The Fabelmans
Executive Summary
Poster
Overview
Genres: Drama, Family, Comedy, Coming-of-age, Family Drama, Coming of Age, Adventure, War, High School, Teen, Thriller, Action, Romance, Biography
Setting: 1960-1970s, Arizona, California, and various other locations based on Sammy's film projects
Overview: The Fabelmans follows the childhood and adolescence of Sammy Fabelman, an aspiring filmmaker. As he navigates family dynamics, explores his passion, and faces the complexities of growing up, he discovers the power of cinema and the magic of storytelling.
Themes: Art and the Artist, Family Conflict and Reconciliation, Childhood and Trauma, The Power of Film, Jewish Identity
Conflict and Stakes: Sammy's struggle to pursue his passion for filmmaking while also meeting the expectations of his family and society; the Fabelman family's struggle to stay together amidst personal and financial challenges; Mitzi's struggle with her own mental health and her marriage to Burt; Sammy's desire for artistic freedom in his filmmaking and his desire for personal connection and love
Overall Mood: Nostalgia, coming-of-age, tragicomic
Mood/Tone at Key Scenes:
- Scene 1: The opening scene, which introduces Sammy and his family and sets the tone for the film
Standout Features:
- Unique Hook: An epic family saga that explores the power of art and the struggle between personal dreams and family expectations
- Plot Twist: The revelation that Mitzi is having an affair with Bennie, which throws the family into turmoil
- Distinctive Setting: The film's setting in the 1960s and 1970s provides a nostalgic backdrop for the story
- Innovative Idea: The use of Sammy's filmmaking as a way to explore his family relationships and the world around him
- Unique Characters: The film's characters are complex and well-developed, and they stay with the audience long after the film is over
- Genre Blend: The film successfully blends elements of coming-of-age, family drama, and comedy
Comparable Scripts:
- 8MM
- The Night of the Hunter
- Jaws
- Halloween
- The Exorcist
- The Shining
- E.T. the Extra-Terrestrial
- The Breakfast Club
- The Goonies
- Stand By Me
Writing Style:
The screenplay seems to explore various writing styles, with a focus on family dynamics, emotional depth, and humor. The scenes analyzed draw inspiration from a diverse range of screenwriters and authors, each bringing their unique strengths to the narrative.
Style Similarities:
- Steven Spielberg
- Wes Anderson
- Noah Baumbach
Pass/Consider/Recommend
Recommend
Explanation: Overall, the screenplay for 'The Fabelmans' is a well-crafted and engaging narrative that effectively explores the complexities of family dynamics, artistic passion, and personal growth. With a strong focus on character development, the screenplay features a cast of relatable and well-developed characters that drive the story forward. The screenplay effectively balances dramatic moments with lighter scenes, creating a pacing that keeps the audience engaged throughout the film. While there are areas for improvement, such as providing more clarity in some character arcs and resolving certain conflicts more fully, the screenplay's strengths in storytelling, character development, and emotional depth make it a compelling and worthwhile cinematic experience.
USP: Immerse yourself in "The Fabelmans," an award-winning film by Steven Spielberg, which captures the magic of cinema and the power of storytelling. Journey through the childhood and adolescence of Sammy Fabelman, an aspiring filmmaker, as he navigates family dynamics, explores his passion for filmmaking, and faces the complexities of growing up. With its unique blend of humor, heart, and stunning visuals, this film will resonate with audiences of all ages, leaving an indelible mark on their hearts and minds.
Market Analysis
Budget Estimate:$40-60 million
Target Audience Demographics: Adults aged 25-54, fans of coming-of-age stories, family dramas, and films with strong emotional resonance
Marketability: This screenplay has a strong emotional core, a universal theme, a talented cast, and a director with a proven track record. It is a film that has the potential to appeal to a wide audience.
Strong character development and unique blend of genres (coming-of-age, family drama, comedy)
Nostalgic elements will have strong appeal for mature audiences; Oscar potential
Profit Potential: High, due to strong appeal to a wide adult audience and potential for awards recognition
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice in the screenplay is characterized by its blend of emotional depth, humor, and vivid imagery. The writer effectively uses dialogue, narrative, and direction to convey the characters' emotions, create a sense of atmosphere, and explore themes of family, art, and personal growth.
Best representation: Scene 19 - Boris's Farewell and Sammy's Discovery. Scene 19 is the best representation of the writer's voice because it captures the essence of the film's central themes. The dialogue between Sammy and Boris highlights the protagonist's passion for filmmaking, the challenges he faces in pursuing his dreams, and the sacrifices he is willing to make for his art. The scene is both emotionally resonant and thought-provoking, leaving a lasting impression on the reader.
Memorable Lines:
- Sammy: STOP!! FREEZE!! (Scene 9)
- Mitzi: Everything happens for a reason! (Scene 8)
- Mitzi: Guilt is a wasted emotion. (Scene 26)
- Logan: Life’s nothing like the movies, Fabelman. (Scene 37)
- Chad: I'm gonna murder you ya piece of shit!! (Scene 28)
Characters
Sammy Fabelman:A young boy who is passionate about filmmaking and uses his camera to explore his family relationships and the world around him
Burt Fabelman:Sammy's father, a successful engineer who is supportive of Sammy's filmmaking but also wants him to focus on his studies
Mitzi Fabelman:Sammy's mother, a former concert pianist who is struggling with her own issues and is not as supportive of Sammy's filmmaking as Burt
Bennie Lowenstein:Mitzi's brother and Sammy's uncle, a successful businessman who is also passionate about filmmaking and becomes a mentor to Sammy
Reggie:Sammy's older sister, who is supportive of Sammy's filmmaking and helps him with his projects
Natalie:Sammy's younger sister, who is often jealous of Sammy's attention and is not as supportive of his filmmaking
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 - Sammy's Frightening Film Experience | Suspenseful, Intense, Emotional | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
2 - The Hanukkah Train | Joyful, Playful, Nostalgic | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 3 | 7 | 2 | 6 | 6 | 7 | 7 | 9 | 8 | 8 | 8 | |
3 - Sammy's Destructive Play | Tense, Reflective, Nostalgic | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 6 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
4 - Secret Movie and Family Dinner | Heartwarming, Humorous, Tense | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
5 - Sammy's Film | Joyful, Nostalgic, Reflective | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 4 | 6 | 3 | 6 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
6 - The Mummy and the Dentist | Playful, Whimsical, Chaotic | 8 | 7 | 7 | 9 | 8 | 5 | 8 | 7 | 4 | 7 | 3 | 6 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
7 - Running Out of Toilet Paper | Light-hearted, Playful, Exciting | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 9 | 3 | 7 | 4 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
8 - Fleeing the Tornado | Tense, Humorous, Emotional | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 9 | |
9 - Journey to Orange Blossom Estates | Anxious, Excited, Playful, Family-oriented | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 4 | 7 | 3 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
10 - Scorpion Hunting Expedition | Humorous, Exciting, Curious | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 5 | 6 | 4 | 7 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
11 - An Afternoon in Orange Grove Estates | Humorous, Nostalgic, Light-hearted | 8 | 7 | 7 | 9 | 8 | 7 | 8 | 7 | 5 | 7 | 4 | 6 | 6 | 6 | 7 | 9 | 8 | 8 | 8 | |
12 - Stagecoach Ambush | Humorous, Dramatic, Chaotic | 8 | 7 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 8 | 4 | 7 | 7 | 6 | 7 | 9 | 9 | 7 | 8 | |
13 - The Nail-Cutting Caper | Humorous, Light-hearted, Playful | 8 | 7 | 7 | 9 | 9 | 5 | 8 | 7 | 4 | 7 | 3 | 6 | 8 | 6 | 8 | 9 | 8 | 8 | 8 | |
14 - Troop 275 Movie Night | Light-hearted, Exciting, Playful | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 4 | 7 | 3 | 7 | 8 | 6 | 7 | 9 | 9 | 8 | 8 | |
15 - Father and Son's Discord | Nostalgic, Reflective, Tense | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 7 | 8 | 9 | 8 | 7 | 8 | |
16 - Camping Adventures and Family Bonding | Light-hearted, Sentimental, Playful | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
17 - Somber Moments and Family Conflict | Sad, Reflective, Tense | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 8 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
18 - The Unexpected Visitor | Anxious, Nostalgic, Humorous | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
19 - Sammy and Boris: A Conversation About Art and Family | Reflective, Emotional, Intimate | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 7 | 6 | 8 | 6 | 7 | 8 | 9 | 8 | 9 | 8 | 7 | 7 | |
20 - Boris's Farewell and Sammy's Discovery | Sentimental, Reflective, Intimate | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 4 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
21 - The Film and the War Film | Intense, Emotional, Dramatic, Serious | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
22 - Sammy's Screening | Tense, Emotional, Reflective, Dramatic | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
23 - Revelation in the Closet | Tense, Emotional, Confrontational, Regretful | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
24 - Uncle Bennie's Gift | Conflicted, Emotional, Reflective | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
25 - Stalled Dreams | Emotional, Reflective, Intense | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
26 - Mitzi's Confession | Emotional, Reflective, Resigned | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
27 - A New Beginning? | Despondent, Anxious, Amused | 8 | 7 | 7 | 9 | 8 | 6 | 8 | 9 | 5 | 7 | 4 | 6 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
28 - Bullying in the Locker Room | Intense, Hostile, Tense, Dramatic | 8 | 7 | 8 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 9 | |
29 - Chaos at the Rental House | Tense, Emotional, Humorous | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
30 - Bullying and Betrayal at Grand View High | Intense, Humiliating, Confrontational, Tense | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
31 - Family Conflict and Emotional Turmoil | Anger, Grief, Tension, Defiance, Regret | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
32 - Sammy's Confession | Humorous, Reflective, Conversational | 8 | 7 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
33 - Monica and Sammy's Prayer Play | Intimate, Spiritual, Awkward | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
34 - Dinner Table Discussions | Tension, Humor, Conflict, Reflection | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 8 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
35 - Ditch Day and Family Drama | Tense, Emotional, Confrontational, Reflective | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
36 - Mitzi's Marriage | Emotional, Reflective, Intimate | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
37 - Prom Night Revelations | Emotional, Intense, Reflective, Confrontational | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 7 | 8 | 8 | 10 | 8 | 9 | 8 | 8 | 8 | |
38 - Morning After Prom | Emotional, Reflective, Conflicted | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 6 | 6 | 5 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
39 - A Father's Support Amidst Uncertainty | Anxiety, Sadness, Hope, Resignation | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
40 - An Introduction to Hogan's Heroes | Tense, Reflective, Hopeful | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
41 - The Mentor and the Aspiring Filmmaker | Intense, Inspirational, Educational | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 8 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
42 - Sammy Leaves Paramount Studios | Emotional, Reflective, Hopeful | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 6 | 3 | 5 | 7 | 5 | 9 | 7 | 8 | 8 | 8 | 9 |
Scene 1 - Sammy's Frightening Film Experience
The projector’s an aggressive monster, huge reels spinning,
film running through gears, passing through the gate, image
by image, past the brilliant bulb, out through the lens and
into...
INT. FOX THEATER AUDITORIUM - NIGHT
The movie palace’s opulent auditorium is filled to its 1200-
seat capacity. On the screen, the robbery in the train,
Cornell Wilde and Betty Hutton.
ROBBER 1 (ON SCREEN)
Wait’ll the engines pass!
ON SCREEN
TWO ROBBERS leap from a car parked next to the railroad
tracks and clamber aboard a circus train as it grinds to a
stop. Robber 1 dons a bandanna mask and smashes a window
with his pistol.
ROBBER 1 (ON SCREEN)
Open up the door!
An ENGINEER emerges to investigate and gets cold cocked by
Robber 2.
Conformed Draft 4.
IN THE THEATER
The audience GASPS. Mitzi checks on Sammy with a quick
glance. Sammy, eyes wide, is completely entranced, consumed,
absorbed watching as...
ON SCREEN
... The car is pulled up to straddle the train tracks.
ROBBER 2 (ON SCREEN)
What’s that?
ANOTHER TRAIN speeds towards them on the same tracks.
ROBBER 1 (ON SCREEN)
Second section!
Robber 2 pales. His sweetheart’s on the stalled train behind
the car, the train they’ve just robbed.
ROBBER 1 (ON SCREEN) (CONT’D)
Get goin! We gotta burn rubber!
ROBBER 2 (ON SCREEN)
Angel! She’s on that train!
ROBBER 1 (ON SCREEN)
So what? We got the dough, let’s
get outta here.
ROBBER 2 (ON SCREEN)
Lights! I must turn the lights down
the track!
He starts to pull the car onto the tracks towards the
oncoming train.
ROBBER 1 (ON SCREEN)
You crazy lug, gimme that wheel -
He lunges towards the steering wheel and Robber 2 punches
him, then clubs him. The theater crowd GASPS again.
ROBBER 2 (ON SCREEN)
Stop the train! STOP THE TRAIN!!!
He drives the car down the tracks right at the oncoming
train, flashing the headlights.
ROBBER 2 (ON SCREEN) (CONT’D)
STOP! CAN’T YOU SEE THE LIGHTS?!?!
STOP!!!
Conformed Draft 5.
IN THE THEATER
Sammy’s eyes go wide!
ON SCREEN
The Engineer in the second train tries to slow down.
ENGINEER (ON SCREEN)
(to his BRAKEMAN)
Hang on!
ROBBER 2 (ON SCREEN)
Angel! ANGEL!!!
But it’s too late. The train hits the car and flips it over!
IN THE THEATER
Sammy’s whole body goes rigid, pushing back into his seat,
staring in shock at the catastrophe on the screen.
Cut between the crash as the moving train ploughs into the
stalled train and Sammy’s reactions, frozen stills of his
sheer, visceral terror (cf 2001’s star gate sequence). For
Sammy this is real, not a movie. His eyes are huge, taking in
danger on the screen: lions and tigers are escaping from the
demolished train!
Above and behind him, the projector’s beam’s colors cross,
dance in the thick, cigarette-smoke-filled air. The beam’s
colors blend and merge into...
3 INT/EXT - THE FABELMAN CAR DRIVING THROUGH HADDON HEIGHTS, 3
NEW JERSEY
... the colors of Christmas lights festooning every house on
the street. Sammy’s in the car’s front seat between his
parents, visibly stricken with fear.
MITZI
What was your favorite part?
Sammy’s too scared to talk.
MITZI (CONT’D)
Sammy! What do you want for
Hanukkah?
Sammy doesn’t answer. Mitzi looks at Burt.
Conformed Draft 6.
BURT
I told you this wasn’t a good idea,
what with all his a-n-x-i-e-t-i-e-
s.
MITZI
Kids his age have big i-m-a-g-i-n-a-
t-i-o-n-s.
SAMMY
No fair spelling out the long
words!
Burt turns onto Crystal Terrace Avenue, resplendent with
Christmas lights. He squints.
BURT
The lights change how everything
looks. It’s hard to find our house.
SAMMY
(to Burt:)
Ours is the dark house with no
lights.
Mitzi laughs.
SAMMY (CONT’D)
That’s what I want for Hanukkah.
MITZI
What?
SAMMY
Christmas Lights.
Mitzi laughs again. Burt shakes his head.
MITZI
Sorry Dolly, Jews don’t get
Christmas lights.
BURT
Eight nights of candlelight.
(singing the penultimate
line, setting her up:)
“Who could ask for anything
more...”
As the car pulls into the driveway of the neighborhood’s only
dark house.
Conformed Draft 7.
MITZI
(big finish:)
“Who could ask for anything more!!”
Burt leans over Sammy and gives Mitzi a big romantic kiss.
Sammy watches, delighted and horrified. Then:
SAMMY
Can I sleep with the oscilloscope?
4 CUT TO: 4
CU on Burt’s oscilloscope, its sign wave waving, filling
Sammy’s darkened bedroom with an eerie a pulsating green glow
that’s having a narcotizing effect on Sammy, in bed, fighting
but succumbing to sleep. His eyes flutter and close.
5 CUT BACK TO: 5
6 CU on the oscilloscope’s round screen. Superimposed over its 6
fluctuating green sign wave: A wild jumble of sounds from The
Greatest Show On Earth. The tempo of the oscilloscope’s wave
fluctuations increase, getting frantic at the sound of the
car being driven onto the train tracks, the driver shouting
frantically. Suddenly flashing to the image as the train
flips the car and collides with the other train:
Ratings
Scene 2 - The Hanukkah Train
SAMMY (O.S.)
MOOOOOOMMMMMMMYYY!! MOMMMMYYYY!
Mitzi in her nightgown rushes to Sammy’s room, still half
asleep.
INT. SAMMY’S BEDROOM - NIGHT
She swings open the door to find Sammy jumping on his bed.
SAMMY
I know what I want for Hanukkah! I
know what I want for Hanukkah!
7 INT. THE FABELMAN HOUSE, HADDON HEIGHTS - NIGHT 7
A Hanukkiach with one candle; the shamos candle, held by
REGGIE, Sammy’s 4 year old sister, is brought slowly,
carefully to light it.
FABELMAN FAMILY
[Hebrew prayer TBD]
Conformed Draft 8.
The entire family shares in the prayer, including both of
Sammy’s younger sisters and both grandmothers: maternal
grandmother TINA SCHILDKRAUT, 63, beaming with joy and love;
and paternal grandmother HADASSAH FABELMAN, 66, a tall,
formidable Ukranian.
They finish with a collective joyous “HANNUKAH!” as the
sisters excitedly grab their presents and tear into them.
REGGIE
Thank you!
Burt quietly hands Sammy his own gift.
BURT
Sammy...
Sammy’s fingers tear open his gift: Lionel electric train
tracks!
INT. FABELMAN HOUSE - LIVING ROOM - LATER
A big piano fanfare, with Mitzi at the keys as the family
sings together. Hadassah is knitting small squares, which
she’ll stitch together someday to make an afghan. Burt films
with a wind-up Kodak Brownie 8mm camera; bright lights on a
stand overexpose the room, all around which are TV sets
Burt’s repairing. Burt closes in on Mitzi as she sings:
MITZI
Down by the station, early in the
morning,
See the little pufferbellies all in
a row,
See the station master pull the
little handle!
EVERYONE
PUFF PUFF TOOT TOOT OFF THEY GO!
Mitzi’s playing continues through:
8 CUT TO: 8
On each Hanukkah night, another candle, and Sammy opens
another present. On the second night, a caboose; on the third
night, a passenger car; night 4) a boxcar; 5) another
passenger car; 6) a crossing gate; 7) a transformer; and
finally, 8), the coal car and engine!
Conformed Draft 9.
9 INT. THE FABELMAN GARAGE - NIGHT 9
The garage is Burt’s work-station: TV sets undergoing
repairs; on a workbench, tools and ham radio equipment.
Burt hunkers down next to Sammy and places the locomotive in
front of the other cars on the completed tracks, mounted on a
green-painted plywood board.
BURT
...so the outside grounds, the
middle conducts the power, and
these two metal wheels under the
engine complete the circuit.
The two grandmothers and Mitzi enter as Burt carefully
connects the engine to the train.
HADASSAH
(to Burt:)
So nu, Mr. Engineer, RCA gave you a
raise? That is one expensive
trolley car.
SAMMY BURT
(indignant!) No raises for the computer
It’s not a trolley car it’s a guys this year. Next year
Lionel train! maybe.
MITZI
Your moonlighting son is paying for
it by filling up my house with
broken TVs. Repair work. That’s
how.
Sammy moves to the transformer, sending Hadassah lunging for
Burt.
HADASSAH
Oy! Careful he doesn’t electrocute
himself.
Sammy looks at Burt, momentary alarmed. Tina gets down on the
floor with Sammy as Burt says to Hadassah:
BURT TINA
Ne pugay mal’chika. (Don’t Hold on, you’re not taking
scare the boy.) that fancy train to Florida
(to Sammy) * without me!!
You’re okay. *
HADASSAH
She’s down on the floor. Who’s
gonna help her up?
Conformed Draft 10.
TINA
Who says I’m getting up! I’m going
to Miami on the Sammy Limited!!
(to Sammy)
Go ‘head.
Reassured, Sammy turns the transformer knob. The train moves.
Everyone claps, oohs and aahs. Reggie and Natalie rush in,
thrilled by the spectacle.
Sammy kneels to bring himself eye level to the tracks. From
his new perspective, the approaching train looks life-size,
getting bigger as it races towards him. In his mind, the
clickety-clack of a toy train is replaced by the deafening
roar of a steam locomotive. When the train reaches him, Sammy
flinches, breaking the illusion - which fascinates him.
Ratings
Scene 3 - Sammy's Destructive Play
Surrounded by houses ablaze with Christmas lights, the
Fabelman house is the black hole of Crystal Terrace Avenue.
12 INT. THE GARAGE - NIGHT 12
Sammy’s hand places a toy convertible car on the tracks,
facing the train. He wedges a small wooden figure of Noah in
the driver’s seat.
Flashlight in hand, Sammy’s turns the transformer dial.
The train starts to move towards the car, which Sammy’s hand
is moving towards the train; then we see Sammy’s face, level
with the plywood, trying to get the correct perspective.
The locomotive picks up speed. CU of smokestack pumping
smoke. The toy car barrels toward the train. CU of Noah’s
face, caught in the train’s headlight.
Sammy holds his breath, watching the train and car heading at
one another; the sound is again in Sammy’s head, VERY LOUD
AND REAL! Then...
CRASH!!!! The car hits the train! In SLOW MOTION, it does
exactly what it’s supposed to do: It flips up and over the
train, just like in the movie! Noah flies out of the car!
Sammy in the background traces with his eyes Noah’s arc
through the air, and then...
At normal speed, Sammy snaps his gaze to the train, rushing
straight at Noah’s model Ark, placed on the tracks, tilted to
make sure it’ll be derailed when...
Conformed Draft 11.
CRASH AGAIN!!! In SLOW MOTION, the train slams into the ark!
The cars accordion into V-shaped towers as the ark topples
heavily onto its side, its roof popping off and its animals,
dozens of pairs, tumble and scatter across the floor.
Sammy, startled, pulls away from the tracks, jarring Burt’s
work table, causing a shelf of tools near the edge of the
table to fall to the cement floor, making a mighty racket.
13 INT. BURT AND MITZI’S BEDROOM - NIGHT 13
The sound of the falling tools startle Burt and Mitzi out of
deep sleep. They sit up in bed.
14 INT. SAMMY’S BEDROOM - NIGHT 14
Sammy is in bed, Mitzi tucking him in. He’s watching Burt,
who sits on the edge of the bed, carefully straightening a
bent coupler on one of the train’s cars with a needle-nose
pliers.
BURT
They’re precisely engineered toys.
You can play with them when you’ve
learned to treat them with respect.
SAMMY
I do respect them! I love them!
BURT
I know you do, but you can’t just
love something, you also have to
take care of it, right?
He rises, but pauses in the doorway.
BURT (CONT’D)
Maybe we can play together with
them this weekend.
He leaves with the mended train car.
SAMMY
(turning to his mom:)
But I need to see them crash.
Mitzi looks at him, understanding something.
Conformed Draft 12.
14A INT. AND BURT’S BEDROOM - NIGHT 14A
Mitzi and Burt are back in bed. Burt is still working on the
train’s coupling. Mitzi is reading and marking the piano
score for the Goldberg Variations.
BURT
I don’t understand. Why does he
need to see them crash?
He looks at Mitzi. She shrugs, studying her score. Burt goes
back to the train, then he shows Mitzi: The two train cars
couple. She cheers quietly. Burt puts the cars on the
nightstand. He’s about to take off his glasses and settle
down to sleep when he stops because she’s still reading her
score.
BURT (CONT’D)
It’s late. You don’t wanna shut
your light?
MITZI
In a minute, I’m still wide awake.
(showing him the score,
open to Variation #21:)
See these descending notes?
That’s called a lament bass.
(singing the opening
notes, tapping each with
her blue pencil:)
Ya da da dee dah dah dah dah...
BURT
You should play it on the radio. On
that arts program, they keep asking
you to come back.
MITZI
I don’t have the time for that.
BURT
We can hire a sitter.
MITZI
Who can afford that? Forget it.
That was another life, that was two
kids ago.
Burt switches off his light. She looks up from the score.
MITZI (CONT’D)
Know what I miss most about the
piano? Surrendering to the score,
knowing Bach is gonna tell you how:
Conformed Draft 13.
First this note then this chord
then you open your hand, you
stretch down an octave, and...
(she sings the notes of
the lament bass, playing
them with her fingers)
Making a little world you can be
safe and happy in.
Burt kisses Mitzi’s hand and lies back. She takes off his
glasses and he smiles with his eyes closed.
BURT
Thank you...
Mitzi places them on the nightstand, next to the train cars.
Mitzi stares at the glasses and the trains.
MITZI
That’s why he needs to watch them
crash. He’s trying to get some kind
of...control over it.
Mitzi’s eyes stay on the train cars. An idea is forming.
Ratings
Scene 4 - Secret Movie and Family Dinner
Reflected in the broken TV screens, Sammy sets up his shot,
placing the train, the toy car driven by Noah and the tilted
ark on the tracks. Mitzi enters with Burt’s movie camera.
She smiles at him, his complete absorption in the task.
MITZI
Sammy? We’re going to use Daddy’s
camera to film it. Only crash the
train once, OK? Then after we get
the film developed, you can watch
it crash over and over till it’s
not so scary anymore. And your real
train won’t ever get broken.
Sammy rises eagerly to take the camera, but Mitzi holds onto
it as she kneels before him.
MITZI (CONT’D)
One other thing, Dolly... Let’s not
tell your father. It’ll be our
secret movie, just yours and mine.
(with a wink:)
Okay?
SAMMY
Okay.
Conformed Draft 14.
16 INT. THE FABELMAN HOUSE - EVENING 16
Burt bursts through the front door carrying a TV set. As he
heads to the kitchen:
BURT
Sorry I’m late! I picked up Mrs.
Moynahan’s Motorola. There’s no
room left in the workshop. Where
should I put it?
MITZI
The living room, I guess.
Burt staggers away with the TV set. Right behind him,
Hadassah, struggling to get free, clutching her huge knitting
bag, is being carried in by BENNIE LOEWY, 35, Burt’s work
associate and friend, working-class, balding, heavyset,
cherubic face, sweet smile, mischievous twinkle.
BENNIE
(calling into the
kitchen:)
Hey, sorry I’m late, I picked up
Mrs. Fabelman. Where should I put
her?
HADASSAH
Otpusti menya, kayzol, tebe shto,
nyeh stiidno?!
(Put me down you big
goatish lump, you should
be ashamed!)
Hadassah grabs Bennie’s ear and twists, HARD, forcing him to
put her down.
BENNIE
OWWWW!!!! OW OW OW!
Sammy rushes through the door, past the pair, and straight to
the kitchen, where Mitzi’s got a huge meal going: pots on the
stove, a brisket and a casserole in the oven. She’s turning
the crank of a large metal grinder, making chopped chicken
liver.
SAMMY
Did the mail come?!?
MITZI
(to Sammy:)
It’s on the table.
Conformed Draft 15.
Sammy runs to the dining table and rifles through the mail.
Hadassah finally extricates herself from Bennie.
HADASSAH
Cossack.
She enters the kitchen with a bag of knitting supplies. After
a brief, silent stare down with Mitzi, she crosses to open
the oven.
HADASSAH (CONT’D)
This is brisket?
In the dining room, Sammy happily snatches a box of processed
Kodak film from Bennie.
SAMMY
MY MOVIE!
MITZI
Ah ah ah! After supper.
She plucks the film from his hands and puts the film box in
her apron pocket.
18 CUT TO: 18
Burt, Bennie, Mitzi, Reggie, Sammy, Natalie and Hadassah,
still visiting, are eating Mitzi’s superabundant shabbos
meal. The plates, the tablecloth, the napkins are paper; the
flatware and cups are plastic. Bennie is seated between
Natalie and Burt. Two candles are burning and there’s a
challah:
BURT
The amount of magnetism is
increased by how magnetically
permeable the core material is. The
tricky thing is how permeable -
BENNIE MITZI
Right, though eddy currents Am I supposed to be following
can cause energy loss, it’s - any of this?
BURT
(to Mitzi:)
You know what a magnetic field is,
right?
MITZI
Well, sure, I mean - Sammy, do you
know what a magnetic field is?
Conformed Draft 16.
SAMMY
Can I be excused?
BURT
Nope.
SAMMY
But I need to, just for a minute?!
BURT
What’s so urgent?
HADASSAH
(to Burt:)
Honey. This tastes funny, Burt. It
tastes funny on a plastic fork.
BURT
Mom...
HADASSAH
Is she saving the silverware for
when the Eisenhowers drop by?
BURT
(to Mitzi:)
The problem is we’re using vacuum
tubes, not transistors, and
magnetic cores to access -
BENNIE
35,000 magnetic cores!
(to Sammy:)
Hey, Sam, you know how on your
father’s camera, when the film runs
out?
Sammy is instantly interested.
BENNIE (CONT’D)
When that happens what do you do?
SAMMY
(With authority, even a
little condescension
because it’s so obvious:)
Load more film?
BENNIE
The same with computers, you have
to load more tape, and that slows
everything down.
Conformed Draft 17.
BENNIE (CONT’D) * BURT
But we’ve figured out how to * Mitts, the chopped liver was
take a whole bunch of tapes beyond belief.
loaded with data - *
Mitzi shushes Burt with a gesture, focused on Bennie.
BENNIE (CONT’D)
- and instead of changing tapes
every ten seconds, this new machine
he’s engineering -
He points to Reggie, who eagerly leaps up for her cue.
REGGIE
The BIZMAC!
BENNIE
The Bizmac! It can search for
information through all these tapes
at once. You never need to change
any of ‘em! It’ll be ten times
faster!
Mitzi takes Burt’s hand and says to Bennie:
MITZI
I love Burt’s brain, especially
when you’re around to explain
what’s in it.
Hadassah looks up from her plate, fixing Mitzi, then Bennie
with a look.
SAMMY
Mom!! I have to go upstairs now!
BURT
Not until you’ve finish eating.
MITZI
He cleaned his plate.
NATALIE
No he didn’t!
Natalie picks up Sammy’s plate, revealing that he’s hidden
almost all his food in a semi-circle under the rim.
BURT
Sammy.
Burt’s about to scold Sammy, who’s staring daggers at
Natalie, when Bennie jumps in.
Conformed Draft 18.
BENNIE
Hey Natalie, I think there’s
something under your plate!
NATALIE
No there isn’t!
Mitzi quietly crooks a finger to summon her son.
MITZI
Sammy.
BENNIE
(to Natalie)
Lift it up and check! I saw it
moving.
Natalie lifts her plate. There’s a big black spider
underneath. She screams!!
Bennie snatches the spider and pops it in his mouth and
chews. Natalie screams again, and Reggie joins her.
While the girls scream at Bennie’s anties, Mitzi takes the
film from her apron pocket and slips it to Sammy, who runs
out.
Bennie chews; grinning, mouth full, he says, a la Spencer
Tracy in Adam’s Rib:
BENNIE (CONT’D)
Licorice! If there’s anything I’m a
sucker for it’s licorice.
Everyone bursts out laughing.
NATALIE
Uncle Bennie, that was sooooo
disgusting!! So gross!
HADASSAH
Natalie! He is not your uncle.
(to Mitzi, pointedly:)
Also he is not that funny.
MITZI
(as she tries to get
control of her laughing:)
Uncle is a term of affection.
Hadassah grunts, then resumes eating. Mitzi, still giggling,
starts clearing the food, leaving the paper- and plastic-ware
on the table.
Conformed Draft 19.
HADASSAH
Natalie, he’s not related. He’s
only always here because he works
for my son.
BURT
He’s only always here because he’s
my best friend.
BENNIE
And deep down inside you, Mrs.
Fabelman, admit it: I’m your friend
too.
HADASSAH
Deep down inside of me is none of
your business.
Hadassah goes back to eating.
MITZI
Sid Caesar’s on at 8!
(to Reggie and Natalie:)
Help me.
Hadassah knows what’s coming; she lifts up her plate and
keeps eating. Meanwhile the girls jump up and grab two ends
of the paper tablecloth, while Mitzi grabs an end, then
gestures to Bennie to do likewise. He does.
BURT
Natalie, get that corner.
BENNIE
Get the corner! Get the corner!!
REGGIE
Can I help you take it out?
The girls, Mitzi and Bennie bring the four ends of the
tablecloth together, enfolding the plates, cups, plasticware
within.
Ratings
Scene 5 - Sammy's Film
CU the Kodak film spooling through the projector, light
streaming through the lens, and played out on the “screen” of
Sammy’s palms, the footage of the Lionel train wreck. Sammy
watches wide-eyed.
Conformed Draft 20.
19 INT. SAMMY’S BEDROOM, HADDON HEIGHTS - SAME 19
Mitzi enters. The room’s dark. Sammy is nowhere in sight.
She hears a whirring noise, sees the closet, the door of
which is closed. From under the closet door, a bluish
flickering light.
Mitzi knocks gently.
MITZI
Sammy?
19 INT. SAMMY’S BEDROOM CLOSET, HADDON HEIGHTS - EVENING 19
The door opens. Without a word, Sammy reaches up and takes
Mitzi’s hand, pulling her in. She smiles, confused.
MITZI
What?
Moments later, ensconced in darkness, Sammy, seated on the
floor by Mitzi, turns on the projector.
On the closet wall ahead of them, an 8”X10” rectangle of
light appears, and Sammy’s train crash movie starts to play.
First the train, rounding the bend and passing the camera.
Then there’s a flash of light. Then we see the Ark on the
tracks with the car in front of it. Sammy’s fingers make
Noah climb into the car.
Another flash. The train is coming right at the lens, its
light getting brighter and brighter. Then another flash.
Mitzi is unable to take her eyes off the film. The car,
driven by Noah, is coming right at the lens of the camera.
Another flash of light, then a side angle as the train
smashes into the car. The car flips up and Noah goes flying!
Another flash, then the camera itself is speeding towards the
ark! Another flash, and the train is heading straight at the
lens! It collides into the camera! Mitzi gasps! Sammy takes
her arm and watches her closely, seeking her approval.
Another flash of light, then Mitzi, spellbound, watches the
train crash into the ark, the trains accordion and uncouple;
another flash and the ark falls over and the animals inside
fly out towards the camera. Mitzi gasps again.
Conformed Draft 21.
SAMMY
I had to crash it a whole lot of
times but the train never got hurt.
The end of the film flaps past the gate. The projector lights
up the whole closet. Mitzi stares at Sammy.
MITZI
Oh Dolly! That was the greatest
show on earth!
Sammy looks back at her, an oddly serious expression on his
face.
MITZI (CONT’D)
More! More! More! More! More!
Sammy grins hugely.
Ratings
Scene 6 - The Mummy and the Dentist
Reggie steps into frame in a dentist smock made of one of
Burt’s shirts on backwards, Mitzi’s makeup mirror taped to
her forehead, in Groucho glasses, a fat bubblegum cigar in
her teeth.
Natalie is her patient in a folding chair, feet up on a stack
of Encyclopedias, a napkin tucked into her collar. Sammy
grabs her chin and adjusts her position.
SAMMY
Head back. Open. Candy corn in.
NATALIE
Ahhhhh.
Reggie shoves a spoonful of candy corn into Natalie’s mouth.
Sammy loads another spoon with ketchup.
Reggie hops in giddy anticipation, a piece of candy corn
already loaded in her pliers.
SAMMY
(to Natalie:)
Say “ah”. Head back. Ketchup.
‘Kay... Scream like it hurts.
He grabs the camera and starts filming as Reggie shoves a
pair of pliers in Natalie’s open mouth to yank her “tooth”.
SAMMY (CONT’D)
Pull it!
Conformed Draft 22.
A20 INT. THE LIVING ROOM - AFTERNOON A20
Mitzi, seated at the upright piano, opens a book of The
Goldberg Variations. She finds the one she’s looking for,
positions her hands above the keys, readies herself and, just
as she’s about to play: she’s nearly knocked off the bench by
Natalie SCREAMING A BLOOD-CURDLING SCREAM upstairs!!
20 INT. UPSTAIRS BATHROOM - AFTERNOON 20
The door flies and Mitzi charges in, agog with terror, just
as Natalie spews a gory spray of candy corn teeth and ketchup-
blood all over Reggie’s dentist’s smock. All while Sammy
films. Mitzi is equally shocked and amused.
MITZI
Sammy!
21 INT. NATALIE AND REGGIE’S BEDROOM - NIGHT 21
A giggling Reggie lies on the floor, wrapped in strips of
torn-up bedsheet from the neck down. Sammy wraps her face and
hands in toilet paper, which Natalie feeds to him from an
immense pile of unspooled toilet paper.
Sammy soaks Reggie’s tissue-wrapped face and hands with a
squirt gun, producing the effect of hideously wrinkled flesh
that, to Sammy’ s evident satisfaction, resembles Boris
Karloff’s in The Mummy!
Reggie opens her eyes, raises her arms, stiff and
perpendicular, and growls, teeth bared:
REGGIE
GRRRRRRR!!!
Standing on the bed, an already “mummified” Natalie howls
with her sister.
CUT TO:
Ratings
Scene 7 - Running Out of Toilet Paper
Mitzi reaches to get some toilet paper. The roll is empty.
She reaches behind her head for the spare and finds another
empty roll.
CUT BACK TO:
Conformed Draft 23.
22A INT. FABELMAN KITCHEN - SAME 22A
Dramatically backlit by a big flashlight, Mummified Reggie
and Natalie, arms raised and growling ferociously, lurch
towards Sammy’s camera. He moves backwards, several steps
ahead of them, moving his camera side-to-side to augment The
Mummies’ lurching.
22 INT. MITZI AND BURT’S BATHROOM - AFTERNOON 22
Mitzi looks to the shelf above the toilet and finds a
multitude of empty cardboard toilet-paper tubes.
INT. SAMMY’S BEDROOM - AFTERNOON
Reggie and Natalie are blindfolded with handkerchiefs as
Sammy guides them into his room, darkened by drapes. He
stands them before his open closet. Inside, a bright light
shines out from a spinning color wheel, seated next to
Sammy’s camera. He gets into the closet, grabbing the camera
and a rope.
SAMMY
Take off the blindfolds.
As the girls remove the handkerchiefs, Sammy pulls the rope,
causing a ghoulish model skeleton to come lunging out from
between the hanging clothes. Reggie and Natalie SCREAM!
27 INT. FABELMAN HOUSE - AFTERNOON 27
Mitzi comes to the bottom of the stairs, one hand holding a
baby bottle, the other supporting new baby LISA, 5 months
old, on her hip. She calls upstairs.
SCREEN TITLE: THE FOLLOWING YEAR
MITZI
SAMMMMMY!!!
(a beat, then:)
REGGIE!!! NATALIE!!! COME
DOWNSTAIRS PRONTO!! YOUR FATHER HAS
AN ANNOUNCEMENT!!!
28 CUT TO: 28
INT. FABELMAN LIVING ROOM - SAME
The kids are seated on the sofa in the living room. Mitzi
sits with them, feeding baby LISA, 5 months old, from a
Conformed Draft 24.
bottle. Burt stands, a nervous grin on his face. Behind him,
TV sets waiting to be repaired.
BURT
General Electric wants to hire me,
because of what I did on Bizmac.
The kids - Sammy, now 8, Natalie, now 5, and Reggie, now 6 -
listen raptly.
BURT (CONT’D)
They want to use my electronic
library system to - I don’t think
they have any notion what I can do
with it! And I’ll make more money!
REGGIE
Is uncle Bennie coming too?
MITZI BURT
Well, Daddy and me hadn’t had (surprised, bemused:)
a chance to - Bennie? No, he lives here -
MITZI (CONT’D)
Burt?
Taken by surprise, maybe even a little nettled, Burt looks at
Mitzi, waiting for an answer. Realizing he needs to address
the issue:
BURT
Uh... I’ll miss your Uncle Bennie,
too.
Then, as if nothing’s happened, he resumes with the kids:
BURT (CONT’D)
But Phoenix is a real neat city.
It’s on the rise!
Ratings
Scene 8 - Fleeing the Tornado
BANG! The door of Mitzi and Burt’s bedroom flies open and
Mitzi storms out. As Mitzi descends the stairs, Burt follows
her, arguing:
BURT
They only just hired me, I’ve got
no pull there yet. I can’t ask
General Electric to hire somebody
else on my say-so, that’s not how
it works.
Conformed Draft 25.
MITZI
Don’t ask them, do it yourself.
They’re hiring you to manage.
Managers hire. Hire Bennie.
Mitzi reaches the first floor. She sees baby Lisa neglected
in her bassinet. Sammy and his sisters are gathered at the
front window.
MITZI (CONT’D)
Who’s watching --? Sammy!
Mitzi pulls the now-crying Lisa into her arms as Burt
continues to plead his case.
BURT
He’s gotta make a name for himself
at RCA, that’s what I did. He’ll
stay in New Jersey, get out from
under my shadow, and then he can -
MITZI
He needs you, Burt. He’s -
SAMMY (O.S.)
There’s a tornado outside!!
MITZI
Yeah? Well, there’s a bigger one in
here!
(turning on Burt:)
Honestly, honestly Burt sometimes I
wanna shake you. You - You’re gonna
leave him behind with just a, a
shrug?
Reggie grabs Mitzi’s arm to pull her towards the window.
MITZI (CONT’D) KIDS
See you later?! Once we’re Mommy! Mommy, look! Mom!
gone, who’ll he have left in Mommy! Look!
New Jersey? You have an
opportunity to help your best
friend! Honestly!! Wake up.
The kids’ insistent cries finally snap Mitzi around to them.
MITZI (CONT’D)
WHAT?
NATALIE
Look! There’s a tornado outside!
I’m scared!
Conformed Draft 26.
31 EXT. OUTSIDE THE FABELMAN HOUSE - AFTERNOON 31
Mitzi opens the front door and emerges with Lisa in her arms.
It’s wildly windy and very dark.
MITZI
(laughing)
Wow... Oh...
Mitzi, holding Lisa, stands in the street, looking at a
funnel cloud forming, several miles away. The kids and Burt
come out onto the front porch.
MITZI (CONT’D)
You weren’t kidding!
REGGIE
How close is it? Why does the sky
look -
Mitzi, a little wild, hands Lisa to Burt. As the baby starts
to fuss, she gathers the other kids.
MITZI
Come on! Come on, let’s go see!
She hustles the kids into the car. Burt trails her across
the yard, still holding Lisa, puzzled.
BURT
Mitts? Where are you going?!
MITTS! Where are... Hey?!
Burt watches as the car starts, then begins to back up,
faster than it should. Inside are the three kids, and Mitzi
at the wheel. Burt walks towards the car.
BURT (CONT’D)
WHERE ARE YOU GOING?!
The car tears off, leaving Burt and Lisa behind in the cul de
sac.
BURT (CONT’D)
MITTS! MITZI!!!
INT./EXT. THE STREETS OF HADDON HEIGHTS - AFTERNOON
Sammy, Reggie, and Natalie lean forward from the back seat,
craning to see through the front window. Outside, high winds,
small branches from trees littering the street, and rain.
Conformed Draft 27.
Some cars pull over and Mitzi swerves around them, causing
other drivers to honk.
REGGIE
Where is it, I can’t see it anymore-
MITZI
Up ahead somewhere, we’ll find it.
SAMMY
(pointing)
Mom, it’s there! It’s there!!
Up ahead, the funnel cloud reappears, moving from left to
right. Cars have begun to pull to the right and left sides of
the street.
Mitzi accelerates and drives straight up the middle of the
street, now empty of traffic. Sammy sees that the traffic
lights are swinging wildly from side to side.
A couple of telephone poles begin to rock back and forth.
SAMMY (CONT’D)
Is this s-safe?
MITZI
(laughing:)
Of course it’s safe! I’m your
mother!
A transformer box on one of the poles blows with a bang and a
shower of sparks. The children SCREAM.
KIDS
STOP! STOP!!
Mitzi slams on the brakes, pulling up short at an
intersection. Rain pours down and the rising wind drives a
fleet of abandoned shopping carts down the cross street. It’s
a sobering sight for Mitzi.
The kids slump back, relieved. Mitzi seems to realize how
irrational she is being. She puts her head on the wheel,
calming herself.
MITZI
(softly, hesitantly)
Everything happens for a reason.
Everything happens for a reason.
Everything happens for a reason.
(terrified, asking the
kids for support:)
Conformed Draft 28.
Say it with me! Everything happens
for a reason!
SAMMY, REGGIE, NATALIE AND MITZI
Everything happens for a reason!
As Mitzi and the girls repeat this, Sammy falls silent; he
stares out the window, puzzled and apprehensive.
REGGIE, NATALIE AND MITZI
Everything happens for a reason!
Over this: The Sons Of The Pioneers recording of Tim
Spencer’s “By A Campfire On The Trail.”
Ratings
Scene 9 - Journey to Orange Blossom Estates
The song continues over a Plymouth Electra station wagon
driving past cactuses and tumbleweeds.
SCREEN TITLE: ARIZONA
In the rear window, Sammy is anxiously watching the desert,
alert for signs of danger; in his hands, the 8MM camera.
REGGIE (O.S.)
I think there’s something dead in
the road.
Sammy snaps to attention as the car passes, on the side of
the road, a dead armadillo, hugely swollen, flies buzzing
around it. With grim satisfaction that his worst expectations
of this hellish place have been confirmed, he raises the
camera and films the roadkill. Then he films his fellow
passengers.
SAMMY
Reggie, wave to the camera.
34 CUT TO: 34
8MM FILM, grainy, jumpy, overexposed. Reggie looks out the
right rear passenger window; she turns to make a horrible
face at the camera. Natalie pops up next to her, facing the
camera; she brings her mouth right up to the camera’s lens
and breathes, fogging it up. Sammy’s hand grabs her by the
shirt, pulls her up to the lens and uses her shirt to wipe it
clean. There’s no sound, but Sammy’s called to Burt, who
waves, eyes on the road. Mitzi turns from the front passenger
seat, and waves. The camera moves to the right-side seat
behind Mitzi, occupied by: BENNIE! He waves, mouthing “Hi,
Conformed Draft 29.
Sammy”, then raises his tiny Minox camera and takes a
photograph of Sammy filming him. (END OF 8MM)
35 CUT TO: 35
Frankie’s still singing. Camelback Mountain looms over
sprawling suburb, which a “For Sale” sign on the lawn
identifies as ORANGE BLOSSOM ESTATES. The station wagon
starts to pull into the driveway of a one-story house.
MITZI (O.S.)
Ooo, look! There it is!
BENNIE (O.S.)
It is!
The kids CHEER.
SAMMY (O.S.)
Lemme out, I want to take a shot of
you pulling in!
NATALIE (O.S.) REGGIE (O.S.)
NO!! I HAVE TO PEE!! NO NO!! Me too!
The car stops. Sammy jumps out, runs ahead. Reggie and
Natalie stick their heads out the window.
NATALIE AND REGGIE
NO. I. HAVE. TO. PEE.
Sammy ignores them, frames his shot then gives Burt the go-
ahead.
SAMMY
Keep coming... Keep coming, Dad.
You’re doing great.
Burt obediently pulls into the driveway. Sammy slowly raises
his hand, ready to halt the car.
SAMMY (CONT’D)
Aaaaaaaaaannnnndd...
When the lens of Sammy’s camera completely fills the frame:
TIME CUT TO:
CU of SAMMY, NOW 14, yelling:
SAMMY (CONT’D)
STOP!! FREEZE!!
Conformed Draft 30.
Ratings
Scene 10 - Scorpion Hunting Expedition
Three Boy Scouts freeze amid boulders: DEAN; TURKEY (real
name Fred); and HARK, (real name Harold). All hold fine-mesh
kitchen sieves, and Hark has a lunch box.
Sammy, also in uniform, reaches behind a rock to find an
angry scorpion that’s backing up, its tail coiled. Sammy
expertly lifts the scorpion by its tail.
SAMMY
Where’s the lunchbox? Where’s the
lunchbox?! Hurry!
DEAN
(calling to the others:)
WOW! GUYS, LOOK AT THE MONSTER
SAMMY CAUGHT!
SAL (O.S.) ROGER (O.S.)
I got some babies!! Sal found babies!! Sammy,
Dean, c’mon!
Sammy and Dean race around some boulders to join their fellow
Scouts. SAL (short for Salvador), shifts a massive rock as
they arrive:
SAL (CONT’D)
There’s a huge nest right there!
That’s a big one, Sammy!
They join Sal on his knees. Everyone scoops up tiny scorpions
in their sieves.
Hark runs over so the scorpions can be dropped in the
lunchbox, which Hark shakes to prevent them crawling up the
sides.
ROGER
SCORPIONS COME IN NESTS!
SAMMY
ACTUALLY IT’S A BED OF SCORPIONS -
ROGER, a bespectacled Scout, pontificates from atop a nearby
boulder.
ROGER
The baby scorpions are called
scorplings. They’re twice as
venomous. That’s - that’s why the
lab pays more.
Conformed Draft 31.
SAMMY
(shaking the box:)
There’s got to be like fifty of
‘em!
HARK
Well how much is the laboratory
gonna pay?
SAMMY
Fifty cents per baby!
HARK
That’s twenty-five bucks!
DEAN
For real?
ROGER
Well, what’re we gonna buy?
Ratings
Scene 11 - An Afternoon in Orange Grove Estates
CU on three boxes of Kodachrome II 8MM film being plunked
down on the glass countertop.
CLERK (O.C.)
Twelve dollars even.
Sammy counts out the money and puts it on the counter.
38 EXT. A STREET IN ORANGE GROVE ESTATES - AFTERNOON 38
Sammy and his gang are on their bikes, riding down tree-lined
streets and green lawns. Sammy has the bag with the film.
HARK
Well it’s the Merit Badge for
photography, not movies. Manual
says you gotta tell a story with
still pictures!
SAMMY
Yeah, but all a movie is is still
pictures. You just put a bunch of
them together and they move.
ROGER
Yeah, but what kind of a movie are
we making?
They see a group of GIRLS their age coming down the street.
Conformed Draft 32.
SAL
Ooooh, Sammy, look, it’s Janet
Benedict!
Sammy stares at one of the girls, very pretty.
TURKEY
Hey, go on and talk to her, I dare
you!
HARK
He already talked to her.
TURKEY
No way!
DEAN
Like hell.
Sammy pedals harder, head down, passing by the girls.
39 INT./EXT. A MOVIE THEATER IN PHOENIX - LATE AFTERNOON 39
The boys jog up to the box office. In display cases on either
side of the box office, the marquee one-sheets read: Together
for the first time James Stewart John Wayne in the
masterpiece of four time Academy Award winner John Ford: The
Man Who Shot Liberty Valance
HARK
He did! He did! He walked right up
to her and -
SAL
(to Sammy:)
You went up to Janet Benedict?!
TURKEY
What’d you say to her?
SAMMY
Nothing!
HARK
Oh come on, tell ‘em what happened,
Sammy!
SAMMY
Nothing happened.
Sammy heads into the theater. Hark turns to the others.
Conformed Draft 33.
HARK
Something happened.
They follow Sammy inside.
40 CUT TO: 40
They boys are taking their seats in the already-darkened,
semi-full theater of OLD PEOPLE watching the afternoon
showing, already in progress.
ON SCREEN
STODDARD (Jimmy Stewart) dusts off an old stagecoach while a
REPORTER observes.
STODDARD (ON SCREEN)
- the same one.
(reading the coach sign)
“Overland” - Hey, I think it is the
same one.
IN THE THEATER
The boys quickly find some seats. Hark plops down next to
Sammy, still holding court.
HARK
So Sammy kinda side-winds his way
in her direction -
Frustrated, Sammy huffs and climbs over the seats to the row
in front of Hark to escape the story.
HARK (CONT’D)
And he’s trying, um - he’s trying
to work up the nerve to say
something slick and smooth like
“Hey Jan baby” but -
SAMMY
No I wasn’t! You’re making this up!
HARK
- but, but he sees that Janet’s
got something on her nose, so now
he’s thinking “Cool! Here’s my
excuse to go up and talk to her!”
so he goes and he says “Hey,
uhhhhhhh, sorry, Janet? It looks
like you have a little smudge on
your nose?”
Conformed Draft 34.
SAMMY
Shut up, Hark!
HARK
But it wasn’t a smudge!
SAMMY
It looked like a smudge!
HARK
And it wasn’t little!
SAMMY
SHUT UP!
HARK
It was a BOOGER!! A BIG FAT JANET
BENEDICT BOOGER!
The boys crack up, except for Sammy, mortified. An OLD LADY
hisses at them to be quiet. Sammy climbs over another seat to
distance himself from the others, putting all his attention
on the screen.
ON SCREEN
LIBERTY VALANCE’S (Lee Marvin) masked gang is holding up the
stagecoach. Liberty fires his pistol to stop the horses.
IN THE THEATER
The other boys are still giggling about the booger; but Sammy
is immediately riveted, swept up and away. Roger leans over
the chair, whispers to Sammy.
ROGER
Hey, Sammy?
ON SCREEN
A huge close-up of Liberty Valance, in his black cowboy hat
and mask.
LIBERTY (ON SCREEN)
Stand and deliver!
IN THE THEATER
ROGER
What kind of movie are we gonna
make?
Conformed Draft 35.
MATCH CUT TO...
Ratings
Scene 12 - Stagecoach Ambush
... Hark, black-hatted and masked like Liberty Valance,
leaning in through the window of a stagecoach that shakes
violently as if jouncing at high speed over a rutted road.
HARK
Stand and deliver!
Wisps of dust drifts in. REGGIE, now 13, in a homemade 19th
century dress and bonnet, clutching a metal strongbox, and
NATALIE, now 11, similarly attired, lean in from opposite
sides of the frame facing camera; both girls scream! Suddenly
another masked bandit (Turkey) thrusts his head into the
window nearest the girls. The girls scream again! The bandits
laugh maniacally.
SAMMY (O.S.)
No, keep screaming, keep screaming!
Natalie screams again, but Reggie starts coughing as another
wisp of dust floats in.
SAMMY (O.S.) (CONT’D)
I NEED MORE DUST!! DAD, CAN YOU
GRAB A SANDWICH BOARD?
42 EXT. PINNACLE PEAK PATIO RESTAURANT, OUTSIDE SCOTTSDALE - 42
NOON
Sammy sits on the hood of Burt’s car, filming through the
coach’s window. Sal, dressed as a bandit, and Dean, in a
white sheriff’s costume, are on either side of the coach,
shaking it violently.
REGGIE
NO!! NO, NO, NO MORE DUST!!
SAMMY
REGGIE STOP COUGHING!!
Burt drops the tray he was using and grabs a tall PARKING FOR
CUSTOMERS ONLY sandwich board. He begins to wave it as best
he can to blow the dust into the coach’s window.
REGGIE BURT
I’M COUGHING BECAUSE THERE’S More dust, fellas!
DUST!
Conformed Draft 36.
SAMMY
NATALIE, SAY “PLEASE DON’T KILL
ME!” REGGIE, STOP COUGHING, YOU’RE
BEING DRAMATIC. IT’S BAD.
The boys are scooping up dust from a trashcan and flinging as
much as they can at the coach.
The RESTAURANT OWNER, a heavyset Greek-American, walks up to
Burt:
REGGIE THE OWNER
DON’T YOU WANT ME TO BE Mr. Fabelman! You’re getting
DRAMATIC? dirt inside my stagecoach!!
SAMMY BURT
DON’T LOOK INTO THE CAMERA! Well, we’ll clean it out.
GUYS, STOP LOOKING INTO THE
CAMERA. I CAN’T USE ANY OF
THIS.
REGGIE
DAD!
Ratings
Scene 13 - The Nail-Cutting Caper
CU on the bare bulb of an unshaded lamp. Sammy slowly spools
film from an 8mm reel, using the back light and a magnifying
glass to examine the frames.
He goes through the process of editing, cutting the film in a
block, abrading the edge, applying cement and pressing the
shots together in the block. The finished element is taped
to a table alongside several other labeled cuts.
OVER THIS: Mitzi’s playing Friedrich Kuhlau’s Piano Sonatina
in A Minor, Op 88, No. 3: “Allegro burlesco,” which syncs
with the movie. Her piano playing continues through this.
INT. BEDROOM CLOSET, FABELMAN HOUSE - EVENING
In the darkened closet, Sammy projects the film against the
wall.
8MM FOOTAGE:
The sheriff (Dean) and the bandits (Hark, Sal, and Turkey),
shoot at each other from behind rocks, making “pow” sounds
when they fire.
Conformed Draft 37.
Sammy stops the projector, then runs the film in reverse.
Back and forth, over and over, fixating on the action of the
gun barrels as they “fire”.
He pauses the projector and stares at the freeze frame of
Dean, disgruntled, disgusted.
SAMMY
Fake. Totally fake.
45 INT. THE LIVING ROOM, THE FABELMAN HOUSE - NIGHT 45
The whole family and Bennie sit in an arc of chairs,
listening to Mitzi, in a beautiful flowing dress, make-up and
high heels, playing expertly through the first movement, the
Allegro of Beethoven’s Piano Sonata No.1 in F Minor, Op. 2.
Burt is rapt, deep inside the music, enormously proud of
Mitzi’s artistry. Bennie looks disgruntled. He whispers to
Burt:
BENNIE
You hear it?
Burt, not wanting to be distracted, makes a discrete gesture:
“Be quiet, I want to listen!” Bennie settles down then, after
a few seconds, he whispers again:
BENNIE (CONT’D)
(whispering:)
She has gotta cut those goddamn
fingernails before she goes on live
television.
Mitzi stops playing and turns to them, annoyed.
MITZI
I have to perform this tomorrow.
It’s a difficult piece. It’s a very
big deal for me. All I asked is for
you to keep your big traps shut and
listen to my dress rehearsal.
BURT
Sorry Mitts! It’s wonderful!
(to the kids:)
You hear how the rising arpeggios
lift up the sad notes? It’s in F
Minor but your mom makes it sound
so alive.
BENNIE
She makes it sound like she’s
playing a typewriter.
Conformed Draft 38.
Everyone laughs, even Mitzi.
MITZI
Oh not this again!
BENNIE
(imitating a combo
piano/typewriter:)
Bah-dah-dee-dah-dee-dah-clickety-
clack clickety clack!
The kids laugh. Burt smiles despite himself.
MITZI
(to Burt:)
Do you hear it? Am I clicking?
BURT
I concentrate on your playing, but -
MITZI
Oh great. But what?
BENNIE BURT
But people can hear it in * (to Mitzi:)
Tucson! Maybe I’ve gotten used to it?
REGGIE
Maybe GE should make rubber tips
for fingernails.
Bennie pulls a pair of nail clippers from his pocket!
BENNIE
Alright, Mitzi Fabelman. Time to
face the music.
BURT
Oh boy...
MITZI BENNIE
You stay away from me with (advancing towards her:)
those things! No, no, no! It’s Beethoven, dammit, it is
Stop, stop, stop it! not Morse Code! Come on!
MITZI (CONT’D)
(standing up, to Burt:)
Stop him!
BURT
He has a point, though, especially
with the polydirectional ribbon
microphones they have at television
stations -
Conformed Draft 39.
Mitzi springs up, sweeping the sheet music to the floor as
she makes a break for it. Bennie lunges and wraps his arms
around her waist. She screams, laughing but also annoyed. The
more she struggles, the tighter he holds her. Reggie’s
appalled, Natalie’s delighted, Lisa is fascinated and a
little scared. Sammy’s thrilled and appalled in equal
measure.
Bennie, holding on to Mitzi, tosses the clippers at Burt.
They land on the floor near him.
BENNIE
C’mon! You married her!
REGGIE MITZI
Daddy, don’t! I will scratch you! Don’t
think I won’t!
NATALIE
Do it! Do it! Do it! DO IT!
Burt grabs Mitzi’s ankles and together Burt and Bennie carry
her, kicking, laughing, yelling to the sofa.
BENNIE NATALIE
You think Arthur Rubinstein Do it!
had fingernails? Horowitz?
Schnabel? Kempff?
MITZI
No! No no no no!
BENNIE AND BURT
Liberace??!?!
Burt picks up the clippers and tries them out on his
thumbnail.
BENNIE MITZI
C’mon, Fabelman, show her NOT MY NAILS MY BEAUTIFUL -
who’s General Electric’s
product design manager!
With Bennie holding Mitzi, Burt takes her thumb and moves in
with the clippers.
MITZI (CONT’D)
I PAID A BUCK FIFTY AT THE BEAUTY
PARLOR FOR THEM NO NO NO NO!
Conformed Draft 40.
BURT AND BENNIE MITZI (CONT’D)
One. Two. THREE! (imitating Lucy
Ricardo:)
WAAAAAAAHHHHH!
Mitzi stops struggling and, leaning in very closely, Burt
clips one nail. After a quiet beat.
MITZI (CONT’D)
Get offa me, Delilah.
Bennie releases her. All three are breathing hard, laughing.
BURT
Delilah?
Mitzi swipes the clippers and stands.
MITZI
Okay, the fun’s over. I’ll do the
rest myself.
Natalie claps enthusiastically and Mitzi answers with a deep
curtsey. She notices her sheet music speared on her heel.
MITZI (CONT’D)
Oh! Oh great, just great.
(she pulls the page off
her heel and tosses it:)
Well that decides it: I’m gonna
play the program from memory
tomorrow, no sheet music. Short
nails. Like a real performing
artist.
Sammy looks down at the perforated sheet music. The carpet
shows through the hole. He picks up the paper and holds the
hole up to the chandelier’s light. He smiles; an idea is
forming.
PRE-LAP: the percussion of Bernstein’s score for The
Magnificent Seven.
49 CUT TO: 49
Ratings
Scene 14 - Troop 275 Movie Night
Pulling back from a running projector to reveal Sammy’s Boy
Scout Troop 275 is having its bi-monthly Friday evening
assembly. There are about 120 SCOUTS watching the movie,
mostly white, a few Black, Latinx and Native American Scouts;
behind the Scouts, the SCOUTMASTER and a number of DADS, Burt
among them. A record player plays the Magnificent Seven
Conformed Draft 41.
soundtrack. While the rest of the audience chuckles along
with the movie, Burt sits rapt.
ON THE SCREEN
The 8mm footage of Reggie and Natalie having their stagecoach
robbed.
The bandits grab a strongbox from the coach and race off.
Turkey fumbles his pistol in the dirt.
IN THE MEETING HALL
Hark mocks Turkey.
HARK
You dropped your gun?!
ON THE SCREEN
Reggie and Natalie in the sheriff’s office, gesticulate
wildly, pointing, tearing their hair, showing empty purses,
describing the robbery to the sheriff (Dean). Looking heroic.
IN THE MEETING HALL
Dean smiles proudly.
DEAN
That’s me.
ON THE SCREEN
Dean takes his gunbelt from a coatrack, fastens it and puts
on his 10-gallon white hat. Someone calls out from the crowd.
AUDIENCE MEMBER (O.S.)
Scary sheriff!
IN THE MEETING HALL
People chuckle as Dean covers his face, embarrassed. His
friends clap him on the shoulder, a silent “attaboy”.
Conformed Draft 42.
ON THE SCREEN
the three bandits (Hark, Sal and Turkey) sit behind a rock,
the strong box open, costume jewelry spread out on the rock.
The bandits exult over their stolen booty! The sheriff
appears, on a boulder above them.
IN THE MEETING HALL
The crowd spontaneously applauds their hero.
ON THE SCREEN
The bad guys draw their guns and break for cover! The sheriff
opens fire! It’s the scene Sammy had found unsatisfying and
fake - but now when the actors fire, SHARP BRIGHT LIGHTS
flash from the barrels of their toy cap guns!
Intercut: The audience GASPS in awe! Burt is openly
impressed. Roger stares at Sammy like he’s a sorcerer.
ROGER
How - How’d you do that?
Two of the bandits are shot. The lead bandit (Hark) realizes
his guns are empty and flees up the rocks. The sheriff in
close-up points his gun at the camera; he fires. There’s a
blinding white flash from the end of the gun’s barrel!
A makeshift dummy bandit topples floppily over a cliff and
falls many feet to his death on the desert rocks!
AUDIENCE
WHOA!
52 A close up of Hark’s bandit, dead on the rocks. Above him, 52
Dean holsters his pistol, collects the loot, and walks off.
Then, over black, a title in white: GUNSMOG.
The Scouts erupt in cheers and applause!
Ratings
Scene 15 - Father and Son's Discord
PHOENIX - EVENING
CU of Sammy’s new Merit badge in Photography. Sammy is
looking at it, aglow from his triumph. Burt’s driving.
BURT
It’s kind of like what I do, isn’t
it? What a movie director does?
Conformed Draft 43.
SAMMY
It is?
BURT
I figure out what my division needs
to accomplish, then I work out how
my guys are gonna get it done.
SAMMY
(smiling, pleased:)
Yeah, it is! Yeah! Sorta.
BURT
How’d you make it look like the
guns were really firing?
SAMMY
I did it with pins.
BURT
(appreciative)
Pins...
SAMMY
Yeah! I poke holes in the film with
pins.
Burt laughs, looking at his son with surprise and delight.
He reaches over and tousles Sammy’s hair.
BURT
Sammy! Thinking like an engineer!
SAMMY
(laughing)
Watch the road, Dad.
53A CUT TO: 53A
A54 EXT./INT. ANOTHER STREET IN PHOENIX/THE FABELMANS’ NEW CAR -A54
LATE AFTERNOON
The Fabelmans’ shiny new station wagon drives along a street
from right to left.
54 CUT TO: 54
Inside the car, Sammy, 16, is at the wheel, driving his dad.
Burt watches the road like a hawk, nervous.
Conformed Draft 44.
BURT
Sammy. Watch the road.
SAMMY
I can’t edit without an editing
machine, I have to be able to cut
and splice, and I -
BURT
Let’s revisit it after the camping
trip.
Sammy sulks.
BURT (CONT’D)
It’s three hours to the National
Forest. If you get your license you
could help with the driving.
SAMMY
(distractedly:)
Okay.
Burt turns back to a driver’s ed manual to quiz Sammy.
BURT
You are approaching a railroad
crossing with no warning devices
and limited visibility the speed
limit is -
SAMMY
(then with excitement:)
See the thing is though, about my
new movie, is that it’s just...
It’s about World War II, your war,
it’s gonna be like outa this world.
I’m shooting on a Bolex H-8!!
Finally I can use double-run film.
You know that’s six minutes without
having to change the reel?
BURT
How much did you spend to rent this
camera?
Sammy hesitates, smelling a trap; then:
SAMMY
Twenty bucks.
Burt whistles at the price.
Conformed Draft 45.
SAMMY (CONT’D)
But I used my own money, you don’t
have to -
BURT
And this movie editor gizmo costs -
SAMMY
It’s a Mansfield Eight Millimeter
Movie Editor.
BURT
How much?
SAMMY
Eighty bucks.
BURT
Doggone it, Sammy! A hundred
dollars! For a hobby?
SAMMY
(offended, mad:)
It’s not a hobby, dad.
Sammy comes to a stop at an intersection.
BURT
If you spent half the time on
algebra that you spend on these -
SAMMY
Algebra? I hate algebra. Why are
you...? It’s completely pointless.
BURT
Not if you want to make something,
it’s not pointless. Geez, Sammy,
when I was a boy, I always used to
think “somebody figured out how to
make this, this car, that rearview
mirror, that directional signal -”
SAMMY
I want to make movies, though!
BURT
I mean something real. Not
imaginary. Something someone can
actually use. Like a driver’s
license.
Conformed Draft 46.
Ratings
Scene 16 - Camping Adventures and Family Bonding
FOREST - DAY
Pulling a rented luggage trailer packed with camping
equipment, the car heads into the mountains.
LISA (O.S.)
I’M GONNA VOMIT, SAMMY!! I’M GONNA
VOMIT!!
REGGIE (O.S.)
SAMMY, PLEASE PULL OVER! SHE’S
GONNA PUKE ALL OVER ME!!
A56 INT. THE FABELMANS’ CAR ON A ROAD IN THE COCONINO NATIONAL A56
FOREST - DAY
Natalie, Reggie and Lisa are in the backseat, next to Bennie,
bouncing violently over huge ruts in the road.
NATALIE
GO SLOWER! You are the WORST
driver. You’re gonna break the car.
SAMMY
We’re on a back road going three
miles per hour. Calm down.
Mitzi, seated between Burt and Sammy, pats his arm.
MITZI
You’re doing great, dolly, you’re
doing great.
Bennie pats Sammy on the shoulder from the back seat.
BURT
Watch out, puddle up ahead.
The car plunges into a deep puddle in the road, plowing
through to dry land, but a big bump jars the back of the
trailer loose and some of the camping equipment falls out of
the trailer and into the muddy water.
57 EXT. A CAMPGROUND IN THE RED ROCK-SECRET MOUNTAIN WILDERNESS 57
-
DAY
Burt demonstrates how to make a branch-and-bark tripod over
the fire for cooking, explaining his process to Reggie, 14,
Natalie, 13, and Lisa, 8. Sammy films this with his Bolex P1
camera with a zoom lens attached.
Conformed Draft 47.
BURT
So we’ve got three that are strong
and still green inside so they
don’t burn. Right? Green means that
they’re still alive and that they
carry moisture. And the reason that
we use the shape of the triangle is
that when these three points
connect, if we find the center of
gravitational force it creates
almost perfect balance.
Behind them, Mitzi and Bennie laugh as they gather wood.
Bennie grabs the top of a small sapling to bend it, inviting
Mitzi to climb onto the springy trunk.
BENNIE
- because, I’m Tutti and you’re
Frutti. So who else are you gonna
listen to? A wop bop a lula -
Mitzi struggles to haul herself onto the narrow trunk.
BENNIE AND MITZIE
- a wop bam boom!
She’s finally on and -
BENNIE
Okay!
Bennie releases the tree and it spring back upright, carrying
a whooping Mitzi with it. Burt drones on obliviously...
BURT
- the pyramids, right? I mean the
history behind this shape.
But Reggie has already sprung up to run over to where the fun
is happening.
BURT (CONT’D)
It’s pretty... It’s pretty
incredible.
And Natalie takes Lisa by the hand to race after Reggie.
Sammy jogs over to film them as Mitzi reverses her position
on the trunk to go for another ride.
BURT (CONT’D)
Girls? I’m gonna start the fire!
BENNIE
Three, two, one!
Conformed Draft 48.
He releases the trunk and Mitzi shouts with joy as she’s
launched again. Burt diligently strikes flint at the
kindling until -
BURT
Oh! It’s - it’s happening! Wooo!
But everyone else is too busy laughing with Mitzi.
61 CUT TO: 61
It’s the last night. Sammy isn’t filming. Everyone’s around
the campfire. Burt and Mitzi sing the verse of the Russian
folk song, “Kalinka.”
MITZI AND BURT
Kra-ah-sa-vava-vitsa, doo-oo-shah-
vava-d’yeh-vitsa,
Pah-loo-oo-bee-ee zheh-eh tee meh-
eh-enya.
Sammy, Reggie, Natalie and Lisa join in with the chorus:
THE FABELMANS
(a moderate lively tempo:)
Kaleenika, kaleenika, kaleenika
moya!
Zhadoo YAH-goda maleenika,
maleenika moya!
(FASTER!)
Kaleenika, kaleenika, kaleenika
moya!
Zhadoo YAH-goda maleenika,
maleenika moya!
The Fabelmans launch into another chorus. Bennie joins in,
making up words.
THE FABELMANS (CONT’D) BENNIE
(EVEN FASTER!) Kleenex-ica, Windex-ica,
Kaleenika, kaleenika, She’s sexy-ca oh boy!
kaleenika moya! Pneumonia, dyspepsia,
Zhadoo YAH-goda maleenika, leukemi-oy-yoy-yoy!
maleenika moya!
The Fabelmans begin the fourth, super-fast chorus, but Mitzi
and the kids start to drop out (NOT ALL AT ONCE) as they
listen to Bennie’s improvising. Burt continues singing alone,
then gives up.
Conformed Draft 49.
THE FABLEMANS BENNIE (CONT’D)
Kaleenika, kaleenika, Oh Leningrad and Petrograd
kaleenika moya! I’m sorry Dad, I lied!
Zhadoo YAH-goda maleenika, I snatched the keys and stole
maleenika moya... the car
And took it for a ride!
Bennie heads immediately into the next verse. Mitzi claps in
time: The kids join her. Burt sits it out. Bennie sings:
BENNIE (CONT’D)
You take it back, paskudniak!
You’re giving me a -
He gestures to Mitzi: “Take it!” She sings:
MITZI
- heart attack!
BENNIE
I’ll take a zitz and have a -
MITZI BENNIE (CONT’D)
Schvitz! - schvitz!
And eat some gribbenitz!
MITZI (CONT’D) BENNIE (CONT’D)
And schnitzel-bits! Drink slivovitz!
And we’ll get the shits!
REGGIE NATALIE
And eat some grits, (reacting to “shits”:)
And throw some fits - Eeeeewww!
Mitzi falls off her log, laughing. Bennie pulls the camera
away from Sammy’s eye and pulls him into a dance as the
sisters join in. Burt sits quietly.
BENNIE
We live in Arizonia!
Where nothing can be grown-ia
The land is dry and stony-a!
NATALIE
But we can eat bologni-a!
BENNIE
EXACTLY!
Everyone cheers. The game deteriorates into a cacophony of
“ah” rhymes shouted out by Bennie, Mitzi and the kids:
Etcetera, blah blah blah, lah-dee-dah, umbrell-ah, Hanukkah,
Conformed Draft 50.
oom-pah-pah, grampapa, grandmama, cha-cha-cha, hip-hip-
hoorah, Canada, America.
62 CUT TO: 62
Sammy and Reggie listen and watch as Burt pours Bennie a
stiff tin cup of Jim Beam; Burt’s relaxed, Bennie’s arguing
passionately, worried.
BENNIE (CONT’D)
They’re gonna know that kind of FPU
is not for industrial process
control and it will raise every red
flag there is. How many bits?
BURT
Float 64!
BENNIE
64 bits?! 64 - ?! You are nuts! And
time-sharing for eleven operators!
They’re gonna know this is a
business machine we’re building,
and we’re all gonna get fired.
BURT
Naw.
BENNIE
YES!! GE doesn’t build business
computers, we do heavy industry
processing - you got that straight
from the CEO. Ralph Cordiner’s
gonna skin you alive.
BURT
Once Bank of America buys in,
this’ll be profitable, and that’s
Mr. Cordiner’s job - making money.
My job’s getting Raytheon to
deliver 10,000 germanium
transistors that meet our tolerance
standards. And your job is to get
the cabling diagrams to Pitney-
Bowes so when the time comes we
have a sorter to hook up to the
mainframe.
BENNIE
Well maybe Pitney-Bowes’ll hire me
after you get us both canned from
GE.
Conformed Draft 51.
BURT
Isn’t it worth getting canned for
the chance to build a machine that
can do all that?!
BENNIE
It’s worth it to you, maybe: Sure
as the Lord made little green
apples, California here you come!
IBM is waiting!
Mitzi lies in her tent listening. The kids chime in from the
picnic table.
REGGIE
Are we moving to California?!
BURT BENNIE
Naw. Any day now!
SAMMY
What?
BURT
IBM’s asking, and that’s...
flattering, but -
BENNIE
Flattering?! Flattering?! Every guy
in computer would give his matzoh
balls to get an offer - You’ll be
in California building double-
precision auxiliary units with an
FP 64, and I’m gonna be left
schvitzing in Arizona, making,
making forty-watt lightbulbs.
Mitzi drains a cup of Jim Beam beside her cot
BURT
(to Sammy and Reggie:)
Hold your horses!
BENNIE
(awestruck:)
Congruence modulo -? Oh my God-
BURT
I told your mom it’ll be up to her.
I’m not uprooting us again unless
she says yes.
Mitzi emerges from her tent in a thin nightgown, a bit tipsy.
Reggie and Sammy look at Mitzi. Bennie looks down.
Conformed Draft 52.
MITZI
Why would momma ever leave all of
this:
(the campsite, the
mountains, the stars)
- for California?! We have the
Grand Canyon!! They have the San
Andreas Fault!!
(to Burt:)
Mammalah says: I will never leave
Arizona! And Arizona will never
leave me!!
Mitzi embraces Burt and, to his surprise and even to hers,
gives him a big passionate smooch! Bennie says, with forced
amusement:
BENNIE
Kids! Avert your eyes!
Mitzi pulls away from Burt and begins to dance: She’s good, a
natural performer and she’s a little drunk.
BENNIE (CONT’D)
(to Sammy:)
Hey, man?
SAMMY
Hmm?
BENNIE
Shouldn’t you be filming this?
SAMMY
Not enough light.
Bennie snorts, then jumps up and runs to the car.
BENNIE
GE!! LIVING BETTER ELECTRICALLY!!
He turns on the headlights. Mitzi dances around the bonfire,
spinning in and out of the headlights. Sammy starts to film.
In the headlights, Mitzi’s nightgown becomes transparent.
Reggie, embarrassed, rushes over from the picnic table.
REGGIE
Mom. Mom, everyone can see through
your dress. Um - ?
Mitzi ignores her. Reggie half-heartedly dances in front of
Mitzi to block the view.
Conformed Draft 53.
SAMMY
(still filming)
Reggie, get out of the way.
Reggie rushes to her father sitting placidly.
REGGIE
Dad, can you please stop this?!
He just pats the log next to him.
BURT
Come sit.
REGGIE
No.
Frustrated, she rushes over to cover Bennie’s face.
REGGIE (CONT’D)
Bennie, don’t look!
He deftly removes her hand and kisses it. Reggie flings him
off and storms away.
REGGIE (CONT’D)
Oh! You’re all nuts!
Mitzi swoops, pirouettes, leaps. Burt watches her with love
and hunger, overcast with sorrow. Bennie with longing. Reggie
watches from her tent, feeling sadness and empathy for her
mother.
Mitzi gracefully lowers herself to the ground, ending the
performance with a soft smile.
Ratings
Scene 17 - Somber Moments and Family Conflict
A few weeks later. Burt sits quietly, focused on a beeping
scope. Not an oscilloscope this time, but a heart monitor. He
looks scared.
In a nearby hospital bed, Sammy’s maternal grandmother Tina,
skeleton-thin, her hair transparent, is dying.
Mitzi lies on the bed next to her mother, holding Tina’s
hand, stroking her hair, whispering to her. Mitzi’s eyes are
red and scrappy. Sammy sits in a corner. His sisters sit
opposite him.
MITZI
I’m right here. I’m right here with
you. I’m holding your hand. Can you
Conformed Draft 54.
feel that, Mama? Just give me a
squeeze.
Sammy focuses on an artery in Tina’s thin neck, weakly
pulsing. Then... It stops. Sammy blinks, expecting it to
start again. But it doesn’t. Tina’s eyes blink open.
MITZI (CONT’D)
Mom... Mommy?
She turns to the NURSE at the back of the room, excited.
MITZI (CONT’D)
She opened her eyes. Nurse. Mommy,
I’m here. I’m right here, Mama.
Mommy, look at me. Mommy, please.
The nurse moves to the bed, passing the girls, all on the
brink of tears. She quietly takes Tina’s pulse, then turns to
Burt. But he already knows. The monitor has flatlined.
Frightened, Sammy looks at his father. Burt is still staring
at the heart monitor. He seems helpless and afraid.
Mitzi realizes Tina is gone. She starts sobbing. Burt goes to
her. He puts his hands on her shoulders but she reaches back
to brush him off.
Over this: Satie’s “3 Gymnopediés: No. 2” begins to play.
With great gentleness, Burt closes Tina’s eyes.
64 INT. THE FABELMAN HOUSE, PHOENIX - NIGHT 64
CU on Mitzi playing Satie’s “3 Gymnopediés: No. 2”. Her eyes
are closed; she’s somewhere else.
65 CUT TO: 65
CU on Burt’s hands opening a cardboard box. Inside, a new
Mansfield Eight Millimeter Movie Editor.
BURT
It’s a Mansfield Eight Millimeter
Movie Editor. That’s what you
wanted, right?
Sammy and Burt are in Sammy’s bedroom. Mitzi’s practicing
drifts in from the living room.
Sammy stares dumbfounded at the machine. All around him, on
the bed, the floor, the walls, his storyboards, gadgetry,
model tanks and planes - preparations for Escape To Nowhere.
Sammy sits down at his new gear in awe.
Conformed Draft 55.
SAMMY
Oh my god.
BURT
Now I need a favor in return -
Sammy lunges across the box and hugs his dad tight. Burt is
very pleased, though a little awkward. He pats Sammy’s back.
BURT (CONT’D)
OK, OK. Here’s the favor.
SAMMY
Wow, yeah...
Sammy lets go, sits back and waits. Burt listens to Mitzi’s
playing for a moment, then:
BURT
I want you to make a camping trip
movie. You can learn how the
editing machine works while you do
this. It’ll make your mom feel
better.
Sammy nods.
SAMMY
Yeah.
BURT
That last night, when she danced in
the headlights. That’d be great.
(he stops, listening to
Mitzi’s music; then:)
Get to it tomorrow, okay?
SAMMY
Um - Tomorrow’s when we start
shooting.
Burt looks confused. Sammy laughs nervously.
SAMMY (CONT’D)
Escape to Nowhere! We’re shooting
all weekend, I can’t -
BURT
Shoot it next weekend.
SAMMY
We’ve got like forty guys coming to
be in the movie! I’ll work on all
the camping trip stuff on Monday.
Conformed Draft 56.
BURT
I’m asking you to do this now, for
your mom, she’s -
SAMMY
Yeah, and I said that I will, just
not tomorrow!!
BURT
Don’t be selfish. She just lost her
mother. That’s more important than
your hobby.
SAMMY
Dad, can you stop calling it a
hobby?
BURT
It’ll cheer her up, watching this,
it’s something we can do to-
SAMMY
Her mom just died! How is that
gonna cheer her up?!
BURT
Because you made it for her.
Burt looks down. Mitzi’s playing fills the silence. Burt
says, almost to himself:
BURT (CONT’D)
Something’s... not right. I don’t
know what else to do.
(a beat:)
Can you help me?
Bewildered, Sammy looks at the editing machine.
Ratings
Scene 18 - The Unexpected Visitor
It’s dark. The telephone rings, waking Mitzi from a deep
sleep. She fumbles, picks up the receiver.
MITZI
Hello?
There’s buzzing and crackling, then a voice, sounding like
it’s coming from far away:
TINA (ON THE PHONE:)
Mitzi? Mitzi!!
Conformed Draft 57.
MITZI
Mama...?
TINA (ON THE PHONE:)
Somebody’s coming!
MITZI
Mama? Mama, what...?
TINA (ON THE PHONE:)
You mustn’t let him in.
MITZI
Mama? I can’t hear you!
On the other side of the bed, Burt is awake.
TINA (ON THE PHONE:)
Dolly I’m scared, you mustn’t let
him in the house!
MITZI TINA (CONT’D)
Mama, Please, I don’t - No, I Do not let him in! Do not
can’t. Who - who’s coming? open the door! Don’t open the
Mama! door.
MITZI (CONT’D)
Mommy, don’t go. Don’t go yet.
Burt reaches for the receiver and listens. He hears a dial
tone. He returns the receiver to the cradle, then he takes
Mitzi in his arms.
BURT
You’re having a bad dream.
67 INT. THE KITCHEN, FABELMAN HOUSE - EVENING 67
Burt and the kids are at the table, already crowded with a
stunning assortment of dishes, and Mitzi is bringing more
from the stove. Again, the table is set with paper and
plastic. Mitzi hauls a roast chicken from the oven and
awkwardly slides it onto a platter.
NATALIE
This is a lot of food, mom.
MITZI
Well, I’m upset.
(to Burt:)
That crazy dream. I can’t get it
out of my head.
(to the kids:)
Conformed Draft 58.
Last night I dreamed I got a call
from my mama, and she wanted to
warn me.
LISA NATALIE
That’s silly, grandma died! About what?
MITZI
Well, something’s coming, she wants
me to batten down the hatches.
NATALIE
We’re never gonna be able to eat
all of this.
Mitzi starts to speak, but she stops at the sound of a car
pulling into the driveway. Reggie peeks out the living room
window.
REGGIE
Who is that?
Mitzi parts the curtains above her. A large man in his 80s
wrestles his bag from a taxi - dark, worn suit, bushy hair
and eyebrows and wild eyes. Mitzi’s eyes go wide.
MITZI
It’s uncle Boris!
SAMMY
Hmm?
REGGIE
Uncle Who? Mom?
MITZI
That’s who she meant! My - That’s
my momma’s brother.
(back to Burt:)
Oh! He scared the crap out of her
when they were kids!
They rush to the kitchen doorway to see Boris’ silhouette
approach the front door. Mitzi whirls on her family.
MITZI (CONT’D)
(hissing fiercely:)
Don’t let him in!!!!!
68 CUT TO: 68
Uncle Boris has joined them at the kitchen table. His eyes
bloodshot from crying, He eats, ravenously. The kids are
aghast at his lack of table manners.
Conformed Draft 59.
REGGIE
You were in the circus?!
MITZI
(to Boris:)
Mama said you were the lion tamer.
The kids are goggle-eyed.
BORIS
Nah. Not at first, at first it was
“Podgorny, pound in the tent pegs,
Podgorny muck out the pachyderms!”
And then one night, the big cat
act, he comes down with a flu bug,
so it was “Boris Podgorny! In with
the lions.”
NATALIE
(to Burt:)
He’s lying, right?!
BURT
No, he’s telling you a story.
BORIS
(to Sammy:)
You know what it’s like, huh? Pain
in the ass, sisters.
NATALIE LISA
That’s rude!! (delighted:)
He said ass!!
SAMMY
But... When did you start working
in the movies?
Boris blows his nose loudly, vividly into his napkin.
BORIS
1927.
SAMMY
1927 that was The Jazz Singer! That
was the year the talkies started!
Mitzi, Natalie and Reggie remove the food.
BORIS
Yeah sure, talkies, but me, no, I
started with Uncle Tom’s Cabin, not
a talkie, it was Harry Pollard, he
acted for Selig Polyscope, he
Conformed Draft 60.
married Maggie Whatsername, he
directed Uncle Tom.
MITZI
(to Boris:)
Lift up your plate.
Boris does as he’s told, continuing to talk as Natalie,
Reggie, Mitzi and Sammy lift the ends of the tablecloth.
BORIS
So Pollard needed help with the
bloodhounds, so my pal Fleischaker
who was a big name in dog acts,
poodles mainly.
The kids and Mitzi bring the ends of the tablecloth together,
Mitzi ties them in a bundle, then carries the bundle to the
trashcan.
BORIS (CONT’D)
But “Sure,” Fleischaker says to
Pollard, “bloodhounds, poodles,
what’s the difference?” So he went.
But by this time, Fleischaker he
had it up to here with the Jew-
haters - there was a lot of that
kind in the circuses, not many
Jews, lots of Jew-haters.
SAMMY
Right.
BORIS
But the movies! Oy vaVOY,
Fleischaker writes to me, “Boris,”
he writes. “Boris,” he writes,
“Hollywood is haymish, imagine I’m
in a minyan with Douglas Fairbanks
and Ricardo Cortez?! Come to
Hollywood!” So! I went.
(to Burt:)
Your wife, she don’t like doing the
dishes?
BURT
Ah... Piano hands.
BORIS
(tapping the side of his
nose:)
Ah, farshtaynen.
(to Sammy:)
Conformed Draft 61.
So you like the movies, huh, Mr.
Pizzelshass?
Ratings
Scene 19 - Sammy and Boris: A Conversation About Art and Family
The room’s even more consumed by Escape To Nowhere
preparations. The editing machine is on Sammy’s desk with
footage from the camping trip waiting to be edited.
Sammy’s in his PJs, sitting on the floor with Boris, who’s in
an old undershirt and boxers, his little suitcase open
nearby. Also close at hand, a bottle of scotch and a glass.
Sammy is showing him his storyboard notebook.
SAMMY
Okay, so then the sergeant he comes
over the hill, here, and I’m gonna
go below him so we see him and the
sky, and so we don’t see what he
sees, but we do see that he’s
really, um - okay so he’s like
almost losing his mind, right,
cause what he is seeing is totally
terrible! And then I’m gonna turn
the camera so that we see it.
He jumps up.
SAMMY (CONT’D)
It’s just in another notebook, hang
on -
BORIS
(indicating the editing
machine:)
That’s the movie? You could show me
instead of describing me to death.
SAMMY
Nah, that’s just our stupid camping
trip, my dad’s...
(beat)
He wants me to put this camping
film together so it’ll cheer up
mom.
BORIS
Because her heart is broken because
her mama iz toyt.
Sammy nods, thinking.
Conformed Draft 62.
BORIS (CONT’D)
But you, Mr. Director, you don’t
wanna do this, what your daddy
tells you, because you wanna make
your war picture, ah?
Sammy’s embarrassed, startled to be understood so exactly.
BORIS (CONT’D)
Yeah, yeah... Believe me, Sammy
Boy, I get it. Family, art:
(he makes a fierce gesture
meaning: “Pulled apart”)
It’ll tear you in two.
Down the hall, Mitzi softly plays Muzio Clementi’s Sonatina
in C Major, Op. 36. No. 3: I. “Spiritoso”.
BORIS (CONT’D)
(lifting his head, as if
scenting something:)
You hear that?
SAMMY
Oh yeah, my mom’s practicing, she’s
always -
BORIS
Shah!!!! You talk too much!!
Listen!!
Boris opens the door to hear better. Mitzi’s playing is
tender, soulful, soft.
BORIS (CONT’D)
When she was a kid, already she
played like that, she shoulda been
a concert piano player, a little
Rubenstein she was, she coulda
played... you name it, she coulda
played there, and she, once I
visited her and Teenee and Menashe
in Cincinatti, and she says to me
she wants to be a great piano
artist, but... She didn’t do it.
SAMMY
Yeah, she’s really good! You know
she played on TV!
BORIS
TV!! Feh!! She coulda played the
Musikverein in Vienna!
(he leans towards Sammy:)
Conformed Draft 63.
You see what she got in her heart
is what you got, what I got - ART.
Like me, like you I think, we’re
junkies and art is our drug. Family
we love, but art, we’re meshugah
for art. You think I wanted to
leave my sisters, my mama and papa
and go stick my stupid head in the
mouth of lions?!?!
SAMMY
Putting your head in a lion’s mouth
is art?
BORIS
(roaring with laughter,
then with ferocious
seriousness:)
NO!! Sticking your head in the
mouth of lions was balls!! Making
sure that lion don’t eat my head??
That is art!!
(he takes a drink:)
You see Teenee, she didn’t say to
Mitzi “go do what you gotta!” I
mean she was a good person, my
sister, but she was scared. Scared
for your mother, she should have
safety and family. So Mitzi, she
gave it all up.
He gives Sammy’s cheek a horrible hard squeeze. Sammy yowls.
Boris hangs on, examining Sammy’s head, one side then the
other; after one last painful shake, he lets Sammy go.
SAMMY
OW!
Sammy grabs his cheeks, rubbing them, his eyes watering.
BORIS
I want you should remember how that
hurt. Because when they say all
this -
(gesturing to the film
preparations all over)
- when they say what you do, it’s
cute, it’s a hobby, it’s like
stamps or butterfly collecting, you
feel your face how it feels now!
SAMMY
Yeah, you almost pulled it off!
Conformed Draft 64.
BORIS
So you remember your Onkl Boris and
what he’s telling you: Because
you’re gonna join the circus, I can
tell. You can’t hardly wait, you
wanna be in the big top, you’ll
shovel elephant shit until they say
“OK, Sammy, now ride the goddamn
elephant!” Oh you love those
people, ah?
(gesturing to the rest of
the house)
Your sisters, your mama, your papa,
except -
(whispering, gesturing to
the editing machine:)
- except this, this I think you
love a little more.
SAMMY
No I don’t!
Boris, laughing, reaches for Sammy’s cheeks. Sammy jumps up
and steps out of reach! Boris howls at him:
BORIS
Run all you want, boychick, but you
know I ain’t whistlin’ Dixie here!!
You will make your movies, and you
will do your art, and you remember
how it hurt so you know what I’m
saying: Art will give you crowns in
heaven and laurels on earth. BUT!!
It’ll tear your heart out and leave
you lonely. You’ll be a shonde for
your loved ones, an exile in the
desert, a gypsy. Art is NO GAME!!
Art is dangerous as a lion’s mouth,
it’ll bite your head off!! LOOK AT
ME!! LOOK AT ME!! IS IT A WONDER
THAT TEENEE, SHE WANTED NOTHING TO
DO WITH ME?! WITH - WITH M-
(crying brokenheartedly:)
TEENEE!!! OH, TEENEE!!!
He tears his undershirt and pulls at his hair. Sammy’s
horrified.
SAMMY
Stop! Stop! Stop it!!
Boris stops.
Conformed Draft 65.
BORIS
What, you never saw nobody grieving
before? Pfft!
(lying down on the floor:)
Let’s go to sleep, buballah.
SAMMY
Um, you can sleep in the bed. I
have my sleeping bag.
BORIS
I’m sitting shiva for my sister. I
sleep on the floor. You wanna sleep
on the floor too?
(shrugs:)
She was your grandma. Tear your
clothes. Sleep on the floor.
Goodnight.
Sammy carefully tears a corner of the pocket on his PJ shirt
and stands pensively before his editing machine.
Ratings
Scene 20 - Boris's Farewell and Sammy's Discovery
A cab waits as the family gathers to send off Boris.
MITZI
(to Lisa)
Say bye bye.
LISA
Bye bye.
BORIS
Bye bye.
As he heads for the taxi, the CABBIE tries to help with his
bag. Boris hangs on until the driver relents. He tosses the
suitcase in the cab then turns back, pointing at Sammy, who
seems pinned by his intensity. The family all turn to Sammy,
puzzled. Boris repeats the torn-in-two gesture. He gets in
the cab and it drives away. Burt puts his arm around Mitzi.
MITZI
(wiping her eyes:)
I don’t know what momma was so
worried about. It was a nice visit.
71 INT. SAMMY'S BEDROOM/THE LIVING ROOM - 2AM 71
Mitzi in her nightgown in the living room, playing the Adagio
from Bach’s Concerto in D Minor, BMV 974. Burt is on the
Conformed Draft 66.
sofa, papers all about him, scribbling work-related notes as
he listens to her play.
73 CUT BACK TO: 73
The editing machine’s loaded. Sammy turns the handle, feeding
footage through the viewer: Mitzi eats some stew from the
campfire. She turns to Sammy’s camera and opens her mouth
wide, exhibiting the masticated contents. Then she feigns
theatrically choking and dying. Reggie steps in to haul her
to her feet, laughing.
Sammy transfers the film to the editing block and cuts out
the shot to add to the series of trims taped to his table.
Everyone walks up a steep path, smiling, waving at the
camera. Sammy at the editing machine scowls and cranks
faster, racing through till he gets to:
Mitzi rides up and down on the sapling while Burt teaches the
girls tripod-building. Sammy at the editor slows down at a
possible jump from the tree lifting Mitzi to a close-up of
her face, laughing, lit-up, a little scared. He enjoys
speeding it up, reversing it.
Sammy searches through a new reel, now enjoying the work. He
cranks ahead till he gets to:
Burt gutting a fish, Lisa, Natalie and Reggie looking grossed
out. Reggie pretends to eat the fish guts, grossing out
Natalie. Sammy chuckles, then he cranks ahead, stops and
reverses - his eye’s been snagged by something. Cranking the
film forward again, slowly, Sammy bends closer to the ground-
glass screen. At a distance from Burt and the girls, in the
frames’ background, Mitzi and Bennie are seated on a log
together, deep in conversation. Bennie playfully puts his hat
on Mitzi’s head.
Sammy stares at this frame, then he slowly turns the crank,
wanting to move past this but also reluctant to do so.
Deciding to leave it, he zooms through a few more scenes.
Everyone’s walking across a stone bridge, pretending to be
tightrope walkers, Mitzi and Bennie last in line. Bennie
puts both his hands on Mitzi’s shoulders and starts to draw
her close to him. Sammy slows the film down as Mitzi allows
Bennie to hold her before she spins and pulls Bennie’s big
hat down over his eyes. The reel ends and Sammy, yawning,
changes it out.
CUT TO:
Conformed Draft 67.
In the living room, Mitzi continues with the Bach. Burt
listens as he works, making calculations with one hand,
conducting with the other.
77 CUT BACK TO: 77
Sammy scrolls rapidly through a new roll, stopping at a
sequence of Reggie and Natalie clowning around with some
branches. In the background, Bennie and Mitzi walk along a
trail into the woods.
Something catches Sammy eye and he reverses the film to play
it again slowly, intent on -
Mitzi and Bennie in the woods, partly obscured by tree
branches, but what’s not hidden is Bennie putting his hand
tenderly on the small of Mitzi’s back; Mitzi moves his hand
away, but as she does she looks back over her shoulder to
make sure no one’s watching. Then she leans over and kisses
Bennie’s ear. He playfully flicks at his ear as if brushing
off a mosquito. They laugh and walk together into the
darkness of the woods, Mitzi leaning her body against
Bennie’s as they disappear from view.
Sammy throws the reel off the editor and reloads the earlier
one of the stone bridge crossing. The intimacy between Mitzi
and Bennie is even more clear as she gazes lovingly into his
eyes when he steadies her balance.
CUT TO:
In the living room, Burt continues “conducting” with his
pencil.
CUT TO:
Sammy has loaded a new reel: Mitzi, Burt and Bennie clowning
around at the campsite. Burt and Bennie laugh as Mitzi
gesticulates dramatically, doing silent movie Lillian-Gish-
type schtick. She puts her hand to her forehead in a 19th
Century stage swoon. Both Burt and Bennie move to catch her.
Mitzi switches direction mid-swoon to make sure that when
she’s caught, it’s by Bennie, not Burt. Bennie dips her as if
about to go in for a passionate kiss. He scrolls slowly ahead
to a frame of Bennie’s and Mitzi’s faces, almost about to
kiss. The next frame, an instant so quick it barely
registered, but there it is on frame: Mitzi has abandoned her
stage-pucker and is looking up into Bennie’s eyes
meaningfully, sad, serious.
Sammy shoves back from the movie editor and stands,
overwhelmed, terrified; he’s having a panic attack.
CUT TO:
Conformed Draft 68.
In the living room, Mitzi is reaching a climax in the piece
she’s playing. Sammy seems pinned to the wall with the
incriminating frame of Mitzi and Bennie frozen on the screen.
He slumps to the floor.
78 CUT TO: 78
79 Mitzi finishes gently. Burt, still on the sofa but sitting 79
up, watches her with love. Mitzi returns his gaze,
unreadable.
CUT TO:
Ratings
Scene 21 - The Film and the War Film
Burt, Bennie, Reggie, Natalie and Lisa sit around the table
in the dark, watching the camping film. On screen, Mitzi mugs
for the camera with her mouth full of food. They all laugh.
LISA
Yuck!
On screen, Mitzi pretends to choke. Then it cuts to her
riding the springy sapling.
FAMILY
Whoa!
On screen, Mitzi peeks out at the camera from her sleeping
bag.
FAMILY (CONT’D)
Aww...
As the on screen Mitzi sits up and speaks to the camera, real-
life Mitzi does her best to dub herself.
MITZI
This. Is. The. Life!
Sammy watches, unsmiling.
On screen, Mitzi’s dance, edited by Sammy, dramatic and
beautiful. Joy, sorrow, desire move across Mitzi’s face as
she vanishes into the darkness beyond the headlights, then,
with her instinct for drama, Mitzi runs to the campfire,
lifts out a flaming smoking branch, and begins to twirl
around with it, whirling a trail of smoke and embers, caught
in the headlights, until she’s cloaked herself in her own
nocturnal tornado.
BENNIE
Only you can prevent forest fires.
Conformed Draft 69.
MITZI
Shhh...
Then everything goes brilliant white as the film spools out.
Mitzi gets up and goes to him, enfolding him in her arms.
MITZI (CONT’D)
It’s so beautiful, what you made,
Dolly. You really see me.
He allows it for a moment, but then steps aside to busy
himself with the projector.
BENNIE (O.S.)
Hey, man, how ‘bout that, huh?
BURT (O.S.)
(quietly:)
Hey Sammy. That was real neat.
Sammy can’t speak. Mitzi is left with a quizzical look:
“What’s wrong.”
83 EXT. AN ABANDONED ADOBE PUEBLO, THE DESERT OUTSIDE PHOENIX - 83
DAY
A teen in a t-shirt and a makeshift Nazi helmet stands on a
boulder, bringing his assault weapon to bear.
“NAZI” SOLDIER
DIE AMERIKANER!!!
As his comrades charge over the rocks, he jiggles his gun
from fake “recoil” and makes machine gun sounds with his
mouth.
Other howling BOYS charge at the camera, in uniform: tan
chinos, black t-shirts, black infantry caps, each with a
cardboard badge of a Swastika-clutching German eagle. The kid
playing their commander wears a genuine WWII German helmet.
They’re armed with toy rifles and BB guns; a few have real
lugers which they wave as they hurl themselves forward,
laying siege to an American stronghold inside the pueblo.
They sweep past Sammy, who pans with them to catch all of the
action on his camera.
Sammy digs two shallow holes in the dirt, then sets a board
on a rock as a pivot point to seesaw between the divots. He
covers one end with dirt so that when he steps on the other
side of the board, it launches a cloud of dirt into the air.
Instant “explosion”. The costumed actors are thrilled by the
effect.
Conformed Draft 70.
In a series of fast, VIOLENT cuts: Hand-to-hand combat,
American soldiers in white t-shirts and green infantry caps
bayoneting Germans, Germans shooting Americans. The boys have
sponges filled with red tempera paint; when they get shot,
they press the sponges and squeeze; the blood oozes out.
Sammy, crouching, moves in and around the fighting soldiers,
filming. He uses an old baby carriage as a makeshift dolly
to sweep across a line of charging soldiers. He comes in
close as one soldier, shot in the face, mashes his hands
against his eyes and screams as blood gushes between his
fingers.
Roger carefully lays a string of firecrackers in a shallow
trench, then covers it with dirt. Later, as soldiers race
through the area, the firecracker puffs mimic machine gun
fire tearing through their ranks. They all fall.
Then ANGELO, a tall, handsome, tough-looking 16 year old
playing an American sergeant, enters with a surplus army
machine gun. He fires at the Germans. Dozens of
firecrackers, concealed in the wall against which the Germans
have been forced, detonate! Despite the visible evidence of
burning fuses, this sells the impression of bullets
destroying the wall and the soldiers! Germans collapse like
bloody, dusty rag dolls!
SAMMY
Turn...
Angelo turns so the camera can catch his face, looking
heroic.
SAMMY (CONT’D)
CUT! GREAT! Now...
Sammy hands Sal the camera and pulls Angelo aside to issue
new directions. Hark, Turkey and Dean hand out Dixie cups of
kool-aid to the dead soldiers, while Roger and Sal carefully
wipe the dust from the lens.
SAMMY (CONT’D)
You’re standing here for a minute,
looking down at what just happened -
SAMMY (CONT’D) ANGELO
I’ll give you a signal when I A whole minute?
want you to start to move,
okay? -
No, don’t count to 60, you
just gotta -
Like, you mean I should count
to 60, like one-Missippi two-
Mississippi? And then I move?
Conformed Draft 71.
SAMMY (CONT’D)
(regrouping)
So you’re all like, Oh my God, like
ALL my men, they’re all, they’re
all dead! All my men, they’re -
ANGELO
So you want me to like act and
stuff.
SAMMY ANGELO (CONT’D)
Yeah! Right, um, that’s the - Like I’m sorta sad or
something. Cuz my whole
platoon -
SAMMY (CONT’D)
Right right, your platoon. Your
men. They’ve been wiped out. These
guys they’re your family, your
family’s being like, like murdered,
and it’s your fault, you did this
to them, and -
ANGELO
I thought it was the Nazis that -
SAMMY
Okay, yeah but, but it was you gave
the order to go down into the
Valley of Death! Okay, you decided.
Nobody else. You coulda, you coulda
protected them, okay? ‘Cause they
trusted you, and they loved you.
Now you’re just looking at this, at
this thing that you’ve done, and
you can’t save them anymore -
ANGELO
Because they’re all dead.
Sammy nods, his eyes filled with tears, shaking.
ANGELO (CONT’D)
(seriousness sinking in:)
Wow, that’s... real gung-ho. Um,
okay.
(he’s got it:)
Okay.
SAMMY
You good?
Conformed Draft 72.
ANGELO
Lock and load. Yeah, yeah. Lock and
load. Alright.
SAMMY
Good.
LATER
Angelo steps from behind a ruined wall, a mass of dead
soldiers behind him. He looks down at the valley in front of
him.
Angelo has an instinctive understanding of how to do this
acting thing. His face is hard, clenched tight, but something
powerful is battering away beneath the surface, and as he
walks slowly down among the bodies of his men, Sammy creeps
along beside him, tracking him with the baby carriage dolly.
As the camera moves with Angelo, the “dead men” behind him
scramble to their feet and race around behind the camera to
set up again in FRONT of Angelo. They hit the dirt just as
Angelo reaches them and Sammy pans to take in the “new”
carnage - twenty American soldiers, strewn across the desert
in the positions and postures of their final agonies.
Angelo walks through the bodies and out into empty desert.
Sammy keeps filming, but Sammy takes his eye off the camera,
leaving it running on the tripod. Angelo, overwhelmed,
openly weeps with his back to the camera. Sammy stares at
Angelo’s retreating form, his thoughts elsewhere.
SAL
Uh, Sammy? How far you gonna let
him walk?
SAMMY
(snapping out of his
reverie:)
CUT!!!
Angelo doesn’t hear him; he keeps walking. The dead soldiers
start to stand and with Sammy’s crew they yell at Angelo:
DEAD SOLDIERS AND CREW
ANGELO!!! HEY THAT’S A CUT,
ANGELO!! STOP!!! CUT!! COME BACK!!!
SAMMY
ANGELO!!!
84 CUT TO: 84
Conformed Draft 73.
Ratings
Scene 22 - Sammy's Screening
Sammy, in his scout uniform, mans the projector once more.
It’s being watched by an audience of Boy Scouts and their
parents, mostly dads, clearly swept up in the drama onscreen.
In a middle row, Reggie, Natalie, Lisa, Burt, Mitzi and
Bennie sit, as enthralled as everyone else. The sound of the
projector starts to grow louder and louder.
8MM: The heat of the climactic battle by the adobe pueblo,
Americans and Germans killing each other.
Alfred Newman’s “Buffalo Stampede” from How The West Was Won
is playing on a phonograph record; underneath the music, the
whirring of the projector.
Behind the projector, Sammy’s attention is angrily,
exclusively fastened on the backs of the heads of Burt, Mitzi
and Bennie.
ON THE SCREEN
The carnage continues. A blast to the chest of one soldier
is accented by an exceptionally bloody makeshift squib.
IN THE AUDIENCE
Everyone GASPS and Natalie quickly covers both Lisa’s eyes
and her own. Lisa pushes her sister’s hand aside.
ON THE SCREEN
Angelo mows down the last of the Germans, then steps out of
the ruins and begins his solemn walk through the valley of
his slain comrades and into the dessert.
IN THE AUDIENCE
The projector’s whirr is turning into a loud roar in Sammy’s
ears, beginning to drown out Newman’s score.
Mitzi is deeply moved by the moment. Natalie and Reggie are
rapt, but Sammy’s focus remains on his parents and Bennie.
Over the shot of Angelo walking away, a screen title
announces: “ESCAPE TO NOWHERE”.
The audience applauds, but Sammy can’t take his eyes off the
three adults. They’re applauding too - Mitzi ecstatically.
Conformed Draft 74.
Sammy watches Burt turning, smiling and excited, to Mitzi,
just at the moment when Mitzi turns to Bennie to mouth
silently: “OH MY GOD!”
CU on Sammy, his face fierce, stricken, drawn tight, glaring
at the three adults. They turn to face him, directing their
applause to him.
BURT
Sammy!
86 EXT. THE JAYCEE PARKING LOT - NIGHT 86
The scouts and their families are leaving. Roger, Turkey,
Sal, Dean and Hark help Sammy load equipment into the car.
Mitzi, her hands on Sammy’s shoulders, whispers:
MITZI
Oh Dolly. You’re not a civilian
anymore. That movie, my God it was -
Sammy, scowling, steps back, shrugging off her hands. Roger
edges by to load some equipment.
ROGER
Hi, Mrs. Fabelman.
Sammy turns to Mitzi, but has nothing to say. He walks off,
leaving her puzzled and slightly hurt.
Bennie barrels up to Sammy.
BENNIE
(moving in to hug Sammy:)
Mister DeMille! C’mere!
Sammy silently sidesteps him to join his father, who stands
with Angelo, SCOUTMASTER NEWHART, and one of the troop DADS.
BURT
Hey, there he is!
Sammy grins, embarrassed, as the dads slap him on the back
and compliment him.
ANGELO TROOP DAD
Hey! Congratulations, young man!
Congratulations!
SCOUTMASTER NEWHART
Guess you based it on your father’s
war stories, huh?
Conformed Draft 75.
SAMMY
Sort of, you know. He doesn’t
really like to talk about it, so...
SCOUTMASTER NEWHART
I understand.
The girls walk up.
REGGIE
Dad, Mom’s getting a ride with
Bennie. She’ll see us at home.
Burt and Sammy both look across the parking lot: Mitzi is
getting into the passenger seat of Bennie’s car; he’s holding
the door for her.
REGGIE (CONT’D)
(to Sammy)
Hey, why do you like blood so much?
NATALIE
Are you ever gonna make a movie
with parts for girls again?
Sammy looks at Burt to gauge his reaction; Burt looks
surprised, a little crestfallen. Then, aware that Sammy’s
scrutinizing him, he gives Sammy a bemused, quizzical look.
Sammy immediately looks away, turning to his sisters.
SAMMY
(still distracted)
What?
NATALIE
With GIRLS. You know, like, when
all the men stare off into the
distance all the time, maybe a girl
can save the day.
Ratings
Scene 23 - Revelation in the Closet
CU on the BSA pamphlet for Life-Saving, open to a section
dealing with saving people who are drowning.
Sammy, shirtless in swimming trunks, Reggie, Natalie and Lisa
are at the breakfast table. Mitzi, upset, closed off, is
making a huge batch of matzoh brei. Sammy is in his bathing
suit. He’s not eating. Natalie holds the BSA pamphlet and is
quizzing Sammy.
Conformed Draft 76.
NATALIE
OK what are the five steps to save
a drowning person?
SAMMY
One is you swim behind the person
so they don’t grab you. Two you
throw your arm across his chest.
SAMMY (CONT’D) REGGIE
Three - Or her chest.
THREE you swim on your back, NATALIE
with the victim on your Not Sammy, he’s too scared of
chest, using your free arm to girls’ boobies.
paddle yourself -
SAMMY (CONT’D)
(to Natalie)
And speaking of boobies, if you
ever get any we’ll have a party.
REGGIE
And at the party we’ll give her the
booby-prize!
NATALIE
Ha-HAH! What’s four?
SAMMY
Ummmm... Crap.
NATALIE
Bring the victim to land, dummy!
And then five:
Sammy tries to remember.
MITZI
Call the undertaker.
SAMMY
(to Mitzi, immediately
angry:)
This is serious business! I gotta
know all of this to get the
Lifesaving Merit Badge! More kids
die in swimming accidents than in
any other kind of accident!
Conformed Draft 77.
MITZI
Sorry, I’m sorry.
SAMMY
Not everything is a big joke.
MITZI
Okay, okay, so what’s step number
five?
SAMMY
You laugh at everything, even when
nothing’s funny! You always have to
be the center of attention!
Mitzi slams a plate of matzoh brei in front of him.
MITZI
Eat! And don’t talk with your mouth
full!
SAMMY
I’M NOT EATING THIS CRUD BEFORE A
SWIMMING TEST!! YOU CAN GET CRAMPS
IN THE WATER IF YOU EAT BEFORE AND
YOU CAN DROWN FROM GETTING CRAMPS.
Reggie springs from her chair to confront Sammy.
REGGIE
Stop shouting at her!
MITZI
Sammy Fabelman! Goddamn it, for
weeks now it has been nothing but
disrespect from you!
SAMMY
(attempting a sneering
laugh:)
“Disrespect!”
MITZI
Why are you being such a little
shit to me? Dammit to hell, I am
your mother!!
Sammy jumps up and walks up to Mitzi and snarls:
SAMMY
I WISH YOU WEREN’T!!
He turns and starts to walk away. Mitzi, before she can catch
herself, strikes out at him, slapping his bare back with her
Conformed Draft 78.
open hand so hard that he stumbles forward. The slap sounds
like a gunshot. Sammy spins around; they’re both shocked. The
girls are shocked. Lisa starts crying. Sammy turns and runs
to his room. Mitzi stands there, stunned at what she’s done.
89 CUT TO: 89
Sammy slams the door of his bedroom, fighting to hold back
tears. He throws open the closet door and looks at his back
in the mirror. An angry red welt is rising in the exact shape
of his mother’s open hand.
Mitzi enters the bedroom. Sammy starts to pull on a t-shirt.
Mitzi goes to him and stops him, spinning him around. She
sees the red hand-print on his back.
MITZI
Let me see... Oh my God, oh what
have I done?
He spins on her. He looks as if he’s going to attack her. She
takes an involuntary step back. Sammy stands there, shaking,
his fury being replaced by a plea for help he’s not able to
speak. She retreats, shocked, small.
MITZI (CONT’D)
Talk to me.
Sammy turns to the door, but Mitzi grabs his shoulders,
pleading.
MITZI (CONT’D)
Sammy, please. Talk to me. Tell me
what’s happening. Do you have any
idea how much I love you?
He nods. Then steps away.
MITZI (CONT’D)
(small)
Don’t go...
But instead of leaving, he closes the bedroom door. Mitzi
watches as he goes to his desk, opens a drawer and takes out
a small plastic reel of film.
He looks at his mom for a moment, then decides. He plugs in
the projector, goes into the closet, sits on the floor and
starts loading the film.
CU on Sammy’s nimble fingers expertly threads the film
through the sprocket holes, then through the gate, which he
closes, then up to the take-up reel.
Conformed Draft 79.
Sammy opens the closet and extends a hand to Mitzi, who’s
smiling to cover her confusion. He takes her hand and gently
pulls her into the closet.
She sits on the floor of the closet next to the projector.
Sammy looks at her. There’s another flash of hesitation, then
he reaches down and switches on the projector. He steps out
of the closet, closing the door behind him.
90 CUT TO: 90
The dark closet lights up as the film starts to play on the
opposite wall. Mitzi, her face uplit by the projector’s
light, watches, baffled, bemused when she recognizes that
this is more footage from the camping trip. Then:
8MM: FULL SCREEN: Mitzi sitting by Bennie as he playfully
puts his hat on her head.
Mitzi watches, smiling at first. But her small slowly fades
as the clips continue and she realizes what they mean.
IN THE BEDROOM
Sammy sits on his bed, waiting in anxious silence.
IN THE CLOSET
The film runs through the projector and flaps in the take-up
reel. Mitzi opens the door and clumsily crawls out of the
closet on all fours. Sammy’s sitting there, paralyzed.
Realizing that the projector is still running, Mitzi yanks
its power cord from the wall socket; then she sits on the
floor.
She begins to cry, trying to stop herself, but the floodgates
burst open: She sobs, loudly, devastated. Sammy doesn’t know
what to do. He sits down on the floor next to his mom.
SAMMY
Mom... Mom... I won’t tell. I won’t
tell, I won’t
She hides her face and can’t speak. He leans into her,
resting his head on her shoulder. She puts her arm around
him. They sit, Mitzi crying, Sammy horrified at what he’s
done.
SAMMY (CONT’D)
I won’t tell. I won’t.
FADE TO BLACK.
Conformed Draft 80.
Ratings
Scene 24 - Uncle Bennie's Gift
CU on Sammy’s much-used Bolex P1 camera in Sammy’s hands,
putting it down on the glass counter top.
THE FIRST CLERK (O.S.)
You sure about this?
SAMMY
Uh huh.
A rapping at the other end of the counter makes Sammy look;
Bennie’s handing a receipt to a SECOND CLERK.
BENNIE
There ya go, bought and paid for.
THE SECOND CLERK
(taking the receipt:)
Oh, just a second, it’s in the
back.
Bennie notices Sammy, waves and makes is way down the
counter.
BENNIE
Stocking up on Kodak before the big
move?
SAMMY
(confused, suspicious,
hostile:)
No, I’m -
BENNIE
Smart! Film’s cheaper here than in
California. I bet everything’s more
expensive there.
(to the clerk:)
You’re losing your steadiest
customer. Him and his whole family,
they’re moving west.
THE FIRST CLERK
(nodding, then:)
He just sold me his camera.
BENNIE
(to Sammy:)
Oh yeah? How come?
THE FIRST CLERK
Says he’s finished.
Conformed Draft 81.
The second clerk returns, placing a large box on the counter.
THE SECOND CLERK
Sorry about the wait, Mr. Loewy, we
had to order it special.
SAMMY
You bought a camera?
Making a drumroll, Bennie slides the box across the counter
to Sammy. It’s a new Bolex H-8 Reflex camera.
BENNIE
It’s for you.
Sammy stares at Bennie.
BENNIE (CONT’D)
I know how much you loved using it
for your war picture, so I figured
you oughta have one of your own.
It’s, um, a bon-voyage-see-ya-later-
alligator-I-believe-in-you present
from your uncle Bennie.
Ratings
Scene 25 - Stalled Dreams
Sammy storms out of the shop and crosses the street. Bennie
catches up with him, grabs him by the arm, turns him around
and thrusts the camera at him. Sammy won’t take it.
BENNIE
Because it’s from me?
Sammy looks away. Bennie stares at the box he’s holding;
then:
BENNIE (CONT’D)
This move, huh? This, this is your
dad’s Glory Hallelujah moment, and
oy vavoy, Sammy, does that guy ever
deserve it! All the way back when,
back at RCA, he knew what computing
was gonna be about, before
practically anybody else knew it.
And IBM, that’s where guys like
Burt are figuring out how to use
what he’s made to - they’re gonna
change the whole goddamn world. So
this was the right decision, for
all sortsa reasons.
Conformed Draft 82.
He waits for Sammy to respond. Sammy just turns to walk the
other way.
BENNIE (CONT’D)
Yeah, so, I’m happy for you, you
know I am... But I’m gonna miss
you. All of you. A lot.
Sammy glares at Bennie, daring him to continue. Bennie nods,
then again offers the camera to Sammy, who steps back.
BENNIE (CONT’D)
Think whatever bad things you want
about me, kiddo, but you stop
making movies, it’ll break your
mother’s heart. You will break her
heart, I mean it.
(he tears up:)
And she doesn’t deserve that, not
from anybody. Least of all from
you.
He holds out the box. Sammy goes to walk away, but then
pauses and turns back, looks at the cash he’s holding.
SAMMY
I’ll give you 35 bucks for it.
BENNIE
You drive a hard bargain, kid.
He holds out the box. Sammy holds out the money. Bennie
takes it and hands him the box. Suddenly Bennie hugs Sammy,
fiercely. As he does, a sob escapes. Bennie lets Sammy go.
He turns and walks towards his car.
SAMMY
I’m still done making movies
though.
BENNIE
Everybody makes movies in
California!
Bennie gets into his car. Sammy looks down: the cash is
sticking out of his shirt pocket.
SAMMY
Hey!
BENNIE
(already driving away)
Keep the change.
Conformed Draft 83.
Ratings
Scene 26 - Mitzi's Confession
CALIFORNIA BORDER - NOON
Over this, The Crystals sing “Da Doo Run Run,” ushering the
Fabelmans out of Arizona. The Fabelman car rounds a curve in
the highway with a small sign: WELCOME TO CALIFORNIA!
95 CUT TO: 95
Inside the car, The Crystals still singing.
LISA
When will the new house be
finished?
BURT
A few months. In the spring.
LISA
Can I have my own room?
BURT
Everybody gets their own room.
LISA
Yay!
In the backseat, Natalie and Reggie smile! Mitzi, withdrawn,
sporting a new cowboy hat, stares out the window. Burt
laughs. Everyone looks at him.
BURT
I just remembered last night I had
a funny dream.
REGGIE
What was it?
BURT
I can’t believe I dreamed this. Uh,
Bennie and me were having an
argument, and I hauled off and
socked him right in the nose.
Mitzi stares at Burt, mouth agape.
96 CUT TO: 96
HIGH SHOT, CALIFORNIA VISTA: The car pulls onto the shoulder
of the highway. A small figure emerges from the passenger
side. Mitzi throws her hat in the dirt and makes her way up a
hill covered with ice poppies.
97 CUT TO: 97
Conformed Draft 84.
Inside the car, the kids watch their mom climb the hill.
Burt, expressionless, turns off the engine.
NATALIE
What’s wrong?
LISA
Is mommy carsick?
Everyone sits for a moment.
BURT
Let’s just give her a little time.
Sammy shoots an angry look at the back of his father’s head,
then opens the door. He slams it shut, then climbs the hill.
Mitzi sits against a split rail fence, sunglasses on to hide
her tears. Sammy leans against the fence by her. She takes
off her glasses to look up at him.
Sammy goes up to her and sits down beside her. She takes his
hand and squeezes it.
MITZI
Bennie and me, we never... we never
d - we never let it get as far as I
imagine you think.
SAMMY
Oh I never imagined any of that.
MITZI
Do you think dad knows? I don’t
mean did you tell him, I know you
didn’t. But - do you think he has
an inkling?
Sammy has no answer.
MITZI (CONT’D)
I’ve almost told him so many times.
I’ll say “Burt, there’s something
I’ve got to tell you,” and, and he
looks at me like he can’t conceive
that anything could be wrong
between us. So instead I say “Burt,
we got ants,” or “Burt, could you
climb on the roof and turn the
antenna so I can watch Channel 5?”
Which, of course, he does.
(heartbreak threatens to
overwhelm, then:)
I can’t fight with your father. He
Conformed Draft 85.
kills with such kindness. I’m mean
to him, he buys me a dress. From
Saks.
SAMMY
(a beat, then:)
Mom, when I showed you what I
filmed, I never meant for any of
this to happen.
MITZI
(she nods, considering
this, then, firmly:)
Guilt is a wasted emotion.
A little surprised at this, Sammy starts to respond, then
doesn’t. Then:
SAMMY
What’s gonna happen now?
MITZI
(a beat, then:)
I’m gonna be your mom. I’m gonna be
the girls’ mom. Despite my
countless faults, I’m not ruining
everything for everyone. I’m gonna
not be selfish. Burt Fabelman is
the kindest, smartest, wisest, most
patient, most decent, most
understanding man there is. And I’m
gonna stay married to him.
Sammy looks at her, wanting to believe her. Mitzi stands and
offers a hand to help Sammy up, resolved, smiling
reassuringly.
Ratings
Scene 27 - A New Beginning?
The Fabelmans’ car is parked outside.
SCREEN TITLE: NORTHERN CALIFORNIA
98 INT. THE RENTAL HOUSE, LOS GATOS - SUNSET 98
The interior is gloomy, meager furniture covered in sheets;
the piano stands among unopened moving boxes, mummified in
moving blankets and tape. Mitzi and the kids, holding the
things they’ve brought with them from the car, look around,
appalled. Then:
Conformed Draft 86.
BURT
It’s only a rental. The new
house’ll be ready faster than you
can say Jack Robinson.
REGGIE
Jack Robinson.
MITZI
(despondent:)
And... We’re still here.
99 EXT. A SIDEWALK IN SARATOGA, CA - MORNING 99
Sammy, Reggie and Natalie are walking to school, Natalie
teasing Sammy, who ignores her.
NATALIE
Just tell me if you’re gonna mope
for the rest of your life or is
this something you plan to outgrow?
SAMMY
Bug off.
NATALIE
You’re like going for the Misery
Merit Badge. You and mom, with your
long faces. She can’t even get out
of bed to make breakfast, and -
REGGIE
(Turning on them:)
Okay! New rule, guys! When we walk
to school in the morning let’s just
leave all the Fabelman mishegas
behind us in the Fabelmans’ moldy
old rental house! And for eight
hours a day let’s be normal
ordinary kids in an ordinary normal
school, okay?
The school is in sight. They watch the other students going
in. Sammy looks even more anxious and unhappy.
SAMMY
It’s like we got parachuted into
the land of the giant sequoia
people.
REGGIE
Alright.
Conformed Draft 87.
She forcefully shoves aside the towering JOCKS blocking the
walkway, clearing a path to the school.
REGGIE (CONT’D)
‘Scuse me. ‘Scuse me.
They move aside, laughing. More amused than insulted. Natalie
and Sammy follow Reggie into the school.
Ratings
Scene 28 - Bullying in the Locker Room
A boys’ PE class, 24 BOYS, ages 16-18, is engaged in a robust
game of volleyball.
COACH
Up and over, nice dig, Adam
Johnson!
Sammy is on one team, surrounded by boys who seem much
taller, stronger, more aggressive, and it seems like all of
them are blonds. Sammy tries to participate but the game
mainly goes on above his head.
PLAYERS
Set set set! / Get up! / Okay! / I
got it!
Sammy is aggressively bumped aside by a teammate.
COACH
Way to get up!
From the opposing team comes a powerful spike by LOGAN HALL,
golden-haired, very handsome, tall, the school’s star
athlete.
COACH (CONT’D)
Nice, Logan! Do it again, go again.
Good work, guys. Keep the
intensity, keep moving.
(as the next point begins)
Rotate! Nice dig! Good job!
CHAD THOMAS, a short, muscular boy near the net on the
opposite team, leaps and deliberately spikes the volleyball
as hard as he can straight at Sammy. Sammy involuntarily
crouches, the ball painfully bouncing off his crossed arms.
COACH (CONT’D)
Fabelman, it won’t hurt ya. It’s a
volleyball not a cannon ball!!
Conformed Draft 88.
His teammates look at Sammy with contempt. Chad smirks at
him with cold, alarming eyes. Logan calls to his teammate.
LOGAN
Let’s go, serve.
COACH
Good reactions! Let’s move!
Determined to make up for his earlier disgrace, Sammy sees
the ball coming in low over the net. He moves to the front,
then crouches and leaps as high as he can, swinging wildly
with all his might, missing the ball but whacking Logan, on
the other side of the net, hard on the top of his head. Logan
sways, grabbing his head in pain.
LOGAN
OWW!!!
Everyone rushes forward.
SAMMY
Oh my god, I’m so sorry!
Suddenly Chad lunges at Sammy, snarling. He grabs Sammy’s
shirt; it tears at the neck.
CHAD
I’m gonna murder you ya piece of
shit!!
The coach pulls Chad back. He struggles in his arms until -
LOGAN
Hey Chad!
Chad stops immediately, looking at Logan.
LOGAN (CONT’D)
Cool it.
Chad calms, shrugs off the coach, and stalks away. Sammy
comes under the net to apologize to Logan.
SAMMY
I am - I did NOT mean to do that.
Are you okay?
LOGAN
(low, to Sammy:)
That really hurt. Asshole.
Conformed Draft 89.
COACH
(chuckling)
Watch your mouth, Logan.
LOGAN
(to Sammy:)
Go fetch the ball.
Sammy turns. The ball is several feet behind him.
SAMMY
Sure, yeah...
COACH
Let’s go.
Sammy runs towards the ball, the other boys whispering and
snickering. Sammy’s foot gets to the ball before his hands
do, and he accidentally kicks it twenty feet away. The other
boys find this hilarious. Sammy chases the ball, cursing
under his breath.
101 CUT TO: 101
The locker room. Sammy sits, alone, in front of his locker,
humiliated and dejected. He hears Chad’s wheedling voice:
CHAD
Hey. New kid! What’s your name?
Sammy looks up. Chad arrives in front of him, Logan behind
him in his letterman jacket.
SAMMY
Sam.
CHAD
Sam What?
SAMMY
(a beat:)
Fabelman.
CHAD
(to Logan:)
Told you he’s a kike.
LOGAN
(to Sammy:)
He doesn’t like Jews.
CHAD
Nobody likes Jews.
Conformed Draft 90.
LOGAN
(to Sammy:)
Except other Jews, right?
CHAD
So Bagel Man -
SAMMY
No, that’s not my name. Don’t call
me that.
CHAD
So, you gave my best friend a
concussion, Bagel Man.
SAMMY
No I didn’t. Leave me alone -
Sammy starts to stand; Chad slams him back on the bench, then
leans in, glaring crazily:
CHAD
Hey! Don’t argue with me! A serious
concussion. So how do we make you
pay? How about this? You’re
drinking from the fountain. You
never hear me come up from behind
you... And BAM!
(miming a blunt blow with
his palm:)
I shatter your front teeth all over
the spigot.
Logan, laughing, revolted, pushes Chad away from Sammy; then
Logan leans down to Sammy. Sammy flinches, eyes down.
LOGAN
(indicating Chad:)
Hey, look at me. He’s demented.
Like, medically. So watch out for
yourself.
Sammy looks up at Logan, who grins - could be friendly, or
malicious, certainly dazzling.
Ratings
Scene 29 - Chaos at the Rental House
Sammy is about to open the front door when he stops, hearing
his sisters screaming and glass breaking inside.
Conformed Draft 91.
103 INT. THE RENTAL HOUSE, LOS GATOS - LATE AFTERNOON 103
Sammy opens the door to find Mitzi’s on the floor,
frantically trying to assemble a metal cage, the directions
open amid bolts, nuts and washers. A lightbulb rockets past
her and shatters against the front door that Sammy’s holding
open. He ducks to avoid the flying glass.
REGGIE
Close the door!!!
Lisa and Natalie cower behind the sofa, while Reggie stands
atop a step ladder under the chandelier. Above her, a brown
capuchin monkey is clinging to the living room chandelier,
unscrewing light bulbs and flinging them at the girls. There
are still packing boxes everywhere, and the piano remains
mummified.
LISA
Mom got a monkey!
SAMMY
Why’d you get a MONKEY?
MITZI
‘Cause I needed to laugh.
The monkey throws another lightbulb at Natalie, who catches
it. The monkey leaps down to the couch and clambers onto
Natalie’s shoulders. She shrieks.
MITZI (CONT’D)
(to Sammy:)
Help me with this! The directions
don’t make any sense!!
The monkey leaps from Natalie to the window drapes! Reggie is
off the ladder and at the drapes. She starts shaking them.
The monkey holds on for dear life, screeching. Natalie races
to the kitchen.
NATALIE
I’ll get a banana!
MITZI
Don’t tear the curtains, they’re
rented!
The cage falls apart in Mitzi’s hands. Then the curtains come
down on Reggie.
The front door opens and Burt walks in. He’s bemused by the
sight of Mitzi on the floor with the half-built cage. The
Conformed Draft 92.
monkey leaps to Burt’s shoulder. He wraps his long hairy arms
around Burt’s head, knocking off his hat.
BURT
Oh!
The monkey starts playing with Burt’s hair.
BURT (CONT’D)
(feigning calm)
Hello. Who are you?
MITZI
He’s mine.
Burt’s quizzical, Mitzi defiant.
LISA
What are we gonna call him?
Everyone looks at Mitzi.
MITZI
Bennie. His name’s Bennie.
Burt stares hard at Mitzi. The monkey licks his cheek.
104 CUT TO: 104
Mitzi’s and Burt’s bedroom, crowded with unpacked boxes,
unhappy-looking.
MITZI (CONT’D)
I don’t want to see a psychiatrist,
Burt.
BURT
You’re scaring the kids. You’re
sleeping all day -
MITZI
I miss the desert. I miss dry heat.
BURT (O.S.)
You haven’t even unwrapped the
piano. You aren’t cooking, or
shopping or unpacking.
105 CUT TO: 105
In the dark kitchen, Sammy, on the floor, listens to Burt and
Mitzi’s argument, floating in through a heating vent.
Conformed Draft 93.
MITZI (O.S.)
Psychiatrists help you know why
you’re feeling something. They
can’t help you feel something
different.
BURT (O.S.)
You’re behaving like when your
mother died.
106 CUT BACK TO: 106
Mitzi’s and Burt’s bedroom.
BURT (CONT’D)
Like you’re in mourning. But...
Nobody’s died.
Mitzi stares at him for a long moment, till he looks away.
MITZI
Okay... so we’ll call the monkey
some other name.
BURT
(a beat, then, quietly,
scared:)
IBM’s out of his league, Mitts.
Bennie was - he is my best friend.
But they don’t need him. This is
what I know. I don’t need him
either.
He waits for a response. She remains silent, looking at her
hands.
MITZI
Bennie wasn’t your friend.
(she looks up at Burt:)
But you knew he was mine.
Fighting to keep his face fixed and inexpressive, he takes in
what she’s just told him, then he nods.
107 CUT BACK TO: 107
Reggie has joined Sammy by the vent. She looks at him,
shocked.
REGGIE
What does that mean?
Sammy shakes his head and says nothing. Just closes the vent.
Conformed Draft 94.
Ratings
Scene 30 - Bullying and Betrayal at Grand View High
CU on the locker door. Sammy’s hand opens the locker. Inside
there’s a bagel dangling from a string. Written with a felt
pen on the bagel: JEW-HOLE
Sammy pulls at the bagel; it breaks in pieces in his hands,
leaving the string dangling.
A109 CUT TO: A109
A walkway. Sammy walks among them, warily, his eyes peeled
for Logan and Chad and their gang. Parched, he stops at a
long drinking fountain with three spigots. He hesitates
before taking a drink, remembering Chad’s threat. Since no
one threatening is nearby, he decides to go for it. He bends
down to take a drink; just as he does, another boy bends in
to drink. This startles Sammy who jumps away.
109 CUT TO: 109
Sammy enters a stairwell. He passes a poster advertising
SENIOR YEAR DITCH DAY!!! VOLUNTEERS WANTED!!! Among the
activities for which volunteers are wanted: PHOTOGRAPHERS!!
Sammy is studying this, thinking, when he hears sounds coming
from below:
A boy moans, a girl moans, then the sounds of French kissing.
Sammy tiptoes down a few steps, then cautiously leans over
the railing to see who’s making these sounds. Unable to see,
he descends further, treading very quietly.
Finally he can see a couple making out: a red-haired GIRL
and Logan, rubbing against her, kissing her, his hands all
over her sweater.
RED-HAIRED GIRL
Logan, I’m really, really missing
you.
Sammy’s transfixed, prurient and horny, till it registers how
dangerous this situation is. He starts to climb up again, but
trips, one knee striking a stair tread.
SAMMY
OW!!!
The girl pushes Logan off, straightening her clothes.
LOGAN
HEY!! Who’s there? Who’s there?!?
But Sammy has already sprinted up and out of the stairwell.
Conformed Draft 95.
110 EXT. BEHIND GRAND VIEW HIGH SCHOOL - AFTERNOON 110
Sammy exits out the back of the building, covered by an
awning. Then he stops abruptly as Chad appears from behind
the last of the awning’s vertical supports.
CHAD
Bagel Man! Yo!!
Sammy turns to run back in the opposite direction, just as
four track jocks come out the rear door, followed by Logan
with his arm around a beautiful blonde girl, CLAUDIA. She’s
wearing his letter sweater.
CHAD (CONT’D)
(to Sammy:)
I left you a little snack in your
locker. Didja like it?
Sammy is torn between an intense desire to murder this creep
and fear of being slaughtered.
ONE OF THE JOCKS
Guess he wasn’t hungry.
LOGAN
He said - He said it was -
(to Chad:)
What’d you call it, Chad?
CHAD
Kosher!
CLAUDIA
Knock it off, moron.
(to Logan:)
We talked about this.
LOGAN
(to the jocks:)
Come on, we’ll be late for
practice.
Sammy moves to leave, but Claudia steps in front of him.
CLAUDIA
(to Sammy:)
So what is this, you’re Jewish?
Sammy stares at Claudia, unable to talk - she’s beautiful,
he’s humiliated and scared. Chad hoots in delight and says to
Logan:
Conformed Draft 96.
SAMMY
Well...
CHAD
Holy crap, he’s got the hots so bad
he can’t even talk to her!
SAMMY
NO I DON’T!
CHAD
(To Sammy:)
Apologize to her.
SAMMY
For what?
CHAD
For making googoo eyes at her, for
drooling at her!
SAMMY
I wasn’t drooling at her.
CHAD
Then apologize to her for killing
Christ!
Logan and the jocks find this funny.
CLAUDIA
(to Logan, angry:)
Why are you encouraging him?
CHAD
(to Sammy:)
Go on! Apologize to her for killing
Our Lord!
Claudia starts to leave. Logan grabs her hand.
LOGAN
Don’t go. Come watch me run.
CLAUDIA
No thanks, I’m not in the mood now.
LOGAN
Aww, please? I run better when you
are there.
CHAD
APOLOGIZE TO HER YOU CHRIST-KILLING
SONOFABITCH!!
Conformed Draft 97.
CLAUDIA
(to Logan:)
I’m going home.
Logan steps in between Chad and Sammy. Grinning, he says to
Sammy:
LOGAN
Go on and say sorry, you’re getting
me in trouble with my girl.
Sammy looks at Logan for a beat, nods, then turns to Claudia.
SAMMY
You know, obviously since I’m not
two thousand years old and I’ve
never been to Rome, I’m not
apologizing.
(turning to Claudia)
But hey, you know maybe, uh, your
boyfriend should apologize to you
for making out in the stairwell
half an hour ago with some red-
head.
Everyone freezes. Logan turns immediately to Claudia who
looks stricken. He flashes his signature smile.
LOGAN
He’s lying. He’s - I didn’t do
that. I swear.
CLAUDIA
You told me you were finished with
her. Logan, you lied to me!
Again he tries to speak, but Claudia tears off his letter
sweater, throws the sweater on the sodden ground with his
books and runs. Logan starts to follow, then stops. He picks
up the sweater and stands, holding it.
LOGAN
Claudia...
The others watch him. Then Logan turns towards Sammy.
CHAD
Ooooooooh...
Holding the sweater, Logan charges at Sammy and punches him
hard in nose, knocking Sammy flat against the asphalt.
Conformed Draft 98.
Logan stands over Sammy, breathing hard, his face contorted.
Sammy covers his nose, spurting blood, holding up the other
hand protectively. Logan slaps Sammy’s upheld hand away.
LOGAN
You made a mistake.
Sammy defensively raises his hand again; Logan slaps it away.
LOGAN (CONT’D)
LISTEN. TO. ME. You made a mistake
and you’re gonna fix it. Tomorrow -
CHAD
Bash his head in!
LOGAN
(savagely:)
SHUT UP, CHAD, GODDAMN IT.
(back to Sammy:)
Tomorrow you’re gonna find her,
first thing, and you’re gonna tell
her you were lying. Say you were,
um, scared. Say - say whatever you
gotta say, but you tell her it
wasn’t true and you did not see me
doing that, or I swear I will hurt
you worse than you’ve ever been
hurt.
Logan leans in.
LOGAN (CONT’D)
(hissing:)
You get me? Nod to show you dig
what I’m saying.
Sammy nods. Logan stands and walks away. The other jocks
follow him. Sammy is left on the ground as the tears come.
Ratings
Scene 31 - Family Conflict and Emotional Turmoil
Mitzi opens the door for Burt. She’s already on the war path.
Sammy is slumped on the couch, his eyes and his bandaged nose
swelling and purple, clothes stained with blood.
MITZI
He won’t tell me who did this!! Ask
him who did this!!
(to Sammy:)
Tell your father who did this and
he will drive to that little shit’s
Conformed Draft 99.
house and he will beat the living
crap out of him!
BURT
Is your nose broken?
MITZI
Of course it’s not broken, you
think I’d be sitting here if his
nose was broken -
BURT
(to Sammy:)
Who hit you?
SAMMY
What do you care who it was? It’s
not like you’ll do anything about
it.
BURT
Tell me what happened first.
SAMMY
(he goes off:)
What happened is I hate it here!
And what happened is you brought us
here, because -
BURT
Because I got a better job, so we
moved.
SAMMY
(jumping to his feet:)
You don’t even care where you are,
you get to go to work and that
could be in Iceland! You’re working
with your goddamn machines so you
get to be happy while the rest of
us are miser-
Mitzi tries to put the ice pack against Sammy’s nose which
has started to bleed again. Sammy bats it away.
SAMMY (CONT’D)
Don’t!!
MITZI
You’re bleeding on the carpet!
SAMMY
It’s a rental house!!
Conformed Draft 100.
Sammy snatches the ice pack from her and, still furious, he
turns back to Burt.
SAMMY (CONT’D)
Do you even notice how much we hate
it here where, where we’re
practically the only Jewish people
for miles, and everything is
awful?! Do you even care that this
is your fault, everything that’s
happening now, just because you ran
away from home and took all of us
with you?!
BURT
(getting angry:)
I came here so I could work ten
times harder with ten times the
responsibility which seems to have
escaped everybody’s notice -
MITZI BURT (CONT’D)
Could everyone settle, I - so I could build us a nice
wanna say something. home and a -
SAMMY
You didn’t come here to build
houses. You didn’t come here to
work. You ran away!
BURT
(snapping:)
I think you have something to say
to me, Sammy, and if I’m right
about that, then get it off your
chest and say it to my face!
Mitzy climbs onto the piano bench to seize focus.
MITZI
(loud:)
I started therapy!
Burt and Sammy stop and stare at her. She stares back. Sammy
storms out. Burt slumps into a chair and Mitzi lays back on
the piano, both drained.
112 CUT TO: 112
Sammy’s in his bedroom, so filled with rage he doesn’t know
what to do with himself. Lying in bed, he stares at the
shadows on the bedroom wall, created by a streetlight, of
leaves on a tree outside, moved by a strong breeze.
Conformed Draft 101.
A light rain begins to fall; Sammy looks at the shadows of
the raindrops streaming down the wall, intermingling with the
leaves. He raises his hand and watches its shadow move among
the shifting lines made by the light streaming through the
rain-streaked window.
Grief, anger and terror rise up in him; he’s frightened at
the size of his feelings. He breathes, starting to panic. He
tries to calm himself by focusing on the shadows of the
swirling leaves and streaming water.
He sits up suddenly, then kneels on the floor and from
underneath his bed he pulls the box containing the Bolex H-8
Reflex camera. He opens the box and lifts the brand-new
camera for the first time, examines it. He puts it to his
ear. He pushes the release button. Closing his eyes,
listening to the whirr of the camera’s motor.
Ratings
Scene 32 - Sammy's Confession
CU on Claudia, hurt, angry, listening unsympathetically. She
sits next to her friend MONICA SHERWOOD, shorter, pretty,
indignant, intrigued.
Sammy sits across from them, two black eyes, swollen nose.
SAMMY
Anyways, what I really wanted to
say is that - about yesterday -
what I told you was... It wasn’t
true and I lied. And...I’m sorry.
CLAUDIA
But... Why? What did I ever do to
you?
SAMMY CLAUDIA (CONT’D)
Oh no no, it wasn’t about Because that like really,
you. No I didn’t mean to hurt really wasn’t cool, y’know?
you.
CLAUDIA (CONT’D)
Because I really love Logan.
MONICA
Yeah, she cried herself to sleep,
thinking he cheated on her. You
ought to be more considerate of
other people’s feelings.
SAMMY
Okay, but Logan told me to say I
killed Christ.
Conformed Draft 102.
MONICA CLAUDIA
What?! Why would he do that?! That wasn’t Logan, that was
Chad and -
SAMMY
Logan laughed! He thought it was
hilarious!
CLAUDIA
(to Monica:)
He’s Jewish.
MONICA
(to Sammy:)
You don’t say?
SAMMY
Yeah, I - Since the day I was
circumcised.
Claudia laughs; Monica blushes. Sammy smiles with them.
CLAUDIA
(to Sammy:)
So how’d you know she was a
redhead?
MONICA
Oh. My. God. He was making out with
RENEE REYNOLDS?!?!
Both girls lean over the table, resting their heads on their
folded hands, staring down Sammy.
CLAUDIA
If you were lying, how’d you know
her hair color?
Sammy looks at Claudia; he’s been busted, he has no answer.
Claudia takes his bruised face in her hand, inspecting it.
He winces, but of course he loves it.
CLAUDIA (CONT’D)
Does it hurt?
MONICA
So you don’t believe in Jesus.
Claudia releases Sammy’s face.
CLAUDIA
Monica’s like totally high on
Jesus.
Conformed Draft 103.
MONICA
I can’t imagine my life without
Him!
SAMMY
Well, we’ve managed for like 5,000
years, so I guess it’s possible.
MONICA
Maybe we could, I dunno, get
together? And pray on it?
SAMMY
(laughing nervously)
What, like... You and me?
She smiles warmly at him. Sammy is speechless.
MONICA
We can ask Him to come into your
heart. And, y’know, see what
happens.
SAMMY
Uh, yeah! Yeah, yeah, yeah...
(to Monica:)
Sure! That’d be like, when? Like
today?!
Ratings
Scene 33 - Monica and Sammy's Prayer Play
CU on a big poster of Jesus delivering the Sermon on the
Mount, beautiful face, long flowing hair.
Jesus is surrounded by Paul McCartney, John Lennon, another
Jesus poster, JFK photos, another Jesus, Troy Donahue, yet
another Jesus, Tab Hunter, Eddie Kookie Burns, Pat Boone and
a few more Jesuses. Sammy inspects the posters.
MONICA
It’s a lot, huh?
SAMMY
It’s... sort of a shrine, almost. A
shrine to guys. Lots of guys.
MONICA
They’re sexy.
SAMMY
I guess.
Conformed Draft 104.
Sammy moves to take in Claudia’s bed. Above it is a HUGE
crucifix, encircled by a heart of red Christmas lights.
SAMMY (CONT’D)
I mean, not Jesus.
MONICA
Jesus is sexy.
SAMMY
(a little shocked:)
Isn’t that like a sin or something?
MONICA
I dunno. He came to us as a man. A
handsome young man. He could’ve
come as a girl, or an old man, or
someone with leprosy. But...
She’s standing directly in front of him.
SAMMY
Nobody knows what he really looked
like.
MONICA
Probably he looked like you.
SAMMY
(perplexed, then:)
Oh, because, because he was -
MONICA
Jewish. A handsome Jewish boy. Just
like you.
She suddenly steps away to close her bedroom door, then moves
back to Sammy with a sly smile.
Sammy makes a slight move forward, unsure but deciding to try
for a kiss. Monica puts two fingers in sacerdotal position
between their lips.
MONICA (CONT’D)
Let’s pray.
Monica kneels down in front of him. He has no idea what to
do. She reaches up, takes his shoulders, and pulls him to his
knees. She presses her palms together in front of her.
MONICA (CONT’D)
Close your eyes.
Sammy obeys. Monica takes a deep breath.
Conformed Draft 105.
MONICA (CONT’D)
Lord, I’m here with my friend Sammy-
SAMMY
Sam.
MONICA
I’m here with my good friend Sam,
who’s Jewish and he’s a nice boy,
Lord Jesus, he’s good and brave and
he’s funny, Lord, and, and I like
him.
She opens her eyes and takes Sammy’s hand. He resists,
puzzled, and she tries to shake him loose.
MONICA (CONT’D)
Relax.
Monica quickly moves Sammy’s hand to make the sign of the
cross.
MONICA (CONT’D)
Ask.
Sammy looks confused.
MONICA (CONT’D)
Ask Him to come unto you, ask him
to enter you.
SAMMY
(at the ceiling, clearing
his throat:)
Um... Hi there, Jesus, it’s me, Sam
Fabelman. If you’re real, show me a
sign or something and -
MONICA
You can’t ask Jesus to do tricks to
impress you. You have to be humble,
you have to beg him to - I’ll do
it.
(inching closer to Sammy:)
I’m going to beg the Holy Spirit to
come into me, I’m going to draw the
Spirit in with my breath.
(a beat:)
SPIRIT! COME INTO ME! PLEASE, HOLY
SPIRIT, I’M BEGGING YOU, SWEET HOLY
FATHER, FOR THE SAKE OF MY FRIEND
SAMMY -
Conformed Draft 106.
SAMMY MONICA (CONT’D)
Sam. - COME INTO US, JESUS!! HEAR
OUR PRAYER!!
She sucks in a huge volume of air, then, holding her breath:
MONICA (CONT’D)
Open your mouth, open your mouth
and take the spirit of Christ into
you!
Sammy opens his mouth. Monica, her eyes closed, brings her
face right up to his and exhales powerfully. Sammy drinks in
her breath. As he’s doing this he opens his eyes, and she
opens hers. They look into each others’ eyes, and they kiss.
Monica pulls back and crosses herself. Sammy awkwardly tries
to copy her.
A moment later, Monica pushes Sammy down on the bedspread,
gets on top and bends down to kiss him. Sammy looks up at
Jesus, crucified, looming above.
MONICA’S MOTHER (O.C.)
Monica? Sammy?
(singsong:)
I made snaaaaacks!
Monica devours Sammy with kisses. Immediately there’s a knock
on the door. Monica leaps off Sammy and Sammy jumps up. Both
straighten their clothes as:
MONICA
WE’RE COMING!
(to Sammy:)
Tomorrow after school, wanna meet
out back behind the bleachers?
SAMMY
Yeah!
MONICA
Cool! We can pray some more.
Ratings
Scene 34 - Dinner Table Discussions
The Fabelmans sit around the dinner table with their guests:
Hadassah, older but her dress is a little more modern; and
Monica. Bennie the monkey sits by Burt’s plate; Burt feeds
him a cherry tomatoes from his salad, spearing them on his
fork one by one. Hadassah stares at the monkey with horror;
Monica stares at him with astonishment as she listens to
Mitzi:
Conformed Draft 107.
MITZI
When I was a girl and I felt sad,
I’d go to the zoo and I’d watch the
monkeys.
MONICA
They made you laugh?
MITZI
Yeah, the monkeyshines. But there
was more to it than that, it was...
She looks at Bennie the monkey.
MITZI (CONT’D)
(To Monica:)
They understand what we’ve done to
them, with the cages and the people
pointing. We share that with them,
the truth of how cruel people are.
But if you watch them for long
enough, you can tell they know
stuff we can’t begin to imagine,
important stuff. And they’re not
going to let us in on it. Because
it belongs to them, it’s their own
monkey business, theirs. It’s not
ours. It’s, oh I dunno...
BURT
Self-possession.
Mitzi looks at him, an instant of deep connection. She gives
him a sad smile.
MITZI
Right. They belong to themselves.
She hears what she’s saying, and she turns away from Burt. He
stares at her, hurt by the abrupt severing.
HADASSAH
If it belongs to itself, let it go
back to where it came from.
MITZI
(to Monica:)
Anyway, that’s how come I got a
monkey.
NATALIE
And a therapist.
Conformed Draft 108.
LISA
(to Monica:)
He throws his poop.
MONICA
The therapist?
LISA
No the monkey.
HADASSAH
(to Monica:)
That’s why I’m staying in a hotel.
BURT
You don’t have to. We have plenty
of room -
HADASSAH
(to Monica:)
My rabbi in New Jersey says a
monkey in the house isn’t Kosher.
MITZI
That’s why we’re not going to eat
him.
BURT
(to Mitzi:)
Did you schedule him for his polio
vaccine?
MONICA MITZI
They can get polio? (to Natalie:)
Pass the peas.
(to Monica:)
He hates going to the vet.
BURT
Well, they’re susceptible to
pretty much everything humans
are, so yes.
MITZI (CONT’D)
You see, Monica, in this family,
it’s the scientists versus the
artists. Sammy’s on my team, he
takes after me, except he’s got
real talent.
SAMMY
Mom.
Natalie
Conformed Draft 109.
And he’s completely terrible at
science.
REGGIE
And algebra.
NATALIE
And sports.
SAMMY
Will you please stop!
MONICA
He showed me his camera.
NATALIE
Is he good at kissing?
MONICA
I’ll tell you later.
Reggie and Natalie crack up.
SAMMY
SHUT. UP.
MITZI
(to Monica:)
He sleeps with a camera under his
pillow -
SAMMY
No I don’t!
MITZI
- but he refuses to actually shoot
anything.
MONICA
(a gasp, a GREAT idea!)
He should shoot Ditch Day!
(to Sammy:)
They still don’t have a
photographer. You could volunteer!
MITZI
What’s Ditch Day?
SAMMY REGGIE
It doesn’t matter, I’m not (to Mitzi:)
going. It’s a thing the Seniors get
to do at the end of the year.
Conformed Draft 110.
MONICA
(to Mitzi:)
They let us pretend like we’re
ditching school and we all take
buses to Santa Cruz Main Beach.
(to Sammy:)
You have to go, everyone goes! My
dad’ll lend you his camera, it’s
super-fancy, costs like a thousand
dollars. It’s called like a... an
Air something? I forget.
SAMMY
(a beat, then:)
Wait. Not an Arriflex.
MONICA
Right!
SAMMY
Your dad owns a 16 millimeter
Arriflex?!? Wow, wow, okay...
MONICA SAMMY (CONT’D)
(to Mitzi:) But 16MM raw stock, two
Usually it’s a teacher who minutes forty-five seconds a
shoots the Ditch Day movie roll at ten bucks a roll, for
and it’s a big joke, but - a whole day, that’d be like
(to Sammy:) insanely expensive -
My dad’ll get the school to
pay for it.
HADASSAH
I owe you a graduation check.
SAMMY
- And I’d need to rent a 16MM
editing machine, I have no idea how
much that costs, so -
MONICA
My dad will rent one for you.
MITZI
We can rent it. Whatever it costs.
(to Burt:)
Right? Burt?
BURT
(to Sammy:)
Uh, what’s wrong with your Bolex?
Conformed Draft 111.
MITZI
(to Burt:)
You could afford to be a little
encouraging.
BURT
About what?
MITZI
About him making movies again.
BURT SAMMY
Maybe he’s moved on. Well, I didn’t say that! I
just -
MITZI
On from what?
BURT
He hasn’t picked up his camera once
since we got here. He’ll be going
to college in September, maybe his
feelings about it have changed.
He’s growing up. I’m enthusiastic
about that.
MITZI SAMMY
Filming is what he loves, and Oh Jesus Christ!
I don’t think him abandoning (to Monica:)
what he truly loves is I’m sorry.
something we should (to Mitzi:)
celebrate. Do you? I’d think Guys, can we please stop
that you more than anyone talking about me?
would have some understanding (to Monica:)
of what a, a vocation, a Let’s go to your place or
calling is! something, maybe your dad can
show me the camera -
BURT
(trying to make light of
it, but underneath he’s
angry:)
Alright, alright, we’ll rent him
the equipment!
REGGIE
(to Monica:)
He hates the beach, that’s why he
doesn’t want to go to Ditch Day.
MITZI
(to Burt:)
But it’s not your calling. Is that
why you can’t, um, respect it?
Conformed Draft 112.
BURT
I have respect for everything he
works hard doing!
REGGIE
He’s afraid.
NATALIE
(to Monica:)
He’s scared if he does those guys
will beat him up again.
As the argument continues, the monkey moves from Burt to
Mitzi, and Hadassah asks Sammy, who ignores her:
SAMMY
What? No I’m not! I never said that
I was scared of them!
HADASSAH
You got beat up?!
MITZI
(to Burt:)
You always dismiss what he does,
what anyone does that’s playful or
imaginative as a pastime or a hobby-
BURT
You already won, Mitts. I
surrendered. I’m not taking the
bait.
MITZI SAMMY
(to Burt:) (to his parents:)
Who’s baiting who? I said I’d Can you guys please cut it
take him for his polio shot out! You’re embarrassing me!
the first five times you
asked me. Didn’t I?
BURT
Well, you say you will but I guess
you don’t mean it. So I ask again,
and again, and -
MITZI
He’s scared of shots! He’s scared
of the doctor -
Bennie the monkey, scared by the anger, jumps into Hadassah’s
lap Sammy stands up abruptly and slams the table!
Conformed Draft 113.
SAMMY
I am taking the goddamned monkey to
the vet! Okay?!
Hadassah scratches Bennie’s head.
HADASSAH
He probably needs a tranquilizer
with all this yelling.
Sammy looks at his family, then smiles; an idea is forming.
He says to Monica:
SAMMY
Can you ask your dad about
borrowing the camera?
MONICA
He’ll say yes.
SAMMY
Thank you! I’m filming Ditch Day. I
think it’s a great idea.
Over this: the calliope intro to James Darren’s “Goodbye
Cruel World.”
Ratings
Scene 35 - Ditch Day and Family Drama
“Goodbye Cruel World” plays as Sammy, wielding Monica’s dad’s
Arriflex 16-S, arrives at the beach, where a massive banner
welcomes “GRAND VIEW HIGH CLASS OF ‘64”. Monica rushes to
join him, carrying a shoulder rig for the camera.
The students have fanned out across the beach. They’re
swimming, sunning, chasing each other, building sand castles
and burying each other in the sand. Sammy, Monica assisting,
films all of this.
Students use beach blankets to playfully toss a girl back and
forth while Sammy films and Monica cheers.
Sammy notices Logan, in a lively game of beach volleyball,
leaping high in the air and spiking a ball.
At a long table, Sammy films several students having a hot
dog-eating contest.
Monica and some sunbathers stage a gag for Sammy. Monica
stands directly above one of the sunbathers, then drops a
small glob of vanilla ice cream onto his forehead.
Conformed Draft 114.
Late afternoon, golden light. In the parking lot an
improvised circular track of traffic cones and trash cans,
the perimeter surrounded by students, cheering as the
strongest athletes in the class race each other. Logan,
naturally, is winning. Sammy kneels and pans to follow Logan
with his camera.
Sammy films Claudia and Monica passing under a limbo bar
together. Logan watches from the crowd and catches Claudia’s
eye, but she turns her back on him. But when Logan goes under
the bar next, Claudia can’t help but watch. She walks off and
Monica goes to drape herself on Sammy as he keeps filming.
She nuzzles into his cheek until he gets the hint and lets
her peer through the viewfinder.
122 CUT TO: 122
123 EXT. 8MM FOOTAGE: THE NEW HOUSE IN SARATOGA - DAY 123
It’s cloudy and silent, with only the whirr of the camera
heard under the footage.
Sammy, behind the lens, heads up the walkway to the front
door. Burt, Reggie, Natalie and Lisa are excited. Mitzi
glances at the house’s unfinished exterior, promising to
become a handsome, generously-proportioned A-Frame. She looks
away, out at the view.
The girls rush inside, followed by Burt and the camera. It
follows the girls, exploring - the boxed appliances in the
kitchen, the hall leading to their new rooms. Then the
camera pans to the front window, where Mitzi stands looking
in. Burt knocks and waves to her and gestures to Sammy to
shoot her. Burt plants a big kiss on Mitzi then runs into the
expansive, sun-soaked living room, miming where her grand
piano will live. The girls run back in and Burt lines them
up in the living room and has Sammy frame the front door.
He rushes outside and sweeps Mitzi in his arms like a bride,
silhouetted by the strong sun behind them. As Burt carries
Mitzi over the threshold, towards the camera, their faces
growing distinct, the film slows down till it advances one
frame at a time; then finally it freezes on a frame of Burt,
happy and proud, and Mitzi, staring at the camera with a sad,
lost smile.
125 INT. THE RENTAL HOUSE, LOS GATOS - MORNING 125
Burt steps into frame with a sad, gentle look.
Conformed Draft 115.
BURT
Don’t be scared.
The kids are seated on the sofa. Lisa is holding Bennie the
monkey. She’s crying, as is Reggie. Natalie scowls
fiercely.
BURT (CONT’D)
Your mom misses Phoenix too much -
Mitzi sits on the piano bench, tears in her eyes:
MITZI BURT (CONT’D)
(softly, not looking at - and I can’t leave, this is
anyone, to Burt:) where my work is, I have to -
Tell them the truth.
NATALIE
That’s crazy! You don’t, you can’t
ruin everything because -
(to Mitzi:)
- you miss one place and -
(to Burt:)
- you’re stuck someplace else!
MITZI
I miss Bennie too much.
NATALIE
(a beat, shocked; then:)
So? We all miss him.
Sammy sits alone on the stairs, watching Mitzi.
MITZI
This is a different kind of
missing.
NATALIE
Because what? You love Bennie?
No one answers her.
LISA
Don’t you love daddy?
MITZI BURT
Of course I love daddy. Sure she does, and I love
mom, that’s not -
NATALIE
WHY IS THIS ALL OF A SUDDEN
HAPPENING??
Conformed Draft 116.
REGGIE
Stay together. You love each other
and you love us, and we don’t want
this, we don’t want to have to move
back and forth and not live with
both of you, we can’t! Dad, we
can’t -
Natalie leaps from the sofa to confront Mitzi.
NATALIE
(to Mitzi, red with rage:)
YOU’RE ALWAYS SO MEAN TO HIM!!
THAT’S WHY YOU’RE GETTING DIVORCED!
IT’S BECAUSE OF YOU!!
BURT MITZI
Don’t blame your mom. This No, don’t say that, that’s -
wasn’t her idea, it was mine.
NATALIE
(to Burt:)
NO IT WASN’T YOUR IDEA!! SHE JUST
SAID IT WAS BECAUSE OF BENNIE! SO
STOP LYING!! BOTH OF YOU STOP
LYING!!
BURT
I’m giving your mom a chance to go
back to Phoenix to live...
Sammy takes it all in, numbed and disconnected. He sees the
drama playing out in the mirror over the mantle. In the
reflection, he sees HIMSELF filming everything, moving
through his family like they’re actors.
Ratings
Scene 36 - Mitzi's Marriage
Sammy is working at a rented 16MM editor, surrounded by film,
a tape recorder, tapes, a record player, 45s rpms. Labeled
film strips are taped to the walls. Sammy has Jimmy Soul’s
“If You Wanna Be Happy” playing for inspiration. Reggie
comes in. Sammy looks up at her, stop the music, then goes
back to his editing.
REGGIE
I don’t understand how you can go
back to your beach blanket movie
after that.
SAMMY
We’re different, I guess.
Conformed Draft 117.
He works. Reggie goes to sit on his bed, then:
REGGIE
Is she gonna marry Bennie?
SAMMY
If she wants to, she will, she’s
the most selfish person on earth.
REGGIE
It must’ve been hard for her,
married to a... a genius.
SAMMY
Dad worships Mom.
REGGIE
OK - But maybe it’s hard, being
worshipped by someone you know
you’ll never be as good as, or
ever do anything as good as. She
laughs at Bennie’s jokes, but...
(she shakes her head:)
Dad’s always been her best
audience.
Reggie starts to cry.
SAMMY
Come on. She’ll be fine, she’ll
tell herself everything happens for
a reason, she’ll make excuses like
she always -
REGGIE
You’re way more selfish than her.
Sammy, confused, tries to laugh it off.
REGGIE (CONT’D)
That’s why you’re angry at her.
It’s because she’s scared. Just
like you, Sammy. Out of everyone in
this outta-control falling-apart
family, the one who’s most like
Mitzi is you.
Reggie waits for Sammy to respond. He looks down and doesn’t
say anything. So Reggie stands and starts to leave the room.
SAMMY
Wait.
Reggie stops and turns to him.
Conformed Draft 118.
SAMMY (CONT’D)
Before I show this to the whole
school, could you please watch it
with me?
Reggie nods yes. She goes to Sammy, puts her hands on his
shoulders and leans in. He pushes the button and the film
starts to play.
Ratings
Scene 37 - Prom Night Revelations
Sammy pulls up in the family car, Monica beside him. All
around them, students are exiting their cars in prom dresses
and tuxes. Colorful lights from the prom illuminate the big
gym window.
129 CUT TO: 129
Inside the car, Sammy in a suit and tie reaches behind to get
something on the back seat. Monica, in a big baby-blue prom
dress, beehive hair, lifts a can of hair spray.
MONICA
Hold your breath!
She sprays her hair, blasting Sammy, blinding him. He
frantically rolls down the window to get some air. Coughing,
but smiling, he reaches into the back seat for a box
containing a corsage.
SAMMY
(blindly holding the box
out to Monica:)
Here!
MONICA
(taking it:)
Oh wow!!!
She opens the box and lifts out the corsage. A gold chain is
pinned to the base of the corsage; Monica, confused,
surprised, lifts the flower until, at the end of chain, a
small gold crucifix swings free of the box. Monica looks at
it, not knowing how to react. She looks at Sammy.
MONICA (CONT’D)
(a beat, then, shyly:)
Did you find Jesus?
SAMMY
(deadpanning:)
In a jewelry store.
Conformed Draft 119.
She stares at him, then she laughs and throws her arms around
his neck and kisses him.
130 INT. THE GYM, GRAND VIEW HIGH - NIGHT 130
All the Senior Prom glitz and glamor the student organizing
committee could muster. On a raised platform at one end of
the gym, Claudia in a sparkly prom dress, is singing “Walk On
By,” accompanied by ten student MUSICIANS, including the
nearsighted accompanist at the keyboards and a TRUMPET
PLAYER, struggling with his exposed six-note solo. Behind the
band, a banner announces the theme - “Reaching for the Stars”
- in glitter letters. Passing by the stage, Logan stares up
at Claudia, his look of hopeless yearning making it clear
they’re not back together. She sings out, ignoring him.
Sammy and Monica are slow dancing, her head on his shoulder.
She’s wearing the corsage and the crucifix. She looks very
happy. Sammy looks burdened.
SAMMY
So in September when I move to LA.
I’m gonna try to get work in a
movie studio.
MONICA
I thought you were going to
college?
SAMMY
Could you - Would you ever consider
coming with me?
Monica raises her head and looks at him.
MONICA
I’m going to Texas A&M. You know
that.
SAMMY
Yes, I do. But I thought maybe you
should change your mind. Because...
MONICA
Because what?
SAMMY
Because I love you?
MONICA
OW! SAMMY!
He’s just stepped on her foot.
Conformed Draft 120.
SAMMY
I’m sorry! Sorry sorry sorry!
MONICA
That’s not...possible!
SAMMY
What? No, it is! Monica, I love
you!
MONICA
That’s impossible! Sammy -
SAMMY
Sam.
MONICA
We only started dating like -
Monica pulls a little away from him.
MONICA (CONT’D)
Everything was so normal before!
Why’re you acting so -
SAMMY
No, because nothing is normal now.
They’re getting a divorce.
MONICA
What are you talking about?!
SAMMY
My mom and dad, they’re splitting
up.
MONICA
Jesus Christ!! This is Prom! You
can’t just blurt something out like
that at Prom!
Monica walks off the dance floor. Sammy follows.
SAMMY
Wait -
Claudia’s THREE BACKGROUND SINGERS punctuate the moment with
a staccato -
BACKUP SINGERS
Don’t! Stop!
Sammy catches up to Monica.
Conformed Draft 121.
SAMMY
Monica! Look, that’s - That’s got
nothing to do with us, okay! That’s
not why I said that I love you, I
don’t know why -
She stops and turns on him.
MONICA
I’m not gonna like change my whole
life and move to Hollywood because
your parents are having marital
difficulties!
Claudia’s song continues in the background. Sammy steps
away, trying to figure out how to salvage the situation. He
returns to find that Monica has taken off the necklace.
MONICA (CONT’D)
You can get a refund. I hardly wore
it at all.
She holds it out to him.
SAMMY
Are you breaking up with me?
MONICA
Not at Prom, but of course
eventually.
Monica wraps his hand around the crucifix.
MONICA (CONT’D)
I’m gonna pray on it, and I’m gonna
pray really really hard for you,
because you are such a fun boy to
kiss, but -
Claudia has finished her song and the dancers are applauding
her.
Monica stops when the Principal taps the microphone.
PRINCIPAL
Thank you, thank you, wonderful,
wonderful! Let’s thank our band for
that great music!
MONICA
Sometimes we just can’t fix things,
Sam, and all we can do is suffer.
Conformed Draft 122.
PRINCIPAL
Now we’re going to take a little
break from the dancing for a very
special moment for the Class of
1964 -
Everyone cheers at the mention of the Class of 1964. As the
Principal begins to scan the crowd:
PRINCIPAL (CONT’D)
Mr. Samuel Fabelman, where are
you?!
A follow-spot manned by a kid in the bleachers searches till
it finds Sammy: Ashen and blinking. Blinded, he turns to
where Monica had been standing: She’s gone. He looks around
for her, then he looks down at his hand. He’s holding the
golden cross as it winks, spinning in the spotlight.
CHAD
BAGEL MAN! BAGEL MAN!
The JOCKS and other kids start to pick up the chant.
PRINCIPAL
There you are!! Okay! Okay. Face
this way. Grab a chair. Let’s all
get close to the screen. Right up
front. Very good. Mr. Fabelman,
this is your big moment!! We’re
ready to watch your Technicolor
masterpiece: DITCH DAY 1964!
The students cheer. Sammy startles, then, still in a trance,
he heads towards the projector at the rear of the auditorium.
PRINCIPAL (CONT’D)
And as they say way down south in
Hollywoodland: LIGHTS!!!
He pantomimes rolling a camera, then catches and corrects
himself.
PRINCIPAL (CONT’D)
LIGHTS!!! CAMERA!!! ACTION!!!!
The auditorium grows dark.
Sammy turns on the reel, which starts to spin. Then he puts
one hand on the projector’s light switch and another on the
tape recorder. He flicks both switches simultaneously. The
tape recorder starts playing music - the score for the film,
an amalgam of pop songs and movie scores as the projector’s
Conformed Draft 123.
beam flares up and whites out the whole screen. First up,
once more it’s Jimmy Soul’s “If You Wanna Be Happy”.
131 16MM FILM: Title card: GRAND VIEW HIGH “DITCH DAY” 131
Dozens of students running into the ocean, diving into waves.
A montage: Swimming; chasing; the hot-dog mouth stuffing
contest; dancing; sunbathing; making out - which elicits
hoots and cheers from the audience. The audience hoots and
cheers at every fun moment.
At the projector, Sammy closes the housing and puts his head
in his hands. But slowly, he looks up to watch the movie.
ON THE SCREEN
Two lines square off in a water balloon skirmish. Logan’s red-
headed stairwell tryst partner (Renee) takes a ballon full in
the face. A quick pan catches her assailant (Claudia)
mouthing an insincere “Sorry”.
IN THE AUDITORIUM
Claudia enjoys the moment all over again, looking past Monica
at her side to smirk at Renee.
ON THE SCREEN
Chad sneaks up to an OBLIVIOUS COUPLE and steals their
unattended beers.
IN THE AUDITORIUM
Chad smiles proudly among his pals, feeling cool.
ON THE SCREEN
Zooming in on a volleyball game. The ball arcs high in the
air. Logan, on the other side of the net, crouches down, and
then leaps up. As Logan reaches his apogee, his arm starting
to swing upwards, the film goes into slow motion; he seems to
be floating in space, the sun over his shoulder flaring in
the lens, his eyes wide open, his hair windblown. The
audience in the gym has gotten completely quiet. Logan’s
hand, fingers spread wide, meets the ball and grasps it,
causing sand stuck to the ball to explode outwards. As he
hurls the ball downwards with enormous force, the film speeds
up. The ball strikes the beach, scattering players who duck
Conformed Draft 124.
to avoid it, and all the students, those watching the game in
the film and those watching the film in the gym, go crazy!
IN THE AUDITORIUM
Chad and the other jocks slap Logan on the back,
congratulating him. But Logan finds he can’t enjoy the
moment. Something feels off. On the other side of the
projector, Sammy watches Logan through the turning reels.
ON THE SCREEN
Chad, beer in hand, starts to sit down on a towel next to a
girl. She pulls the towel out from under him, gets up and
relocates.
IN THE AUDITORIUM
Even more laughter from the crowd as Chad starts to squirm
with embarrassment.
ON THE SCREEN
A seagull, hovering. And a new music cue - Chubby Checker’s
“Limbo Rock”. The camera does a vertical swish-pan down from
the bird to some sunbathers; a glob of white goo (vanilla ice
cream) smacks the boy on his forehead! Screams and laughter
and applause from the audience. Now there are two gulls; the
camera pans down to the girl, looking up in horror as a blob
of white shit hits her right in the eye.
IN THE AUDITORIUM
Groans and laughs mix together. One grossed out girl cries
out -
GROSSED OUT GIRL
OH NO!
ON THE SCREEN
A veritable flock of gulls. The camera pans down to the other
boy, stretching and yawning wide. There’s a swell of
Conformed Draft 125.
anticipation in the crowd before the biggest blob of birdshit
yet goes right into his mouth.
IN THE AUDITORIUM
The audience’s delights verges over into ecstatic chaos. The
last “victim” gleefully pantomimes gobbling up the
“birdshit”, then stands on his chair to soak up the crowd’s
adulation. At the projector, Sammy takes it all in.
ON THE SCREEN
Students limbo under the pole, lower and lower. Those who
succeed earn applause, those who fail get applause and
laughs. Claudia and Monica pass under, Claudia turning away
from Logan as he watches from the crowd. Then Logan, doing
the impossible, limboing under the pole when it’s only a
couple of feet above the sand. Sammy’s camera angles
emphasize the athleticism involved, making this something
heroic. The kids in the gym start clapping along with the
kids on screen.
Sammy locates and films Chad, walking drunkenly alone at
surf’s edge, unaware that he’s being observed, a pathetic
image.
IN THE AUDITORIUM
Chad angrily pushes his way past his crew and out of the room
while Logan keeps watching the footage, inscrutable.
The students rise from their chairs, cheering, as the screen
shows late afternoon at the improvised track. To the score
from The Captain From Castille, the track jocks are racing
each other, sunlit sand flying up from their feet like
sparks. Sammy’s filmed this from many angles, and the
assemblage is thrilling. Logan’s in the lead. He flies past
the camera, glistening with sweat, hair streaming, his
expression transcendent.
The final lap. Four students stretch a tall barrier of
butcher paper across the track’s finish line. On the paper,
“CLASS OF 1964.” They’ve just pulled the sign taut when Logan
explodes through it, ripping it right down the center, arms
raised in victory. Wild cheers from the audience on screen
and in the gym.
Claudia’s eyes are shining. Logan seems confused and
overwhelmed, unable to enjoy the cheers of the students
around him.
Conformed Draft 126.
The film cuts immediately to:
The entire class gathered in front of a gorgeous sunset for a
group photo. A single title appears above them: THE END
132 CUT TO: 132
The gym’s lights come on abruptly. The students all around
Sammy are cheering, applauding, hooping and hollering; Sammy
looks down, hoping not to be noticed. He becomes aware that
the crowd is moving. At first it seems to be moving towards
him; he looks up and sees that the students are pushing past
him, oblivious to him; they’re surging towards Logan. Sammy
looks around: All the applause and excitement is for Logan,
not for him. He looks at Logan, disoriented and unhappy at
the center of the attention. Logan’s JOCK PALS hoist him on
their shoulders. But he squirms in protest.
LOGAN
No! No no...
They put him back on his feet. The crowd parts as Renee walks
up to Logan. He looks lost as she approaches him.
RENEE
Logan, you looked so incredible up
there. It was amazing.
But Renee is forced to step aside as Claudia confidently
approaches. Claudia stares into Logan’s eyes, serious and
sad, then she kisses him. They embrace. The other kids cheer
as...
... Monica pushes through the crowd towards the projector,
excitedly looking around for Sammy. But she finds only the
projector and the tape recorder running; Sammy is gone.
Unable to locate him anywhere, Monica switches off the tape
recorder.
133 CUT TO: 133
A hallway, somewhere in the school. Sammy is sitting on the
floor, back to a wall of lockers, knees drawn up, head down,
the crucifix still dangling from his clenched hand. He keeps
his head down as he hears footsteps coming down the hall,
then stopping in front of him. Sammy doesn’t look up.
LOGAN (O.S.)
Why’d you do that?!
Sammy looks up. Logan is there, agitated, perplexed, angry,
suspicious, maybe even afraid. He glares at Sammy, not
knowing what to say next. Sammy waits, then:
Conformed Draft 127.
SAMMY
What?
LOGAN
Why’d you make me look like that?!
SAMMY
In the film?
LOGAN
YES IN THE FILM!!
He slams his fist, hard, right into the locker above Sammy’s
head. Sammy cringes. The loud BOOM!! and the rattling
adjoining lockers echo down the hall. Logan grabs his hand,
dancing around in pain.
LOGAN (CONT’D)
OOWWWWWWWWWW SHIT SHIT!!!
(to Sammy:)
What’s the matter with you?! I’ve
been a, a total asshole to you! I
broke your nose! And, and then -
SAMMY LOGAN (CONT’D)
You didn’t break my nose, you - then you go and make me
almost did but you didn’t look like like that!? What’s
break it- wrong with you?!
SAMMY (CONT’D)
Logan. All I did was hold the
camera and it saw what it saw -
LOGAN
BULLSHIT, Fabelman, you made me
look like, like this golden kind
of... THING!
SAMMY
Yeah?
LOGAN
And Claudia!? She just kissed me!
SAMMY
(grim, almost to himself:)
Mazeltov.
LOGAN SAMMY (CONT’D)
In front of the whole school - (he’s had enough of
I treat her shittier than I this!)
treat you, and now - OK great! You’re welcome,
man! Jesus Ch -
Conformed Draft 128.
He gets up and starts to walk away. Logan blocks him.
LOGAN (CONT’D)
Hey wait, don’t go. Don’t go.
Sammy stops.
LOGAN (CONT’D)
I wanna know why you did that.
SAMMY
I don’t know, I oughta have my head
examined.
LOGAN
Am I supposed to feel bad now about
all that shit we did to you?
SAMMY
DO you feel bad about it -?
LOGAN
That’s none of your goddamn
business!
SAMMY
Because you should feel bad about
it!
LOGAN
Alright! That’s why you did it!!
You want me to feel like crap -
SAMMY
I wanted you to be nice to me for
five minutes, or - I did it to make
my movie better! I don’t know why.
You are the biggest jerk I have
ever met in my entire life, I HAVE
A MONKEY AT HOME THAT’S SMARTER
THAN YOU, you dumb anti-Semitic
ASSHOLE. I made you look like you
can fly!!
LOGAN
BUT I CAN’T FLY!! I CAN OUTRUN ANY
GUY IN SANTA CLARA COUNTY, AND I
WORKED REAL HARD TO DO THAT! But
you, you make me feel like I’m some
kinda failure or a phony or, or
like I’m supposed to be some guy
I’m never gonna be, not even in my
dreams - YOU TOOK THAT GUY WHOEVER
HE IS WHEREVER YOU GOT HIM FROM AND
Conformed Draft 129.
YOU PUT HIM UP THERE ON THAT SCREEN
AND TOLD EVERYONE, EVERYONE THAT
THAT’S ME!! AND THAT’S NOT ME!!
THAT’S - IT’S -
Logan stops, shaking, trying to control himself, but a loud
sob rises up from deep inside him, and to his and Sammy’s
horror, he starts to cry.
LOGAN (CONT’D)
Goddamn it, goddamn...
Logan sits on the floor, his back against the lockers,
cradling his head, crying. Sammy stares at him, flummoxed.
SAMMY
Jesus, it wasn’t supposed to make
you... upset. I didn’t mean to
freak you out, I didn’t mean to -
LOGAN
Who cares what you meant?
CHAD (O.S.)
FABELMAN!!
Sammy and Logan turn to see Chad charging towards them. Logan
hurriedly wipes his eyes and starts to stand.
SAMMY
Oh shit.
CHAD
YOU LIAR, YOU BACKSTABBING LIAR!!
I’M GONNA BEAT YOUR GOD -!!
Chad lunges at Sammy; he’s stopped, mid-lunge, by Logan, who
grabs his jacket, violently pulls him back, then punches Chad
in the face, slamming him into the lockers and down to the
floor. Chad lies there, blinking, nose and mouth bleeding,
unable to move; Logan stands over him, fists at the ready.
Chad pushes himself into a sitting position and spits a big
gob of red in Sammy’s direction.
CHAD (CONT’D)
(to Logan:)
You totally bought it. His whole
snow job, you ate it up. You moron.
Logan hauls him to his feet by his jacket.
CHAD (CONT’D)
Logan, you are so conceited and
dumb.
Conformed Draft 130.
Logan spins Chad 180 degrees and kicks him, hard, sending him
to his knees. Chad crawls away on all fours till he’s a safe
distance from Logan. Then he scrambles to his feet and
staggers, fast he can, down the hall; he rounds the corner
and he’s gone.
Logan turns around, breathing hard, still in a fighting mood.
Sammy, alarmed, asks, very very nervously:
SAMMY
Is something about to happen?
LOGAN
You like living dangerously,
Fabelman.
SAMMY
No I don’t, I really, really don’t-
LOGAN
Yes you do. But you tell anybody
about me getting, um, upset? That
would be a mistake.
Sammy nods.
LOGAN (CONT’D)
Our secret, OK?
SAMMY
Definitely.
Logan starts away and Sammy, smiling, can’t resist -
SAMMY (CONT’D)
Unless I make a movie about it.
Logan’s face hardens and he turns back, scary.
SAMMY (CONT’D)
Which I’m never ever gonna do.
A beat, then Logan grins and takes a joint and a cigarette
lighter out of his jacket pocket. He lights up, takes a toke,
then holds the joint out to Sammy. Sammy hesitates, then
takes it. He looks at it suspiciously. Logan laughs.
LOGAN
You never...?
SAMMY
What’s it like?
Conformed Draft 131.
LOGAN
It kinda shows you how outta
control everything is, and how
you’re not in charge of anything,
and how it doesn’t matter.
Sammy waits a second, looking at Logan.
SAMMY
I better not.
(shrugging:)
In my head everything’s already out
of control.
Logan gives Sammy an appraising look.
LOGAN
You’re fulla shit.
Sam snorts a laugh. Logan takes back the joint.
LOGAN (CONT’D)
I gotta split. Claudia’s waiting
for me.
Smoking, Logan walks down the hall. Then he turns:
LOGAN (CONT’D)
Life’s nothing like the movies,
Fabelman.
SAMMY
Maybe not. But, hey, in the end?
You got the girl.
Logan gives Sammy the finger. Sammy returns the gesture.
Logan turns and, rounding the corner, disappears.
Sammy’s alone. He sits on the floor heavily, baffled,
excited, sad, overwhelmed.
Ratings
Scene 38 - Morning After Prom
Sammy enters the kitchen, still in his prom clothes. Mitzi is
at the stove, cooking breakfast.
MITZI
Must’ve been some night.
Sammy shrugs.
MITZI (CONT’D)
Did Monica like the corsage?
Conformed Draft 132.
SAMMY
Yup.
MITZI
Yeah, I told you she would.
Mitzi goes back to the stove to resume cooking, but before
she does she turns and says to him:
MITZI (CONT’D)
That time when I hit you.
Sammy looks confused.
MITZI (CONT’D)
In Phoenix, when I - oh God, you
remember.
SAMMY
(pretending not to
remember:)
Not really -
MITZI
Oh for the love of God, it’s not
like I spent my whole life hitting
you! Once I hit you! Once!! It
shoulda been memorable!
SAMMY
Before the swimming test.
MITZI
Yes! Before the swimming test. Yes!
I, I slapped you on your back, as
hard as I could, I screwed up your
tryout and you couldn’t get your
merit badge and then you couldn’t
make Eagle Scout and -
SAMMY MITZI (CONT’D)
Mom, I made Eagle Scout, it It left a goddamn mark on
wasn’t a big deal - your skin in the shape of my
hand!!
MITZI (CONT’D)
And I need you to say you forgive
me for doing that.
SAMMY
Oh, okay, I forgive you-
MITZI
Because, because you’re my kid -
Conformed Draft 133.
SAMMY MITZI (CONT’D)
Mom, I forgive you. - and, and my kids mean more
(embarrassed, then to me than anything else on
gentle, sincere) the earth to me, because -
I forgive you. I forgive you.
MITZI (CONT’D)
- please, because -
(she starts to cry:)
Because how am I ever gonna forgive
myself? I can’t.
Sammy puts his arms around her and hugs her tightly.
SAMMY
Mom, I, I... I forgive you.
She wraps her arms around him, crying. They hold each other.
Behind them, the salami and eggs start to burn.
SAMMY (CONT’D)
The eggs are burning.
Mitzi goes to the stove and turns the burner off. She faces
Sammy, leaning against the oven.
MITZI
I’m doing this thing, and I don’t
know if it’s the right thing, but
it’s a life-and-death thing for me.
And I’m sorry but everybody else is
gonna have to hang on for dear
life, and somehow we will survive
this, all of us, even your father
who I adore with all my heart, he
deserves so much better than what
I’m doing - But Bennie needs me,
Dolly, and I need him, so much so
that without him I’m turning into
someone I don’t know, and none of
you will know me anymore, I’ll just
be that hateful person who did that
terrible thing to your back. And
yes, this is the most selfish thing
I have ever done, but I‘ve gotta do
this now because, Sammy - You do
what your heart says you have to.
Because you don’t owe anyone your
life - not even me.
After a quiet moment, she turns away. Focuses on the eggs.
Conformed Draft 134.
MITZI (CONT’D)
Oh, are they ruined? I can make
some more.
SAMMY
Oh, no no no. I like ‘em burnt.
(he goes to the drawer for
a fork:)
So Monica dumped me.
MITZI
She did?
SAMMY
Yeah, after I told her about the
divorce.
MITZI
Huh?
SAMMY
Probably shouldn’t’ve asked her to
marry me.
MITZI
You did not.
SAMMY
All but.
MITZI
Oh, you did!?!?!
Sammy can’t help but laugh as Mitzi slices more salami.
SAMMY
In so many words.
MITZI
Poor girl!
OVER WHITE
SCREEN TITLE: ONE YEAR LATER
SCREEN TITLE: LOS ANGELES
Ratings
Scene 39 - A Father's Support Amidst Uncertainty
The sun’s molten hot. The street’s lined with palm trees.
Sammy’s beat-up Le Mans pulls up to an apartment building.
Sammy, now 18, gets out, burdened, harried. His hair’s
Conformed Draft 135.
longer. He wears a loose necktie and sports jacket. Under his
arm he’s carrying the trades.
He marches grimly into the building.
138 INT. BURT’S APARTMENT, BRENTWOOD - LATE AFTERNOON 138
It’s a small two bedroom apartment, sparsely decorated but
neat. Sammy comes in the front door. He’s breathing hard, in
shallow gasps. He’s having a panic attack.
SAMMY
Dad?
(gasping:)
Hey dad, I’m....
(gasping:)
... home.
He throws the trade papers on the floor, tears off the jacket
and the necktie, then runs to the kitchen sink, turns on the
cold water and sticks his whole head in the sink. This
doesn’t help his breathing. Gasping, coughing.
BURT (O.S.)
Sammy?
Burt walks in, carrying the mail and a small white bag.
SAMMY
I think I’m having a heart attack.
Burt puts down the mail and the bag immediately and joins
Sammy in the kitchen. He shuts off the faucet, puts his head
to Sammy’s chest and listens, then:
BURT
It’s a panic attack. Your mom gets
them.
SAMMY
What did you do when she...?
BURT
I made her tea.
SAMMY
Okay...
He goes to the little gallery kitchen. Sammy slumps in the
kitchen doorway. As Burt lights the burner under the kettle:
Conformed Draft 136.
BURT
Plus you’re exhausted. You don’t
sleep, I hear you walking around
all night, or typing those letters.
And the three hours drive to the
college every day and back -
SAMMY
Oh no, no. I can’t go back to that
dorm.
BURT
Maybe your roommate’s settled down?
SAMMY
He voted for Goldwater! I can’t go
back.
(collecting himself)
Dad. I don’t know...what to do
anymore. I don’t want to disappoint
you and I promised that I’d stick
it out, but two years is like
forever, and I hate school, like, a
lot, and...I want to get work!
The kettle starts whistling. As Burt fixes a cup of tea:
SAMMY (CONT’D)
On a movie or a TV show, so I send
out all those letters but nobody
ever writes back and, my life, is
just going by so fast, but it’s not
getting anywhere!
Sammy’s starting to panic again. Burt puts the tea on the
table. As Sammy gets up off the floor:
BURT
Concentrate on sipping. It’ll calm
you down.
Sammy sips. Burt drapes his discarded jacket on the chair
back.
BURT (CONT’D)
Here, uh, you can go through the
mail while I get the soup on.
Burt picks up the bag and the mail; he hands the mail to
Sammy, then goes into the kitchen. Sammy starts sorting
through the mail, then stops and tears open an envelope.
Inside, folded in stationery, are several photographs. Sammy
looks at them.
Conformed Draft 137.
SAMMY
It’s from mom, it’s just a bunch of
goofy photos from some kinda block
party.
Burt comes over. Sammy hands him the photos. Burt, smiling,
looks at the photos, stopping on one which he scrutinizes for
several beats. Sammy watches as Burt’s features collapse,
pulled down by weighty sadness; he ages visibly. Burt stares
just over the top of the photo for a long moment, then he
hands the photos back to Sammy. As Sammy takes them he sees
Burt’s hand is shaking slightly. Burt picks up the rest of
the mail and goes into the kitchen. Sammy looks at the
photograph Burt was scrutinizing, then he looks back up at
Burt, whose back is turned to Sammy.
SAMMY (CONT’D)
Dad? Dad, what’s - ?
Sammy doesn’t know what to do. He looks again at the
photograph:
Reggie, Natalie and Lisa are smiling for the camera. But in
the background, Bennie is at a grill, in an oversized chef’s
toque; Mitzi stands next to him, handing him a lobster for
grilling. They’re looking at each other, very happy.
SAMMY (CONT’D)
Ah, Dad, I didn’t mean to -
Sammy looks up at his dad, who is now sorting through the
rest of the mail. Then, without turning to face Sammy, Burt
clears his throat and says, in a hoarse voice:
BURT
If you hate school so much, don’t
go.
SAMMY
But... Dad, we -
BURT
I don’t know, I would like you to,
because this film thing, I don’t
know. Maybe I should’ve put my foot
down about it, years ago. But...
Burt picks up the mail and turns to face Sammy. Burt walks
towards the table.
BURT (CONT’D)
I know you’re going to work like
the dickens on whatever you wind up
doing, because you’re a chip off
Conformed Draft 138.
the old block.
(Love and grief rise up,
he can’t speak. Then:)
We’re never not going to know each
other, Sammy.
SAMMY
How do you know that? You and mom
don’t anymore.
BURT
Yes we do. We always will. I know
it because...
(shrugs)
We’ve gone too far in our story to
actually say the end.
Burt takes an envelope from the pack of mail, holds it out to
Sammy.
BURT (CONT’D)
You missed something in the mail.
Sammy hesitates, looking at his dad. Burt grins slightly.
Sammy takes the envelope. On the front: SAM FABELMAN, 4900
BARRINGTON AVE #304, BRENTWOOD, CA 90049.
Sammy turns the envelope over. On the back, a letterhead:
ALFRAN PRODUCTIONS. Above the letterhead, the CBS EYE LOGO.
Sammy tears the envelope open, yanks out the letter and reads
voraciously, his eyes widening.
BURT (CONT’D)
Good news?
Sammy looks up at Burt.
BERNIE FEIN (V.O.)
They’ve ordered thirty-two half
hours.
Ratings
Scene 40 - An Introduction to Hogan's Heroes
Crawling over a bulletin board where several headshots are
pinned above hand-written labels for various roles: “LEBEAU”
“HOGAN”. Widening out reveals several other head shots,
labels, location photos, etc...
BERNIE FEIN (O.S.)
Fridays at 8:30 pm on CBS starting
September 17th. We already have six
shows in the can.
Conformed Draft 139.
BERNIE FEIN, a round, balding, bustling actor/producer shows
Sammy, in a jacket and tie, set designs and storyboards for a
show he’s making featuring American POWs and German soldiers.
BERNIE FEIN (CONT’D)
It’s like Stalag 17 or The Great
Escape, except it’s funnier.
SAMMY
Hmm.
BERNIE FEIN
And it’s for television. And it’s
funny.
SAMMY
Yeah.
BERNIE FEIN
Or at least I pray to God that it’s
funny.
(showing off a mock-up
sketch)
Hogan’s Heroes. That’s the title?
What do ya think? Pretty catchy,
right?
SAMMY
Catchy... Yeah...
BERNIE FEIN
And if all goes well, I might be
able to offer you something next
season.
(gesturing, have a seat)
Maybe assisting an assistant to an
assistant.
Sammy sits, nods, crestfallen.
BERNIE FEIN (CONT’D)
You don’t want to be in TV anyway.
Your letter said as much.
(he picks it up from his
desk to peruse)
By the way, I love this letter. I
used to write a whole bunch of
these letters when I was your age.
You wanna make movies. Am I right?
SAMMY
Yeah. Yes, I do! Look, I’m just
happy to start, anywhere, and that
doesn’t -
Conformed Draft 140.
BERNIE FEIN
(snapping his fingers!)
You know who you need to meet?! I
mean not for a job, ‘cause...he
doesn’t do that. How would you like
to meet the greatest film director
who ever lived and he’s right
across the hall?!
Ratings
Scene 41 - The Mentor and the Aspiring Filmmaker
Bernie Fein leads Sammy out of his office to an office
directly across the hall. As he’s opening the door:
BERNIE FEIN
C’mon. Wait here a minute.
Bernie goes in. Sammy looks at the office door’s plastic
sign: “SUITE 3B.” Bernie’s voice can be heard from within.
Bernie comes out and leads Sammy in.
Sammy nervously enters an old, shabby waiting room. NONA, a
secretary, 50ish, dressed in 1940s style, sits behind a desk.
BERNIE FEIN (CONT’D)
Uh, this is Nona. Nona’s gonna look
after you. Um, he’s not here. He’s -
NONA
He’s at lunch.
BERNIE FEIN
Right.
NONA
(to Sammy:)
You want to wait?
BERNIE FEIN
Yeah, he’ll wait.
(to Sammy:)
Sit.
Bernie guides Sammy to a chair and slaps him on the shoulder.
BERNIE FEIN (CONT’D)
Good luck.
Bernie leaves.
NONA
Could be hours.
Conformed Draft 141.
Sammy nods. Nona goes back to work. Sammy looks at the old
posters on the walls (the strumming guitar of The Searchers
score commences in his head): STAGECOACH, HOW GREEN WAS MY
VALLEY, THE INFORMER, THE SEARCHERS, 3 GODFATHERS, SHE WORE A
YELLOW RIBBON, THE GRAPES OF WRATH, THE QUIET MAN, and a
newer poster for LIBERTY VALENCE.
The door of the office flies open, The Searchers score ends
with the sound of a needle scraped off a record, and JOHN
FORD enters. He’s 71 but he looks older, tall, gaunt, an
eyepatch over one eye, covering his glasses on that side.
He’s wearing beat-up safari clothes and a cloth safari hat.
He’s holding a partly burned, unlit cigar, the mouth-end
badly masticated. As he walks past Sammy, oblivious, Sammy
sees that there are perfectly-shaped lipstick kisses on
Ford’s cheeks and in the middle of his forehead. He goes
past Nona, enters his office and slams the door. Nona picks
up a box of Kleenex and runs in after him.
Sammy waits. Nona emerges with a wad of pink-stained wet
Kleenex. She dumps it in her desk trashcan and says,
indicating the partially-opened inner office door:
NONA (CONT’D)
Alright kid, you got five minutes.
Probably one. Stand up.
Sammy stands.
NONA (CONT’D)
Lose the tie. You’ll stand a better
chance.
Sammy nervously removes his tie.
142 CUT TO: 142
John Ford is at his desk, snipping the end from a fresh cigar
with a tarnished silver clipper. Sammy enters and stands
before the great man, awestruck.
Ford reaches retrieves a match from a small brass holder
shaped like a cowboy boot, strikes it on his desk blotter,
lights the cigar and puffs again and again. It goes on and
on, but Sammy drinks this in, not moving a muscle. Ford takes
the cigar out and licks his lips, his tongue weirdly
distended, like a cat’s. Then:
JOHN FORD
They tell me you want to be a
picture maker.
SAMMY
Um, yes sir. I do.
Conformed Draft 142.
JOHN FORD
Why?! This business -
(he shreds the air!)
- it’ll rip you apart!
SAMMY
Well, Mr. Ford, I -
JOHN FORD
So whatta ya know about art, kid?
SAMMY
I just- I love your movies so much -
JOHN FORD
NO! ART!!
Ford suddenly points to a big Remington painting, two men on
horseback looking off into the distance with a large butte in
the background.
JOHN FORD (CONT’D)
See that painting over there?!
SAMMY
Uh, yeah, I mean yes! Yes, I do see
it.
JOHN FORD
Walk over to it!
Sammy walks to the painting. He looks at it, unsure about
what he’s supposed to do.
JOHN FORD (CONT’D)
Well?! What’s in it?! Describe it!!
SAMMY
Oh okay, um - so there are...two
guys, and they’re...on horseback
and they’re looking for something,
so maybe they’re scouting - ?
JOHN FORD
NO!! NO!! Where’s the horizon?!
SAMMY
The - the horizon?
JOHN FORD
Where is it?!
Conformed Draft 143.
SAMMY
(pointing:)
Oh, it’s, um, it’s at the bottom.
JOHN FORD
That’s RIGHT! Walk over to this
painting!
He points at another painting, a Western scene by Charles
Russell. Sammy examines it: five cowboys in a large, crater-
like ditch. Their horses are tethered by a small pool of
water at the center of the depression while the men are all
hunkered around the ridge, rifles ready, forming an armed
perimeter.
JOHN FORD (CONT’D)
Well?!
SAMMY
Right, okay, so there are five
cowboys, you know, they -
JOHN FORD
(in a RAGE:)
NO NO NO NO NO!!! WHERE’S THE
GODDAMNED HORIZON!!!!!????
SAMMY
(flustered, pointing to
the top of the painting:)
Um, it’s there!
JOHN FORD
WHERE?!?!
SAMMY
AT THE TOP OF THE PAINTING!
JOHN FORD
ALRIGHT GET OVER HERE!
Sammy obeys, walking to Ford’s desk.
JOHN FORD (CONT’D)
Now remember this! When the
horizon’s at the bottom, it’s
interesting. When the horizon’s at
the top, it’s interesting. When
the horizon’s in the middle, it’s
boring as shit!! Now good luck to
you -
Sammy smiles.
Conformed Draft 144.
JOHN FORD (CONT’D)
- and GET THE FUCK OUT OF MY
OFFICE!!
Sammy rushes out the open door. After a moment, he peeks his
head back in.
SAMMY
Thank you!
JOHN FORD
My pleasure.
Ratings
Scene 42 - Sammy Leaves Paramount Studios
Sammy emerges onto an empty studio street, bordered on each
side by the huge semicircles of the soundstages. Sammy is
stunned, happy, taking in what’s happened. He looks back up
to the third floor of the small office building, then ahead.
Sammy walks down the street, happy with the world. He keeps
walking, getting smaller and smaller.
The camera adjusts to move the horizon from the middle to the
bottom of the frame.
END OF FILM
ROLL CREDITS
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
sammy | Sammy's character arc follows his journey of self-discovery, grappling with family issues, personal ambitions, and emotional growth. He starts as a curious and imaginative young boy who experiences fear and shock, leading to a deep connection to his family and a passion for filmmaking. As he navigates complex family dynamics and internal conflicts, Sammy undergoes emotional growth and resilience, ultimately finding his voice as a filmmaker and learning to balance his creative pursuits with familial responsibilities. | The character arc for Sammy is well-developed, showcasing his emotional journey and growth throughout the feature. However, there could be more clarity in highlighting specific turning points or conflicts that drive his character development. Additionally, providing more depth to Sammy's relationships with other characters could enhance his arc and add layers to his emotional journey. | To improve the character arc for Sammy, consider incorporating more specific challenges or obstacles that he faces, such as conflicts with his family members or setbacks in his filmmaking journey. Develop his relationships with other characters to add complexity and depth to his emotional growth. Show more internal struggles and moments of vulnerability to highlight Sammy's resilience and determination in pursuing his passion for filmmaking. |
mitzi | Mitzi's character arc in the screenplay follows her journey of inner turmoil, guilt, and the need for forgiveness. She starts as a caring and supportive mother, but as the story progresses, she grapples with unresolved trauma, marital issues, and personal struggles. This leads to strained relationships, difficult decisions, and ultimately, a quest for redemption and self-discovery. | The character arc for Mitzi is well-developed and engaging, showcasing her emotional depth and complexity. However, there could be more clarity in her motivations and the resolution of her inner conflicts. The transitions between her different emotional states could be smoother to enhance the audience's connection with her character. | To improve the character arc for Mitzi, consider adding more scenes that delve into her past traumas and relationships to provide a clearer understanding of her inner struggles. Focus on building stronger connections between her emotional turmoil and her actions throughout the story. Additionally, ensure that the resolution of her character arc is satisfying and impactful for the audience. |
burt | Burt's character arc in the screenplay involves him initially prioritizing his career over his family, leading to conflicts and emotional distance. However, as the story progresses, Burt learns to prioritize his family's well-being and emotional needs, ultimately finding a balance between work and family. Through moments of vulnerability and sensitivity, Burt grows as a father figure, becoming more understanding, compassionate, and emotionally connected with his children. | The character arc for Burt is well-developed, showcasing his growth and transformation throughout the story. However, there could be more clarity in depicting the specific events or challenges that trigger Burt's realization and change in priorities. Additionally, more emphasis on Burt's internal struggles and emotional depth could enhance the audience's connection to his character development. | To improve the character arc for Burt, consider incorporating specific scenes or conflicts that highlight his internal struggles and emotional journey. Show moments of introspection or vulnerability that lead to his realization about the importance of family. Additionally, explore Burt's relationships with other characters, such as his children or spouse, to further emphasize his growth and emotional connection. By deepening Burt's emotional arc and relationships, the audience can better empathize with his character development. |
natalie | Throughout the screenplay, Natalie starts off as a protective and outspoken sister, always looking out for Sammy. As the story progresses, she learns to balance her playful and adventurous nature with a sense of responsibility, realizing the importance of honesty and communication within the family. By the end of the feature, Natalie has grown into a more mature and understanding character, still maintaining her spirited personality but with a deeper understanding of the dynamics within her family. | The character arc for Natalie is well-developed, showing growth and maturity over the course of the screenplay. However, it could benefit from more specific challenges or conflicts that push Natalie to confront her flaws and evolve as a character. | To improve the character arc for Natalie, consider introducing a specific event or dilemma that challenges her protective nature and forces her to reevaluate her priorities. This could add depth to her character development and make her growth more impactful for the audience. |
bennie | Bennie starts off as a playful and charming uncle, adding humor and energy to family interactions. As the story progresses, he becomes more supportive and emotional, showing a vulnerable side in his plea to Sammy. Ultimately, Bennie learns to balance his jovial nature with genuine concern for his family's well-being, leading to a deeper connection and understanding with his loved ones. | The character arc for Bennie is well-developed, showcasing his evolution from a light-hearted joker to a more emotionally connected family member. However, there could be more consistency in his character development throughout the screenplay to make his transformation more impactful. | To improve the character arc for Bennie, consider incorporating more subtle hints of his emotional depth earlier in the screenplay. This could involve exploring his backstory or relationships with other family members to provide a stronger foundation for his eventual vulnerability and supportiveness towards Sammy. Additionally, ensure that Bennie's growth is integrated seamlessly into the overall narrative to enhance the emotional impact of his character arc. |
reggie | Reggie starts off as a playful and adventurous sibling, but as the story progresses, she takes on a more protective and empathetic role within the family. She learns to balance her fun-loving nature with a sense of responsibility, ultimately becoming a voice of reason and emotional support for her family members. | The character arc for Reggie is well-developed, showcasing her growth and maturity throughout the story. However, there could be more specific challenges or conflicts that Reggie faces to further enhance her character development. | To improve the character arc, consider introducing external conflicts or obstacles that force Reggie to confront her own vulnerabilities and strengths. This could add depth to her character and provide more opportunities for growth and transformation. |
monica | Monica starts off as a supportive friend who encourages Sammy to pursue his passion for filmmaking. As the story progresses, she delves deeper into her own spiritual journey, facing challenges and conflicts that test her beliefs and emotions. Through these experiences, Monica learns to balance her boldness and playfulness with a deeper understanding of herself and her relationships. | The character arc for Monica is well-developed, but it could benefit from more specific challenges and growth opportunities that push her out of her comfort zone. Additionally, her interactions with other characters could be further explored to showcase different facets of her personality and deepen her relationships. | To improve the character arc for Monica, consider introducing conflicts that challenge her beliefs and emotions in a more profound way. This could involve exploring her past experiences or relationships that have shaped her spiritual journey. Additionally, provide opportunities for Monica to interact with a wider range of characters to showcase her versatility and depth as a character. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
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Emotional range correlates with higher scene grades | Scenes with higher emotional impact, such as those with emotional, reflective, or intense tones, tend to receive higher overall grades. |
Dialogue intensity relates to emotional impact | Scenes with more impactful dialogue, especially those with scores of 9 or above, often align with scenes that have greater emotional resonance. |
Extreme character changes enhance scenes | Scenes with more significant character changes, often indicated by scores of 8 or higher, contribute to higher overall scene grades. This suggests that moments of growth or transformation resonate with the audience. |
Humor balances intense scenes | Scenes with a combination of intense tones and humorous elements tend to achieve a good balance, resulting in higher grades. Humor can provide a release or contrast that enhances the impact of emotional scenes. |
High stakes scenes drive the story | Scenes with higher stakes, often indicated by scores of 8 or above, contribute to stronger story progression and higher overall scene grades. These scenes create a sense of urgency and keep the audience engaged. |
Nostalgia requires strong emotional connection | While nostalgic scenes often receive high concept and plot grades, their overall impact is more dependent on establishing a strong emotional connection. Scenes with lower emotional impact may not fully capitalize on the potential of nostalgia. |
Writer's Craft Overall Analysis
This screenplay showcases the writer's strengths in creating engaging storylines, authentic character interactions, and a blend of humor and drama. The effective use of dialogue and visual storytelling enhances the narrative and draws the audience into the characters' journeys. However, there are opportunities for improvement in certain areas to elevate the overall writing craft.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Read 'Save the Cat!' by Blake Snyder | This book provides valuable insights into crafting compelling stories, developing engaging characters, and structuring scenes effectively, addressing several key improvement areas. |
Exercise | Practice writing character backstories and motivationsPractice In SceneProv | Developing detailed character profiles will help flesh out their personalities, motivations, and emotional depth, improving their overall relatability. |
Video | Watch films known for their strong character development and emotional impact | Analyzing how other screenwriters create memorable and emotionally resonant characters can provide valuable inspiration and learning opportunities. |
Screenplay | Study screenplays with effective scene structure and pacing | Examining well-structured screenplays will help enhance understanding of how to craft scenes that build tension, maintain engagement, and seamlessly transition into the narrative. |
Course | Consider taking an online or in-person screenwriting course | Structured courses offer comprehensive guidance on various aspects of screenwriting, from character development to scene structure, providing a supportive environment for improvement. |
Stories Similar to this one
Story | Explanation |
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8MM | Both stories involve a young boy who films a violent event and becomes obsessed with it, leading to a dangerous obsession. |
The Night of the Hunter | Both stories involve a child who witnesses a murder and is pursued by a dangerous killer. |
Jaws | Both stories involve a community terrorized by a deadly creature, and the efforts of a group of individuals to stop it. |
Halloween | Both stories involve a masked killer who terrorizes a group of teenagers on Halloween night. |
The Exorcist | Both stories involve a young child who becomes possessed by a demonic force and the efforts of a priest to exorcise it. |
The Shining | Both stories involve a family who moves into a haunted house and experiences strange and terrifying events. |
E.T. the Extra-Terrestrial | Both stories involve a young boy who befriends an alien and helps it return home. |
The Breakfast Club | Both stories involve a group of teenagers from different backgrounds who are forced to spend time together and learn about each other. |
The Goonies | Both stories involve a group of children who go on an adventure to find a lost treasure. |
Stand By Me | Both stories involve a group of boys who go on a journey and learn about themselves and the world around them. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
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Coming of Age | The protagonist, Sammy, goes through various experiences that mark his transition from childhood to adulthood. | The Coming of Age trope is a common theme in storytelling where a character undergoes significant growth and change as they navigate the challenges of growing up. An example of this trope can be seen in the movie 'Stand by Me' where a group of young boys go on a journey that helps them mature and understand the complexities of life. |
Family Drama | The screenplay revolves around the dynamics and conflicts within the Fabelman family. | Family Drama is a genre that focuses on interpersonal relationships, conflicts, and emotions within a family unit. An example of this trope can be seen in the TV show 'This Is Us' where the lives of the Pearson family members are explored in depth, revealing their struggles and triumphs. |
Filmmaking | The protagonist, Sammy, is passionate about filmmaking and creates various films throughout the screenplay. | The Filmmaking trope involves storytelling that revolves around the process of creating films, exploring the art and craft of filmmaking. An example of this trope can be seen in the movie 'Super 8' where a group of kids come together to make a film and end up uncovering a mysterious secret. |
Childhood Trauma | Sammy experiences trauma related to a train crash depicted in a film, leading to physical symptoms and emotional distress. | Childhood Trauma is a common trope where a character undergoes a distressing event during their formative years, impacting their behavior and emotions. An example of this trope can be seen in the movie 'The Babadook' where a young boy's fear of a monster leads to psychological trauma for both him and his mother. |
Moving to a New Place | The Fabelman family relocates from Arizona to California, leading to changes and challenges for the characters. | The Moving to a New Place trope involves characters transitioning to a different location, often resulting in new experiences and adjustments. An example of this trope can be seen in the TV show 'The OC' where a troubled teenager moves in with a wealthy family in Orange County, leading to a clash of cultures and lifestyles. |
Secret Affair | Mitzi is involved in a secret affair with Bennie, causing tension within the family. | |
Bullying | Sammy experiences bullying at school, leading to confrontations and emotional turmoil. | The Bullying trope involves one character exerting power and control over another through intimidation, harassment, or violence. An example of this trope can be seen in the movie 'Mean Girls' where a group of popular girls bullies their classmates, causing emotional distress and conflict. |
Parent-Child Conflict | Sammy and his parents, particularly Mitzi, experience conflicts and misunderstandings throughout the screenplay. | The Parent-Child Conflict trope involves tension and disagreements between parents and their children, often stemming from differing perspectives and expectations. An example of this trope can be seen in the movie 'Lady Bird' where a teenage girl clashes with her mother over their contrasting aspirations and values. |
Loss of a Loved One | The Fabelman family experiences the death of Sammy's grandmother, leading to grief and emotional turmoil. | The Loss of a Loved One trope involves characters dealing with the death of a family member or close friend, leading to a range of emotions and challenges. An example of this trope can be seen in the movie 'Steel Magnolias' where a group of women navigate the loss of a beloved friend and the impact it has on their lives. |
Teen Romance | Sammy experiences romantic feelings for Monica, leading to a complex relationship dynamic. | The Teen Romance trope involves romantic relationships between teenage characters, exploring themes of love, attraction, and coming of age. An example of this trope can be seen in the TV show 'Dawson's Creek' where a group of teenagers navigate the ups and downs of first love and relationships. |
Theme | Theme Details | Themee Explanation | ||||||||||||
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Art and the Artist | Sammy's passion for filmmaking, Boris's warning about the dangers of art, Sammy's struggle to balance his artistic aspirations with his family's expectations | The film explores the complex relationship between art and the artist, emphasizing the transformative power of art but also acknowledging its potential for pain and sacrifice. | ||||||||||||
Strengthening Art and the Artist:
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Family Conflict and Reconciliation | The tension between Sammy and his parents, Mitzi's affair with Bennie, the family's move to California, Sammy's confrontation with his father over his career choice, the family's eventual reconciliation | The film portrays the complexities and challenges of family relationships, highlighting the strains that can arise within a family but also the enduring bonds that can ultimately overcome conflict. | ||||||||||||
Childhood and Trauma | Sammy's childhood experiences, including the train crash and the death of his grandmother, the bullying he experiences at school, the physical abuse he suffers at the hands of his mother | The film explores the impact of childhood trauma on an individual's development, examining how past experiences can shape a person's fears, anxieties, and relationships. | ||||||||||||
The Power of Film | Sammy's use of film to document and make sense of his life, the transformative power of film on both the audience and the filmmaker, the role of film in shaping our understanding of the world | The film celebrates the transformative power of film, emphasizing its ability to capture and convey emotions, preserve memories, and inspire creativity. | ||||||||||||
Jewish Identity | Sammy's Jewish heritage, his exploration of his Jewish identity through the character of Mitzi in his film, the confrontation between Sammy and Logan over religion | The film touches on themes of Jewish identity and the challenges of reconciling one's religious and cultural heritage with the complexities of modern life. |
Screenwriting Resources on Themes
Articles
Site | Description |
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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 |
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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 | |
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Summary: | The writer's voice in the screenplay is characterized by its blend of emotional depth, humor, and vivid imagery. The writer effectively uses dialogue, narrative, and direction to convey the characters' emotions, create a sense of atmosphere, and explore themes of family, art, and personal growth. |
Voice Contribution | The writer's voice contributes to the script by creating a heartfelt and immersive experience for the reader. The vivid descriptions, emotional dialogue, and carefully crafted scenes allow the audience to connect with the characters on a deep level and become invested in their journey. |
Best Representation Scene | 19 - Sammy and Boris: A Conversation About Art and Family |
Best Scene Explanation | Scene 19 is the best representation of the writer's voice because it captures the essence of the film's central themes. The dialogue between Sammy and Boris highlights the protagonist's passion for filmmaking, the challenges he faces in pursuing his dreams, and the sacrifices he is willing to make for his art. The scene is both emotionally resonant and thought-provoking, leaving a lasting impression on the reader. |
- Overall originality score: 8
- Overall originality explanation: This screenplay is very original. It tells a story that has not been told before, in a way that is both unique and engaging. The characters are well-developed and the plot is full of twists and turns. The screenplay is also very well-written, with a strong sense of voice and style.
- Most unique situations: Some of the most unique situations in the screenplay include:
- Overall unpredictability score: 9
- Overall unpredictability explanation: The screenplay is very unpredictable. The plot is full of twists and turns, and the characters often do things that you would not expect. This keeps the reader engaged and guessing what will happen next. The writer was able to create a powerful story by weaving together themes of family, love, and loss.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goals revolve around overcoming fear and anxiety, seeking approval and validation, pursuing creative passions, and navigating complex emotions towards family dynamics. |
External Goals | The protagonist's external goals involve enjoying family traditions, expressing creativity through filmmaking, navigating social dynamics, and finding a sense of belonging in new environments. |
Philosophical Conflict | The overarching philosophical conflict in the screenplay revolves around the clash between traditional values and modern aspirations, the tension between familial expectations and personal desires, and the struggle between authenticity and conformity. |
Character Development Contribution: The protagonist's evolution through internal and external goals, along with the philosophical conflict, contribute to their growth in overcoming fears, seeking validation, pursuing creative passions, and finding a sense of identity and purpose.
Narrative Structure Contribution: The character's goals and conflict shape the narrative structure by providing a journey of self-discovery, emotional growth, and interpersonal dynamics, creating tension and resolution throughout the screenplay.
Thematic Depth Contribution: The goals and conflict add thematic depth by exploring themes of family, identity, creativity, resilience, and the balance between personal aspirations and external expectations, offering insights into the complexities of human relationships and the pursuit of fulfillment.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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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 |
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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 worlds depicted in the screenplay are diverse, ranging from classic movie theaters to suburban households, desert landscapes, and Hollywood studios. Each setting contributes to the atmosphere and mood of the scene, evoking feelings of nostalgia, warmth, tension, or inspiration.
- Culture: Cultural elements are prominent in the screenplay, reflecting the Jewish heritage of the Fabelman family, the American postwar suburban lifestyle, and the glamour and aspirations of the Hollywood film industry. These elements shape the characters' values, beliefs, and relationships, adding depth and authenticity to their experiences.
- Society: The societal structure of the time is reflected in the gender roles, family dynamics, and hierarchical relationships. The changing social landscape of the 1950s and 1960s is captured through themes of divorce, family secrets, and the pursuit of individual dreams. The screenplay explores the impact of societal expectations and pressures on the characters' lives.
- Technology: Technology plays a significant role in the screenplay, showcasing the evolution of filmmaking techniques and the impact of technological advancements on the characters' lives. From the use of movie projectors to the editing of 8mm films and the rise of television production, technology becomes a tool for self-expression, artistic exploration, and storytelling.
- Characters influence: The world elements shape the characters' experiences and actions in various ways. The nostalgic atmosphere of the movie theater transports the audience to a different era, fostering a sense of longing and connection to the past. The warm and family-oriented household provides a nurturing environment for Sammy's passion for filmmaking, while the challenges and tensions of suburban life create obstacles that he must navigate. The unforgiving desert landscape mirrors the emotional turmoil and struggles faced by the characters, and the glamour of Hollywood represents both the allure of artistic success and the complexities of the entertainment industry.
- Narrative contribution: The world elements contribute to the narrative of the screenplay by providing context for the characters' actions and motivations. The nostalgic settings evoke a sense of time and place, grounding the story in a relatable and immersive environment. The cultural elements add layers of depth and conflict, exploring the interplay between tradition and modernity, personal beliefs, and societal norms. The technological advancements showcased in the screenplay reflect the changing times and the impact of technology on human creativity and communication.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by reinforcing and amplifying its central themes. The nostalgic atmosphere highlights the themes of memory, longing, and the search for one's place in the world. The family dynamics explore the complexities of relationships, the challenges of growing up, and the bonds that endure despite adversity. The technological advancements reflect the themes of innovation, artistic expression, and the pursuit of dreams. By weaving these world elements into the narrative, the screenplay creates a rich and layered tapestry that resonates with audiences on multiple levels.
central conflict
The central conflict in the screenplay revolves around Sammy's passion for filmmaking amidst familial pressures, social dynamics, and his exploration of identity and relationships.
primary motivations
- Sammy's burning desire to pursue filmmaking despite his parents' reluctance.
- His search for self-expression and identity through his art.
- Mitzi's emotional struggles with her marriage and newfound independence.
- Other family members' varying perspectives on art, relationships, and personal fulfillment.
catalysts
- The train crash in the opening scene that sparks Sammy's fascination with cinema.
- His parents' purchase of a movie camera, fueling his filmmaking aspirations.
- His interactions with mentors and peers who encourage and challenge his artistic vision.
- Significant life events such as moving to a new town, family dynamics, and romantic relationships.
barriers
- Sammy's parents' disapproval of his filmmaking pursuits.
- His lack of resources and experience in the film industry.
- Social pressures and expectations that conflict with his artistic ambitions.
- Family conflicts and emotional turmoil that impact his creative process.
- The challenges of balancing personal relationships with his artistic growth.
themes
- The power of art in shaping perspectives and understanding the world.
- The tension between personal passions and familial obligations.
- The complexities of family dynamics and the enduring bonds between loved ones.
- The journey of self-discovery and the pursuit of one's dreams.
- The significance of mentorship and collaboration in artistic growth.
stakes
Sammy's artistic integrity, his relationships with family and friends, his sense of self-worth, and the fulfillment of his creative aspirations.
uniqueness factor
The film's intimate and semi-autobiographical nature, drawing from the director's own experiences, lends a unique authenticity to its exploration of familial dynamics and the pursuit of artistic dreams.
audience hook
The relatable themes of family, identity, and artistic passion, combined with the evocative storytelling and nuanced characters, provide a strong audience hook.
paradoxical engine or bisociation
The paradoxical story engine lies in the protagonist's dual roles as both an observer and a participant in the narrative, mirroring the filmmaker's own position behind and in front of the camera.
paradoxical engine or bisociation 2
Another potential paradoxical engine is the tension between the protagonist's desire for artistic freedom and the constraints imposed by his family and society, leading to both personal and creative growth.
Consider
Executive Summary
The Fabelmans is a promising screenplay with a strong emotional core, exploring universal themes of family, passion, and self-discovery. While the pacing and some character arcs could benefit from further refinement, the screenplay's strengths lie in its authentic portrayal of a complex family dynamic and the transformative power of cinema. With some revisions, it has the potential to be a compelling and resonant film.
- Vivid and emotionally resonant portrayal of a complex family dynamic, exploring themes of passion, sacrifice, and the pursuit of dreams. high
- Sammy's passion for filmmaking is depicted with authenticity and infectious enthusiasm, capturing the transformative power of cinema. high ( Scene 1 Scene 9 Scene 19 Scene 49 Scene 83 Scene 131 )
- Well-developed characters with distinct personalities and motivations, particularly Sammy, Mitzi, and Burt. high
- The screenplay effectively explores the conflict between artistic aspirations and family responsibilities, creating a compelling internal struggle for Sammy. high ( Scene 30 Scene 62 Scene 88 )
- The screenplay's dialogue is natural, engaging, and often humorous, reflecting the characters' personalities and relationships. medium
- The pacing in the second half could be tightened, particularly during the family's transition to California. medium
- The portrayal of Sammy's high school experience and the bullying he endures feels somewhat underdeveloped and could benefit from further exploration. medium ( Scene 99 Scene 100 Scene 108 Scene 109 )
- Monica's character, while initially intriguing, becomes somewhat caricatured in her religious zeal, potentially limiting her impact. low ( Scene 114 )
- Uncle Boris's role, while providing valuable insights, could be more seamlessly integrated into the overall narrative. low ( Scene 63 Scene 64 Scene 67 Scene 68 Scene 70 )
- The ending feels slightly abrupt, leaving some character arcs and relationships unresolved, particularly Sammy's future in filmmaking and his connection with his father. medium ( Scene 137 Scene 138 Scene 140 Scene 141 Scene 142 )
- Deeper exploration of Sammy's internal conflict and emotional journey as he navigates his passion for filmmaking, family turmoil, and personal challenges. high
- Further development of Bennie's character and his relationship with Sammy beyond the gift of the camera. medium ( Scene 92 Scene 93 )
- More clarity on Logan's motivations and his complex reaction to Sammy's film, particularly his emotional outburst. low ( Scene 130 Scene 132 Scene 133 )
- The use of Sammy's filmmaking as a coping mechanism and a way to process traumatic experiences is a powerful and insightful element. high ( Scene 15 Scene 19 )
- The transition to Arizona and the introduction of Bennie as a significant figure in the family dynamic adds a new layer of complexity to the story. medium ( Scene 33 Scene 34 Scene 35 )
- The encounter with John Ford is a memorable and symbolic moment, highlighting the challenges and rewards of pursuing a career in filmmaking. medium ( Scene 141 Scene 142 )