrying his guitar. Frank
and Jackie perk up when they see Ruby. This is what they’ve
been waiting for. Miles gives Ruby an encouraging nod and
begins to play.
We view this performance from Frank and Jackie’s perspective.
After the first few bars of music, we hear ONLY SILENCE. They
watch Ruby’s lips move, but no sound comes out.
Miles and Ruby are lost in the song. Frank and Jackie look
around at the enthralled faces in the audience. People wipe
away tears, visibly moved. They stare at their daughter,
watching her mouth open and close, trying to feel what other
people are feeling. A confluence of art and audience.
The song ends and the audience leaps to its feet. Jackie and
Frank clap along with the crowd. Ruby and Miles take a bow.
Ratings
Scene 52 - A Comical Misunderstanding
Families stream out of the concert hall. Ruby and her family
make their way out. They pass Bernardo, with his wife, TANYA
and his daughter, Misha.
TANYA
Hey Ruby, that was lovely.
RUBY
Oh, thanks.
BERNARDO
Bob! Great job! Are these your
parents?
RUBY
Yeah, Frank and Jackie. And this is
my brother Leo.
(to her parents)
This is my teacher, Mr. V. And his
family.
Ruby’s family waves hello. Then Bernardo signs.
BERNARDO
Nice to fuck you.
Ruby’s eyes go wide.
BERNARDO (CONT'D)
I learned that on YouTube. What?
Isn’t that “nice to meet you”?
RUBY
No. Meet is one finger, not two.
See, this is like legs...
She demonstrates the similar signs. Bernardo looks horrified.
BERNARDO
No, no, no! I mean... Oh my God!
FRANK
It’s fine, I get it. Nice to screw
you too.
Bernardo laughs, getting his signed joke.
BERNARDO
These are my kind of parents.
(to Ruby)
Please tell them their daughter is
very talented. And they’re making a
terrible mistake not sending her
off to school.
RUBY
I’ll just do the first part.
Ruby smiles, rolls her eyes and translates.
BERNARDO
I’m meeting Miles at his audition
tomorrow. You still have your slot,
if you change your mind.
RUBY
You have to stop.
(signing and speaking)
But thank you.
Ratings
Scene 53 - Under the Stars
The Rossi family exits the car and heads toward the house.
Frank peels off.
FRANK
I’m going to get some air.
Ruby starts to head inside, then thinks better of it. She
joins her dad, sitting on the tailgate of the truck.
RUBY
What are you doing?
FRANK
Just thinking.
Frank gestures up to the sky.
FRANK (CONT'D)
Stars don’t look half as good on
land as they do out on the water.
They sit for a moment.
FRANK (CONT'D)
The song you sang tonight. What was
it about?
RUBY
I guess it’s about sacrifice. What
it means to need someone else.
FRANK
Can you sing it for me?
RUBY
What, now?
FRANK
Please.
Ruby hesitates, then starts to sing quietly.
RUBY
(singing)
Like the sweet morning dew, I took
one look at you. And it was plain
to see, you were my destiny. With
my arms open wide, I threw away my
pride. I'll sacrifice for you,
dedicate my life for you --
FRANK
Louder!
Ruby sings louder. Frank lays his hand on her throat to feel
the vibrations. As the song continues, Ruby’s voice becomes
clear and resonant, drifting up into the night.
RUBY
(singing)
I will go, where you lead, always
there in time of need. And when I
lose my will, you'll be there to
push me up the hill --
Frank moves his hands around on her neck to find her voice.
He closes his eyes - that’s it. He can feel it. He moves his
hand to her plexus, “listening.”
RUBY (CONT'D)
(singing)
There's no, no looking back for us.
We got love sure 'nough, that's
enough. You're all, you're all I
need to get by.
Frank opens his eyes. He takes in his daughter. He kisses
Ruby on the forehead. She leans into her dad and they look up
at the night sky.
INT. ROSSI HOME - RUBY’S ROOM - EARLY MORNING
The sun’s coming up. Frank shakes a disoriented Ruby awake.
RUBY
(confused)
Are we fishing?
FRANK
No.
EXT. ROSSI HOME - DRIVEWAY - MORNING
Ruby’s whole family scrambles excitedly into the car.
RUBY
(signed and spoken)
You guys this is ridiculous.
JACKIE
If we’re kicking you out, we’re all
doing it together.
Ratings
Scene 54 - Facing the Stage Alone
Frank drives. Ruby looks out of the back window. She watches
the New England landscape pass.
She pulls out her phone, TEXTS BERNARDO: I’m coming.
EXT. HIGHWAY - DAY
The car speeds along the highway. Frank drives as Jackie
navigates on her phone. The skyline of Boston appears before
them.
EXT. BERKLEE MUSIC HALL - DAY
The Rossis pull up in front of Berklee. They jump out of the
car. They look around at the bustle of the city.
FRANK
I’m gonna park.
Frank jumps back in the car as Jackie, Ruby and Leo run for
the entrance.
INT. BERKLEE MUSIC HALL - CHECK IN - DAY
Ruby enters the lobby for her audition. She takes in the
other kids, dressed in recital attire. She feels out of place
in her shabby sweater.
RUBY
Look how they’re dressed.
JACKIE
It’s fine. You look pretty.
She is greeted by a female STUDENT at a check-in table.
RUBY
Hey, I’m here for my audition.
STUDENT
Okay, what’s your name?
RUBY
Ruby Rossi.
STUDENT
It looks like you’re about half an
hour late. Are you ready to go?
Ruby nods. The student looks past her at Ruby’s family.
RUBY
We roll deep.
STUDENT
Your family can’t go in with you.
Ruby signs to her family.
RUBY
You can’t go in.
Jackie shoots a death look at the girl.
Ratings
Scene 55 - Nerves and Support
Ruby stands outside the auditorium, pacing nervously. She
listens to another VOCALIST SING OPERA. She’s intimidatingly
good. Miles spots Ruby at the end of the hallway and heads
over. They speak in hushed voices.
MILES
Ruby.
RUBY
Hey!
MILES
You came!
RUBY
Is Mr. V here?
MILES
He just left. I can call him.
RUBY
I texted him. How did it go?
MILES
I choked.
RUBY
What?
The MONITOR interrupts them, gestures it’s Ruby’s turn.
MONITOR
Ruby Rossi.
Miles squeezes her hand. Ruby takes a breath and enters.
Ratings
Scene 56 - The Jury's Gaze
A FACULTY JURY, comprised of three JURORS, two men and a
woman, sit in the audience.
FEMALE JURY MEMBER
Hello there. You are?
RUBY
Ruby. Ruby Rossi.
MALE JURY MEMBER
Okay, Ruby Rossi. Looking at your
application, aside from your
involvement in the school choir and
a very nice letter from Bernardo
Villalobos, you don’t have much of
a history with music...
Ruby stares at him, unsure.
RUBY
I don’t understand. Is there a
question?
INT. BERKLEE MUSIC HALL - LOBBY - SAME
Frank, Jackie, and Leo pace. Frank spots a sign - “Balcony.”
He gestures to Jackie and Leo that they should sneak in. They
make sure no one is watching, then slip up the stairs.
Ratings
Scene 57 - Finding Her Voice
Ruby stands awkwardly on stage being questioned.
FEMALE JURY MEMBER
What is your first song today?
RUBY
“Both Sides Now” by Joni Mitchell.
FEMALE JURY MEMBER
Do you have your sheet music?
Ruby freezes.
RUBY
I don’t. I forgot.
The Female Jury Member turns to THE PIANIST.
FEMALE JURY MEMBER
Do you know that song?
The pianist shakes her head “No.”
FEMALE JURY MEMBER (CONT'D)
Alright. You are just going to have
to sing it a cappella.
RUBY
Okay.
Ruby stands there, frozen, as the jury stares back at her.
She clears her throat, preparing to sing. From the back of
the orchestra, a VOICE speaks up.
BERNARDO (O.S.)
I can accompany her.
Bernardo walks down the aisle into the light. He smiles at
Ruby, who is incredibly relieved.
BERNARDO (CONT'D)
Sorry for interrupting. Hi, how are
you? I’m Bernardo Villalobos. Class
of ‘89. Nice to see you all.
(gesturing to the stage)
May I?
FEMALE JURY MEMBER
I guess so.
BERNARDO
Thank you.
The jury members exchange confused glances.
The pianist steps away from the piano and Bernardo takes her
place. He gives Ruby a look - “You can do this.”
He begins to play “Both Sides Now.” Ruby begins to sing. Her
voice is timid, cautious, she’s paralyzed with fear.
RUBY
(singing)
Rows and floes of angel hair and
ice cream castles in the air, and
feather canyons everywhere--
Bernardo deliberately plays the wrong note. Ruby falters.
BERNARDO
So sorry, my mistake. Let’s take it
from the top.
He gives Ruby a hard look - “now or never.” Ruby nods,
understanding. Bernardo starts to play again.
Ruby looks up at the balcony and notices Frank, Jackie and
Leo sneaking into the auditorium. They take their seats
quietly. She glances at the jury to see if they noticed. They
didn’t. She closes her eyes and takes a deep breath.
RUBY
(singing)
Rows and floes of angel hair and
ice cream castles in the air, and
feather canyons everywhere.
I've looked at clouds that way.
She glances up at her family. They smile down at her.
RUBY (CONT'D)
(singing)
But now they only block the sun,
they rain and snow on everyone, so
many things I would have done but
clouds got in my way.
Ruby begins to SIGN, fluidly interpreting the lyrics with her
hands as she sings. The movement releases her voice, which
comes out with increasing purity and resonance.
RUBY (CONT'D)
(singing)
I've looked at clouds from both
sides now, from up and down and
still somehow, it's cloud's
illusions I recall. I really don't
know clouds at all --
Ruby’s voice sails out. Bernardo grins. The jury, surprised,
turns to see who she is signing to.
RUBY (CONT'D)
Moons and Junes and Ferris wheels,
the dizzy dancing way you feel, as
every fairy tale comes real, I've
looked at love that way.
She sings directly to her parents. This is for them. They
watch her, moved and proud.
RUBY (CONT'D)
(singing)
But now it’s just another show, you
leave ‘em laughing when you go. And
if you care, don’t let ‘em know.
Don’t give yourself away. I’ve
looked at love from both sides now.
From give and take and still
somehow, it’s love’s illusions I
recall. I really don’t know love at
all.
Ruby’s song continues as we see the following story unfold --
Ratings
Scene 58 - A New Horizon
Ruby looks out over the ocean as gulls circle the boat.
On deck, Frank signs furiously at the NEW DECKHAND, showing
this idiot how to correctly sort the fish. The guy looks
cowed. Ruby, watching from the wheelhouse, laughs. She’ll
miss this.
EXT. BEACH - SUNSET
Ruby and Miles sit on a stone wall. Ruby forms his fingers
into letters, teaching him how to sign his name.
EXT. WAREHOUSE - LOADING DOCK - DAY
Frank gives Leo shit as they load boxes of fish into the back
of a new truck. It’s painted with the Fresh Catch logo.
EXT. FARM STAND - DAY
Jackie works alongside the fishermen’s wives, Nina and
Angela, distributing fish at a bustling farmers’ market.
Jackie counts cash. The women joke around. Jackie laughs with
them, now in on the jokes.
INT. PRATTY’S BAR - EVENING
Leo and Frank enter the bar. They are greeted by waves from
the other fishermen. They join them.
INT. ROSSI HOME - LIVING ROOM - DAY
Ruby and her family crowd around the computer. She logs into
the Berklee website to view her ACCEPTANCE STATUS. They wait
anxiously, staring at the screen.
INT./EXT. BERNARDO’S HOUSE - FRONT DOOR - DAY
Ruby bikes up to Bernardo’s house, tossing her bike and
running up the steps. Bernardo opens his door to see Ruby
standing on the stoop. He looks at her nervously, awaiting
the verdict --
INT. ROSSI HOME - LIVING ROOM - DAY
The Rossis lean in as Ruby clicks one last button on her
computer. Her acceptance status pops up on the screen.
She’s IN. She lets out a joyful whoop as Frank, Jackie and
Leo erupt in cheers and celebration.
Ratings
Scene 59 - A Leap of Faith
Miles and Ruby sit atop The Barge, looking out.
RUBY
Visit me in Boston?
MILES
You’ll forget about me after two
weeks. Run off with some jazz
drummer who wears a fedora.
RUBY
Obviously.
Ruby laughs. She leans in and gives him a lingering kiss.
RUBY (CONT'D)
Ready?
MILES
Ready.
Together they stand and hold hands. They take a flying leap
off the cliff together. They hit the water with a smack.
After a moment they both emerge, howling to the sky.
RUBY MILES (CONT'D)
OWWWWW! OOOWWWW!
Ratings
Scene 60 - Bittersweet Farewell
The car is packed full of stuff. Gertie finishes loading
Ruby’s duffle. Ruby efficiently hugs her family goodbye,
trying to avoid a big emotional scene.
JACKIE
You sure you don’t want us to come?
We can help set up your dorm room.
RUBY
(signed and spoken)
No! Let’s not make this a thing.
Jackie gives her a squeeze. Ruby peels her off, turns to Leo.
RUBY (CONT'D)
Bye bye, ass monkey.
LEO
Bye, shit nugget.
Ruby quickly hugs Frank, who hands her the last of her
belongings. She breaks away and climbs into the car.
INT./EXT. GERTIE’S CAR/ROSSI HOME - CONTINUOUS
Gertie drives away. Ruby looks back at her family, getting
smaller as they pull down the road. Suddenly, as they are
almost out of sight, Ruby panics.
RUBY
Wait, wait, stop!
Gertie stops. Ruby leaps from the car and runs back to her
family. She dives into their embrace. The four of them hug,
holding each other tight.
Frank takes Ruby’s face in his hands. He uses his voice.
FRANK
Go.
Ruby smiles and nods. She runs back toward the car and climbs
in. Her family watches as the car pulls away. Ruby waves at
them out the window. As they disappear into the distance, she
holds up her hand and signs -- “I love you forever.”
THE END.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
ruby |
|
While Ruby's character arc is compelling, it could benefit from more nuanced exploration of her relationships with her family and peers. The screenplay presents her as a strong-willed individual, but her internal struggles sometimes feel underdeveloped. Additionally, her journey towards self-acceptance could be more gradual, allowing for deeper emotional resonance. | To improve Ruby's character arc, consider incorporating more scenes that highlight her interactions with her family, showcasing the complexities of their relationships. This could include moments of vulnerability where Ruby expresses her fears and desires, allowing for a more gradual evolution of her character. Additionally, introducing a mentor figure or a close friend who challenges Ruby's perspective on her dreams could add depth to her journey. Finally, ensure that her moments of triumph and self-discovery are earned through tangible challenges, reinforcing her growth throughout the narrative. |
frank |
|
Frank's character arc is compelling, showcasing his journey from a traditionalist to a more supportive father. However, the transition could benefit from more gradual development. Some moments of conflict feel rushed, and his humorous side sometimes overshadows his deeper struggles, making it difficult for the audience to fully connect with his vulnerabilities. | To improve Frank's character arc, consider adding more scenes that highlight his internal conflict and the impact of his deafness on his relationships. Incorporating moments where he actively confronts his fears and insecurities would deepen his character. Additionally, allowing for more interactions with other family members could provide insight into his protective nature and the reasons behind his resistance to change. This would create a richer emotional landscape and make his eventual acceptance of Ruby's dreams more impactful. |
leo |
|
While Leo's character arc presents a compelling journey of self-discovery and familial loyalty, it risks becoming predictable. His initial rebelliousness and eventual acceptance of family values may lack depth if not explored thoroughly. The conflict between his desire for independence and familial expectations is relatable, but the resolution could feel rushed if not adequately developed throughout the screenplay. | To improve Leo's character arc, consider incorporating more nuanced interactions that highlight his internal struggles. Introduce subplots that challenge his views on independence and family loyalty, allowing for gradual growth rather than a sudden transformation. Additionally, explore his relationships with other characters, such as friends or mentors, to provide alternative perspectives that influence his journey. This will create a richer, more dynamic character who resonates with the audience. |
gertie | Throughout the screenplay, Gertie begins as a carefree and humorous character who uses her wit to cope with challenges and support Ruby. As the story progresses, she faces her own vulnerabilities and learns the importance of emotional depth and connection. By the climax, Gertie confronts a significant personal challenge that forces her to balance her humor with sincerity, ultimately leading to a more profound understanding of friendship and self-acceptance. In the resolution, Gertie emerges as a more rounded character, still humorous but now with a deeper emotional resonance, showcasing her growth and maturity. | While Gertie's character is engaging and provides comic relief, her arc could benefit from more depth and complexity. Currently, her development primarily revolves around her humor, which, while entertaining, may not fully explore her emotional landscape. The transition from a carefree friend to someone who confronts personal challenges feels somewhat abrupt and could be better integrated into the narrative. | To improve Gertie's character arc, consider introducing earlier hints of her vulnerabilities or insecurities that can be explored throughout the screenplay. This could involve backstory elements that reveal why she uses humor as a coping mechanism. Additionally, incorporating moments where Gertie's humor clashes with serious situations could create tension and highlight her growth. By the end, her transformation should feel earned, with a clear connection between her initial carefree nature and her newfound emotional depth. |
jackie | Throughout the screenplay, Jackie undergoes a significant character arc. Initially, she is portrayed as an overprotective and anxious mother, struggling to accept Ruby's desire for independence and her aspirations in music. As the story progresses, Jackie begins to confront her fears and insecurities, gradually learning to trust Ruby's judgment and support her dreams. This transformation is catalyzed by various challenges that force Jackie to reevaluate her protective instincts and recognize the importance of allowing Ruby to forge her own path. By the end of the feature, Jackie emerges as a more understanding and supportive mother, having found a balance between her nurturing instincts and Ruby's need for independence. This evolution not only strengthens their relationship but also empowers Ruby to pursue her passions with confidence. | While Jackie's character arc is compelling, it could benefit from more nuanced development. The initial portrayal of Jackie as overly protective and anxious may risk making her seem one-dimensional. Additionally, her transformation could feel rushed if not given adequate screen time to explore her internal struggles and the moments that lead to her change. The screenplay should ensure that Jackie's journey is gradual and believable, allowing the audience to witness her growth through specific experiences and interactions that challenge her beliefs and fears. | To improve Jackie's character arc, consider incorporating key moments that highlight her internal conflict and growth. For example, include scenes where Jackie faces situations that challenge her protective nature, such as witnessing Ruby's successes or failures in pursuing her dreams. Additionally, allow for moments of vulnerability where Jackie can express her fears and regrets, fostering deeper connections with both Ruby and her husband. This will create a more relatable and dynamic character. Furthermore, consider adding a mentor or supportive figure for Jackie, who can guide her through her journey of acceptance and understanding, providing a contrasting perspective that encourages her growth. Lastly, ensure that the resolution of her arc feels earned, with a clear sense of progression that resonates with the audience. |
bernardo | Throughout the screenplay, Bernardo undergoes a significant character arc. Initially, he is portrayed as a strict and demanding mentor who prioritizes discipline and high standards. As the story progresses, he learns to balance his authoritative nature with a more nurturing approach, recognizing the importance of emotional support in his students' growth. His relationship with Ruby serves as a catalyst for this transformation, as he helps her confront her fears and embrace her true voice. By the end of the feature, Bernardo evolves into a more empathetic and understanding teacher, demonstrating that true mentorship involves both pushing students to excel and providing the emotional support they need to thrive. | While Bernardo's character arc is compelling, it may benefit from deeper exploration of his backstory and motivations. The transition from a strict mentor to a more supportive figure feels somewhat abrupt and could be enhanced by showing specific events or interactions that lead to this change. Additionally, his occasional cultural missteps could be further developed to create moments of reflection and growth, allowing him to learn from these experiences and become a more well-rounded character. | To improve Bernardo's character arc, consider incorporating flashbacks or dialogue that reveal his past experiences and the reasons behind his strict teaching style. This could help the audience understand his initial approach and make his transformation more impactful. Additionally, include scenes where he actively reflects on his cultural missteps, perhaps through conversations with students or colleagues, to demonstrate his willingness to learn and grow. Finally, showcasing moments of vulnerability, where Bernardo shares his own struggles with music or mentorship, could create a deeper emotional connection with the audience and enrich his character development. |
miles | Miles begins as a mysterious and detached character, struggling with his own insecurities and the pressure of living up to Ruby's seemingly perfect life. Throughout the screenplay, he transitions from being indifferent and slightly horrified by awkward situations to becoming a supportive and understanding boyfriend. His journey involves confronting his fears, navigating family issues, and ultimately embracing vulnerability in his relationship with Ruby. By the end of the feature, Miles emerges as a more confident and emotionally connected individual, willing to take risks for love and friendship, culminating in a significant romantic moment that signifies his growth. | While Miles's character arc is compelling, it could benefit from more distinct turning points that clearly illustrate his growth. The transitions between his various emotional states sometimes feel abrupt, and the screenplay could delve deeper into his internal struggles to create a more cohesive narrative. Additionally, his relationship with Ruby could be explored further to highlight how their dynamic influences his development, making his transformation feel more organic. | To improve Miles's character arc, consider incorporating more scenes that showcase his internal conflict and the impact of his family issues on his relationship with Ruby. Adding moments of vulnerability where he openly discusses his feelings or fears could enhance his emotional depth. Additionally, creating specific challenges or obstacles that force him to confront his insecurities would provide clearer turning points in his journey. Finally, emphasizing the evolution of his relationship with Ruby through shared experiences and challenges could strengthen the narrative and make his growth feel more authentic. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High 'Concept' Scores Correlate with High 'Plot' Scores | Scenes with high concept scores (8 or above) consistently receive high plot scores. This suggests a strong link between the originality or creativity of the scene's idea and its effectiveness in advancing the plot. Consider if this is intentional, or if strong concepts inherently lend themselves to better plot execution. Investigate scenes with lower plot scores despite high concept scores to identify areas where execution could be improved. |
Humorous Tone Doesn't Always Translate to High Emotional Impact | While humorous scenes often receive good overall grades, their emotional impact scores are frequently lower than scenes with more serious tones. Scenes 3, 5, 7, 13, 14, and 52 are examples of humorous scenes with relatively low emotional impact. Consider whether the humor overshadows emotional depth or whether opportunities for more profound emotional resonance are being missed. Explore adding emotional layers to your humor, or consider if the humor is truly serving the story's emotional arc. |
High 'Conflict' and 'High Stakes' Scores Are Often Coupled | Scenes with high conflict scores usually also have high high-stakes scores. This demonstrates a consistent ability to create tense, engaging moments. This is a strength to maintain and leverage in future writing. |
'Emotional Impact' inversely correlates with 'Dialogue' in some scenes (especially later scenes) | Noticeably in scenes 48, 51, 53, and 60, high emotional impact does not correlate with high dialogue scores. In contrast, scenes with high dialogue scores sometimes have lower emotional impact. This suggests a potential imbalance: strong dialogue doesn't always lead to impactful emotional moments. Analyze whether emotional beats are being adequately expressed through actions, visuals, or other means, or whether the dialogue is too expositional and less effective at conveying emotion. Consider ways to use dialogue more efficiently to create stronger emotional impact. |
Character Changes Often Tied to Scenes with High Emotional Impact | Scenes where characters experience significant changes (higher scores in 'Character Changes') often correlate with higher emotional impact. This demonstrates success in using emotional events to drive character development. Maintain this approach for richer character arcs. |
Tense Scenes Tend to Have High Overall Grades and Strong Plot Advancement | Scenes employing 'Tense' tones (particularly in the later half of the screenplay) consistently receive high overall grades and effectively move the story forward. This highlights the effectiveness of tension in driving the narrative. Consider strategically using tense scenes to accelerate pacing and maintain audience engagement. |
The Climax (Scenes 48-60) Show a Shift in Focus | The final act exhibits a decrease in dialogue scores while maintaining high overall grades and strong emotional impact, suggesting a shift from dialogue-driven scenes to visually and emotionally impactful moments. This is a natural progression towards a climatic resolution, but consider if the reduction in dialogue could be more deliberate in order to maximize emotional impact. |
Inconsistent 'Move Story Forward' Scores | Several high-scoring scenes (in terms of overall quality and emotional impact) have relatively lower scores in 'Move Story Forward'. This indicates some scenes may be strong in their own right but less effective in directly propelling the narrative. Review these scenes to see if streamlining or restructuring is needed to enhance their contribution to the overall plot progression. This suggests a strength in scene-writing but a potential weakness in overall plotting. |
Writer's Craft Overall Analysis
The screenplay demonstrates a consistent ability to create engaging scenes with authentic dialogue and relatable characters. The writer shows a strong grasp of character dynamics and emotional depth, effectively conveying conflicts and motivations. However, there's room for improvement in several areas, primarily focusing on deepening character development, refining dialogue techniques, and enhancing scene structure.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Save the Cat! Writes a Screenplay' by Blake Snyder | This book offers comprehensive guidance on screenplay structure, character arcs, and scene construction, addressing multiple key improvement areas identified in the analysis. |
Book | 'The Anatomy of Story' by John Truby | This book focuses on in-depth character development and conflict, directly addressing the need for deeper character exploration and more complex emotional narratives. |
Screenplay Collection | Read a selection of screenplays by Aaron Sorkin, David Mamet, and Greta Gerwig. | These writers represent different styles of sharp dialogue, character-driven narratives, and effective scene construction, providing diverse models for the writer to study. |
Video | Watch and analyze films praised for their strong character development and dialogue, such as 'Lady Bird,' 'Manchester by the Sea,' and 'Little Miss Sunshine'. Pay close attention to scene structure and pacing. | Visual learning can supplement the theoretical knowledge gained from books and screenplays, providing a deeper understanding of effective storytelling techniques. |
Course | Consider a screenwriting course or workshop focusing on character development and dialogue. | Structured learning and feedback from instructors and peers can provide valuable insights and accelerate the writer's skill development. |
Stories Similar to this one
Story | Explanation |
---|---|
CODA | Both stories center around a young girl in a deaf family who feels torn between her family's needs and her own aspirations. The protagonist, Ruby, navigates her identity as a hearing child in a deaf family while pursuing her passion for music, similar to the character Ruby in 'CODA' who also grapples with her family's reliance on her as their interpreter. |
The Sound of Music | This classic musical features a young woman who discovers her passion for singing while navigating family dynamics and personal challenges. Like Ruby, Maria faces obstacles in pursuing her dreams and ultimately finds her voice, paralleling Ruby's journey of self-discovery through music. |
A Star is Born | Both narratives explore the theme of mentorship in the arts, where an experienced musician helps a young talent find her voice. Ruby's relationship with her choir teacher, Bernardo, mirrors the dynamic between the seasoned musician and the aspiring artist in 'A Star is Born,' highlighting the struggles and triumphs of pursuing a musical career. |
Little Fish | This film delves into the complexities of family relationships and the impact of external pressures on personal dreams. Similar to Ruby's story, 'Little Fish' portrays characters grappling with their identities and aspirations while dealing with familial expectations and societal challenges. |
The Perks of Being a Wallflower | Both stories feature a coming-of-age narrative where the protagonist navigates high school life, friendships, and personal growth. Ruby's experiences with social dynamics and her struggle for acceptance resonate with Charlie's journey in 'The Perks of Being a Wallflower,' as both characters seek to find their place in the world. |
Sing Street | This film tells the story of a young boy who forms a band to impress a girl, paralleling Ruby's journey as she joins the choir and explores her musical talents. Both narratives emphasize the power of music as a means of self-expression and connection amidst personal and familial challenges. |
The Greatest Showman | Both stories celebrate the pursuit of dreams against the odds, with a focus on music and performance. Ruby's journey to find her voice and perform resonates with the themes of ambition and self-discovery found in 'The Greatest Showman,' where characters strive to break free from societal constraints. |
Inside Out | While primarily an animated film, 'Inside Out' explores the emotional complexities of growing up and the importance of expressing one's feelings. Ruby's internal struggles and her journey to find her voice parallel the emotional journey of the characters in 'Inside Out,' emphasizing the significance of self-acceptance and communication. |
The Fault in Our Stars | Both stories feature young protagonists dealing with personal challenges and the complexities of relationships. Ruby's journey of self-discovery and her romantic connection with Miles echo the themes of love and vulnerability found in 'The Fault in Our Stars,' as both characters navigate their emotions amidst difficult circumstances. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Coming of Age | Ruby navigates the challenges of adolescence, balancing her family responsibilities with her desire to pursue music. | The coming-of-age trope involves a young protagonist facing personal growth and self-discovery. An example is 'Lady Bird,' where the main character grapples with her identity and relationships as she prepares for adulthood. |
Family Dynamics | The Rossi family exhibits a mix of humor, tension, and love as they navigate their challenges together. | Family dynamics often explore the relationships and conflicts within a family unit. A notable example is 'The Incredibles,' where the family must work together despite their differences to overcome external threats. |
The Underdog | Ruby, as a deaf child in a hearing world, faces numerous challenges but strives to prove her talent in music. | The underdog trope features a character who is at a disadvantage but rises to the occasion. An example is 'Rocky,' where the protagonist, an underdog boxer, trains hard to compete against a champion. |
The Mentor | Bernardo serves as Ruby's mentor, guiding her in her musical journey and pushing her to confront her fears. | The mentor trope involves a wise figure who guides the protagonist. An example is Mr. Miyagi in 'The Karate Kid,' who teaches Daniel not just martial arts but life lessons. |
Love Triangle | Ruby finds herself caught between her feelings for Miles and her responsibilities to her family. | The love triangle trope involves a romantic conflict between three characters. A classic example is 'Twilight,' where Bella is torn between Edward and Jacob. |
The Big Performance | Ruby's audition at Berklee serves as a climactic moment where she showcases her talent. | The big performance trope highlights a pivotal moment where a character must prove themselves. An example is 'A Star is Born,' where the protagonist performs to gain recognition. |
Sibling Rivalry | Ruby and Leo often clash over their roles in the family and their individual aspirations. | Sibling rivalry involves competition and conflict between siblings. An example is 'The Lion King,' where Simba and Scar's rivalry drives the plot. |
The Supportive Friend | Gertie serves as Ruby's confidante and support system throughout her journey. | The supportive friend trope features a character who provides emotional support to the protagonist. An example is Sam in 'The Perks of Being a Wallflower,' who helps Charlie navigate his struggles. |
The Struggling Artist | Ruby faces obstacles in pursuing her passion for music while managing family expectations. | The struggling artist trope depicts a character facing challenges in their creative pursuits. An example is 'La La Land,' where the protagonists strive to achieve their dreams in the competitive world of entertainment. |
The Parent-Child Conflict | Ruby's desire to pursue music clashes with her parents' expectations and fears for her future. | The parent-child conflict trope explores the tension between parental expectations and a child's aspirations. An example is 'Footloose,' where Ren fights against the town's restrictions imposed by parents. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Family Dynamics and Communication | The Rossi family's dynamic is central, showcasing a blend of love, humor, frustration, and miscommunication stemming from cultural differences (deafness) and generational gaps. Their communication styles, arguments, and eventual understanding shape Ruby's character and her journey. | The screenplay explores the complexities of family relationships, highlighting the challenges of intergenerational communication, particularly within a family where deafness is present. The constant need for translation and the resulting friction and humor underscores the importance of understanding and acceptance within familial bonds. | ||||||||||||
Strengthening Family Dynamics and Communication:
| ||||||||||||||
Economic Hardship and Class Struggle | The Rossi family's struggles within the fishing industry, facing low quotas, unfair pricing, and new regulations, create economic pressure. This contrasts with the wealthier segments of the community, illustrating a class divide. | The screenplay portrays the challenges faced by working-class families in a struggling industry. The constant financial anxieties and the family's determination to maintain their livelihood against seemingly insurmountable odds form a significant backdrop to Ruby's personal growth. | ||||||||||||
Self-Discovery and Identity | Ruby's journey of discovering her voice, both literally (through singing) and figuratively (through asserting her independence), is the core narrative. Her experiences in school, with her family, and with her peers contribute to this journey. | This theme focuses on Ruby's personal growth and her quest for self-acceptance and independence. Her struggles with self-doubt, her efforts to overcome her fears, and her eventual embrace of her talents are pivotal to the narrative. | ||||||||||||
Communication Barriers and Cultural Differences | The Rossi family's deafness creates communication barriers, adding layers of complexity to their interactions with the hearing world. This impacts their relationships and challenges their economic prospects. | The screenplay highlights the challenges faced by deaf individuals in a hearing-dominant society. The constant need for translation, the misunderstandings, and the social isolation underscore the cultural differences and the importance of empathy and understanding. | ||||||||||||
First Love and Relationships | Ruby's budding relationship with Miles offers a contrasting narrative to her family life, providing a space for vulnerability and emotional growth. It also serves to highlight the contrasts between her inner world and external pressures. | The romance between Ruby and Miles acts as a catalyst for Ruby’s emotional growth. It serves to highlight her vulnerabilities and her capacity for intimacy. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
---|---|
Summary: | The writer's voice is characterized by a sharp, witty, and realistic style that blends humor and emotional depth. The dialogue is consistently sharp, capturing authentic working-class vernacular and the nuances of teenage interactions, family dynamics, and the complexities of a close-knit deaf community. The narrative seamlessly interweaves detailed descriptions of the Gloucester fishing community with introspective moments, creating a vivid and engaging world. Direction emphasizes physical actions and gestures to convey emotion, particularly in scenes involving the deaf characters, further enhancing authenticity and emotional resonance. |
Voice Contribution | The writer's voice contributes to the script by creating a richly textured and authentic portrayal of a working-class family and their community. The blend of humor and realism enhances the emotional impact of the story, allowing the audience to connect with the characters on a deeply personal level. The detailed descriptions of the setting and the inclusion of sign language add layers of depth and immersion, making the story both unique and relatable. The themes of family, identity, pursuing dreams in the face of adversity, and communication (or lack thereof) are powerfully conveyed through this distinctive voice. |
Best Representation Scene | 7 - Awkward Consultations |
Best Scene Explanation | Scene 7 best encapsulates the writer's unique voice because it masterfully blends humor and realism within a deeply relatable family dynamic. The awkwardness of the situation, the sharp dialogue that captures the characters' personalities, and the subtle cultural element (Ruby translating for her deaf parents) all work together to create a scene that is both funny and emotionally resonant. This blend of humor, realism, and insightful character interactions is a consistent hallmark of the writer's style throughout the screenplay. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a fresh and nuanced perspective on the fishing industry, family dynamics, and the challenges faced by a deaf family in a hearing world. It incorporates unique elements such as the use of American Sign Language, the struggles of female fishermen, and the intersection of music and personal aspirations. The authentic dialogue and relatable character interactions contribute to its originality, making it stand out in both thematic and narrative aspects.
- Most unique situations: The most unique situations in the screenplay are the portrayal of Ruby's journey as a deaf individual navigating her passion for music while supporting her family's fishing business, the humorous yet poignant moments involving communication barriers, and the exploration of family dynamics through the lens of financial struggles and personal aspirations.
- Overall unpredictability score: 7
- Overall unpredictability explanation: While the screenplay follows some familiar coming-of-age and family drama tropes, it introduces unexpected twists, such as the depth of Ruby's internal struggles and the complexities of her relationships with her family and peers. The incorporation of unique elements like the fishing industry and the challenges of being deaf adds layers of unpredictability to the narrative, keeping the audience engaged and curious about the characters' journeys.
Goals and Philosophical Conflict | |
---|---|
internal Goals | Ruby's internal goals evolve from seeking acceptance within her family and proving herself as a competent member of the fishing crew, to asserting her independence, pursuing her passion for music, and ultimately finding her identity outside the family's expectations. |
External Goals | Ruby's external goals shift from supporting her family in the fishing business to pursuing a music career, negotiating fair treatment and prices in the fishing industry, and ultimately gaining acceptance into a prestigious music school. |
Philosophical Conflict | The overarching philosophical conflict consists of Ruby's desire for personal fulfillment and identity (individualistic aspirations) versus her family's needs and expectations (collectivist obligations), creating tension throughout her journey. |
Character Development Contribution: The evolution of Ruby's goals contributes significantly to her development, showcasing her journey from being defined by her family's needs to finding her voice and asserting her individuality as a musician.
Narrative Structure Contribution: The protagonist's internal and external goals create a dynamic narrative structure that intertwines personal struggles with external familial pressures, leading to compelling conflicts that catalyze character relationships and growth.
Thematic Depth Contribution: The interplay between Ruby's goals and the overarching philosophical conflicts enriches the screenplay's thematic depth, capturing universal themes of identity, family loyalty, and the challenges of balancing personal passion with communal responsibilities.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay is set in Gloucester, Massachusetts, a coastal town with a strong fishing industry. The physical environment includes the open ocean, fishing trawlers (like the Angela Rose), a bustling fish wharf, industrial and commercial areas, a high school, suburban homes, a doctor's office, a choir room, a quarry, and woods. There's a contrast between the natural beauty of the ocean and woods and the gritty, working-class atmosphere of the fishing industry and town. The setting often reflects the characters' emotional states – serene natural settings for introspection, tense and chaotic family home scenes, and the bustling, competitive fish wharf.
- Culture: The dominant culture is that of a close-knit, working-class fishing community in Gloucester. Family loyalty and support are central. The culture values hard work, resilience, and a strong sense of community among the fishermen. Sign language is a significant cultural element, reflecting the Rossi family's deafness and the challenges they face in a hearing-dominated world. Music plays a crucial role, with Ruby’s passion for singing and the importance of the high school choir. There's a generational clash between the older generation's traditional fishing methods and the younger generation's adaptation to new technologies and aspirations.
- Society: The societal structure is hierarchical, particularly within the fishing industry, with Tony Salgado holding significant power. There are clear class distinctions between the working-class fishermen and the more affluent segments of society. High school social dynamics, including cliques, hierarchies, and peer pressure, are also depicted. The deaf community within Gloucester faces challenges due to communication barriers and societal misunderstandings. The family unit plays a crucial role, with intergenerational conflicts and tensions adding to the complexity of family relationships. The interactions between fishermen and government regulatory bodies (like the Fisheries Council and the Coast Guard) highlight power imbalances and conflict.
- Technology: Technology is used selectively, reflecting the blend of traditional and modern elements in Gloucester. While traditional fishing methods are prevalent, there are also mentions of radios, winches, weighing scales, iPads, phones (including video relay services), and modern communication technology like texting and social media. The contrast between old and new technology represents the evolving dynamics of the fishing industry and its adaptation to new regulations and markets. The presence of technology also highlights the characters' ability to navigate and overcome challenges.
- Characters influence: The world elements significantly shape the characters' experiences and actions. The demanding nature of the fishing industry fosters resilience and resourcefulness in the Rossi family. The social hierarchies and peer pressures of high school impact Ruby's confidence and self-expression. The communication barriers faced by the deaf family members influence their interactions with others and their daily routines. The financial struggles of the family affect their choices and relationships. Ruby's dual worlds of fishing and music drive her character arc and conflict.
- Narrative contribution: The world-building contributes to a compelling narrative through the realistic portrayal of Gloucester’s environment and its inhabitants. The setting itself becomes a character, highlighting the challenges and triumphs of the community. The various locations (ocean, wharf, school, home) reflect the different aspects of Ruby's life and drive the plot forward. The conflicts arising from the fishing industry and the social dynamics in high school contribute to the main plotlines.
- Thematic depth contribution: The world-building contributes significantly to the thematic depth of the screenplay. Themes of family, communication, identity, and cultural preservation are explored through the lens of the Gloucester fishing community and Ruby's individual journey. The contrast between tradition and modernity, the challenges faced by the deaf community, and the struggles of the fishing industry against regulations contribute to exploring themes of resilience, perseverance, and the search for self-expression. Ruby's exploration of her identity within the context of her family, her community, and her aspirations adds profound thematic depth.
central conflict
Ruby struggles to balance her passion for music with her responsibilities to her deaf family and their fishing business.
primary motivations
- Ruby's desire to pursue her musical dreams and attend Berklee College of Music.
- Frank and Jackie's need to maintain their family business and support their family.
- Leo's ambition to assert his independence and take charge of the family business.
catalysts
- Ruby's decision to join the choir and her growing interest in music.
- The introduction of federal regulations that threaten the family's fishing livelihood.
- Ruby's acceptance into Berklee College of Music.
barriers
- Ruby's family dynamics and their reliance on her as the interpreter.
- Financial struggles that hinder Ruby's ability to pursue her dreams.
- Leo's resentment towards Ruby's aspirations and his desire to keep the family business afloat.
themes
- The struggle for identity and independence.
- Family loyalty versus personal ambition.
- The challenges of communication and connection in a deaf family.
stakes
The family's financial stability and Ruby's future in music are at stake, along with the dynamics of their relationships.
uniqueness factor
The story uniquely portrays the experiences of a deaf family through the lens of a hearing daughter, highlighting the complexities of communication and familial expectations.
audience hook
The emotional journey of Ruby as she navigates her passion for music while dealing with family obligations and societal pressures.
paradoxical engine or bisociation
The juxtaposition of Ruby's vibrant musical aspirations against the backdrop of her family's struggles in the fishing industry creates a rich tension that drives the narrative.
paradoxical engine or bisociation 2
The contrast between Ruby's desire for independence and her family's dependence on her as an interpreter illustrates the conflict between personal dreams and familial duty.
Engine: Claude
Recommend
Executive Summary
The screenplay for 'Coda' is a heartwarming and well-crafted story that follows the journey of Ruby Rossi, a hearing daughter of a deaf family, as she navigates her passion for singing and her family's fishing business. The screenplay is a strong character-driven drama that explores themes of identity, family, and the pursuit of dreams. The writing is consistently engaging, with well-developed characters, compelling conflicts, and a strong narrative arc. While there are a few areas for improvement, the screenplay's unique perspective, strong emotional resonance, and thematic depth make it a compelling and noteworthy work.
- The powerful performance scene where Ruby sings for her deaf family and the audience, allowing the audience to experience the emotional resonance of her voice and the disconnect her family feels, is a standout moment that showcases the screenplay's ability to create powerful, moving scenes. high ( Scene 51 )
- The audition sequence where Ruby overcomes her fears and delivers a stirring performance with the help of her teacher, Bernardo, is a well-executed and emotionally impactful moment that highlights Ruby's growth and the screenplay's strong character development. high ( Scene 19 (57) )
- The scenes depicting Ruby's relationship with Miles, including their intimate moment at the quarry, provide a well-developed romantic subplot that adds depth and complexity to the overall story. medium ( Scene 30 )
- The scenes exploring the Rossi family's unique dynamics, including the humorous and cringe-worthy moments, help to establish the family's distinct personality and contribute to the screenplay's overall charm and authenticity. medium ( Scene 8 (25) )
- The quarry sequences, with their visually striking locations and thrilling, high-stakes jumps, provide a sense of adventure and physical exhilaration that complement the emotional journey of the characters. medium ( Scene 29 )
- The conflict between Ruby and her teacher, Bernardo, could be further developed and explored, as it feels a bit rushed and underdeveloped at times. Providing more depth and nuance to this relationship could strengthen the overall character arcs. medium ( Scene 36 (37) )
- While the quarry sequences are visually striking, the screenplay could benefit from more exploration of the emotional and thematic significance of these moments, particularly in how they relate to Ruby's personal growth and her connection to her family. medium ( Scene 29 (40) )
- The scenes depicting the fallout from the embarrassing incident with Ruby's parents could be further developed, providing more insight into the emotional impact on Ruby and how she navigates this challenge. medium ( Scene 26 (27) )
- The screenplay could benefit from a more detailed exploration of the consequences and emotional impact on the Rossi family when Frank and Leo's fishing license is suspended. This could provide additional depth to the family's struggles and the stakes they face. medium ( Scene 44 (45) )
- The screenplay could delve deeper into Leo's perspective and his own aspirations, as his storyline feels a bit underdeveloped compared to Ruby's. Providing more insight into Leo's emotional journey and conflicts could strengthen the overall family dynamics. medium ( Scene 49 )
- The scenes exploring the relationship between Ruby and her mother, Jackie, provide a nuanced and emotionally resonant portrayal of their complex dynamic, which is an important and refreshing aspect of the screenplay. high ( Scene 10 (20) )
- The opening sequences that establish the Rossi family's fishing business and their unique communication style through American Sign Language (ASL) are effectively executed and set the stage for the screenplay's exploration of their world. high ( Scene 1 (11) )
- The closing scene, where Ruby's family supports her at the Berklee audition, is a heartwarming and satisfying conclusion that reinforces the screenplay's themes of family, dreams, and personal growth. high ( Scene 52 )
- Lack of Diverse Perspectives While the screenplay does an excellent job of depicting the deaf experience and the challenges faced by the Rossi family, it could potentially benefit from incorporating more diverse perspectives, such as those of the hearing community or the larger fishing community. Exploring these additional viewpoints could further enrich the storytelling and provide a more well-rounded understanding of the challenges and complexities faced by the characters. medium
- Pacing Issues In a few instances, the pacing of the screenplay feels a bit uneven, with some scenes feeling either rushed or dragging. For example, the conflict between Ruby and Bernardo could be further developed, and the fallout from the embarrassing incident with Ruby's parents could be explored in more depth. Refining the pacing and ensuring a more consistent rhythm throughout the screenplay could help to elevate the overall storytelling. medium
Engine: Gemini
Highly Recommend
Executive Summary
Coda is a beautifully written and emotionally resonant coming-of-age story with a unique premise. The screenplay excels in character development, particularly Ruby's journey of self-discovery and breaking free from familial expectations. While some minor pacing issues and a few plot points could benefit from refinement, the overall narrative strength and compelling characters make it a highly marketable and potentially award-winning film.
- The screenplay masterfully portrays Ruby's journey of self-discovery through her relationship with her choir teacher, Bernardo. Bernardo’s unconventional teaching methods, specifically pushing Ruby beyond her comfort zone to embrace her “ugly” voice, are a key driver of her character arc, transforming her from a shy, insecure girl to a confident performer. This arc is consistently portrayed throughout, culminating in a powerful and satisfying climax during her Berklee audition. high ( Scene 12 Scene 15 Scene 28 Scene 37 Scene 57 )
- The portrayal of the Rossi family is both comedic and deeply moving. The screenplay effectively balances the family's humorous dynamics with the underlying emotional complexities of their relationships, showcasing the love, frustration, and unspoken communication between family members. The scenes depicting their daily life are genuine and relatable, adding significant depth and emotional weight to the narrative. high ( Scene 8 Scene 13 Scene 25 Scene 45 Scene 48 )
- The screenplay effectively depicts the challenges faced by the Rossi family as a deaf-owned fishing business. The conflict with Salgado and the subsequent decision to establish 'Fresh Catch' showcases the family's resilience, resourcefulness, and determination to overcome adversity. The climax at the City Hall meeting, with Frank's bold confrontation, is particularly powerful. high ( Scene 29 Scene 30 Scene 46 Scene 47 )
- The Berklee audition scene is a powerful and emotionally charged climax. Ruby's decision to incorporate sign language into her performance, seamlessly blending her vocal and physical expressions, is a brilliant moment of both artistic expression and emotional catharsis. The scene effectively showcases Ruby's growth as an artist and individual. high ( Scene 57 )
- The use of music and sound design throughout the screenplay is masterful. The soundtrack effectively complements the scenes, enhancing the emotional impact and creating a cohesive overall experience. The contrast between the soundscape of the Rossi family's world and the outside world enhances the narrative's impact. medium ( Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 Scene 6 Scene 7 )
- While the overall pacing is good, certain sequences, particularly the montage sequences (e.g., Ruby's bike ride to school), could benefit from more focused narrative drive. Some montages feel somewhat rushed or lack sufficient visual interest to fully engage the viewer. Some scenes could benefit from more concise editing to enhance their emotional impact. medium ( Scene 4 Scene 21 Scene 31 )
- The subplot concerning Leo's bar fight and subsequent relationship with Gertie feels somewhat underdeveloped. While it serves to highlight Leo's character development, its sudden resolution feels somewhat abrupt and unearned. More nuanced emotional development in these scenes would increase their impact. medium ( Scene 22 Scene 23 )
- The conflict with the Coast Guard and the observer feels somewhat simplistic. The motivations of the observer, Joanne, could be explored further. While her actions drive the plot forward, her character lacks sufficient depth. More motivation behind her actions would make the conflict more compelling. medium ( Scene 42 Scene 44 Scene 46 )
- The screenplay could benefit from a more developed subplot exploring the complex relationship between Ruby and her mother. While their relationship is touched upon, a deeper exploration of their individual struggles and emotional connection would add another layer to the narrative. medium
- The screenplay's effective use of ASL and the depiction of the Rossi family's deaf culture is a notable strength. The integration of ASL into the dialogue and narrative adds depth and authenticity, showcasing the beauty and richness of the deaf community. high ( Scene 3 Scene 13 Scene 18 Scene 20 Scene 38 Scene 45 Scene 47 Scene 48 Scene 50 Scene 52 Scene 53 )
- The screenplay successfully balances comedic and dramatic elements, creating a nuanced and emotionally engaging story that avoids sentimentality while capturing the complexities of family relationships and individual struggles. high
- Underdeveloped Supporting Characters While the main characters (Ruby, Frank, Jackie, Leo) are well-developed, some supporting characters, like Gertie and even Miles, feel somewhat underdeveloped. Their motivations and arcs could use more depth and exploration, especially in relation to their impact on Ruby's journey. medium
Engine: GPT4
Highly Recommend
Executive Summary
The screenplay for 'Coda' presents a compelling narrative that intricately weaves the themes of family, identity, and the struggle for independence. The character arcs are well-developed, particularly Ruby's journey as she navigates her responsibilities to her deaf family while pursuing her passion for music. The dialogue is authentic and engaging, and the use of American Sign Language adds a unique layer to the storytelling. Overall, the screenplay is a heartfelt exploration of the complexities of familial love and personal ambition.
- The screenplay effectively establishes a strong sense of place and character from the very beginning, immersing the audience in Ruby's world and her family's dynamics. high ( Scene Sequence number 1 (EXT. ANGELA ROSE DECK - FISHING WATERS - DAWN) Scene Sequence number 50 (INT. HIGH SCHOOL - AUDITORIUM - LATER) )
- Ruby's character development is compelling, showcasing her growth from a hesitant singer to a confident performer, which resonates with the audience's emotional journey. high ( Scene Sequence number 9 (INT. HIGH SCHOOL - CHOIR ROOM - DAY) Scene Sequence number 57 (INT. BERKLEE MUSIC HALL - AUDITORIUM - DAY) )
- The use of humor throughout the screenplay, particularly in family interactions, provides levity and relatability, balancing the more serious themes. medium ( Scene Sequence number 12 (INT. HIGH SCHOOL - CHOIR ROOM - DAY) Scene Sequence number 28 (INT. BERNARDO’S HOUSE - LIVING ROOM - LATER) )
- The emotional stakes are consistently high, particularly in scenes where Ruby confronts her family about her aspirations, creating tension that drives the narrative forward. high ( Scene Sequence number 38 (INT. ROSSI HOME - LIVING ROOM - NIGHT) )
- The resolution is satisfying and ties together the various character arcs, particularly Ruby's journey towards independence and her family's acceptance of her dreams. high ( Scene Sequence number 60 (EXT. ROSSI HOME - DRIVEWAY - DAY) )
- Some supporting characters, such as Leo and Jackie, could benefit from deeper development to enhance their individual arcs and motivations. medium ( Scene Sequence number 21 (EXT. ANGELA ROSE - SALGADO FISH WHARF - DAY) )
- The conflict with the Coast Guard feels somewhat rushed and could use more buildup to enhance the stakes for the family. medium ( Scene Sequence number 46 (INT. COAST GUARD OFFICE - DAY) )
- While humor is a strength, some scenes could benefit from a more serious tone to balance the comedic elements, particularly in moments of conflict. low ( Scene Sequence number 7 (INT. DOCTOR’S OFFICE - EXAM ROOM - DAY) )
- The motivations behind the fishermen's actions could be more clearly articulated to enhance the audience's understanding of their plight. medium ( Scene Sequence number 29 (INT. CITY HALL - DAY) )
- The pacing in some sections, particularly during the family business setup, feels uneven and could be streamlined for better flow. medium ( Scene Sequence number 36 (INT. WAREHOUSE - DAY) )
- There is a lack of exploration into Ruby's friendships outside of her family, which could provide additional depth to her character. medium ( Scene Sequence number 4 (EXT. GLOUCESTER STREETS - MONTAGE - DAY) )
- The screenplay could benefit from more scenes that showcase the community's response to the Rossi family's struggles, enhancing the sense of stakes. medium ( Scene Sequence number 22 (INT. PRATTY’S BAR - AFTERNOON) )
- More insight into Ruby's internal conflicts regarding her identity as a hearing person in a deaf family could deepen the narrative. high ( Scene Sequence number 10 (EXT. MANSHIP QUARRY - WOODS - DAY) )
- The dynamics between Ruby and her peers could be further developed to highlight her isolation and growth more effectively. medium ( Scene Sequence number 19 (INT. HIGH SCHOOL - CHOIR ROOM - DAY) )
- The resolution of the family's business struggles could be more fleshed out to provide a clearer picture of their future. medium ( Scene Sequence number 58 (EXT. ANGELA ROSE DECK - OPEN OCEAN - DAY) )
- The climactic audition scene is particularly powerful, showcasing Ruby's transformation and the emotional connection with her family. high ( Scene Sequence number 57 (INT. BERKLEE MUSIC HALL - AUDITORIUM - DAY) )
- The use of music throughout the screenplay serves as a strong thematic element, tying together Ruby's journey and her family's dynamics. high ( Scene Sequence number 50 (INT. HIGH SCHOOL - AUDITORIUM - LATER) )
- The interactions between Ruby and her choir teacher highlight the importance of mentorship and support in pursuing one's dreams. medium ( Scene Sequence number 12 (INT. HIGH SCHOOL - CHOIR ROOM - DAY) )
- The family dynamics are portrayed with authenticity, showcasing the love and tension that exists within the Rossi household. high ( Scene Sequence number 38 (INT. ROSSI HOME - LIVING ROOM - NIGHT) )
- The final scene encapsulates the emotional journey of the characters, leaving the audience with a sense of hope and fulfillment. high ( Scene Sequence number 60 (EXT. ROSSI HOME - DRIVEWAY - DAY) )
- Cultural Representation While the screenplay does a commendable job of representing a deaf family, there are moments where the nuances of deaf culture could be explored more deeply, particularly in terms of community interactions and the experiences of deaf individuals in a hearing world. medium
- Pacing Issues Certain scenes, particularly those involving family business discussions, feel drawn out and could benefit from tighter editing to maintain momentum throughout the screenplay. medium
Memorable lines in the script:
Scene Number | Line |
---|---|
8 | Frank: You know why God made farts smell? So deaf people could enjoy them too. |
14 | Gertie: What about like 'We should totally get it on'? |
4 | MS. SIMON: Sadly, there was no amendment protecting the right to nap - Ruby! |
13 | Leo: Damn, Leo got hot. |
18 | Frank: I'd give my left nut to tell them to go screw themselves. |