Moonlight
Executive Summary
Poster
Overview
Genres: Drama, Crime, Coming-of-age, Thriller, Romance, Family
Setting: Contemporary, Miami, Florida
Overview: Moonlight follows the life of Chiron, a young black man, through three pivotal stages of his life: childhood, adolescence, and adulthood. In the beginning, we see Chiron, nicknamed 'Little,' navigating a dangerous Miami neighborhood, grappling with bullying and a tumultuous home life with his drug-addicted mother, Paula. As he encounters Juan, a compassionate drug dealer, he finds a mentor who offers him a glimpse of safety and understanding. In the middle, as a teenager, Chiron struggles with his identity and sexuality, forming a deep bond with his friend Kevin, which is complicated by societal pressures and bullying. The story culminates in adulthood, where Chiron, now known as Black, confronts his past and seeks connection with Kevin, leading to a transformative moment of self-acceptance.
Themes: Resilience and the Search for Belonging, Trauma and its Impact, Mentorship and the Power of Connection, Sexuality and Identity, Mother-Son Relationship and Parental Neglect, Drug Abuse and its Consequences
Conflict and Stakes: The primary conflicts revolve around Little's struggle with his identity, the impact of his mother's addiction, and the harsh realities of street life in Miami. The stakes include Little's safety, emotional well-being, and the potential for connection and understanding in his life.
Overall Mood: Tense yet hopeful
Mood/Tone at Key Scenes:
- Scene 1: The mood is tense and gritty, reflecting the harsh realities of street life.
- Scene 4: The mood shifts to warm and nurturing as Juan tries to connect with Little over a meal.
- Scene 12: The mood is contemplative and serene as Little finds peace in the bath, contrasting with his chaotic life.
- Scene 20: The mood is intimate and vulnerable as Black and Kevin reconnect, exploring their past and emotions.
Standout Features:
- Unique Hook: The exploration of a young boy's journey through the complexities of identity and family in a gritty urban setting.
- Character Development: The profound relationship between Juan and Little, showcasing mentorship and emotional growth.
- Cultural Reflection: The film's portrayal of Miami's diverse communities and the challenges faced by its youth.
- Intimate Storytelling: The screenplay's focus on personal, character-driven narratives rather than traditional plot structures.
Comparable Scripts:
- Moonlight
- The Florida Project
- Precious
- Boyhood
- The Pursuit of Happyness
- A Streetcar Named Desire
- The Wire
- Stand by Me
- The Kite Runner
Writing Style:
The screenplay exhibits a consistent style characterized by emotional depth, nuanced character interactions, and a focus on intimate relationships. There's a strong emphasis on authentic dialogue and realistic portrayals of human connection, often exploring themes of identity, family, and societal issues. While some scenes incorporate gritty realism and urban settings, the overarching tone leans towards introspective and character-driven storytelling, with a preference for subtle storytelling techniques over overt action or plot-driven narratives.
Style Similarities:
- Barry Jenkins
- Greta Gerwig
Pass/Consider/Recommend
Highly Recommend
Explanation: Moonlight is a profoundly moving and beautifully written screenplay that masterfully portrays the complexities of identity, sexuality, and masculinity through the life journey of Chiron. Its poetic visuals, nuanced character development, and powerful thematic resonance make it a truly exceptional piece of storytelling. While minor improvements to pacing in certain sections could enhance the viewing experience, the overall narrative strength and emotional impact are undeniable, making it a highly recommended project.
USP: Moonlight stands out from other coming-of-age dramas through its unique narrative structure, which follows the protagonist Chiron at three pivotal stages of his life, allowing for a rich and nuanced exploration of his identity and the challenges he faces. The script's focus on the intersections of race, class, and sexuality, combined with its raw authenticity and poetic visual language, creates a deeply empathetic and immersive experience for the audience. The script's ability to balance intimate character moments with broader societal themes makes it a compelling and thought-provoking piece of storytelling that would resonate with a wide range of viewers.
Market Analysis
Budget Estimate:$10-20 million
Target Audience Demographics: Adults aged 18-45, particularly those interested in character-driven dramas and stories exploring social issues.
Marketability: The screenplay addresses relevant social themes and features a diverse cast, appealing to audiences looking for authentic storytelling.
The emotional depth and character development can attract critical acclaim and festival attention, enhancing its marketability.
While it may not have mainstream blockbuster appeal, its unique narrative and themes resonate with niche audiences.
Profit Potential: Moderate to high, as the film could perform well in independent circuits and festivals, with potential for awards recognition boosting its visibility.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a gritty realism, a focus on emotional depth and vulnerability, particularly within complex interpersonal relationships, especially those marked by trauma and social inequity. The style leans towards naturalistic dialogue, punctuated by moments of sparse, impactful language and vivid sensory detail, particularly visual imagery. There's a strong sense of unspoken tension and understated emotion, allowing the audience to inhabit the characters' internal worlds.
Best representation: Scene 14 - Late Night Confusion. Scene 14 best represents the writer's voice because it masterfully blends all three aspects: dialogue, narrative, and direction. The dialogue is authentic and reveals character through seemingly simple conversation. The narrative description vividly paints the serene beach setting, creating a powerful contrast to the emotional depth of the conversation. Finally, the implied direction—focusing on subtle gestures and unspoken understanding between Juan and Little—further amplifies the emotional resonance of the scene, showcasing the writer's ability to communicate profound meaning through understatement and subtle interaction.
Memorable Lines:
- Black: You're the only man who's ever touched me. The only one. I haven't really touched anyone, since. (Scene 58)
- Juan: A faggot is... a word used to make gay people feel bad. (Scene 20)
- Juan: You know you my man, right Juan? (Scene 1)
- PAULA: Mama just want to make sure you’re okay, that's all baby. (Scene 8)
- JUAN: This one time... I ran by this old, old lady, was just a runnin' and a hollerin' and cuttin' a fool, boy. (Scene 14)
Characters
Juan:A compassionate man in his 30s who becomes a father figure to Little.
Little:A young boy navigating the challenges of his environment, struggling with identity and family issues.
Paula:Little's mother, who battles addiction and struggles to connect with her son.
Kevin:Little's childhood friend who shares a deep bond with him, exploring themes of identity and connection.
Teresa:Juan's partner, who provides warmth and support to both Juan and Little.
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 - Tension on the Streets | Tense, Gritty, Realistic | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
2 - Chase in the Shadows | Intense, Terrifying, Suspenseful | 8.5 | 9 | 8 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | |
3 - A Fragile Invitation | Tense, Suspenseful, Intense | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
4 - A Moment of Connection | Tense, Intense, Suspenseful | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
5 - A Moment of Connection | Tense, Compassionate, Intimate | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 6 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
6 - A Night of Connection | Intimate, Reflective, Compassionate | 9.2 | 9 | 9 | 9 | 10 | 8 | 8 | 7 | 3 | 7 | 6 | 7 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
7 - A Mother's Embrace | Tense, Emotional, Compassionate | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
8 - Tough Love | Tense, Loving, Reassuring | 8.5 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 6 | 9 | 8 | 9 | 8 | 8 | 8 | |
9 - Chaos in the Park | Menacing, Hopeful, Tense | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
10 - A Chance Encounter | Reflective, Introspective, Friendship | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
11 - A Test of Strength | Intense, Emotional, Vulnerable | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
12 - Unexpected Encounter | Puzzled, Assured, Light-hearted | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 6 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
13 - A Lesson in Trust | Hopeful, Inspirational, Nurturing | 9.2 | 9 | 9 | 9 | 10 | 9 | 8 | 7 | 3 | 6 | 6 | 9 | 6 | 10 | 9 | 9 | 8 | 8 | 8 | |
14 - Moonlit Reflections | Reflective, Nostalgic, Educational | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 3 | 6 | 4 | 6 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
15 - Late Night Confusion | Tender, Suspenseful, Intriguing | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
16 - The Circle of Pressure | Intense, Raw, Vulnerable | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
17 - A Moment of Solace | Peaceful, Reflective, Intriguing | 8.5 | 9 | 7 | 9 | 9 | 7 | 8 | 7 | 2 | 5 | 3 | 6 | 6 | 9 | 6 | 8 | 8 | 8 | 8 | |
18 - Confrontation in the Night | Tense, Confrontational, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
19 - Confrontation at Dawn | Tense, Emotional, Conflicted | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
20 - Confronting Shadows | Intense, Reflective, Emotional | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
21 - Isolation in the Classroom | Intense, Bullying, Defiant | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
22 - Navigating High School | Tense, Reflective, Casual, Conflicted | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
23 - A Familiar Distance | Neglect, Struggle, Indifference | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
24 - A Moment of Connection | Reflective, Intimate, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 4 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
25 - Reflections of Loss | Reflective, Heavy, Playful | 8.5 | 8 | 8 | 9 | 9 | 7 | 9 | 7 | 3 | 6 | 4 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
26 - Silent Witness | Intense, Sensual, Intriguing | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7.5 | 8 | 8 | 7 | 7 | 9 | 9 | 7 | 9 | 8.5 | 8 | 8 | |
27 - Morning Tensions | Confusion, Tension, Forgiveness | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
28 - Desperate Demands | Tense, Somber, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
29 - Classroom Disruption | Tense, Derogatory, Aggressive, Somber | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
30 - Confrontation in Liberty Square | Intense, Aggressive, Mocking, Humorous | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
31 - Journey into Darkness | Loneliness, Isolation, Contemplation | 8.5 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 3 | 7 | 4 | 6 | 7 | 9 | 6 | 9 | 8 | 8 | 8 | |
32 - A Moment by the Ocean | Reflective, Introspective, Casual | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 3 | 7 | 4 | 6 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
33 - A Night of Connection | Intimate, Reflective, Vulnerable | 9.2 | 9 | 9 | 9 | 10 | 9 | 9 | 7.5 | 3 | 7 | 4 | 7 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
34 - Cruising Through Vulnerability | Intimate, Vulnerable, Curious | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 4 | 6 | 3 | 6 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
35 - A Moment of Connection | Somber, Introspective, Tense | 8.5 | 8 | 8 | 8.5 | 9 | 8 | 8 | 7.5 | 7 | 8 | 6 | 7 | 7 | 9 | 8 | 8.5 | 8.5 | 9 | 9 | |
36 - Unspoken Connections | Tense, Nostalgic, Casual | 8.2 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
37 - Silent Defiance | Intense, Tense, Violent, Dark | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
38 - Silent Struggles | Serious, Intense, Emotional | 9.2 | 9 | 9 | 9 | 10 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
39 - Silent Struggles | Somber, Intense, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
40 - Breaking Point | Intense, Emotional, Tense, Raw | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
41 - Identity in Transition | Menacing, Uncomfortable, Lost | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
42 - Conversations in the Courtyard | Tense, Emotional, Reflective, Intimate, Resentful | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
43 - Cash and Confusion | Tense, Confrontational, Intense, Suspenseful | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
44 - A Moment of Reflection | Reflective, Intimate, Tender | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 3 | 7 | 2 | 6 | 6 | 9 | 7 | 8 | 8 | 9 | 9 | |
45 - Echoes of the Past | Reflective, Regretful, Reconciliatory | 9.2 | 9 | 9 | 9 | 10 | 8 | 8 | 7.5 | 7 | 8 | 6 | 8 | 8 | 10 | 9 | 9 | 8.5 | 9 | 8.5 | |
46 - Nostalgic Connections | Reflective, Nostalgic, Casual | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 7 | 6 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
47 - Morning Routine | Introspective, Tense, Reflective | 8.5 | 9 | 7 | 7 | 9 | 7 | 8 | 6 | 3 | 4 | 2 | 5 | 5 | 9 | 6 | 7 | 8 | 8 | 8 | |
48 - Tension on the Streets | Intense, Suspenseful, Tense | 8.5 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
49 - Tension and Reflection | Tense, Reflective, Intense | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
50 - Journey to Clarity | Resolution, Peace, Clarity, Hypnotic, Reflective | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 3 | 6 | 7 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
51 - Joyful Waves and Quiet Anticipation | Reflective, Introspective, Tense | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 5 | 6 | 4 | 7 | 7 | 9 | 7 | 8 | 8 | 9 | 8 | |
52 - Reunion at the Diner | Introspective, Reunion, Nostalgic, Warm | 9.2 | 9 | 9 | 8 | 10 | 9 | 8 | 7 | 7 | 6 | 8 | 9 | 7 | 10 | 9 | 9 | 8 | 9 | 9 | |
53 - Rekindling Friendship at Jimmy's | Reflective, Nostalgic, Playful, Warm | 9.2 | 9 | 9 | 9 | 10 | 8 | 8 | 7.5 | 3 | 7 | 4 | 9 | 8 | 10 | 9 | 9 | 8.5 | 8 | 8 | |
54 - Reflections in the Diner | Reflective, Introspective, Serious, Nostalgic | 9.2 | 9 | 9 | 9 | 10 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
55 - Night Departure | Reflective, Nostalgic, Intimate | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 3 | 7 | 2 | 7 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
56 - Midnight Conversations | Reflective, Nostalgic, Introspective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 6 | 7 | 6 | 7 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
57 - Silent Connections | Reflective, Introspective, Nostalgic | 8.5 | 8 | 8 | 7 | 9 | 7 | 8 | 7 | 3 | 7 | 4 | 6 | 7 | 9 | 8 | 8 | 8 | 9 | 8 | |
58 - Reconnecting in the Quiet | Reflective, Intimate, Emotional | 9.2 | 9 | 9 | 9 | 10 | 9 | 8 | 6 | 6 | 7 | 7 | 8 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
59 - In the Dark: A Moment of Reconnection | Intimate, Emotional, Tender | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 6 | 3 | 6 | 5 | 7 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
60 - Into the Waves | Contemplative, Introspective, Emotional | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 6 | 2 | 5 | 3 | 7 | 6 | 10 | 8 | 7 | 7 | 8 | 8 |
Scene 1 - Tension on the Streets
Written by
Barry Jenkins
Based on
"In Moonlight Black Boys Look Blue"
By Tarell Alvin McCraney
First, over BLACK, we hear...
The SOUND of the ocean, then...
FADE IN:
1 EXT. 58TH TERRACE/13TH AVE - DAY 1
A bright Miami day. Or what we can see of it: our gaze fixed,
looking into the front windshield of a wide, vintage car
(think 60s, American).
At the wheel find JUAN (30’s, some sort of Afro-Latino thing
about him) pulling towards us and coming to a stop. Behind
him, a shady, rundown apartment building abuts the road,
three boys standing outside it.
Juan cuts his engine, exits the car and begins across the
street. The boys tense up as Juan approaches, make room as he
continues all the way over to the brick wall behind them.
JUAN
Business good?
One of the boys, TERRENCE (18, dreadlocks and rail thin),
bows his chest to speak.
TERRENCE
Business good. Everybody cleaned
out, it's in the cut if you want
it.
Juan just nodding his head, looking at the ground stretching
before them, kind of day where phosphorous fumes wave above
the asphalt.
JUAN
Hold on to that, register don't
empty til' the weekend, feel me?
Terrence nodding, the other boys' heads bowed slightly, a
hierarchy here. As Terrence removes a chocolate Yoohoo from
his back pocket...
...a zombie approaches.
Or rather, a customer, tall, lanky, haggard looking man
approaching across the road.
TERRENCE
(to himself)
This muh---
The haggard man, continuing over, gets near enough to stand
right over Juan. Juan looks up, simmering.
JUAN
Azu you okay, man?
AZU (30s, broken) staggers a bit, face unsure:
AZU
(Realizing)
Oh my bad Juan. No disrespect.
JUAN
What you need?
AZU
You know you my man, right Juan?
JUAN
Azu don’t bring that noise. I got
sells, not samples.
Azu reluctantly extends some bills to Juan. Juan paying the
money no mind, looks straight ahead as Terrence leans in,
takes the money.
Beat.
TERRENCE
Nigga you know the drill.
Azu sighs, turns and begins down the block slowly,
deliberately. Terrence watching him go, then...
...motions to one of the other boys, the boy watching Azu
carefully then slipping away, around the corner of this
complex, the third boy placing his back at the corner of the
building.
As the other boy appears from around the corner again, hands
stuffed in his pockets...
LITTLE BOY 1 (O.S.)
Get that nigga!
Juan looks away from Terrence, across the road and sees...
Ratings
Scene 2 - Chase in the Shadows
Three young boys (adolescents, 12/13 years old) with sticks
chasing LITTLE (similarly aged but smaller, a runt) who is
running, terrified.
The three boys laughing as they give chase but... this is not
a game, more like a hunt.
Little crosses the street in a panic, enters an unfenced lot,
heads for the rear most corner as the boys close in, chase
him through --
3 EXT. CONDEMNED BUILDING/CRACKHOUSE - DAY - CONTINUOUS 3
AN UNHINGED FENCE -- Little squeezing through, doesn’t look
back as the other boys attempt to shimmy and wiggle their way
though, too big to glide through like Little.
LITTLE hauling ass, chest heaving as he rounds the corner on
this condemned building. On instinct, the stairs taken two at
a time, reaches the second story landing and pushes his way
into...
3A INT. CONDEMNED BUILDING/CRACKHOUSE - DAY - CONTINUOUS 3A
Quickly: Little closes the heavy door behind him, engages the
dead-bolt.
Beat.
A beat of listening, the SOUND of footsteps hurrying up the
steps, rushing to the door and...
POUNDING. Madness and pounding, the boys cackling like Hyenas
as they beat the living hell out of that door.
Little shrinking, backing away and covering his ears. The
SOUND of things cracking under his feet as he moves: the
ground is covered with glass and syringes, small plastic
vials rolling around all over.
The pounding stops. Little staring at the door as he HEARS
the boys descending the steps with that same juiced energy.
Little’s eyes never leaving that door -- waiting,
anticipating, expe--
BANG! A window, the rear bedroom. Doesn’t shatter, just a
loud, percussive thump. Little creeps across the room -- the
same CRUNCH of glass beneath his feet, creeps into...
THE REAR BEDROOM: more light in here than in the front, from
that window. Little edges up to it, leaned away to not be
seen. Slowly, stealthily, he raises his eyes above the
threshold, SEES the three little bad asses who chased him. On
cue --
THUMP! A ratty shoe clanging off the windowpane. Reflex --
Little startles, throws himself against the adjacent wall.
As he clinches his eyes closed, breath cloistered up in his
chest--
UP CUT TO:
A GLASS PIPE
...held up to catch the light.
Ratings
Scene 3 - A Fragile Invitation
Little stands in the kitchen of this place, holding the
aforementioned glass pipe, staring at it closely.
He sets it down, starts opening cabinets and drawers, just a
kid exploring, when...
BAM BAM BAM! -- thudding from the living room. Rather than
the door, a pounding on the front windows, on the boarded up
wood nailed shut where glass would be.
Little huddles in on himself, looks on terrified as...
...a light, a hand as the edge of the plywood gives, a full-
size of it giving way to reveal a tall figure, calm.
Adjusting for the light, we see him fully: it’s Juan.
Juan reaching a leg over the threshold, stands just inside
without encroaching on Little’s space.
A beat as the two take each other in, then:
JUAN
What you doin' in here, lil’ man?
Little says nothing, just watches him.
JUAN
You don’t talk to strangers, huh?
Juan takes a step forward... and Little takes a step back.
JUAN
(raising his hands)
Alright.
It’s cool.
We cool.
Juan runs a hand across his scalp, thinking -- What the hell
does he do?
JUAN
Well listen: I’m’a go get something
to eat. You welcome to join me, I
mean....
Juan begins across this small space, gets a hand on the
deadbolt:
JUAN
Mind if I take the front door?
Juan opens the door, steps onto the porch, turns back. His
stance open, one hand on the door, the other open, extended
toward Little.
JUAN
Come on, now.
Can’t be much worse out here.
Off Little...
CUT TO BLACK.
And over BLACK, the TITLE CARD:
LITTLE
I.
4 OMITTED 4
Ratings
Scene 4 - A Moment of Connection
Juan and Little at a booth, plates of food sitting between
them.
JUAN
So...
Little just eating, not a single other care in the world but
this meal.
JUAN
You not gon' tell me what yo' name
is?
Nothing. Little finishing a drumstick, dips a biscuit into
the gravy there. He's hungry.
JUAN
What about where you live? Gotta
get you home, man. Can't just have
you runnin' round these dope holes.
Juan reaching across the table now, slowly pulls Little's
tray over to his side. Little just looking down at the empty
table before him.
JUAN
My bad, lil' man. I wouldn't do you
like that. I apologize, alright?
Juan sliding the food back to Little with his left hand, with
his right reaches across to touch the boy's shoulder:
JUAN
I apologize, alright?
Little looking up now, holds Juan's gaze a moment. Nods his
head in assent.
Off Juan...
CUT TO:
5A OMITTED 5A
Ratings
Scene 5 - A Moment of Connection
Juan at the wheel. And on the stereo, the same song bridged
from the previous scene, something old school but slowed
(like Al Green’s Let’s Stay Together) chopped and screwed.
Juan ad-libs with the music, crooning. Little gives him the
weirdest.
JUAN
(teasing)
What? You don’t know nothing ‘bout
that chopped and screwed?
Little shrinking into his seat, shy. Juan just shakes his
head, megawatt smile as they push on.
7 EXT. JUAN'S HOME - DAY 7
A plot of land, a modest bungalow set way back from the road,
the longest grass driveway.
Juan shutting the driver's side door of that Cadillac,
beginning up the lawn toward the front door of this place,
calls out:
JUAN
Teresa!
Juan continuing up the walk as a woman, (TERESA, 20s,
motherly) appears at the front door, steps onto the porch as
Juan gestures back to...
8 INT/EXT. JUAN'S CAR - DAY - CONTINUOUS 8
Little still sitting in that passenger seat.
Looks out beyond that windshield, Teresa and Juan talking,
gesturing animatedly back at the car.
Little shrinking down in the seat a bit, suddenly bashful
as...
...Teresa begins towards us, towards him.
Little watching the whole way as she approaches, makes her
way down to the driver's side of that Cadillac, a hand to the
door there and...
...takes a seat.
A meeting of eyes between Little and Teresa, looking right
into one another.
The longest beat, then...
Ratings
Scene 6 - A Night of Connection
Juan, Teresa, Little gathered at a modest dining table, the
two grown-ups watching the child going to work on what
appears a delicious plate of home-cooking.
Something odd about this dining room: the walls are two
colors, in the midst of being painted. A few paint tins and
rollers line the floor, a work in progress.
JUAN
You don't talk much but you damn
sure can eat.
Teresa smiling.
TERESA
That's alright, baby. You talk when
you ready.
Little looking up from his plate at that, something about
Teresa's voice, her presence, clicking with him.
LITTLE
My name Chiron.
(and)
But people call me Little.
TERESA
I'm gon' call you by your name.
Little shrugs.
TERESA
Where you live, Chiron?
LITTLE
Liberty City.
TERESA
You live with yo' mama?
A nod yes from Little.
TERESA
And what about yo' daddy?
Nothing. Not a blink, not a nod, barely a breath, just
stillness.
TERESA
You want us to take you home, then?
(and)
After you finish eating, maybe?
Little lowering his eyes now, gaze going to the table in
front of him:
LITTLE
No.
Teresa and Juan exchanging a look: a confirmation between
them.
TERESA
Okay then.
Okay.
You... you can stay here tonight.
Would you like that?
Little nodding yes.
Off Juan taking in this kid...
10 OMITTED 10
Ratings
Scene 7 - A Mother's Embrace
LITTLE: fast asleep, extremely close to him here, chest
rising and falling with the soothing rhythms of sleep.
REVERSE ANGLE: JUAN. Standing above the boy, watching him
sleep.
12 INT/EXT. JUAN'S CAR - DAY - MOVING 12
The windows down, a steady but muted wind, Little with his
head leaned out the window there.
Juan watches the boy as he drives, taking his eyes away from
the road to look across the bench seat every now and then.
13 EXT. PAULA’S APT - DAY 13
Juan and Little standing on the porch of this closed
apartment, Juan's hand on Little's shoulder.
They're waiting, Juan looking through the curtains there, no
telling if anyone's inside or not. Is raising his hand to
knock once more, when...
VOICE (O.S.)
What happened!?
Juan turning, sees a thin, exhausted (but attractive) woman
hurrying over.
This is PAULA (mid 20s, Little’s mother). From the looks of
her uniform and a badge that reads “Paula Harris,” a nurse,
just off the night shift. She goes right to Little, pulls him
into her arms, shields him from Juan:
PAULA
What happened Chiron? Why you
didn’t come home like you supposed
to?!
Nothing from Little, eyes cast down, afraid, ashamed. Paula
looking up to Juan, finally gets a good look at him:
PAULA
And who is you?
Juan considering this, is oddly unsure how to respond, so...
JUAN
Nobody.
(and)
Found him yesterday. Found him in
that hole over on 15th.
And at Paula's face dropping with recognition:
JUAN
Yeah.
That one.
Paula lowering to her knees, eye-level with Little again,
inspecting him:
JUAN
Wouldn't tell me where he stayed
until this morning. Some boys
chased him into the cut. Seemed
scared more than anything.
Little embraces Paula, buries his face in her chest. Paula
holding on but looking past him, she and Juan holding eyes.
Paula rises, Little slipping behind her.
PAULA
Thanks for seeing to him. He
usually can take care of hisself,
he good that way, but...
Paula looking past her son, past this man, thoughts drifting
off. From the looks of her, just a hardworking single mother
in over her head.
Juan’s gaze lingering over her, clearly seeing the same and
yet... just a bit more.
Ratings
Scene 8 - Tough Love
Paula standing as Little sits on the couch -- Paula standing
above Little, hands on hips.
Doesn’t speak, just looks at the boy, a bewildered look.
Still in that uniform, strain at the corner of her eyes.
PAULA
You a real damn prize, Chiron, you
know that?
Little just looking at his feet, staring at the floor.
PAULA
You got’sta come home when you
meant to come home, you hear?
Nothing from the boy. Paula gets down to a knee, takes both
his shoulders in her hands:
PAULA
You hear?
A slow nod from Little, does indeed.
A beat and, like a wave, something relaxing in Paula, makes
her soft, loving again.
PAULA
That's alright baby, that's
alright.
Paula rests a hand on Little’s head, pulls him in tight.
PAULA
Mama just want to make sure you’re
okay, that's all baby.
Paula still holding on to Little, to say it's for dear life
would not be at all an exaggeration.
She releases him and, on cue, Little plops himself down in
front of the television, reaches for the analog dial, but --
PAULA
Nuh uh, your TV privileges is
revoked, Buddy Roe.
Off Little...
Ratings
Scene 9 - Chaos in the Park
At first, just dirt and rocks, patches of grass coming into
view intermittently as we move over this landscape.
A beat, then...
...the sound of heavy footfalls, twelve to fifteen boys (aged
nine to fourteen and of various shapes and sizes, all black),
thundering past.
WE GO INTO THIS MASS OF ENERGY
...a wild series of images, our view whipping to and fro as
the boys converge and attack, everyone of them focused on a
single boy zigging and zagging amongst them.
That boy finally on the ground, a mass of bodies as all the
other boys pile on top, a true gang-tackle.
The boys unpiling now, one by one rising from the scrum,
unveil the grass-stained body of a fifteen-year-old boy
smiling ear to ear.
The tackled kid rises, gets up holding what appears to be a
wadded up bunch of newspaper at his chest. All eyes on it as
he balances it in his hands before tossing it...
IN THE AIR
...floating, hanging up there forever until it lands...
AT LITTLE'S FEET
Little looking down at this thing in disbelief.
All eyes on Little here, voraciously on Little, menace, harm,
hunger all written there.
Little backing away slowly, one foot behind the other, but...
...someone kicking the ball, moving it along after him,
stalking him.
They all circle Little, no room to back away farther, no
escape.
A beat of eyes -- expectant, punitive eyes -- then...
A breath, a flash, a miracle: some thing reaching into the
scrum, down low at Little's feet, snatches the wad away.
Pandemonium, all minds and bodies following that hand, that
paper, the scrum muscling past Little, leaves him bumped but
spared as the action moves away, elsewhere along this ruddy
excuse for a field.
Little bringing a hand to his eyes, looking after all the
movement down there: in the center of all those boys, another
kid nearly his size but, in the determination on his face and
bravura of his run, a bit... tougher.
Off Little watching the boy rip and run and evade kids twice
his size...
Ratings
Scene 10 - A Chance Encounter
Little walking alone along this side street.
Kicking rocks, grabbing the branches of small trees, listless
when he hears...
VOICE (O.S.)
Hey Little!
From a ways off that came, Little looking back, into the sun.
Can't quite make him out at first but squinting to see him
better, a bit of familiarity: it's the kid who just saved his
ass.
Little waiting as the kid hurries to catch up. He's a bit
fucked up, shirt torn, a scratch along the bridge of his
nose.
KID
Wassup man.
LITTLE
Hey Kevin.
KEVIN (a facsimile of Little but stronger, more broken in).
KEVIN
Why'd you leave?
LITTLE
I'on't know.
Kevin falls into step, the boys walking together now.
KEVIN
Yeah, it get borin' after a while,
I guess.
The boys continue on, Little looking to his new friend every
now and then, checking him.
KEVIN
(at Little's looks)
What?
Kevin reaches for his own face now, hand to his chin:
KEVIN
Is it bleedin'?
Kevin turns his head just so, invites Little to inspect.
Little reaches over, touches Kevin gently at the neck, just
below his ear.
Little brings his hand back to himself without a word, just
this walking, arms swinging, the sound of their feet along
the pavement.
Small glances from one to the other. Kevin smiles:
LITTLE
What?
KEVIN
You funny, man.
LITTLE
Why you say that?
KEVIN
You just is, that's all.
Again this walking, lack of words, just their arms swinging,
movement.
Up ahead, the school they've been walking beside all this
time gives way to a field. They're headed right for it.
Kevin taps Little, gestures.
Ratings
Scene 11 - A Test of Strength
Kevin and Little standing before one another in this
clearing, face to face, like ancient samurai before a
contest.
KEVIN
See, you just gotta show them
niggas you ain't soft.
LITTLE
I ain't soft.
Always and forever a hothead this one.
KEVIN
I know man, I know. But...
(pauses for effect)
...don't mean nothin' if they don't
know.
No response from Little, maybe he gets it, maybe he doesn't.
No matter....
KEVIN
Come on....
Kevin grabs him, places one arm across Little’s shoulder, the
other around his waist, rests his head in Little’s chest.
KEVIN
...let's wrestle.
Little limply obliging, visually, physically passive.
KEVIN
Come on man, you want these niggas
to pick on you every day?
That gets to Little, the boy locking on, muscles tensing:
they're wrestling.
This is anthropology, anatomical vignettes, the struggle of
these two boys isolated to the simple, incomplete movements
of partially glimpsed bodies.
These are children. Sexuality is absent these images and yet,
the hints of something sensual, fleeting in its appearances;
Kevin's cheek wedged close to Little's neck, blades of grass
sticking to their skin.
The boys on the ground, turning and rolling and laughing,
huffing through exhausted breaths. Slowly, their voices going
mute, the only sound the movement of their bodies against
each other, against the grass.
Physical exhaustion. The boys lie flat.
Beat.
Both Little and Kevin on their backs, looking skyward, chests
heaving from the exertion. Kevin pops tall to his feet,
fixing his mottled shirt.
KEVIN
See Chiron, I knew you wasn't soft.
Kevin looking back at Little, looking down at him lying
there, Little fully returning his gaze, these fourteen pages
the first time he's looked at anyone thus.
Ratings
Scene 12 - Unexpected Encounter
A picnic style table on Juan’s front porch, two deck chairs
haphazardly beside it.
Little is sitting atop the picnic table, small bookbag tossed
to the side, shirt distressed and grass-stained from
wrestling. A pencil in hand, he’s doing homework.
A beat with Little, diligently at his work, time tables or
some such thing, then...
...the SOUND of tires easing to a stop, Little’s eyes rising,
gazing out after the noise.
Sets his pencil down as the noise ceases -- break pads
squeaking, the sound of a car door opening.
Little lowering his eyes as footsteps approach. After a beat
of those steps nearing...
REVERSE ANGLE: Juan standing here, keys turning over in his
hand, head cocked to the side, a puzzled look.
Little slowly, but... assuredly raising his eyes to meet
Juan’s.
Beat.
Juan looking from Little to the road and back. The look on
his face: How’d he???
Ratings
Scene 13 - A Lesson in Trust
Juan and Little standing ashore, both of them pulling off
their shoes, their shirts. This being Miami, both already
dressed in shorts, this heat.
Juan moving away, heading toward the surf. Little following,
hurrying to catch up, literally taking hold of Juan's shirt
as they move...
INTO THE OCEAN
...away from shore, slow, awkward steps, feet in sand.
And Little so small, the water rising quickly.
Juan still moving away from shore, notices Little no longer
beside him. Looks back, the boy a few meters behind.
Little looking to Juan and back to the shore behind him,
gauging the distance between the two. The look on Juan's
face: Well?
Little diving into the water before him, face down, arms
flailing, fighting the water as much as he's moving through
it.
Juan steadying himself, buttresses himself against the
current as he reels Little in. The boy clings to him, gasping
for air, spitting out salt water.
JUAN
Hey hey hey, I got you lil' man, I
got you, calmate, calmate.
It's movie magic but they're a good ways out now, thirty,
forty yards from shore.
The water's not so deep out here, Juan standing. Little is
far out beyond his height however, Juan supporting him,
holding him out at arms length.
JUAN
You alright?
A nod from Little as he wipes saltwater from his eyes.
JUAN
Good, good. Now... you gotta help
yourself now, gotta move your legs,
keep yourself up.
Juan watching as Little flails his legs beneath the surface.
Juan laughs.
JUAN
Nah, not like a chicken, you gotta
move 'em side to side like, like
you making waves with your feet.
Juan going into a tread, very smooth, like someone raised in
the water, born at its edge.
Little taking it to heart, does a passable job of treading.
JUAN
Not bad, not bad.
(and)
Bet you ain't know you could float,
huh?
Juan taking a hand and placing it under Little's legs, gently
gesturing him onto his back:
JUAN
Trust me, I got you.
Little laid flat atop the surface now, bobbing with the
waves.
JUAN
Now just relax, alright, relax.
Little complying -- Little floating, the look on his face
pure joy. For once, a kid.
JUAN
See?
Juan slowly, gently, easing his grasp, letting Little go:
JUAN
Relax now, stay relaxed. See?
Juan circling as Little continues to bob with the surface,
swimming around Little for this last part, is circling him.
JUAN
You ready to learn how to swim?
LITTLE
Yeah.
Juan standing again, gets his arms under Little and turns the
boy face down in a swimming position.
JUAN
Alright, you saw me swimming,
right?
Nod from Little.
JUAN
Okay, do like I did, don't put your
head under water. And your arms,
try and do 'em like I did mine.
Little mimicking Juan's swimming as Juan holds him aloft,
Juan holding him fully in place for this practice.
JUAN
Smoother, more easy'like.
Little settling noticeably, gradually. It's a stretch but...
looks passable, like maybe he could.
Juan turning him back upright, Little going back to his
awkward treading.
JUAN
Alright lil' man.
I think you ready.
Little considering that, bobbing in the ocean as he treads.
His eyes on the water stretching out before him, endless.
Even in this dying light, stretching on forever.
Meets Juan's gaze now. Finds compassion, hope there.
Off Juan...
Ratings
Scene 14 - Moonlit Reflections
Little and Juan sitting ashore, a towel wrapped around the
boy as they watch the moon come up.
The moon making its first appearance on the horizon -- SOUND
of the waves running back and forth, to and from shore.
LITTLE
Juan, can I ask you somethin'?
JUAN
Yeah lil' man, ask me whatever.
Little nodding, taking his time, oddly nervous about this:
LITTLE
Okay... why your name Juan?
JUAN
How you mean?
LITTLE
Juan is like a Spanish name.
(and after a thought)
But you black just like me.
Juan turning his head to the boy. A smile and then a full
blown laugh, Juan losing it.
JUAN
(through his laugh)
Little, you a funny lil' dude, you
know that?!
Juan slapping his knee here, really enjoying this moment.
JUAN
(coming down)
Let me tell you somethin': it's
black people everywhere, you
remember that, okay? Ain't no place
in the world ain't what got no
black people, we was the first ones
on this planet.
Little embarrassed, poking at the sand before him. Juan
places a hand to his shoulder:
JUAN
I'm from Cuba. Lotta black folks in
Cuba but you wouldn't know it from
being here. Was a wild lil' shorty
just like you, used to run around
with no shoes on when the moon was
out.
Juan's thoughts drifting, taking him away from here for a
beat. To those waves possibly, arriving on this shore from
that other shore he's describing not so far away.
JUAN
This one time... I ran by this old,
old lady, was just a runnin' and a
hollerin' and cuttin' a fool, boy.
And this old lady, she stop me and
she say to me, 'Look at you.
JUAN (CONT'D)
I was a lil’ bad ass too, you
know.' She say, ‘Look at you’ and I
say ‘Look at you!’ Then she smiled
and she say, ‘running around
catching up all this light. In
moonlight’ she say, ‘black boys
look blue. You blue,’ she say.
‘That’s what I’m gone call you:
Blue.’
Off Little.
Ratings
Scene 15 - Late Night Confusion
Little and Juan approach the apartment complex.
JUAN
So how you like swimmin’?
Nothing from Little. Heard him but the words too heavy to
present themselves.
JUAN
That good, huh?
Juan grabs Little’s head and playfully shakes it. The boy
smiles, bashful, happy.
They reach Paula's apartment, Little knocking and calling
out:
LITTLE
Mama!
A beat, then... Paula’s at the door, a bit drowsy, disheveled
in a way different than the work weary version glimpsed
before.
A moment of Juan taking in Paula. None of them utter a word
for a moment, just the distinct sound of a can opening from
inside the apartment, all of them noting it.
LITTLE
Hey Mama.
JUAN
I--
Paula takes Little by the shoulder, pulls him inside.
22 INT. PAULA'S APT - NIGHT 22
Little standing away from Paula, face open and curious as we
see what he sees: an average, working class black man --
longshoreman type -- sitting at the small dining table just
off the kitchen.
Paula standing as this man sits watching Little, neither of
them seeming very familiar with the other; neither seeming
very interested in the other.
A lot of busy work from Paula there, taking things into her
arms: glass things, aluminum things, curious things we cannot
quite see.
PAULA
(at man)
Come on.
Paula heading off toward the rear bedroom, the man quietly
rising after her, the can of Old English we heard opening
clutched in his hand as he follows her across the apartment.
Little watching the procession -- confused, suspicious --
eyes lingering on the bedroom door as it closes behind them.
23 OMITTED 23
Ratings
Scene 16 - The Circle of Pressure
Little entering the front gates of this school.
No other kids around, he’s either late or early as a SCHOOL
GUARD waves him through.
24A INT. ELEMENTARY SCHOOL, DANCE ROOM - DAY 24A
An open room: high ceilings, grey dance mat spanning the bulk
of the room, mirrors running the length of two walls, a
ballet studio.
Fifteen to twenty boys and girls moving about -- no
coordination, just movement and silliness.
We find Little among them, throwing his head back, moving his
hips to lord knows what rhythm. And holy hell: for the first
time all film, it looks like he might be having fun as we...
CUT TO:
24B INT/EXT. ELEMENTARY SCHOOL - DAY - MOVING 24B
Moving with Little as he makes his way along an exterior
pathway within this school.
His backpack pulled tight on his shoulders, no one else
around as he crosses this space. Ahead of him, a wooden plank
appears, leading to adjoining portable classrooms.
Little heads up the path, steps into...
25 INT. ELEMENTARY SCHOOL, PORTABLE CLASSROOM - DAY 25
Little taking two steps in, stops immediately.
REVERSE ANGLE: A circle of boys
...seven in a semi-circle, their backs to us, older looking
for an elementary, all of them looking down and in on one
another.
All eyes go to Little, a hurried, hushed business. One of the
boys breaks away from the circle, hustles over. As he nears,
his identity becomes clear: this is Kevin from our earlier
“wrestle.”
KEVIN
Somebody with you?
A nod “no” from Little, Kevin moving past him, over to the
portable door and “locks” it. Grabs Little’s shoulder strap,
pulls him over to the circle.
KEVIN
I swear it was locked.
...wedges Little...
INSIDE THE CIRCLE
...the other boys barely paying attention as we take them all
in, drifting from face to face inside this circle.
All their eyes and hands are cast down: they’re comparing
their dicks.
We drift within this circle:
PORTABLE BOY 1
Yo’ shit ugly as hell.
PORTABLE BOY 2
So, at least mine ain’t a peanut.
PORTABLE BOY 3
He got a Freddy Kruger dick, yo’
shit look like Freddy.
PORTABLE BOY 1
Yo’ shit ain’t even that big, it’s
like the same size as mine, look.
Boy 1 leaning into the circle, his head nearly butting Boy
2’s, facing him, they may as well be touching dicks.
PORTABLE BOY 1
See!
Boy 1 distracted now, looking over at Little.
PORTABLE BOY 1
Who let his ass in?
KEVIN (O.S.)
He just came in.
Kevin is over at the door again, playing lookout.
PORTABLE BOY 1
What they call you? Little, right?
PORTABLE BOY 1
Show your shit.
PORTABLE BOY 3
Why you think they call him Little?
Laughs from all the tough guys gathered, Boy 1 grabbing
Little roughly by the neck, watching as Little reaches down
to himself, nervously unzips his pants.
Beat.
All the eyes here cast down again, staring down at Little,
down at his dick.
A curious, prolonged silence, then...
KEVIN
...looking back over his shoulder, back at the circle.
From his vantage, the backs of all those heads cast down and
focused on Little.
Off Kevin’s gaze, CUT TO...
Ratings
Scene 17 - A Moment of Solace
Little entering, stopping himself just a few feet inside as
the door closes behind him.
A beat of Little listening to the house, tiny ears perked
just so. Glances at the far wall -- a modest television used
to be there. Blinks in confusion.
Off the sound of silence...
CUT TO:
FLAME
...a chemical flame of blue and red.
27 INT. PAULA'S APARTMENT, KITCHEN - NIGHT 27
The front burner on this gas range, Little's scrawny, lanky
arms setting a five-gallon pot of water to the stove.
The quickest beat of Little before the stove, then...
28 INT. PAULA'S APARTMENT, BATHROOM - NIGHT 28
Looking down into a quarter full bathtub, fresh water pouring
into it from the spigot.
The run of water stopping, the rippling surface slowing as
footsteps tread away. A quick beat, then... the return of
foot-steps, the sound of them growing nearer as....
REVERSE ANGLE:
Little here carrying that five-gallon pot, from the steam
coming off it, searing hot with boiling water.
Gets it right up to the edge of the tub, expertly, carefully
pours it in, face leaned back to avoid the steam furiously
rising from the surface.
Finishes this pouring and sets the pot down behind him, on
its side so the handle props most of its metal surface from
the carpet. Reaches down to the floor, retrieves a bottle of
dollar store dish washing liquid.
As he squeezes a ton of this stuff into the water...
CUT TO:
LITTLE
...in that tub now, soaking in bubbles.
A beat of the boy at peace.
An extended beat of this boy at peace, right here with him
for a change, no distractions, no deflections.
So young and yet... so much happening behind those eyes. So
much weight.
Ratings
Scene 18 - Confrontation in the Night
Neck craned out the window, cruising the neighborhood.
VOICE (O.S.)
Heyyyyy, Juan!
Juan barely nodding at whomever that came from, continuing on
his way as we CUT TO:
TERRENCE
...counting out dollars.
30 EXT. ABANDONED COMPLEX - NIGHT 30
Terrence completing a transaction, stuffing money into his
pockets and nodding in the direction of one of his runners.
Standing opposite him, a face we’ve seen briefly but will
recognize: Paula’s longshoreman.
As the longshoreman moves off, approaches the runner
appearing from behind the complex, Juan approaches, that
smooth easy gait of his.
It’s a brief moment, but... Juan and the longshoreman meet
eyes as they pass one another, nothing of import, but... a
moment.
JUAN
...approaching Terrence with a nod, all that needs to be
spoken as Terrence nods back, whistles at one of the other
boys, sends him running off into the cut.
TERRENCE
Been a good one today.
Just a nod from Juan, his attention elsewhere now, following
after the longshoreman. Down the block a ways, not close but
within shouting distance, we SEE the longshoreman getting
into the driver’s side of a Chrysler sedan.
Beat.
JUAN
They basin’?
Nothing from Terrence, just watching the same as Juan.
JUAN
You lettin’ niggas light up at the
spot, now?
(moving now)
You know the rules, no lightin’ up
at the spot.
Juan getting to the sidewalk now, moving toward the
longshoreman’s car a block or so up ahead.
Gets there, finds the windows rolled up, a flash of flame
emanating from inside. Knocks on the window.
Longshoreman rolls it down with a drugged out smile,
shrugging his shoulders in apology. Juan not amused by the
display and, catching a glimpse of the woman in the passenger
seat, clicks into something much more menacing: it’s Paula.
JUAN
What the fuck?
Juan rounding the car, wastes no time getting to the
passenger side door, pulls it ajar:
JUAN
Get out.
PAULA
Who you--
JUAN
Get the fuck out.
Juan helping her out, takes her by the arm and pulls her to
her feet, out here in the road with Juan under street light.
Terrence and the others hurrying over at the commotion, Juan
looking to the longshoreman (he’s lighting a cigarette,
couldn’t care less), waves the boys off.
Beat. A very long beat, Juan and Paula both in shock,
standing in the road with no clue what comes next. The
longshoreman steps from the car, cigarette to his lips, sits
on the hood and leans his back to the windshield, puffs into
the night.
Paula clinching in on herself, closes her eyes, almost
childlike to make it go away.
And then, suddenly... coming alive, moving toward Juan, every
step something clicking, something changing.
Gets right up in his face.
PAULA
Who the hell you think you is?
Juan shook, never expected her to jump in:
PAULA (CONT’D)
Who the fuck you think you--
JUAN
Bitch.
Juan grabbing Paula, pushing her back against the car, his
hand at her throat driving her back as he subdues her.
Drives her against the hood, releases her forcefully. Paula's
eyes alight with rage, chest rising as she watches Juan
staring at her from across the road.
PAULA
So... you gon' raise my son now?
Nothing from Juan, all stillness in his holding this gaze:
PAULA
Huh?
Juan lowering his eyes, legitimately weighs the question.
PAULA
You gon' raise my son?
Paula sucking her teeth:
PAULA
Yeah... that's what I thought.
JUAN
(snapping)
You gon' raise him?
PAULA
You gon' keep sellin' me rocks?
Paula turns from Juan, reaches into the Chrysler, pulls her
pipe, a lighter from there. Holds his gaze while taking a
charred, black pull.
Exhales.
PAULA
Motherfucker.
(and now)
And don't give me that "You gotta
get it from somewhere shit” nigga,
I'm gettin' it from you.
(beat)
But you gon' raise my son, right?
Paula exhaling into the night air again, lets her head loll a
bit to funnel the smoke.
Places the pipe back into the car now, approaches Juan, slow
and confident:
PAULA
You ever see the way he walk, Juan?
JUAN
Watch your damn mouth.
Paula real close now, extremely close, her nose at his chin,
looking up into his eyes:
PAULA
You gon' tell him why the other
boys kick his ass all the time?
Huh?
No backing down in Paula's eyes, the line drawn, so sure in
this declaration.
And Juan? All doubt, prospect of follow-through finally
before him, having to be reconciled.
Paula backing away from him, eyes never leaving his:
PAULA
(over her shoulder)
Come on, let’s go.
The longshoreman flicking his cigarette to the ground, the
two of them slipping back into the Chrysler, ignition
catching.
Off Juan, CUT TO...
Ratings
Scene 19 - Confrontation at Dawn
Paula and Little facing one another, Little standing at his
mother’s feet.
We’ve caught them in the middle of something, just after
something.
No words spoken, but Little’s face: he’s lost.
32 INT. JUAN'S HOME, DINING ROOM - DAWN 32
Perhaps a bit later than “dawn” but it’s early. Juan moving
about in a long-johns top and sweats, rubbing sleep from his
eyes.
The moment would seem pure and sweet were it not for the
revolver, the tightly rolled wad of bills strewn across the
table.
Teresa is at the table with a notepad and pen. Teresa is
counting.
Juan moves to the table but doesn’t sit. Teresa takes up a
cup of coffee, gives him a look, goes back to her ledger.
A beat of them in silence this way, Teresa counting, Juan
thinking, then...
Juan crosses to the near wall, looks down to a roller there,
a semi-dried pan of paint. He takes up the roller, adds a
streak of white paint.
Looks off a moment, thoughts gathered. Adds another streak of
white, then...
...a POUNDING at the door, a startle to them both and, as the
POUNDING resumes, alarming.
Juan sliding the wad of money toward Teresa, takes up his
pistol and heads for...
THE FRONT DOOR
...Juan just to the side of the door, pistol dangled in his
hand.
JUAN
Who ‘dat?
A beat, then...
LITTLE (O.S.)
It’s me.
Juan looking down in confusion, doesn’t immediately open the
door, but... of course opens the door, pistol tucked behind
his back to conceal.
Gets a good look at Little.
JUAN
(freaked out)
Lil’ Man.
Nothing from Little, holds his ground there on the porch,
but... something in his eyes.
Something smoldering.
Ratings
Scene 20 - Confronting Shadows
Juan and Little sitting at the table. Again silence from the
kid, everything cloistered up inside him.
JUAN
Alright, first things first, can't
sit at the table like that.
Juan rising, takes Little's chair and slides it around the
table a bit, stops the boy with a playful jolt:
JUAN
Don't ever sit with your back to
the door, can't see who creepin' up
on you.
Little still not amused, a completely straight face:
JUAN
I saw your mama last night.
That gets Little's attention.
LITTLE
(sotto)
I hate her.
JUAN
I bet you do.
(and)
Hated mine too.
Little looking to Juan now, finally a break:
JUAN
Miss her like hell now. All I'm
gon' say about that.
Teresa stepping in, sets down some kind of juice before them,
a glass for Juan, a glass for Little. Juan about to take a
sip of his when...
LITTLE
What's a faggot?
Juan... blindsided by that one, unprepared and unequipped to
answer that.
Takes a sip of his juice, a deep breath and...
JUAN
A faggot is... a word used to make
gay people feel bad.
Little nodding, processing that.
LITTLE
Am I a faggot?
JUAN
No.
You're not a faggot.
(and)
You can be gay, but... you don't
have to let nobody call you a
faggot.
(and after a beat)
Not unless...
Juan looking to Teresa; Teresa motioning him to quit while
he's ahead.
He takes another sip of that juice.
LITTLE
How do I know?
Again a look to Teresa, a shrug of the shoulders from her:
JUAN
You... you just do.
(and)
I think.
Little with both hands around his juice, all his senses
focused there as his mind goes somewhere altogether
different, clearly thinking deeply, forthrightly about this.
Juan reaching his cup back to Teresa:
JUAN
(sotto)
Gin.
(and to Little)
You don't have to know right now,
you feel me?
(and)
Not yet.
Little nodding, from his demeanor comforted by this. In this
state, so wounded and curious, invites the empathy.
Little's eyes shifting gears. For a considerable beat, is
completely to himself, mulling something over.
Lifts his eyes. From the mouths of babes:
LITTLE
Do you sell drugs?
Juan's face? Crushed.
He nods yes.
LITTLE
And my momma, she do drugs, right?
Again, something falling in Juan, hangs his head even lower.
A nod yes.
Teresa comes over, places a hand on Juan's back.
Little takes a sip of his juice, rises without a word. Exits
the dining room.
The sound of his feet on tile flooring, front door opening,
closing. Juan not moving, for once undone.
Beat.
Off Juan...
CUT TO BLACK.
OVER BLACK, the sound of breathing, not labored or rushed
but... proximal, right beside us, then...
FADE IN:
...on a teenaged black boy staring across a classroom, gaze
fixed with longing.
REVERSE ANGLE: Another boy’s mouth, lips full, parted
slightly in the act of “breathing” heard at scene’s opening.
As the sound of that breathing escalates...
Ratings
Scene 21 - Isolation in the Classroom
CHIRON (16) continues his staring. From just the look of him,
this is clearly the Little character from moments before aged
to his teens.
MR. PIERCE (the biology teacher, late 20’s, black) clears his
throat.
MR. PIERCE
Uh, Chiron, you need something?
TERRELL, a 16 year old bully, interrupts.
TERRELL
That nigga forgot to change his
tampon.
Laughter from the class, pack mentality.
TERRELL
He having women problems today.
Ain’t that right, Little?
More laughter.
MR. PIERCE
Alright, Terrell, that’s enough.
TERRELL
Nah, can't be enough for Little ...
How much you need, Little?
CHIRON
Don’t call me...
MR. PIERCE
Alright Terrell that’s it.
Terrell springs out of his desk into Chiron’s face.
TERRELL
What the fuck you gone do, nigga?
I’ll fuck you up.
MR. PIERCE
Terrell, out! Right now.
Terrell blows a kiss to Chiron walking out.
TERRELL
School almost out Little....
Chiron looking after Terrell, staring at that closed door
long after’s it’s shut.
Ratings
Scene 22 - Navigating High School
The bell’s just rung, students funneling through a cavernous
hallway, approaching a set of double doors spilling onto the
school driveway.
In the middle of it all find Chiron, engulfed in this sea of
chaos and, honestly, relieved to be so.
As Chiron scans the mass of students approaching those doors
beside him...
...a considerable bump at his shoulder, Chiron looking up to
find Terrell knocking past him. Terrell, Pizzo and a crew of
roughnecks laugh and ad-lib shit-talk as they continue past,
move through the crowd.
TERRELL
Umma be waitin’ for yo’ ass Little.
Terrell smiling as he hurries on, as if inviting him to a
play date.
Off Chiron’s shook face...
UP CUT TO:
36 INT. HIGH SCHOOL - DAY - LATER 36
Upstairs now, the second story of this building.
An open air stairwell cornered on two sides by corrugated
fencing, Chiron gets on his toes, looks down into the
courtyard below --
Terrell is down there, rough-housing and talking shit with a
group of knuckleheads.
Chiron speaking to himself...
CHIRON
(sotto voce)
Come on Chiron.
...when he’s hears voices echoing behind.
Chiron looks, sees an admin looking type moving away down the
hall as a smooth as hell looking teen approaches. As the teen
gets closer, his identity becomes clearer: it’s KEVIN.
KEVIN
Chiron, what you doing man?
CHIRON
Huh?
KEVIN
You just standing there straight
spaced. School been out, nigga, you
ain’t goin’ home?
CHIRON
What you still doing here?
KEVIN
(sucking his teeth)
Detention. Aimes caught me with
this trick in the stairway.
CHIRON
What?
KEVIN
Yup.
CHIRON
With who?
KEVIN
Damn you nosy, Chiron.
CHIRON
Oh sorry, my bad.
KEVIN
(Smiling)
All I wanted was some quick head
you know, but this chick all like
‘Hit that shit Kevin. Hit it with
that big dick- Why she had to
compliment a nigga? So I was like
aight... we can do this. I started
banging her back out...
KEVIN (CONT'D)
she started making all this fucking
noise though. Mr. Aimes walked in
and went all Five-O, almost had my
ass suspended, but I told him we
was childhood sweethearts and all
that, talked it all out. So I just
got detention.
(and)
Eh, but that shit stay between us,
yeah? I know you can keep a secret.
A slow nod from Chiron.
KEVIN
But real talk, I gotta go before
this fool change his mind.
CHIRON
Alright Kevin.
KEVIN
Later, Black.
Off Chiron...
CUT TO BLACK.
And over BLACK, the TITLE CARD:
CHIRON
II.
Ratings
Scene 23 - A Familiar Distance
Chiron approaching an apartment complex (different than
Little’s home in the previous story) in the twelfth stage of
neglect, all chipped paint and autos up on cinderblocks out
front.
Books and backpack in tow, he climbs a flight of stairs to
the second story and approaches an apartment down on the far
end. As he unlocks the door...
...a rush of energy greets him from within.
VOICE (O.S.)
(moving)
Uh uh. No you can not be here
tonight. I got company coming.
38 INT. PAULA’S LIBERTY SQUARE APT - DAY - CONTINUOUS 38
PAULA (30s now, worse for the wear), looking as strung out as
ever as she rushes past him...
CHIRON
Hey Ma....
PAULA
(calling back)
Find somewhere for you to be.
Paula slips into the rear bedroom, closes the door behind her
with a considerable thud.
Chiron stares at that door indifferently: this is nothing new
for him.
39 OMITTED 39
Ratings
Scene 24 - A Moment of Connection
Chiron walking up the block, approaching Juan’s home.
As he nears it, we HEAR:
TERESA
Well I’ll be -- Chiron?!
TERESA appears from the yard, out there in the yard, a bushel
of dead palm fronds in hand. She’s aged some, but certainly
aged better than the rest.
Pulls Chiron into a hug, beaming the most amazing smile.
41 INT. JUAN’S HOME - NIGHT 41
Chiron and Teresa at the table in Teresa’s dining room, fresh
plates of food before both.
Teresa watching as Chiron picks at his plate, paying it just
enough attention to qualify as eating. Still...
TERESA
What’s wrong?
CHIRON
Nothing, I’m good.
TERESA
Nah. I seen good and you ain’t it:
what’s wrong, Little?
CHIRON
Don’t call me that.
TERESA
Don’t call you what?
Your name?
You grown now?
CHIRON
I didn’t say that.
TERESA
Then what you sayin’?
Chiron goes quiet. Doesn’t take much.
TERESA
I’m just messin’ with you boy.
(and)
And you right, that ain’t no name
for you no more. That ain’t you.
But if you wanna be somethin’
different, you gotta earn it, you
gotta make your name true,
understand?
Chiron bows his head, out of embarrassment, out of shame?
TERESA
Hey, don’t put your head down in my
house, you know Teresa’s rule: all
love, all pride in this house, you
feel me?
He mumbles, he nods.
TERESA
What’s that?
CHIRON
Yeah.
(and)
I feel you.
Teresa rises. She’s not a tall woman, so...
TERESA
Good.
(she smiles)
Now since you here, there’s some
stuff way back on the top shelf in
the kitchen I’ve been meaning to
get to.
Off Chiron’s smiling face....
Ratings
Scene 25 - Reflections of Loss
A simple room, small twin bed and a single sitting chair. A
window just beyond the bed, looking out onto the side-yard.
Chiron standing over the bed, pulling the corner on a fitted
sheet. From the looks of this room, no one sleeps here. From
the looks of Chiron, he’s made and unmade this bed before.
CHIRON
Thank you for this.
Hadn’t noticed Teresa there in the doorway, looking on as
Chiron goes about this work.
TERESA
You know you can stay here anytime,
right?
CHIRON
Yeah. I know. Thank you Teresa, I
mean it.
Teresa moving from that doorway now, approaching Chiron and
that bed.
TERESA
But if you gonna stay here you got
to learn how to make a bed, boy.
Teresa laughing as she takes that corner of sheet from
Chiron’s grasp, tugs it lightly: the entire cover slips off
with ease.
CHIRON
What?
TERESA
How you mean, what? That ain’t how
you make no bed.
Teresa moving instinctively, has already got the two bottom
corners snagged expertly, is pulling the third corner just so
as Chiron watches.
TERESA
(playful)
Think you slick, huh? Do it wrong
so Teresa show up and do it right,
huh?
(laughs)
TERESA (CONT'D)
You and Juan, thick as thieves,
lemme tell you.
Teresa looking to Chiron for that last part, what begins as a
smile slowly fading, shifting to something more reflective,
heavy.
TERESA
You miss him?
Chiron holding her gaze, his silence answer enough.
TERESA
Yeah.
Me too.
Beat.
TERESA
Me too.
Teresa turning from this room, moves down the hall, the door
left ajar behind her.
Chiron staring after her -- puzzling -- just watching the
empty space of the threshold there.
Off Chiron’s gaze, CUT TO:
Ratings
Scene 26 - Silent Witness
Chiron passed out, deep in sleep.
A beat of this slumber, then... the SOUND of water. Sound of
water falling and echoing all over, then...
43 INT. JUAN’S HOME - NIGHT 43
Though less a cut than an exhale, a smooth transition as we
drift through this home.
It’s later; much later. And the SOUND of that water is
insistent, hitting the roof like automatic fire. As we float
past a retreating hallway, find...
CHIRON
...moving through this home in the same direction, his back
to us -- leading us.
As he walks through this space, another sound encroaches upon
the SOUND of rain, with every step becoming clearer: the
SOUND of a girl moaning, softly whispering inaudible words
that coo and plea.
Chiron slows but continues, walks deeper into the home. He’s
approaching the kitchen. The SOUND intensifies as he finds...
KEVIN
...pressed hard against the back of a girl, SAMANTHA -- older
than both boys, sexy like a music video model.
Samantha leaned over the kitchen counter, skirt hiked up,
back arched just so and pressing Kevin close from behind.
Kevin slamming into her again and again, these two fucking in
a borderline ridiculous fashion.
Chiron still approaching, just inches away, can see
Samantha’s eyes, unspeakable bliss.
Kevin notices him finally, looks to him panting that killer
smile of his:
KEVIN
You good, Black?
Chiron returning a blank stare.
Above them, the rain pours like the Victorian Falls as--
MATCH CUT TO:
Ratings
Scene 27 - Morning Tensions
Chiron waking from sleep -- in the same position as he’d been
sleeping previously -- face someplace between dreariness and
confusion, searching for thoughts.
Looks out the window there. There’s a small clock beside the
bed; checks it.
45 EXT. LIBERTY SQUARE HOUSING PROJECTS - DAY - MOVING 45
Following Chiron down the street as he moves along in
yesterday’s clothes.
He walks quickly. As he reaches the corner.
VOICE (O.S.)
Chiron...
Chi.... hey!
Chiron turning, spots Paula hurrying over, breathing heavy:
PAULA
Hey baby where’d you go last night?
CHIRON
What?
Why?
PAULA
I’m yo’ mama, ain’t I?
Chiron just holding her eyes, not worth a reply.
PAULA
Why you ain’t just come home later,
boy?
Paula smiles, the kind of smile that’s been forgiven many
times and many places over.
PAULA
You had me worried about you. But
you getting grown I guess I can’t
be keeping up with you all the
time. Anyway how Teresa doing? I
ain’t seen her since the funeral.
CHIRON
She fine.
PAULA
That’s good baby. Listen, Mama
locked herself out the door, can
you... come let me in?
Chiron watching her, confused.
Ratings
Scene 28 - Desperate Demands
Paula and Chiron ascending the steps toward the second story,
Paula moving ahead of him.
She gets to the door first, but... moves just past it to let
Chiron do the honors. Smiles at him, something disguised in
the gesture.
Chiron digging for his keys as Paula watches intently, at
first in his pockets and now in his backpack, Paula’s arms
folded in a show of impatience.
After a moment of nodding nervously, scratching at her
neck... Paula pushes past him, takes the door handle and lets
herself in.
CHIRON
I thought you said....
47 INT. PAULA’S LIBERTY SQUARE APT - DAY - CONTINUOUS 47
Paula walking the apartment determinedly, looking behind half-
closed doors and even opening a closet or two.
Easing now, she settles in the middle of the space, hands
rested at the top of her head. After a beat of thinking, of
coming to...
...she turns to Chiron, still there watching from the
threshold of the apartment.
Paula smiles. Chiron approaches her:
CHIRON
Mama what you into?
PAULA
I need some money.
CHIRON
For what?
PAULA
That’s my business, don’t you ask
me no shit like that.
CHIRON
I don’t have no--
PAULA
Don’t lie to me. I’m your mama.
That bitch over there ain’t no kin
to you, I’m your blood, remember?
(and)
Now I ain’t feeling good. I need
something to help me out, baby,
just float me across this shake,
you hear?
CHIRON
Where I’m supposed to get money
from?
PAULA
Teresa ain’t give you nothing, huh?
Your lil’ play-play mama ain’t put
something in your hand? Now give me
that damn money, Chiron.
Chiron reaches into his pocket, grabs a few bills there,
can’t be more than forty dollars but it’s literally his last.
PAULA
Uh huh, I know that bitch like a
hooker know her trick. You my
child, okay? And tell that bitch
she better not forget it.
Chiron just stares at Paula, unfolding those bills there,
crisping and lining them, force of habit.
PAULA
Go on to school. Ain’t you late?
Chiron just staring, his mother in physical form but someone
entirely different in mind and spirit.
Paula looks up from her counting, finds that scornful face so
much like hers looking down on her.
Ratings
Scene 29 - Classroom Disruption
Mr. Pierce at the head of a bored looking class, explaining
the differences between red and white blood cells.
Turns to the class:
MR. PIERCE
So can you see how a lack of white
blood cells could be dangerous to
the human body?
Crickets in here, no one taking that bait:
MR. PIERCE
Okay, can anybody explain what will
happen to the body when there’s not
enough white blood cells?
(and)
Nobody’s leaving this classroom
until I get a response, this is
more important for you than it is
for me, trust me.
Pierce scanning the room here now, most honestly don’t know
the answer, others simply don’t care.
Shockingly, a familiar hand goes up:
MR. PIERCE
Terrell?
TERRELL
Ummm yeah Mr. Pierce, I’m gonna
answer this question, man...
TERRELL (CONT'D)
but first I just gotta say, why the
hell this nigga Little wearing the
same shit he had on yesterday?
Big laughs from the class, Terrell hamming it up:
TERRELL
Ain’t enough white blood cells in
the world to check the funk comin’
off his ass, this nigga foul Mr.
Pierce.
MR. PIERCE
Terrell.
TERRELL
I’m sorry man, I’m sorry, no
disrespect Mr. Pierce, I’m just
sayin’.
Chiron gripping both edges of his desk, eyes locked there.
TERRELL
And check it: without the white
blood cells, body can’t defend
itself. That’s why all them gay
niggas croakin’ off that AIDS shit,
ain’t that right Little?
Off Chiron, still staring at that desk.
Ratings
Scene 30 - Confrontation in Liberty Square
Moving with Chiron as he makes his way down this street,
alone against all this concrete, almost Western-like with his
heavy backpack and sagging shoulders.
As Chiron continues, notice...
TERRELL
...following behind with a knucklehead friend (PIZZO, 16).
The smiles on their faces are of pure delight: they’re about
to fuck with him.
Chiron speeds up.
TERRELL
Hey Little, wait up man, where you
going to so fast?
Nothing from Chiron, just a quickening of his steps:
TERRELL
Nigga you can’t hear?
CHIRON
(over his shoulder)
Home.
TERRELL
(closing in)
Huh?
CHIRON
I told you, man, home.
PIZZO
You live over there nigga.
TERRELL
You going to that Spanish chick
house?
PIZZO
That’s Juan lady, ain’t it?
Chiron stops walking.
TERRELL
Oh yeah. That chick fine as fuck!
Juan been dead a minute, that bitch
give free head? Or she charge like
Paula? Paula getting cheap though.
A rock can get your rocks su--
Chiron grabbing Terrell at the chest, catches him by
surprise, throws all his weight at him, drives him back and
stumbling towards a fence.
Pizzo on him, kicks Chiron in the hip, jars Terrell free.
Chiron facing up on Terrell as he backs away, gets three,
four feet between them, enough to keep both Terrell and Pizzo
in front of him, fists raised.
Terrell shoots a long, heavy stream of spit at Chiron’s feet,
ridiculously masculine.
TERRELL
Faggot ass bitch, grabbin’ my chest
and shit, you see that shit Pizzo?
Look like this nigga was comin’ on
to me. I ain’t with that gay shit
but if you fuck with me, I will
fuck you.
TERRELL (CONT'D)
Give yo’ ass more than you can
handle, have you beggin’ for your
crackhead ass mama.
PIZZO
Damn dog, you be like...
...gettin’ head from the mama and
the son at the same time.
TERRELL
At the same damn time, nigga.
The two of them laughing their heads off at this bit of
brilliance. Chiron is still standing there:
CHIRON
Fuck you.
TERRELL
What you said? Say that shit again -
- I dare yo’ ass, say that shit to
my face, nigga.
CHIRON
Whatever, man.
TERRELL
Yeah alright -- you better stay yo’
ass right there if you know what’s
good for you. I mean dog -- why yo’
jeans so tight?
Terrell turns to Pizzo, clowning --
TERRELL
I mean real talk -- you see how
tight this nigga jeans be? Nigga
nuts must be chokin’ in them tight
ass jeans, boy I swear.
PIZZO
(laughing)
Nigga nuts be like, “Can a nigga
get a oxygen tank? We drowning down
here.”
Terrell and Pizzo clowning, laughing their heads off.
TERRELL
Night, “Little.”
PIZZO
Haha, yeah -- night night.
Ratings
Scene 31 - Journey into Darkness
Chiron asleep on Miami’s much-neglected elevated train, head
leaned against its faded cloth seats as it snakes its way
above and through the hardened Liberty City.
From the looks of him, he’s been here awhile. From the feel
of him, resting wearily if peacefully, he may have slept
through several loops of this train, back and forth from the
blight of the hood to the glitz of Coral Gables and back
again.
His head resting on the window, the lights of the train low.
We hear the train wheels moving, the lights of the train
flickering off and on... of and on, and... finally off.
50A EXT. COLLINS AVE - NIGHT - ESTABLISHING 50A
From very high up, as though viewed from the roof of a condo.
And establishing that a Metrobus is pulling away from here,
having delivered Chiron to...
51 EXT. SOUTH BEACH, 27TH AND COLLINS - NIGHT 51
Chiron moving down a dimly lit side-street, Collins receding
behind him, the beach growing louder ahead of him.
We follow him, moving along behind him as the sound around
him shifts, from the noise and chatter of care-free
exhibitionism out on Collins... to the whispered loop of the
ocean ahead.
As he nears the promenade separating the beach from Collins
Ave and it’s endless resorts...
...he stops, takes a moment to look back. At what, we’re not
sure but, after a beat, he continues on, moves away from us
and down into the darkness of the beach.
Ratings
Scene 32 - A Moment by the Ocean
Chiron sitting on the shore watching the moon and the stars
over the ocean. The sky is clear and yet it’s wild out, the
wind whipping the reeds, ocean running waves upon the shore
with verve.
Tonight, the sea seems immense, moon glowing blue, leaving
the ocean a deep black that renders it boundless, entropic.
Chiron lost in it all, releasing his troubles in the presence
of this nature when...
VOICE (O.S.)
You was waitin’ for me?
Chiron turning, looks up into that voice, backlit by the
bright beacon of a spotlight mounted on the promenade behind,
unrecognizable at first, ethereal.
A shift in the light: of course it’s Kevin.
CHIRON
Huh.
KEVIN
Nice to see you too.
Kevin smiles.
KEVIN
What the hell you doing out here?
CHIRON
What you doing out here?
KEVIN
You in my smoke out habitat, nigga.
A beat as something dawns on Kevin:
KEVIN
Oh shit, you come out here to smoke
too, Chiron?
CHIRON
Something like that...
Kevin taking a seat on the sand beside him now, still smiling
that incredible smile.
KEVIN
Man you know you don’t smoke. Why
you pretendin’? You puttin’ on a
show for me, Black?
CHIRON
Why you keep calling me that?
A puzzled look from Kevin at first, then pulls a blunt from
his pocket.
KEVIN
Black? That’s my nickname for you.
You don’t like it?
A shrug from Chiron as a huge wave hits the shore, demanding
their attention as it runs toward them, stops short a few
feet.
Keeps their attention a moment: sound of the Ocean, sound of
the wind running through the reeds, the night...
Kevin sparks flame to that blunt:
KEVIN
You like the water?
Chiron says nothing.
KEVIN
Well let me introduce you to some
fiyah.
Extends the blunt to Chiron:
KEVIN
Come on now. Ain’t gon’ bite ya’.
As Chiron takes the blunt, drags on it with Kevin watching...
CUT TO:
Ratings
Scene 33 - A Night of Connection
Chiron and Kevin laughing their asses off, both high as hell,
a joke or memory lost in the cut.
Whatever it was, extremely funny, so funny that as the two
stop laughing those gleeful smiles remain, the two of them
looking alternately from each other to the ocean and back,
allowing themselves this bit of shared pleasure.
KEVIN
That breeze feel good as hell man.
CHIRON
Yeah it do.
KEVIN
Sometimes round the way, where we
live, you can catch this same
breeze. It come through the hood
and it’s like everything stop for a
second ‘cause everybody just wanna
feel it. Everything just get quiet,
you know?
CHIRON
And its like all you can hear is
your own heartbeat, right?
KEVIN
Yeah... feel so good, man.
CHIRON
So good....
A long beat as that thought lingers between them.
The ocean.
KEVIN
Hell, shit make you wanna cry, feel
so good.
Chiron looking to Kevin now:
CHIRON
You cry?
KEVIN
Nah. But it make me want to.
Kevin flashing that big, cool ass smile.
KEVIN
What you cry about? You cry,
Chiron?
Beat.
CHIRON
I cry so much sometimes I think one
day I’m gone just turn into drops.
KEVIN
But then you could just roll out
into the water, right? Roll out
into the water like all these other
muhfuckers out here tryna drown
they sorrows.
CHIRON
Why you say that?
KEVIN
I’m just listenin’ to you, nigga.
(and)
Sound like somethin’ you wanna do.
CHIRON
I wanna do a lotta things that
don’t make sense.
KEVIN
I didn’t say it don’t make sense.
Beat.
KEVIN
But tell me: like what? Like what
lotta things?
CHIRON
Damn you nosy.
KEVIN
Uh oh. Look at Chiron cursing...
You tryna get smart with me?
CHIRON
Whatever man.
KEVIN
(laughing)
You trying to get smart?
Kevin reaching a hand to Chiron’s neck, places his open palm
there deliberately, with feeling.
KEVIN
You trying to get smart, Chiron?
Their eyes meeting here, Kevin slowly working his hand along
Chiron’s neck, small movement, with feeling.
KEVIN
Huh Chiron?
Slowly, nearly subconsciously, Chiron going weak, leans
toward Kevin, their weight supporting one another here on the
dune.
All sound drowned by the echoing ocean, the night covering
these two as close as they’ve ever been.
Both sit up again, facing each other and still close, noses
nearly touching.
They stare.
These are waters they’ve never charted, the culmination of
invitations they’ve been sending since day one.
Kevin smiles, his open lips brushing Chiron’s. Chiron
startles and... leans in.
Heavy this kissing, much deeper than just the meeting of
lips. A moment more of this heavy petting then...
...the sound of a buckle being undone, Kevin’s hand
disappearing down below, a gasp from Chiron and...
...pressure. Rhythm. Pressure and rhythm as Chiron’s breath
catches in his chest, head fully leaned to Kevin’s shoulder,
free hand grabbing at the sand as Kevin takes hold of him, a
caressing and a pulling and a soothing as....
...Chiron comes, holding onto Kevin for dear life, choking on
the sea breeze.
Kevin removing his hand, looks at the cum there before wiping
it on the sand.
CHIRON
I’m...
I’m sorry.
Kevin looking at him with the kindest, most open face:
KEVIN
What you got to be sorry for?
Chiron considering that. Honestly so.
The sound of the ocean.
Ratings
Scene 34 - Cruising Through Vulnerability
Chiron sits on the passenger side of this hood chariot,
staring at all that passing neon and pastel of South Beach.
His face is pure, open.
CHIRON
Whose car this is?
KEVIN
Who you in it with?
CHIRON
How you got a car?
KEVIN
With money, how else you get a car?
(and)
Boy I swear, for somebody who grew
up in the hood you green as hell.
Kevin looking from the road, over at Chiron.
KEVIN
That’s why I like you though.
Chiron looking out the window, blushing like a kid.
KEVIN
You live in the Beans, right?
CHIRON
Yeah.
KEVIN
What’s wrong?
CHIRON
Nothing.
Chiron puts his head down. Kevin brings his fist to Chiron’s
chin. He pushes slightly so that Chiron raises his head.
KEVIN
You sure?
Just a nod from Chiron.
KEVIN
You never did nothing like that,
huh?
A nod no from Chiron. Kevin smiles.
KEVIN
Yeah.
I figured.
Off Chiron, CUT TO...
Ratings
Scene 35 - A Moment of Connection
Kevin’s car pulled up to the curb here, Chiron already out,
leaned to the passenger side window.
A stilted moment, unsure how to play this.
CHIRON
Thanks for the ride.
KEVIN
No problem, Black. See you around.
Kevin extends his fist across this space, Chiron reaching in
with his free hand to meet it. Their fists connecting and...
holding there, just this bit of contact.
Chiron smiles.
CHIRON
Yeah... see you around.
Chiron turning from that Chevy, heading toward the near
stairwell. We follow him, Chiron continuing on without
looking back, the sound of Kevin pulling away down the block.
Chiron moving up the exterior steps of this Motel 6 like
complex, walking along the banister of the second story
dragging his hand along the railing.
Reaches his door, gets his key in, holds the doorknob a
moment, then, deep breath and...
...he opens it. Just a flash of an image: Paula crossing the
living room left to right, hand pressed firmly, aggressively
to her own skull, talking to herself.
Chiron unfazed, steps inside and closes the door behind him.
Hold on this closed door, the sound of Paula yelling
inaudibly behind it, then...
SMASH CUT TO:
AN ALARM CLOCK
...blaring its synthesized squeal.
56 OMITTED 56
57 OMITTED 57
58 OMITTED 58
58A OMITTED 58A
Ratings
Scene 36 - Unspoken Connections
Chiron staring up at the clock as people push past him
hurrying for the lunchtime lineup.
Typical high school cafeteria landscape, cool kids wedged
into tables to themselves, jocks wedged into tables by
themselves, band kids not eating at all, just air-playing
their sets, particularly the drum-line, forever table-
tapping.
And, of course, almost everybody is black.
Chiron moves through this mayhem, scanning the room for
something, anything inviting. As he passes a group of girls,
he spots Kevin sitting by himself.
Chiron’s eyes light up but he checks himself, doesn’t want to
appear too obvious. He begins to take the longest route to
get to where Kevin is but, before he can get halfway through
his journey... Terrell sits in front of Kevin.
Chiron stops, diverts his attention before either can notice
him, heads instead for the lunch-line (his hands have been
empty).
OVER IN THE CORNER...
TERRELL
Wassup, Kev.
KEVIN
Terrell, what’s good?
TERRELL
Man a nigga don’t see school no
more.
KEVIN
I hear you man.
TERRELL
Lunch used to be the shit, though.
KEVIN
Nah, the food wasn’t never good.
TERRELL
Nigga, I ain’t talkin’ bout the
food. But that Friday pizza was the
shit.
KEVIN
(Laughs)
Yeah, I feel you on that.
TERRELL
But back in middle school, you
remember, we used to have some fun
at lunch. Member, we used to play
‘knock down/stay down.’
KEVIN
Yeah my crazy ass was the king of
that shit.
TERRELL
Oh hell yeah I remember that shit.
‘Member that white boy you fucked
up?
KEVIN
Cuban cat, right? Mauricio?
TERRELL
Kevin you fucked that kid’s face up
man. We was calling you Tyson after
that shit.
Kevin nearly blushing here.
TERRELL
But nigga’s don’t do that no more.
I mean. You know.
KEVIN
What you sayin’?
TERRELL
I’m sayin’, you know, if I point a
nigga out you gone knock his ass
down?
KEVIN
That’s the game ain’t it? You dare
me to swing on him and if I do,
it’s on you.
TERRELL
Aight.
(and)
Aight Kev. Let me see who ass
gettin’ dropped today.
Ratings
Scene 37 - Silent Defiance
Lunch over, students begin to wander out of the cafeteria and
into the adjacent courtyard.
We’ve not seen the full of this school yet. It goes like
this: upon entering the guard gate and steps aforementioned,
one enters what’s best described as a tunnel, passing the
admin suites and principals offices and ultimately spilling
into this atrium with three stories of classrooms above and
around on four sides, the doors all facing in on this
courtyard.
This building did not exist a decade ago; its older, decrepit
predecessor demolished and replaced with this vision built
most in the image of a prison, constructed by the same money
and resources used to erect those spaces and ultimately with
the same intention: to keep all who enter watched and in.
TERRELL
...leans to a stoop out here like a gathering storm, a group
of boys milling around him and Kevin.
Pizzo is a part of this entourage too, laughing and pointing
to various people as they pass, just loud enough for the
circle of boys gathered to hear, all of them pointing and
snickering, Kevin included.
A bright, Miami day, yet... a cloud falling over this
courtyard -- a feeling -- this group scaring the other
students in the area as a larger and larger swath of space
surrounds them.
Eventually, someone in particular catches Terrell’s eye: he
immediately stops laughing, goes dark... at the sight of
Chiron.
TERRELL
Kevin.
Kevin turns. So does Chiron. They stare at each other.
TERRELL
Hit that nigga Kevin.
Kevin looking at Chiron, meeting his eyes, still wearing the
smile of this group-think, straining to.
TERRELL
Come on Kev.
PIZZO
Hit that nigga Kev...
BOY 1
Hit his ass...
BOY 2
Bitch ass!
PIZZO
Hit that nigga!
TERRELL
(at Kevin)
What the fuck you waitin’ on?
The boys have surrounded Chiron and Kevin. Kevin steps inside
the circle, meets Chiron’s eyes for the briefest moment...
...and wallops Chiron, the force of it rocking Chiron back,
sends him down to one knee clutching his jaw.
KEVIN
Stay down.
But Chiron begins to stand up.
TERRELL
He want to get up?
Knock his faggot ass back down.
Chiron taking a few steps closer to Kevin now, comes right up
to him, meets his gaze, chin raised.
Beat. Eyes locked, then...
...POP, Kevin rocking Chiron again, Chiron staying on his
feet though, defiant.
After a beat to gather himself, that same clear gaze from
Chiron
Terrell... is pissed. Socks Chiron.
It’s open season now: the other boys pouncing, punches
falling heavy like rain.
KEVIN
Stay down!
BOY 2
Five-O, Five-O!
The boys all separating quickly, slipping smoothly into the
crowd as the Old School Guard and other authority figures
appear, get to Chiron and pull him to his feet.
Chiron bruised and bloodied, cuts to his lip and nose, a gash
above his eye. The Guard attempting to get his attention:
OLD SCHOOL GUARD
Who did it? Which of these niggas
beatin’ on you?
But Chiron silent, just staring across at Kevin, the boy
returning his gaze, vacant.
The lunch bell Rings.
Ratings
Scene 38 - Silent Struggles
Chiron sitting opposite PRINCIPAL WILLIAMS, 40s, serious but
kind.
Williams just eyes Chiron up, can since the anger simmering
beneath the surface. Chiron stares at his feet, refuses to
meet that gaze:
PRINCIPAL WILLIAMS
Chiron?
Nothing.
PRINCIPAL WILLIAMS
Chiron, listen: you’re not in
trouble. You’re not being punished,
okay? You did nothing wrong, we
know that, okay?
Still nothing, Chiron has completely shut down.
PRINCIPAL WILLIAMS
Look, if you don’t tell us who did
this we can’t press charges,
understand?
(and)
All them damn kids standing around,
all of y’all out there and don’t
nobody got the heart to say who did
it?
That getting Chiron’s attention, head snapping to meet
Williams’ gaze:
CHIRON
You don’t even know.
WILLIAMS
Oh I don’t? You think all this just
started, boy?
CHIRON
I ain’t no boy.
WILLIAMS
Hell you ain’t: if you was a man
it’d be four other knuckleheads
sittin’ right there with you.
Chiron looking away again out a window there, done with this:
CHIRON
(low, breaking)
You don’t even know.
Williams taking him in again now, looking further, looking
better, sees things in Chiron he’d not seen before; sees him:
WILLIAMS
Look son, I’m not blaming you, I’m
not. I know it’s hard, believe me,
I’m not tryna disrespect your
struggle. I just need you to know,
if you need some help, if you need
somebody to talk to... that door
right there, it’s always open, you
feel me? And as soon as you walk
through it, let me tell you --
everything you going through, all
of it’s gonna get better.
Ignoring that, still set on that window.
WILLIAMS
You feel me?
Off Chiron meeting Williams’ gaze, CUT TO...
Ratings
Scene 39 - Silent Struggles
Chiron taking in his own image in the bathroom mirror, left
side of his face bruised and swollen, that cut at his right
ear clotted with blood.
He runs water into the basin and, looking down into it, we
notice that it’s already filled with something, a pool of
ice.
Chiron lowering his face to the water, submerging his head in
it for the longest moment, long enough to make the silence
uncomfortable, then...
62 INT. PAULA’S LIBERTY SQUARE APT, KITCHEN - NIGHT - LATER 62
Paula sitting at the kitchen table, a dying cigarette in an
ash tray there. She looks beyond exhausted. And fried.
Chiron appearing with glasses of water, sits one in front of
each of them.
We leave them this way: neither drinking those waters,
neither speaking, then...
63 OMITTED 63
64 INT. HIGH SCHOOL - DAY - MOVING 64
Chiron passing the Old Security Guard, entering the building.
We continue with him, up a flight of steps, into the
cavernous tunnel of the school entrance.
All eyes looking in at Chiron, in at us.
And the SOUND, so many shifting ticks and voices, whispers
accompanying those looks, adolescent energy unhinging itself.
Chiron entering a stairwell, rising, pushing past other kids
towards the second story of this building.
Reaches it, steps onto the landing and slips into one of the
interior passageways, the sound of those voices and whispers
amplified, echoed and refracted off the metal lockers and
industrial design.
But Chiron’s face? Unchanged, still that blankness, that
pensiveness. With him all the way as we lead/follow him
around a turn, toward a door and into...
65 OMITTED 65
65A OMITTED 65A
Ratings
Scene 40 - Breaking Point
Chiron entering, moving directly to his seat, a wooden chair
there.
Sets his bookbag atop his desk, takes the chair, slides it
from the desk and...
...brings it down atop Terrell’s head.
CRACK!
Terrell spilling to the floor; no blood, no movement, a total
collapse to the spot where he sat.
Beat.
Everyone in the class in shock, nobody moving, all eyes on
Terrell. He’s not moving, not breathing, body prone on the
floor. A beat, then...
...he spasms back to consciousness, a quick convulsing and
then a reach for his head.
Chiron raising that chair, brings it down on Terrell again,
the boy jolting with the impact.
Pierce sets upon Chiron. A few others help restrain him.
66 INT/EXT. HIGH SCHOOL - DAY 66
Police lights flash on the school’s walls. Kids all stand
outside as well as teachers.
Chiron is brought out of the school in handcuffs, lead by two
officers, staring and muckraking from the gathering as he
passes.
Gets down to the street, is ushered into a police car.
As he stares out from the backseat, a face at the top of the
steps stares back: Kevin.
CUT TO BLACK.
First, OVER BLACK, a beat of SILENCE and, immediately after,
a gasp for air, then...
FADE IN:
...on a grown man covered in sweat.
67 INT. BLACK’S APT, BEDROOM - NIGHT 67
BLACK (the same Little/Chiron character but late 20s now),
sitting upright.
Eyes open, staring off into the light spilling through the
window-pane above this bed.
68 INT. BLACK’S APT, KITCHEN - NIGHT 68
Black standing at the kitchen sink.
The faucet running in the sink before him and, looking down
into it, full of ice cubes, plastic trays from a freezer
somewhere nearby.
Takes a towel, dips it into the water, wrings it slightly.
Brings it to his face, covers his eyes, his forehead gently
with it.
Dips it into the basin again, wipes across his chest. Slowly,
he lowers his torso to the sink, submerges his face
completely.
Ratings
Scene 41 - Identity in Transition
Hot today; hot as hell out today as Black sweats through
baggy jeans and over-sized white tee.
What’s more, unlike the pensive Black glimpsed recovering
from a fevered dream, this one menaces through a full array
of gold-fronted teeth.
They’re impossible to miss as the city passes by outside his
window, cruising through the Flats.
As the car continues along, we go CLOSE ON: Black’s license
plate. The vanity spelling BLACK is interesting, but that
it’s issued in the state of Georgia is more important.
70 INT. ATLANTA AGAPE REHAB CENTER - DAY 70
Black sitting in the reception area of this Rehab Clinic. He
doesn’t look lost here and yet... he doesn’t look
comfortable, dressed in a conservative, button-up shirt.
Two or three others sit on simple chairs beside him, all of
them waiting. Finally, from somewhere across the room:
VOICE (O.S.)
Chiron Harris?
At the sound of his name, Black rises, moves toward that
voice.
Ratings
Scene 42 - Conversations in the Courtyard
Black sits in front of PAULA (40s now, hair pulled back,
thinned but a light in her eyes that wasn’t there before).
Paula looks down and goes into her pocket, pulls out a
cigarette. Lights it, almost puts it in her mouth when she
stops and stubs it out.
PAULA
Quittin’ that too.
Black just nodding, indifferent.
PAULA
Trying to, at least.
How you been?
BLACK
Alright.
(then)
I ain’t sleepin’.
PAULA
Why not?
Awkward.
PAULA
Right. If you knew you’d prolly...
BLACK
Bad dreamin’.
PAULA
Still?
You ever thought about talking
about it with somebody? I mean. You
know, not even like a counsellor.
Maybe somebody like, like your
mama?
Paula laughs, makes light of it. Black still unmoved. Hard to
tell which of these two is in rehab and which isn’t.
PAULA
Yeah it sound funny to me too. But
I am your mother, ain’t I? You can
talk to me if you want to.
Or at least somebody, you got to
trust somebody, you hear?
(then)
You talk to Teresa?
BLACK
Yeah.
PAULA
How she doing?
BLACK
(Shrugs)
Good.
Paula mimics Black’s shrug...
PAULA
“Good.”
...face curling into a beautiful, teasing smile. Hard to not
love this woman, hard to not give her infinite second
chances.
BLACK
When you go home?
PAULA
Home?
(beat)
This is home. I mean... they
‘lowin’ me to stay and work as long
as I like. I figured, you know,
might as well help other folks,
keep myself out of trouble.
BLACK
That’s good, mama.
PAULA
Yeah... I think it is too.
(a deep breath)
I really do.
Black nodding his head silently, looking away from his
mother, over at another mother and son performing this same
ritual across the courtyard, down at the stubbed cigarette
still clutched at his mother’s lap.
Paula taking a real good look at her son. Something in her
face softening at the sight of his hardened jaw, those gold
fronts.
PAULA
So...
(beat)
...you still in them streets?
Nothing from Black, eyes shifting to the ground now, down and
away.
PAULA
Didn’t come all the way the hell to
Georgia to have you fall into the
same shit, Chiron.
BLACK
I’ma go.
PAULA
No, you gon’ listen.
BLACK
To who, you?
Really, though?
You?
Black pushing back from the table, rising. Paula grabbing his
hand before he can turn, hard as he is, his mother’s touch an
instant pause, stands still staring at that ground:
PAULA
Not like this, baby.
And...
PAULA
Not like this.
Black looking down, looking away, looking anywhere but at
Paula.
Black returns to his seat, eyes fixed to a spot.
PAULA
I messed up baby. I fucked it all
up, I know that. But yo’ heart
ain’t gotta be black like mine, you
hear me? I love you baby. I do, I
love you Chiron. You ain’t gotta
love me, lord knows I didn’t have
love for you when you needed it, I
know that.
PAULA (CONT'D)
So you ain’t gotta love me but you
gon’ know that I love you, you
hear?
Nothing from Black.
PAULA
You hear me, Chiron?
Paula yanking that arm.
BLACK
Damn Mama, yeah.
(and looking to her now)
I hear you.
Paula taking up that cigarette again, lights it this time. A
big, deep drag. Saviors it, pulls all of it deep down into
her chest.
PAULA
One step at a time, baby.
One step at a time.
CUT TO BLACK.
And over BLACK, the TITLE CARD:
BLACK
III.
Ratings
Scene 43 - Cash and Confusion
Noise and fuzz in here, quads and subs as Black blasts
something bass-heavy yet moving, think Erykah Badu Chopped
and Screwed.
All elbows and mean mugs as he leans at an angle, seat
reclined way back with lips parted to show those fronts; eyes
scanning the blocks and corners he’s passing as much as the
road he’s driving.
A moment of him driving this way, then...
73 INT./EXT. BLACK’S CHEVY IMPALA - NIGHT - MOVING 73
Moving with Black as he turns off the main road, pulls into
his apartment complex.
As he makes his way through the parking lot, a figure appears
ahead of him, a young guy rising from a stoop, caught in the
glare of Black’s headlights.
Black heads directly for the young guy, then turns away from
him, into his parking spot.
74 OMITTED 74
75 INT. BLACK’S APT, LIVING ROOM - NIGHT 75
Black on the couch, that same white tee from before but in
shorts now, flip-flops at his feet. Travis (early 20s, green,
the “young guy” from the parking lot) stands before him,
hands clasped together behind his back.
Dim in here, a table lamp bathing Black’s slate skin in
orange warmth, television raking Travis in a cool blue. So
dim in fact, we hardly notice the work going at Black’s lap:
bills unfurled across disparate bills.
Black counts. Travis watches.
An extended beat of this, Travis’ eyes down at his feet as
Black nears the end of his count. Finished, he raises his
head, brings his gaze to meet Travis’.
BLACK
You short, Travis.
Travis’ brow arching with confusion.
TRAVIS
Wait, what?
BLACK
You short.
TRAVIS
Nah I counted it, it’s all there,
it’s all there on my mama life. You
trippin’.
BLACK
I’m what?
Pause.
TRAVIS
I ain’t mean it like that.
BLACK
Then how you meant it?
TRAVIS
I mean, I....
Travis trails off there.
BLACK
Where the rest of the roll?
Travis thinks for a second -- maybe he is short, maybe his
count is off, but... he straightens, chin up:
TRAVIS
It’s all there. You might could
think I’m short... but when I
handed it to you, it was all there.
That’s on my mama.
BLACK
You sayin’ I’m a liar?
TRAVIS
I ain’t say that.
BLACK
Then what you sayin’?
TRAVIS
I’m...
I mean...
Dog, I’m just--
BLACK
You just what?
Travis goes quiet, eyes at his feet -- he’s fucked. Black
let’s him stew a minute, then... breaks into a toothy grin.
BLACK
Nah.
Just fuckin’ with you.
TRAVIS
Huh?
BLACK
Count good.
You did good -- did real good.
Black extending a few bills toward Travis, waiting as the boy
nervously takes them from him.
BLACK
Can’t be on the corner if you can’t
take a nigga just fuckin’ with you.
Travis nods. Black extending a few more bills toward him,
waiting as the boy nervously takes them.
BLACK
Heard you been in them dice games,
too. Watch yo’ back with them
folks. Be better off at Jai Lai,
dice game bring nothin’ but pain.
Travis wrinkling his face at that:
TRAVIS
What the hell is “high lie”?
Black begins to explain, but... just smiles.
Ratings
Scene 44 - A Moment of Reflection
Surprisingly, Black fast asleep, resting peacefully under the
whir of a small fan.
A moment of him sleeping, then... his phone comes to life,
vibrating on the bedside table. Black rolls over groggily,
silences the thing with a flick of the wrist.
After a beat, a second, shorter vibration pierces the quiet.
Black retrieves the phone. As he does...
BEGIN MONTAGE:
76A INT. BLACK’S APT - NIGHT 76A
QUICK IMAGE: Black moving about the apartment in just his
boxers.
AUTOMATED VOICE (V.O.)
You have...one...new message.
76B INT. BLACK’S APT, KITCHEN - NIGHT 76B
QUICK IMAGE: Black standing before the open freezer door,
head half-way in to absorb the cool air.
PAULA (V.O.)
Chiron, this your mother. I know
it’s late but figured you ain’t
never been one much for sleep.
Wanted to thank you again for
comin’ to see me.
76C OMITTED 76C
76D INT. BLACK’S APT, BATHROOM - NIGHT 76D
QUICK IMAGE: Black in the bathroom, a repeat of his earlier
ice basin ritual.
PAULA (V.O.)
That was... that was good of you.
Hope you gettin’ some rest baby.
(and)
Hope you come by again soon.
CUT BACK TO:
Ratings
Scene 45 - Echoes of the Past
And it’s as though he never left: flat on his back above the
covers, staring up into nothing, the phone there on the
bedside.
An extended beat of quiet here, enough to see this is a man
who wrestles with his mind at night, then...
...the phone buzzes again, Black reaching for it
instinctively, grabs it without bothering who it is and:
BLACK
Ma’, it’s late, I’m tryna sleep, I
got your message.
Beat.
We can hear the other side of this connection. For now, it’s
just the white noise of dead air, whomever’s on the other end
keeping to themselves, then...
VOICE (O.S.)
(through phone)
Hello?
Black pulls his phone from his ear, checks the display. It’s
a 305 number: Miami. His demeanor shifting at the
realization.
VOICE (O.S.)
Eh Black, I mean... Chiron, man.
Black slowly sits up, just up on his elbows there, brings his
chest up a bit:
VOICE (O.S.)
How you doing? This... this Kevin.
Kevin. Black’s face startling, though only so much, such a
contained man.
KEVIN (O.S.)
You there?
Say somethin’, nigga.
BLACK
Yeah.
(and)
Hey.
KEVIN (O.S.)
Long time no see, right? I asked
Teresa if she had your number
and... I’m workin’ this job man.
Lotta people comin’ by and this
dude, he come by today -- made me
think of you.
Beat.
KEVIN (O.S.)
You there?
BLACK
Yeah, I’m here.
KEVIN (O.S.)
You remember me?
Black looking about himself, around this room before
answering. Looks more into his memory than anything else:
Yes, he remembers him.
BLACK
Yeah.
I do.
Been a while.
KEVIN (O.S.)
Yeah.
It has.
(and)
Where you at?
Black closes his eyes.
BLACK
Georgia.
Atlanta.
Been up here ever since....
KEVIN (O.S.)
Yeah, that’s what I heard.
Beat.
A very long, very dense, very quiet beat.
KEVIN (O.S.)
I’m... I’m sorry about that...
about all that, Chiron.
(and after a pause)
About all that shit what went down,
man.
Black looking about himself, about the room, eyes wandering
and drifting, had pushed so much of this away.
KEVIN (O.S.)
Real shit, dog, I am.
A sound from Black into the phone, not so much a word as a
gesture, guttural, ambiguous, not affirming but a reprieve,
an allowance for the space to continue.
Finally, mercifully:
KEVIN
What you doin’ up there?
BLACK
(coming back)
Not much.
(and)
Just trouble.
CUT TO:
Ratings
Scene 46 - Nostalgic Connections
Simple this place, KEVIN (late 20s now) dressed in a chef’s
apron behind a staging station, from the looks of the kitchen
surrounding him, a diner type place, short-order cook.
KEVIN
Chiron and trouble always found a
way.
Out beyond the staging station Kevin’s leaned to, an old
school register, tan colored table tops and matching vintage
booths.
This is one of those relics that will always be a part of
Miami. When the tide finally sweeps the city into the
Atlantic, the last note rising from it will be Compay
Segundo’s "Chan Chan" reverberating from this place.
INTERCUT BLACK AND KEVIN
BLACK
Yeah... something like that.
What about you?
KEVIN
I’m a cook, man.
A loud laugh from Black, the clear joy of it a jolt.
BLACK
You a cook?
KEVIN
Yeah man, got sent up for some
stupid shit, same stupid shit we
always get sent up for. Put me on
the kitchen line and I kinda took
to it.
BLACK
Greeeeaaaaaaaaat day, Kevin Jones:
Chef Boyardee.
KEVIN
I cook better than that shit.
BLACK
You better or your ass won’t be
cooking long, feel me?
The two of them laughing there, the familiarity clear,
asserting itself.
KEVIN
Yeah, so... I just thought about
you man. There’s a jukebox in here,
folks come in and play they songs
and that’s the music we get in
here. This dude, man....
Kevin trailing off there, thoughts wondering, eyes drifting
over to that jukebox, one of the old school types with actual
CDs and pages that flip when commanded.
BLACK
Yeah....
KEVIN
...this dude reminded me of you.
Beat.
BLACK
What’d he play?
A long pause from Kevin, the song wedging itself in his
thoughts right now, pushing everything aside.
BLACK
That good, huh?
KEVIN
Yeah...
...that good.
(and)
If you ever come down here, man,
you holla at me.
BLACK
This your number?
KEVIN
Nah, no cell. This the diner. Right
now it’s better if folks can’t
reach me. I tell niggas, “Call my
momma house if you really need me,”
otherwise I’m only ‘bout this J-O-
B.
BLACK
True.
What’s the name of the place?
KEVIN
Jimmy’s Eastside Diner. If you ever
to town, Chiron, I mean it. Come on
by, I’ll cook you somethin’, play
that song for you.
Black fully sat up on the bed now, free hand to his temple,
the other clutching his cell to his ear. Just the sound of
his light breathing.
KEVIN
Alright Chiron, be easy.
Click.
Black lowering his phone now, staring at the screen, the
simple information there: Call Duration: 5min29secs.
A lifetime.
CUT TO:
Ratings
Scene 47 - Morning Routine
A moment of stillness: Black prone atop the covers, just his
boxers and still a small sheen of sweat. From the look of
him, jaw slack, lips parted just so, this has been a restful
sleep.
Slowly, after a beat to watch him this way, Black stirs
slightly, a slowed wakening.
Stretches now, body turning, arms reaching beyond this bed,
extending toward the light streaming through the lone window
there.
Turns on his side. Is about to sit up but... stops. From the
look on his face, a realization: he reaches to his crotch.
80 INT. BLACK’S BATHROOM - DAY 80
Black standing before the basin, hands working at something
in the water.
No ice, no towel. Instead, he’s standing over a muddied
plume, a layer of soapy foam atop the surface: he’s hand-
washing his boxers.
An extended beat of this washing, then...
...the SOUND of music blaring, all highs at first, a rattling
trunk following.
Ratings
Scene 48 - Tension on the Streets
Black in mode again: gold fronts, white tee, one hand on the
wheel as he pushes through these streets.
Eyes scanning the corners and alleys he’s passing, whatever’s
out there getting little from him, just this glare.
82 OMITTED 82
83 INT/EXT. CHEVY IMPALA - DAY - MOVING 83
Black hanging a U-turn, neck craned all the way around to
keep an eye on something outside this car.
Headed back the other direction now, he pulls over to the
side of the road, honks his horn, three sharp beeps, and...
84 INT/EXT. CHEVY IMPALA - DAY - MOVING 84
Black at the wheel, Travis in the passenger seat beside him.
On Travis’ lap, a mix of cash and baggies, a greasy, crumpled
brown bag wedged between his thighs. He’s counting.
The music blasting as always in here, Black nodding his head
to an old school Goodie Mob track, then... cutting the music
sharply, face going slack as...
...a patrol car passes in the opposite direction, Travis
never breaking his count, Black cranking the music, and...
CUT TO:
TRAVIS
...head cocked to the side, a posture of listening.
Ratings
Scene 49 - Tension and Reflection
Black parked at the edge of an alley, looking out at Travis
standing amongst two other young men.
We can’t hear what’s being said down there, the whole thing
viewed from Black’s vantage.
Instead, all long-lens gestures: Travis going through some
form of count with his fingers, the two young men bringing
their hands to their chests (Who? Me?!), the posture of
explaining.
Black reaching to the floorboard beneath him,, retrieves the
obvious: a .38 Special.
Takes another look down that alley, then... opens the door,
steps into the alley and begins towards them.
We don’t follow, just watch from this distance, then...
86 INT. BLACK’S APT, BEDROOM - DAY 86
Dangling from a wire hanger, panning with the flow of an
oscillating fan: the underwear we’d seen Black wear before,
still damp in the humid air.
REVERSE ANGLE: BLACK’S FACE, eyes fixed on the underwear,
studying them with a mixture of shock and reverence.
Reaches a hand to them, takes their short hem in his hands,
partly to gauge the dampness, partly for wont of touching
them.
Something on his mind here, thoughts turning and turning and
turning. He checks his watch: half past one.
Ratings
Scene 50 - Journey to Clarity
Observing him through the front windshield of this car, the
whole of it viewable from here.
Just the sound of the road, no music, certainly no speaking
as Black drifts along what appears to be a highway.
A look of resolution on his face, a peace, a clarity. The
image closing in on him now, a slow, subtle zoom pushing in
on that face, those eyes.
Just as we near the end of this move, our view pivots,
panning away from that windshield, perpendicular to our
traveling: nothing but mangroves out there. And across a
large median, lanes of other traffic running in the opposite
direction.
There’s no doubt now, this is not a drive around Atlanta. The
speed and highway surroundings should make it clear: he’s
going much farther.
An extended beat of this traveling, of the road and trees and
wind, the speed of the passing land and soundscape
escalating, building, the whole of it coalescing into a
hypnotic rhythm, then...
WAVES
...both the sight and sound of waves crashing, lashing at the
shore.
Ratings
Scene 51 - Joyful Waves and Quiet Anticipation
A muted, wide base to the light, waves rushing onto shore
under the watch of a full moon.
There are children at play, a dozen at various ages, all
black, 7 to 15 years old.
None of them in proper trunks, most in homemade cut-off
shorts and Fruit of the Loom white tank-tops. All laughing as
the waves rush at their feet, a few feigning fear at the
ocean as others -- the boys mostly -- drag them into the
surf.
We watch the children at play a moment longer. We’ve seen
none of these kids before, we’ll see none of them again.
A final beat of this, then...
89 EXT. JIMMY’S EASTSIDE DINER, PARKING LOT - NIGHT 89
A door closed -- Black’s car parked deep in the corner of
this parking lot, in the farthest back corner away from
street light, obscured by low-hanging shade trees.
The diner is away from us, across the parking lot. Black
takes it in a moment, pulls on a fresh shirt.
He’s moving, crossing the parking lot at an easy clip. It’s
quiet out, a few passing cars to Black’s left running north
on Biscayne Boulevard, no foot traffic -- can hear the SOUND
of his footfalls on the pavement.
As he nears the threshold of this diner, takes the handle on
the entry...
CLOSE ON: an old school bell, the sound of it jingling as the
door it’s affixed to parts.
Ratings
Scene 52 - Reunion at the Diner
And right away, the sound of music, something old, soft, and
lilting (think Aretha Franklin’s One Step Ahead).
Black scanning this room, his view of the place a clue for
us: this is definitely the same diner we saw Kevin working in
during the earlier phone call.
All the details are there, the old-school register, vintage
chairs and table-tops. And in the corner, that old school
jukebox blessing us with Aretha.
BLACK
...on the move now, crosses the diner with eyes down and
ahead of him. There’s a counter lined with stools, directly
opposite the staging station and adjacent the register.
Black eases up to the counter, places his cell atop it and
takes a seat.
No one stirs at Black’s movement, no one watches. Looking
about the place again, we notice the other patrons: a quartet
of college girls in a corner booth shoring up for a night on
the town, an elderly gentleman sitting to himself, staring
into a cup of mild coffee.
As Black watches the elderly gentleman...
VOICE (O.S.)
(moving)
Be right with you.
A figure moving past, carrying an urn over to the old man,
sets a new cup down and pours a fresh coffee, scoops up the
old cup as he moves on.
As he crosses to the girls, we see him better: it’s Kevin.
We watch as he speaks to them; can’t hear any of it but from
the feel of it, very jovial, Kevin is good at this work.
A beat of watching Kevin here, isolated bits of him from
Black’s perspective: Kevin’s lips as he speaks, the hand he
rests to his neck instinctively.
Finished with the girls, Kevin turns back toward the counter,
hands full with their spent dishes. As he approaches, he
looks right at Black, right at us...
KEVIN
(moving)
Be right with you, boss, just let
me get this out the way.
...and moves past.
Somehow, Kevin has not noticed him.
Something lodged in Black’s throat, without thinking places
his hand there: Am I breathing?
He must be, he’d better be: those dishes discarded somewhere
in the back and... here comes Kevin.
KEVIN
How you doin’ tonight, what can I
get you?
Kevin flipping through a stained note-pad, hasn’t bothered to
look up yet. As he does, his eyes settle on Black’s.
Beat.
Kevin watching this man. And Black watching back, the two of
them silently holding each other’s gaze, pure curiosity.
Kevin’s head cocking to the side now:
KEVIN
Chiron?
Nothing from Black, just those eyes. Kevin lowering that note-
pad, rounds the counter, comes right up beside him. On
Kevin’s face: no doubt who this is.
KEVIN
Damn man why you ain’t say
nothin’?!
Kevin taking Black’s right hand in his, pulls him in close
and throws his left arm around his back: warm, tight,
masculine.
The embrace held, Black slowly reciprocating, his left arm
cautiously placed around Kevin’s back and, subtly, moved
there, close but not quite a caress.
The men part.
KEVIN
Damn Chiron.
BLACK
‘Sup, Kev’.
KEVIN
What the hell you doin’ here, I
mean....
Kevin trailing off there as Black nods agreement, gets the
oddity of his own actions.
KEVIN
Well shit, you here now, that’s all
that matter.
Again, that nod from Black, Kevin smiling in reply:
KEVIN
There go that damn noddin’, you
ain’t changed a bit, still can’t
say more than three words at a
time, huh?
A smile from Black. This guy gets him.
BLACK
Said you was gon’ cook for me, I
know how to say that.
Kevin rounding that counter again, Black clocking him as he
goes, winds up opposite him, takes up that notepad again.
KEVIN
Yeah I did, man. I did.
What you want? You can pick from
the menu or I can give you the
chef’s special.
Black watching Kevin across this counter.
Over on the jukebox, that song ends, just the muted sound of
the girls in the corner there, nothing but this short space
between them.
Kevin sets his notepad down.
KEVIN
Yeah.
We here, Chiron.
As Kevin heads for the kitchen, leaves Black with that
thought...
CUT TO:
Ratings
Scene 53 - Rekindling Friendship at Jimmy's
...all hands and handles, a cast iron skillet going over an
open flame.
92 INT. JIMMY'S EASTSIDE DINER - NIGHT - LATER 92
Black on his stool at the counter, watching through the
staging station as Kevin works over that flame.
Behind him, the group of girls moving toward the exit, bell
jingling as they step onto Biscayne.
Black’s gaze lingering on them a moment, tracking them as
they push farther and farther into the night. Coming back,
his gaze settles on the table across the diner: the old man,
that cup of coffee.
Black rising now, digs down into his pockets, pulls the bit
of cash and change there. Begins across this space, over to
the jukebox.
Gets to flipping through the flaps, four to a side, scanning
left and right. A bit more flipping until... bingo.
A string of quarters, a few buttons pushed then...
...the click and clack of the machine, a disc racked and spun
to speed, so quiet in here without that jukebox, then... the
SOUND of a disc racked, the jukebox doing its work as...
KEVIN (O.S.)
Chef’s special.
Black spinning to find Kevin passing, moving behind him with
a freshly plated meal -- carries it across the diner floor,
over to the booth abutting the diner window.
Black cocks his head in surprise, makes his way over to --
THE BOOTH
Approaches a smiling Kevin, takes a look at the plate he’s
made for him: black beans, white rice, a grilled chicken
breast with mole coating.
BLACK
So you Cuban now?
KEVIN
Only in the kitchen, Papi.
(and)
Sit down, nigga. Or you gon’ eat
standin’ up?
Black complies, eases into the booth, eyes the food.
KEVIN
Want a drink?
BLACK
I don’t drink.
A huff from Kevin -- more playful than skeptical -- leaves
the booth, heads back over to the counter. Black watches as
Kevin roots around for something, comes back over with a half
run bottle of red wine, something simple.
Sets a water glass down before each of them, settles in
across from Black, pours.
KEVIN
Nigga I ain’t seen you in like a
decade, you gon’ drink with me.
Black just looking at this guy: What can he do?
The clink of glasses, Kevin taking a sip of his, Black taking
a gulp, maybe he doesn’t drink after all.
Kevin settles his elbow and forearm to the table:
KEVIN
So what bring you here, Chiron?
Curious, innocent, suggestive, all at once. Black just
watching Kevin in response.
KEVIN
Eat your dinner man.
(rises)
Eat your dinner.
Black’s gaze following Kevin as he replaces the old
gentleman’s coffee as before, moves on to a young couple
sitting in the booth where the group of girls were.
Off Black, CUT TO...
Ratings
Scene 54 - Reflections in the Diner
Later by the look of Black’s plate, completely empty.
Black takes up his water glass of wine, a second bottle open
there beside the first -- they’ve been thirsty.
Kevin appears, settles in again.
KEVIN
You remember Samantha?
BLACK
(nodding)
Yeah, I remember her.
Kevin reaching into his wallet, takes out a photo, places it
on the counter:
KEVIN
Kevin Jr.
Me and Samantha. Had him young; too
young.
Kevin watching as Black takes up the photo, brings it close,
examines it.
KEVIN
When I got locked up, man. It was
hard. Real hard. Had me in state,
not that county shit. That’s when I
knew I had to find somethin’.
That’s when I started the cookin’
thing, knew I couldn’t go back to
the street, not after that.
BLACK
Y’all still down?
KEVIN
Me and Sam?
(beat)
Nah. We still cool though, gotta be
for Lil’ man, but... nah, not like
that.
Beat.
KEVIN
What about you?
BLACK
What about me?
KEVIN
Nigga tell me somethin’, what you
doin’, who you doin’?
Black going sheepish at that last part.
KEVIN
C’mon nigga, I’m waitin’, done
cooked for your ass and everything,
shit, these grandma rules you know
the drill, you gon’ eat, you gotta
speak.
Black thinking on this, weighing something. Takes another sip
of his wine, then...
BLACK
Alright, straight up?
I’m trappin’.
KEVIN
(serious)
What?
Black just nodding.
BLACK
When they sent me up to Atlanta,
put me straight into Juvie for
beatin’ old boy. Met this cat in
there, when I come out, put me on
the block. Did good at it. Rose up.
Black shrugging his shoulders, no explanation, no excuses.
BLACK
It is what it is.
KEVIN
Bullshit, it ain’t what it is,
Chiron, that ain’t you.
BLACK
Nigga you don’t know me.
KEVIN
Oh I don’t?
Beat.
BLACK
I’ma get my shit straight.
Kevin shooting Black a look:
KEVIN
And I guess gettin’ your shit
straight is drivin’ twelve hours
down here for no reason?
Kevin looks over his shoulder -- the young couple is up at
register, waiting.
Black watching as Kevin heads over, begins ringing their
till. It’s a small moment, cordial -- Kevin smiling, making
small talk with the husband and wife. He’s good at this.
The sound of that familiar door jingle on their exit, Kevin
beginning back now, stops to buss the couple’s table -- arms
loaded with plates and silverware as he passes...
KEVIN
(moving)
And why you got them damn fronts?
...doesn’t bother for a reply, just keeps moving into the
kitchen.
Beat.
Black alone again for the moment. It’s dead in here -- no
couples, no groups of girls. Kevin is nowhere to be found,
there’s nothing between Black and the door.
The door.
Black watching the door as...
Kevin reappears, wiping soap foam from his forearms, heading
back over. Takes his seat again across this modest booth.
Kevin’s thoughts going back to this conversation, the two of
them separated by this table; by only this table. It’s as
though they can sense this, both mulling their thoughts,
fingering those water glasses.
Black’s eyes lifting:
BLACK
Why’d you call me?
KEVIN
What?
BLACK
Why did you call me?
Beat.
KEVIN
I told you, this dude came in....
BLACK
Yeah...
KEVIN
He played this song....
Kevin trailing off there, eyes going to the jukebox in the
corner. Lets his gaze linger a beat, then...
...roots around a tip jar beside the register. A moment
later, he’s rounding the counter, heading for...
THE JUKEBOX
...Kevin nearing it, studying a moment before flipping those
pages, one after another as Black had before.
From the effort, he does not know what he’s looking for. Or
rather, he’s searching for it, unsure.
BLACK
...watching, looking on as Kevin hovers his finger over those
pages, tracing a line along the glass there, mouthing
something to himself until finally...
...Kevin’s got it: the click of the jukebox, articulating arm
shifting, a disc whirring to life and...
Church, juke-joint, cabana: the place where the three meet
and meld as the opening organ of Barbara Lewis’ Hello
Stranger fills the air.
Hello, stranger
It seems so good to see you back again
How long has it been?
It seems like a mighty long time
KEVIN
...leaning his back to the jukebox, arms folded.
AT THE BOOTH
...Black sitting sideways, meeting Kevin’s gaze as he’s
listening.
Both watching each other, eyes linked, locked.
Black’s eyes in particular here, perhaps from Kevin’s
perspective, drifting into them: he’s opening, he’s letting
Kevin in.
A beat as the song continues. The second verse:
Ohhhhhhh, my, my, myyyyyy
I'm so glad
You stopped by to say "Hello" to me
Remember that's the way it used to be
Ooh, it seems like a mighty long time
It’s on the nose, yes, but fuck it: reminded him, like a
punch flush to the face, forever and always a reminder of
this thing, of everything.
Kevin crossing the diner floor, closing the space between
them. Settles to the booth again, leans back. He watches
Black, but...
...as the song continues, Black’s mind drifts elsewhere,
mouth agape as Barbara continues ...
Ohhhhhhhhhh
If you're not gonna stay
Please don't tease me like you did before
Because I still love you so, although....
It seems like a mighty long time
The two of them this way as the song continues, Barbara
“oooo’ing” and “ah’ing” her way through the last few bars as
the men listen, nothing else in the world but this moment.
The song ends.
Over at his table, the older gentleman pays them no mind,
simply sips his coffee.
Off the DOORBELL JINGLING...
Ratings
Scene 55 - Night Departure
Black standing with his hands in his pockets as Kevin works
at the door behind him, closing down the diner.
Down the sidewalk from them, the older gentleman moves away,
labored step after labored step.
Finished, Kevin turns to Black, the two falling into step
without a word, moving across the parking -- Black leading,
Kevin just behind.
Occasionally one looking to the other as they go, much said
in these eyes and looks, but... just the sound of movement, a
heavy key ring dangled at Kevin’s side, the whir of Vespas
roaming up Biscayne.
Kevin a few steps behind as Black nears the driver’s side
door. Like anyone seeing this gaudy thing for the first time,
Kevin is taken aback.
KEVIN
This you?
Black toggling the alarm system, the Chevy beeping loudly,
all lights flashing twice and a piercing beep from that sound
system.
KEVIN
You wasn’t playin’ bout them traps.
A shrug from Black as Kevin takes the passenger side door,
gets in.
Black following, the engine on the car coming to life.
A BEAT as the car eases away from here, reaches the edge of
the parking lot, pulls into traffic.
Ratings
Scene 56 - Midnight Conversations
Loud in here, part habit, part defense mechanism: little room
for words with two cabinets and a sub pushing Slim K’s Purple
Haze remix through these speakers.
Black leaned into the driver’s side door as always, one hand
on the steering column, other resting on his lap.
Nothing spoken between these two for a beat, just clocking
each other on the sly as the passing lights of the streets
and storefronts play on their faces.
Black reaches for the dial finally, cuts the volume to a more
modest level as Trinidad James begins his mid-track
overtures.
Gets Kevin’s attention, looking over, expectant:
BLACK
How you get to work?
KEVIN
Jitney.
Bus.
Sometimes Samantha shoot me out
there if I got Lil’ Kevin.
Black nodding.
BLACK
Can’t picture bein’ in Miami with
no car, man.
KEVIN
Yeah it’s real out here.
BLACK
I bet.
KEVIN
Real slow, real hot, real busted,
got me like a duck out here.
Both laughing at that, you can be called a lot of things in
Miami and next to snitch, duck is about the worst.
BLACK
You on one.
KEVIN
Nah man, I’m just tired.
(and)
I used to be up in them traps, too.
Wasn’t easy; was hard as hell,
harder than this, man, but not
much. Feel like I work damn near as
hard to make a day’s pay trappin’
in two weeks cookin’.
Black just nodding, his blinker flicked, the business of
driving.
KEVIN
Make everything hurt a lot more.
Feel like that cat from In Livin’
Color: “My neck, my back... my neck
and my back.”
That cracking both of them up, nostalgia of it as much as
anything else.
The laughter carries them a ways. Before they know it, Black
is shifting onto the freeway.
Kevin looking out the window there. On his right as they
travel east away from the Miami that brings black boys up so
hard: Fischer Island, the Miami immortalized in Rick Ross
rhymes and Miami Vices.
KEVIN
Bet on this the ride, Chi’.
BLACK
Can’t have you on no Jitney.
More road, more lights, more of the silence mapping out this
space between them.
KEVIN
So Chiron....
Kevin looking directly at Black now. They’re on the freeway;
Black is driving. And yet... Kevin holding this thought
aloft, looking across the interior of this car until Black
looks back, meets his gaze.
He does.
KEVIN
You just drove here?
BLACK
Yeah.
KEVIN
Like you just was on one and got on
the highway?
BLACK
Yeah.
A beat as they hold eyes.
KEVIN
Where you gon’ stay tonight?
Nothing from Black. Nothing, no words, no gestures, nothing
rendered from him in this moment.
Black should be driving, should have eyes on the road, paying
attention to the other cars, the things passed. Instead, all
eyes on Kevin, staring back at the man lost in that question,
the space between its posing and this beat the clear answer.
Kevin looks away, out the window again. The earth just moved.
They both felt it.
Kevin reaching for the dial, raises the volume on that sound
system. A moment of this travel, Purple Haze enveloping them
in this unspoken pact for a beat, then...
Ratings
Scene 57 - Silent Connections
A public parking lot, open-air, twenty-four hours. Black and
Kevin exiting the car, Kevin careful not to slam the door,
immaculate this car.
He begins across the lot but looks back -- Black is still
there, beside the car with the door aloft.
The ocean is out there, the SOUND of it just beyond -- wind
and rolling waves -- a pathway sloping down to shore.
In this darkness, he can’t see it from here, but... in
Black’s gaze? He certainly can feel it.
The longest beat, then....
UP CUT TO:
96A OMITTED 96A
96B EXT. KEVIN’S APARTMENT - NIGHT - ESTABLISHING 96B
Black and Kevin enter the courtyard of this modest complex,
make their way across a gravel walk. The SOUND of window-
mounted AC units.
The SOUND of privacy.
Ratings
Scene 58 - Reconnecting in the Quiet
Black standing in the living room as Kevin moves away,
disappears into another area of the apartment.
Alone, Black takes the place in: simple, modest, sparsely
furnished with things that seem to have been found on
sidewalks.
On a table there, a single image of a small boy, a photo that
looks very much like the Young Kevin from earlier.
The sound of a toilet flushing, Kevin reappearing now, his
work clothes shed, jeans and a T-shirt as he moves through
the space.
KEVIN
Want somethin’ to drink? Beer?
Water?
BLACK
Yeah. Some water.
Kevin over at the sink now, a straight sight-line to it from
the living room here. Black watching as Kevin pours a glass
from the tap, adds ice cubes from a plastic tray in the
freezer.
Kevin gesturing to a simple folding table near Black, moves
over to it and sets down two glasses of water, Black sitting
opposite him.
Kevin watching as Black drinks his water, something not quite
exaggerated but extended in the act, Kevin’s eyes searching
the nape of Black’s neck.
He smiles.
KEVIN
Who is you, man?
BLACK
Who, me?
KEVIN
Yeah, nigga.
You.
Them fronts? That car? Who is you,
Chiron?
Black shrugging his shoulders, smiles sheepishly:
BLACK
I’m me, man, ain’t tryna be nothin’
else.
KEVIN
So you hard now?
BLACK
I ain’t say that.
KEVIN
Then what?
Beat.
KEVIN
Look, I’m not tryna hem you up.
Just... I ain’t seen you in a
minute. Not what I expected, none
of it. Not good or bad, just not
what I expected.
BLACK
Well what did you expect?
Kevin thinking about that one, has to ask himself: what did
he expect?
KEVIN
You remember the last time I saw
you?
At first, just a nod from Black, a plaintive gesture from his
body but in those eyes, so much more.
BLACK
For a long time, tried not to
remember.
Kevin nodding.
BLACK
Tried to forget all those times.
The good...
...the bad.
All of it.
KEVIN
Yeah.
I know.
BLACK
When we got to Atlanta... I started
over. Built myself from the ground
up. Built myself hard.
Beat.
BLACK
What about you?
KEVIN
Me? I just kept on, man. I wasn’t
never worth shit, never did
anything I actually wanted to do,
was all I could do to do what other
folks thought I should do, I wasn’t
never myself.
BLACK
And now?
KEVIN
Now? Now I got Lil’ Kev’, got this
job man, got another 18 months of
probation.
BLACK
Damn... that’s real shit.
KEVIN
Yeah, but it’s a life, you know? I
never had that before. Like... I’m
tired as hell right now and I ain’t
makin’ more than shoe money, but...
I got no worries, man. Not them
kind what I had before. That’s some
real shit, that’s that Bob Marley
shit, nigga.
Black lightening at that, a little smile. It’s only amplified
as Kevin starts to do a little bob and weave, ad-libbing a
Marley’esque hymn.
Black smiling as Kevin’s eyes alight with this little ditty.
Kevin rises, heads over to the small kitchen -- running
water.
He toggles a small radio. The SOUND of Kevin rotating through
the dial, finally landing on a station, late night R&B, like
DeBarge’s All This Love.
Kevin comes back over, settles. Muted music from that kitchen
radio. He takes up his glass of water and enjoys another sip.
Black fixes him in his sights, more directly than before:
BLACK
You’re the only man who’s ever
touched me.
The air going out of Kevin’s chest, his gaze fixated on
Black’s lips, anticipating the words falling from there:
BLACK
The only one.
Black’s hand is flat atop the table between them. His eyes
lower to it:
BLACK
I haven’t really touched anyone,
since.
Ratings
Scene 59 - In the Dark: A Moment of Reconnection
Black sitting at the foot of the bed, fully clothed, hands
clasped between his knees, leaned over slightly.
Kevin standing before him, frozen.
They hold each other’s eyes an interminable beat.
Black stands shakily. Kevin watches him as he closes the
space between them, drawing right up to him. Kevin takes a
hand and lays it flat against Black’s chest.
A puzzled look coming over Kevin’s face.
KEVIN
You shakin’.
BLACK
Yeah.
KEVIN
Wait.
Kevin crosses the doorway, flips a switch:
TOTAL DARKNESS
...only the soft thudding of feet crossing the floor.
Another beat, then, under darkness:
BLACK
I’m shakin’.
KEVIN
Yeah.
BLACK
I’m still shakin’.
KEVIN
Yeah.
The SOUND of bodies touching, the beginning of things,
then...
...another sound rising -- from afar -- the SOUND of waves
crashing, rushing onto shore.
And mingling with that rush of waves, the sound of lips and
hands, the joining of bodies, somewhere in this darkness
Black and Kevin re-learning one another as we CUT TO...
Ratings
Scene 60 - Into the Waves
Those waves heard crashing moments earlier on full display,
rushing ashore at a frothy run.
Dark out, extremely dark save for the lights of beach bars a
ways down the ocean front. The undulating rhythms of the
Atlantic catch the moon, glint it all over.
As we observe this movement of water and dance of light,
shoulders appear, bare, gaunt: LITTLE from our opening
episode.
Calmly, methodically, Little moves across the sand,
approaching the water. A beat more of Little easing up to the
surf, then...
...he looks back: his dark skin moistened in the ocean spray,
moon catching him same as its catching the surface of the
Atlantic.
And those eyes: looking right at us, staring plaintively,
plainly, nothing requested, no expectation: just a clear,
undisturbed openness.
Hold this gaze, then...
...Little turning from us, his form and movement slowly,
steadily melding into the flow of light and waves as we heads
out into the ocean and we...
FADE TO BLACK.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
juan |
|
Juan's character arc is compelling, showcasing a significant transformation from a hardened drug dealer to a compassionate mentor. However, the transition could benefit from more gradual development. At times, the shifts in his demeanor feel abrupt, which may confuse the audience regarding his motivations and emotional state. Additionally, while his protective instincts are clear, the reasons behind his loyalty and the depth of his past conflicts could be explored further to enhance the emotional weight of his journey. | To improve Juan's character arc, consider incorporating more flashbacks or dialogue that reveals his backstory and the events that shaped him. This could provide context for his protective instincts and emotional struggles. Additionally, introducing moments of vulnerability earlier in the narrative could create a more gradual transition in his character, allowing the audience to witness his internal conflict and growth in real-time. Finally, exploring his relationships with other characters beyond Little could add depth and complexity to his motivations, making his eventual transformation more impactful. |
little |
|
While Little's character arc effectively portrays his journey from vulnerability to resilience, it could benefit from more explicit moments of growth and transformation. The screenplay should ensure that his development is not only shown through external challenges but also through internal reflections and realizations. Additionally, the pacing of his emotional journey may feel rushed in certain scenes, potentially leaving the audience wanting more depth in his character evolution. |
|
paula |
|
Paula's character arc is compelling, showcasing her struggles and growth throughout the screenplay. However, the emotional transitions between her moments of strength and vulnerability could be more nuanced. At times, her character may come across as overly reactive, which can detract from the depth of her emotional journey. Additionally, the resolution of her arc may feel rushed, lacking sufficient buildup to her transformation. | To improve Paula's character arc, consider incorporating more gradual shifts in her emotional state, allowing for moments of reflection and introspection. This could involve scenes where she engages in self-care or seeks support from others, highlighting her journey towards healing. Additionally, providing more context for her past mistakes and their impact on her relationship with Chiron could deepen the audience's understanding of her character. Finally, ensure that the resolution feels earned by allowing for a more extended exploration of her efforts to reconnect with Chiron, showcasing the challenges and small victories along the way. |
kevin | Kevin's character arc begins with him as a hotheaded and resilient young boy who values strength and toughness. As he engages with Little and helps him build confidence, he begins to show glimpses of his compassionate side. Transitioning into his teenage years, Kevin becomes more charismatic and carefree, yet still struggles with his identity and desires, particularly in his relationship with Chiron. His internal conflict intensifies as he navigates loyalty to friends versus his true feelings. As an adult, Kevin reflects on his past mistakes and seeks redemption, finding solace in cooking and reconnecting with Black. By the end of the screenplay, Kevin emerges as a warm, affectionate, and introspective character who has learned to embrace his vulnerabilities and seek meaningful connections. | While Kevin's character arc is rich and layered, it may benefit from a clearer trajectory that emphasizes his internal struggles and growth. The transitions between his younger self, teenage years, and adulthood could be more pronounced, allowing the audience to witness the evolution of his character more distinctly. Additionally, while his charm and humor are well-established, there could be moments where his vulnerabilities are more explicitly showcased, providing a deeper emotional resonance. | To improve Kevin's character arc, consider incorporating pivotal moments that highlight his internal conflicts and decisions that lead to his growth. For instance, scenes that force him to confront his vulnerabilities directly, such as a confrontation with a past mistake or a moment of vulnerability with Chiron, could deepen the audience's understanding of his character. Additionally, integrating flashbacks or reflective moments throughout the screenplay could provide context for his emotional journey, allowing viewers to see how his past shapes his present. Finally, ensuring that his relationships with other characters evolve in tandem with his personal growth will create a more cohesive and impactful narrative. |
chiron | Chiron's character arc follows his evolution from a vulnerable and conflicted young boy into a resilient and self-aware young man. Initially, he is portrayed as a target of bullying, struggling with his identity and the neglect from his mother. As he faces adversity, he begins to internalize his emotions, leading to a deep sense of loneliness and detachment. Throughout the narrative, Chiron experiences pivotal moments that challenge his sense of self and force him to confront his vulnerabilities. His journey of self-discovery is marked by significant relationships that provide him with glimpses of connection and understanding. Ultimately, Chiron's arc culminates in a moment of defiance and empowerment, where he embraces his identity and asserts his place in the world, transforming his internal struggles into a source of strength. | Chiron's character arc is compelling and rich with emotional depth, effectively capturing the struggles of adolescence and identity. However, the arc could benefit from clearer milestones that highlight his growth and transformation. While the internal conflict is well-established, the external challenges he faces could be more pronounced to create a stronger contrast between his initial vulnerability and eventual resilience. Additionally, the relationships that influence his journey could be further developed to provide a more nuanced understanding of how they shape his character. | To improve Chiron's character arc, consider incorporating more distinct turning points that showcase his growth, such as moments of confrontation with his bullies or pivotal interactions with supportive figures. These moments could serve as catalysts for his transformation, allowing the audience to witness his evolution more clearly. Additionally, exploring the dynamics of his relationships in greater depth could enhance the emotional stakes of his journey. For instance, highlighting key interactions with his mother or friends that challenge his perceptions of self-worth could add layers to his character development. Finally, integrating visual or symbolic elements that represent Chiron's internal struggles and growth could further enrich the narrative and provide a more immersive experience for the audience. |
terrell | Terrell begins as a one-dimensional bully, reveling in his power over Chiron and others. As the story progresses, he faces challenges that force him to confront the consequences of his actions. A pivotal moment occurs when he witnesses the impact of his bullying on Chiron, leading to a moment of self-reflection. By the end of the feature, Terrell experiences a transformation, recognizing the pain he has caused and grappling with his own insecurities. This arc culminates in a choice: to continue his path of aggression or to seek redemption by standing up against bullying, ultimately leading to a more complex understanding of masculinity and empathy. | While Terrell's character serves as a strong antagonist, his arc risks being predictable and lacking depth. The initial portrayal of him as a bully may alienate some viewers if not balanced with moments of vulnerability or complexity. The transformation from bully to a more reflective character is a common trope, and without careful development, it may come off as unearned or clichéd. | To improve Terrell's character arc, consider introducing backstory elements that explain his bullying behavior, such as family issues or personal insecurities. This would add depth and make him more relatable. Additionally, incorporating moments where Terrell shows glimpses of empathy or conflict about his actions could create a more gradual and believable transformation. Engaging him in a subplot that challenges his views on masculinity and power could also enhance his character development, making his eventual change feel more impactful and earned. |
black | Black's character arc follows a trajectory of self-discovery and transformation. Initially, he is portrayed as a distant and defiant individual, struggling with his past and reluctant to open up. As the story progresses, he begins to confront his internal conflicts, leading to a gradual shedding of his hardened exterior. Key interactions with Kevin serve as catalysts for his emotional growth, allowing him to reconnect with his past and explore his vulnerabilities. By the end of the feature, Black emerges as a more open and reflective individual, having made significant strides toward redemption and acceptance of his true self. His journey is marked by a shift from isolation to connection, ultimately embracing the possibility of change and healing. | While Black's character arc is compelling and rich with emotional depth, it may benefit from clearer milestones that highlight his transformation. The gradual evolution of his character is engaging, but certain pivotal moments could be emphasized to enhance the audience's understanding of his growth. Additionally, while his introspective nature is a strength, there may be instances where more overt expressions of his emotions could create a stronger connection with the audience. The balance between his guardedness and vulnerability is crucial, and ensuring that these moments are well-paced will enhance the overall impact of his journey. | To improve Black's character arc, consider incorporating specific turning points that challenge his internal conflicts more directly. For example, introducing a moment of crisis that forces him to confront his past head-on could serve as a powerful catalyst for change. Additionally, allowing for more dynamic interactions with supporting characters could provide opportunities for Black to express his emotions more openly, creating a richer emotional landscape. Finally, integrating visual and auditory cues that reflect his internal struggles throughout the screenplay can enhance the audience's connection to his journey, making his eventual transformation more impactful. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Inverse Relationship between Emotional Impact and Dialogue/Concept Scores in Reflective Scenes | Scenes with a high 'Reflective' tone (e.g., scenes 6, 10, 14, 31, 32, 44, 46, 47, 51, 55-57) tend to have lower scores in 'Emotional Impact' while simultaneously maintaining high scores in 'Dialogue' and 'Concept'. This suggests a potential over-reliance on exposition or descriptive language in these reflective sequences at the expense of immediate emotional resonance. Consider exploring alternative ways to convey emotion, perhaps through subtle actions, visual imagery, or internal monologues rather than solely relying on dialogue. |
High Tension Scenes Often Lack in Character Change | Many scenes with high 'Tension' scores (e.g., scenes 1-4, 7, 9, 18, 28, 29, 37, 43, 48, 49) show relatively low scores in 'Character Changes'. This could indicate that the tension is built through external events rather than internal character development. Consider incorporating internal conflict and character arcs even within high-tension sequences to deepen engagement. |
Strong Concept and Dialogue Scores Don't Always Translate to High Overall Grade | Several scenes demonstrate a high score for 'Concept' and 'Dialogue' (scenes 6, 14, 31, 32, 44, 46, 51, 55-57) but a comparatively lower overall grade. This points to a possible imbalance between intellectual engagement and emotional impact. The audience may be intellectually stimulated but not emotionally invested. Ensure that strong concepts and dialogue directly contribute to the emotional arc of the story. |
Low Emotional Impact in Scenes with High 'Intimate' Tone | Scenes with a strong 'Intimate' tone (scenes 5, 6, 33, 34, 44, 55, 58, 59) often have unexpectedly low 'Emotional Impact' scores despite other high scores. This could indicate that the intimacy fails to create a strong emotional connection. Explore whether these intimate scenes genuinely serve the overall emotional journey or if they feel detached or overly descriptive. |
Consistent High Scores in 'Tone', 'Plot', and 'Concept' | The screenplay consistently achieves high scores in 'Tone', 'Plot', and 'Concept', suggesting a strong narrative structure and engaging thematic ideas. This is a significant strength. |
Clusters of Low 'Emotional Impact' Scores | There are noticeable clusters of scenes (around scenes 6, 14, 31-34, 44, 51, 55-57) with comparatively lower 'Emotional Impact' scores. Analyze the placement of these scenes within the larger narrative. Are they providing necessary exposition or pacing? Or do they require revision to heighten the emotional engagement. |
High Stakes Don't Always Correspond with High Emotional Impact | While many scenes are rated highly for 'High Stakes' (especially in the intense sections), the 'Emotional Impact' scores are not consistently high. This might suggest that the stakes aren't effectively translated into the characters' emotional experiences for the audience. Explore how to better connect the external conflict with the characters' internal worlds. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong foundation in creating emotionally resonant scenes with authentic character interactions. The writer exhibits a talent for conveying complex emotions and relationships, particularly through dialogue and atmospheric descriptions. However, there's a consistent reliance on similar feedback across multiple scenes, indicating a need for broader stylistic exploration and a more diverse approach to storytelling techniques.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Screenplay | Read diverse screenplays: *Moonlight* (Barry Jenkins), *Training Day* (David Ayer), *Good Will Hunting*, *Dead Poets Society*, screenplays by Ava DuVernay, Richard Linklater, Charlie Kaufman, Greta Gerwig, Noah Baumbach, and David Simon (e.g., *The Wire*). Analyze how each writer handles dialogue, pacing, character development, and thematic exploration. | This addresses the over-reliance on a single stylistic influence and the need for stylistic diversity. These diverse examples showcase various approaches to character development and narrative structure. |
Book | Read *Save the Cat* by Blake Snyder, *The Screenwriter's Bible* by David Trottier, *The Anatomy of Story* by John Truby, and *The Emotional Craft of Fiction* by Donald Maass. | These books provide comprehensive guidance on various aspects of screenwriting, including structure, character development, pacing, emotional depth, and plot construction. They address multiple key improvement areas identified in the analysis. |
Video | Watch interviews with Barry Jenkins, Ava DuVernay, and other prominent screenwriters discussing their creative process and influences. Watch *The Wire* TV series for observing authentic portrayal of urban settings and power dynamics. | Understanding the creative process of successful screenwriters can provide valuable insights into techniques and approaches that can enhance the writer's own craft. |
Course | Consider enrolling in a screenwriting workshop focused on dialogue, character development, and scene structure. | Workshops provide structured feedback and interaction with other writers, which aids in refining skills and receiving constructive criticism to address identified weaknesses. |
Stories Similar to this one
Story | Explanation |
---|---|
Moonlight | Both stories explore themes of identity, masculinity, and the struggles of growing up in a challenging environment. The character dynamics between Juan and Little in the screenplay mirror the relationship between Chiron and Juan in 'Moonlight,' highlighting mentorship and the search for belonging. |
The Florida Project | This film shares a similar setting in Florida and focuses on the lives of children navigating a harsh reality. The innocence of childhood is juxtaposed with the struggles of their parents, much like the interactions between Little and his mother, Paula, in the screenplay. |
Precious | Both narratives center around young individuals facing adversity due to their family situations and societal pressures. The emotional depth and the journey of self-discovery resonate in both stories, particularly in the relationships between the protagonists and their caregivers. |
Boyhood | This film chronicles the life of a boy from childhood to adulthood, capturing the nuances of growing up. The screenplay similarly portrays Little's development and the impact of his environment on his identity, emphasizing the passage of time and personal growth. |
The Pursuit of Happyness | Both stories depict a father's struggle to provide for his child amidst difficult circumstances. The bond between Juan and Little reflects the themes of resilience and hope found in the relationship between Chris Gardner and his son in 'The Pursuit of Happyness.' |
A Streetcar Named Desire | This classic play explores themes of desire, identity, and the complexities of human relationships. The tension between characters and the emotional struggles depicted in the screenplay echo the dynamics found in Tennessee Williams' work. |
The Wire | This television series delves into the lives of individuals in Baltimore, highlighting the impact of drugs, crime, and socio-economic challenges. The screenplay's focus on the drug trade and its effects on youth parallels the themes explored in 'The Wire.' |
Stand by Me | Both stories feature young boys navigating their friendships and the challenges of growing up. The exploration of innocence, fear, and the bond between characters in the screenplay is reminiscent of the camaraderie and adventures depicted in 'Stand by Me.' |
The Kite Runner | This novel explores themes of friendship, betrayal, and redemption against a backdrop of socio-political turmoil. The emotional depth and the exploration of childhood trauma in the screenplay resonate with the experiences of the characters in 'The Kite Runner.' |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Found Family | Juan takes Little under his wing, providing him with food, shelter, and emotional support. | The found family trope involves characters forming close bonds that resemble familial relationships, often in the absence of biological family. An example is in 'The Fast and the Furious' series, where the crew becomes a family despite their diverse backgrounds. |
The Mentor | Juan acts as a mentor to Little, guiding him through difficult situations and teaching him life lessons. | The mentor trope features a character who provides guidance and support to a younger or less experienced character. An example is Mr. Miyagi in 'The Karate Kid,' who teaches Daniel not just karate but also life skills. |
Child in Peril | Little is chased by older boys, creating a sense of danger and urgency. | This trope involves a child facing significant danger, often prompting adult characters to intervene. A classic example is in 'Home Alone,' where Kevin is left to fend for himself against burglars. |
The Struggling Single Parent | Paula, Little's mother, is depicted as overwhelmed and struggling to care for her son. | This trope portrays single parents facing challenges in raising their children, often due to financial or emotional struggles. An example is in 'The Pursuit of Happyness,' where Chris Gardner struggles to provide for his son. |
The Innocent | Little embodies innocence, navigating a harsh world while trying to find his place. | The innocent trope features a character who is naive or untainted by the world's harsh realities. An example is in 'The Lion King,' where Simba starts as an innocent cub unaware of the dangers around him. |
The Bully | Older boys bully Little, showcasing the harsh realities of childhood. | The bully trope involves a character who intimidates or harasses others, often to assert dominance. An example is in 'Mean Girls,' where Regina George bullies her peers to maintain her social status. |
The Emotional Climax | The relationship between Juan and Little reaches a pivotal moment of connection and understanding. | This trope refers to a peak emotional moment that significantly impacts the characters' relationships. An example is in 'The Notebook,' where Noah and Allie confront their feelings for each other. |
The Journey of Self-Discovery | Little's experiences with Juan lead him to explore his identity and emotions. | This trope involves a character's journey to understand themselves better, often through challenges and relationships. An example is in 'Eat Pray Love,' where the protagonist travels to find herself. |
The Tragic Backstory | Characters like Paula and Juan have troubled pasts that influence their current actions. | This trope involves characters with painful histories that shape their motivations and behaviors. An example is in 'Batman Begins,' where Bruce Wayne's parents' murder drives him to become Batman. |
The Redemption Arc | Juan seeks to redeem himself through his relationship with Little. | This trope involves a character striving to atone for past mistakes, often leading to personal growth. An example is in 'Atonement,' where Briony seeks forgiveness for her past actions. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Resilience and the Search for Belonging | Chiron's journey from a bullied and abused child to a self-assured adult named Black shows his constant struggle for acceptance and self-discovery. He faces abandonment, violence, and societal neglect, yet persistently seeks connection and a sense of belonging. | This theme focuses on the character's innate ability to overcome hardship and find strength within himself. It emphasizes the universal human need for connection and the importance of self-acceptance. | ||||||||||||
Strengthening Resilience and the Search for Belonging:
| ||||||||||||||
Trauma and its Impact | Chiron experiences significant childhood trauma, including physical and emotional abuse from his mother, bullying at school, and exposure to violence and drug abuse in his environment. This trauma shapes his personality and influences his relationships. | This theme explores the lasting effects of trauma on an individual's development, relationships, and self-perception. It shows how past experiences can profoundly impact present behavior and emotional well-being. | ||||||||||||
Mentorship and the Power of Connection | Juan acts as a crucial mentor figure in Chiron's life, offering him guidance, support, and a sense of safety. Later, Kevin provides a vital connection and understanding. | This theme highlights the positive influence of supportive relationships in helping individuals overcome adversity and build self-esteem. It shows the transformative power of human connection and understanding. | ||||||||||||
Sexuality and Identity | Chiron's exploration of his sexuality is a significant aspect of his journey, interwoven with his experiences of bullying and self-discovery. His relationship with Kevin explores the complexities of intimacy and self-acceptance within a hostile environment. | This theme addresses the challenges and complexities of navigating sexual identity, particularly in a context of societal prejudice and personal insecurity. | ||||||||||||
Mother-Son Relationship and Parental Neglect | The complex and strained relationship between Chiron and his mother, Paula, reflects themes of addiction, neglect, and the enduring bonds of family despite hardship. | This theme explores the challenges of dysfunctional families and the lasting impact of parental neglect on children. It showcases the complexities of familial love and the difficulties of breaking free from destructive patterns. | ||||||||||||
Drug Abuse and its Consequences | The prevalence of drug abuse in Chiron's environment and within his family reflects the societal issues surrounding addiction and its impact on individuals and communities. | This theme serves as a backdrop to the narrative, highlighting the social and personal challenges associated with substance abuse and its consequences. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
---|---|
Summary: | The writer's voice is characterized by a gritty realism, a focus on emotional depth and vulnerability, particularly within complex interpersonal relationships, especially those marked by trauma and social inequity. The style leans towards naturalistic dialogue, punctuated by moments of sparse, impactful language and vivid sensory detail, particularly visual imagery. There's a strong sense of unspoken tension and understated emotion, allowing the audience to inhabit the characters' internal worlds. |
Voice Contribution | The writer's voice contributes to the script by creating a powerfully immersive and emotionally resonant experience. The gritty realism of the setting and dialogue grounds the narrative in harsh realities, while the focus on vulnerability and unspoken emotions creates a profound intimacy with the characters. This combination enhances the themes of resilience, identity, and the lasting impact of trauma, adding significant depth to the story. |
Best Representation Scene | 14 - Moonlit Reflections |
Best Scene Explanation | Scene 14 best represents the writer's voice because it masterfully blends all three aspects: dialogue, narrative, and direction. The dialogue is authentic and reveals character through seemingly simple conversation. The narrative description vividly paints the serene beach setting, creating a powerful contrast to the emotional depth of the conversation. Finally, the implied direction—focusing on subtle gestures and unspoken understanding between Juan and Little—further amplifies the emotional resonance of the scene, showcasing the writer's ability to communicate profound meaning through understatement and subtle interaction. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay demonstrates a high level of originality through its nuanced exploration of complex themes such as identity, vulnerability, and interpersonal relationships. Each scene offers fresh perspectives on familiar narratives, particularly in the context of urban life, family dynamics, and the struggles of youth. The authenticity of the characters' dialogue and actions, combined with vivid descriptions and emotional depth, sets the screenplay apart from typical portrayals in the genre.
- Most unique situations: The most unique situations in the screenplay are the intimate moments shared between characters, such as the tender interactions between Juan and Little, the exploration of masculinity and vulnerability during the wrestling match between Little and Kevin, and the profound connection established between Black and Kevin as they navigate their past and present lives. Additionally, the portrayal of Little's journey towards self-acceptance and the emotional weight of his experiences adds a distinctive layer to the narrative.
- Overall unpredictability score: 7
- Overall unpredictability explanation: The screenplay maintains a moderate level of unpredictability, as it often subverts typical tropes associated with its themes. While certain plot points may follow familiar arcs, the depth of character development and the emotional stakes involved create an engaging narrative that keeps the audience guessing. The interactions between characters, particularly in moments of vulnerability and tension, often lead to unexpected revelations and outcomes, enhancing the overall unpredictability of the story.
Goals and Philosophical Conflict | |
---|---|
internal Goals | The protagonist's internal goals evolve from striving for safety and connection in a hostile environment to confronting and reconciling with his past identity and relationships. Initially focused on mere survival, the protagonist transitions to seeking acceptance, understanding, and ultimately healing, highlighting an emotional journey shaped by fear, vulnerability, and a longing for belonging. |
External Goals | The protagonist's external goals evolve from maintaining authority within his environment to protecting those he cares about and attempting to build a life free from the shadows of his past. These goals become increasingly complex as he seeks safety for Little, navigates social dynamics, and ultimately strives for a life where he can foster genuine connections. |
Philosophical Conflict | The overarching philosophical conflict revolves around Identity vs. Acceptance, highlighting the protagonist's struggle to reconcile his past with his current self and his desire for connection in a world that often marginalizes him. |
Character Development Contribution: The evolution of the protagonist's goals contributes significantly to character development, showcasing his journey from fear and isolation to courage and interconnectedness. This transformation suggests a deeper understanding of himself and his relationships, culminating in a new-found confidence in navigating his identity.
Narrative Structure Contribution: The interplay of internal and external goals enhances the narrative structure by creating tension and stakes that drive the protagonist's actions. This drive not only propels the story forward but also intertwines multiple character arcs that reflect the broader themes of identity and belonging.
Thematic Depth Contribution: The conflicts presented, both internal and external, contribute to the thematic depth by exploring the multifaceted nature of identity, the struggles against societal and personal expectations, and the importance of connection and acceptance. This layering invites audiences to reflect on their experiences and resonates on both emotional and intellectual levels.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
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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 screenplay depicts a multifaceted physical environment primarily set in Miami, Florida, encompassing a range of locations from gritty, impoverished urban neighborhoods (Liberty City, rundown apartment buildings, condemned structures, crack houses) to more affluent areas (Coral Gables, suburban homes, Miami Beach). The settings often reflect a state of disrepair and neglect, contrasting sharply with moments of natural beauty (Miami Beach, ocean, parks) and more comfortable domestic spaces (Juan's home, Paula's apartment, Kevin's apartment). The film also includes scenes set in Atlanta, Georgia (rehab center, Black's apartment), and a diner, emphasizing diverse settings within urban landscapes.
- Culture: The cultural elements are deeply rooted in the Black experience in urban America, particularly within the context of poverty, drug use, and masculinity. The use of specific slang, hip-hop music, and 'chopped and screwed' music reflects a distinct cultural identity. There are also elements of Cuban culture (Juan's heritage, Cuban cuisine in the diner) and the diverse racial identities within the broader Miami community are highlighted. The scenes show the importance of family dynamics, community support (even within challenging circumstances), and the navigation of complex relationships in a specific cultural context.
- Society: The societal structure is depicted as hierarchical and often oppressive, particularly regarding race, class, and sexuality. Drug dealing, poverty, violence, bullying, and dysfunctional families are prevalent, reflecting the challenges faced by many characters. There's a contrast between the harsh realities of poverty and neglect in Liberty City and the more privileged environments, exposing economic inequality. The film shows the impact of the criminal underworld and the struggles of single mothers. The institutional structures (school, rehab center, prison) are also portrayed as having both supportive and oppressive aspects, highlighting the need for guidance and the difficulties in overcoming societal obstacles.
- Technology: Technology is relatively minimal, primarily reflecting the time period. Vintage cars, analog televisions, and old-school jukeboxes represent a specific era. However, more modern technology, such as mobile phones, also makes appearances. The limited technology emphasizes the human interactions and emotional depth. The car, specifically the Chevy Impala, becomes a significant symbol representing mobility, power, and escape, while its presence varies across different social and economic contexts.
- Characters influence: The world's harsh physical environment, societal structures, and cultural norms deeply shape the characters' actions and experiences. The characters are forced to navigate dangerous situations, make difficult choices, and grapple with trauma, violence, and poverty. Their resilience, vulnerability, and capacity for love are all tested by their circumstances. The limited technology doesn't dictate the characters' actions but rather highlights their human reactions in the face of social challenges.
- Narrative contribution: The varied settings and social contexts drive the narrative forward, providing the backdrop for the characters' journeys and interactions. The progression of settings mirrors the character's physical and emotional journeys, highlighting their growth and change over time. The contrasts between different locations and social groups also create tension, suspense, and a sense of realism. The scenes establish and move the narrative along, offering emotional grounding for major events and transformations.
- Thematic depth contribution: The world-building contributes significantly to the thematic depth of the screenplay by exploring themes of identity, resilience, masculinity, sexuality, and the impact of social and economic inequality on individuals' lives. The physical and social environments visually underscore the characters' struggles, internal conflicts, and their quests for self-discovery and belonging. The cultural and societal elements provide the framework for exploring complex relationships and moral dilemmas. The combination of setting and plot builds a strong foundation for the film's exploration of profound human experiences within the confines of a specific, compelling world.
central conflict
The struggle for identity and belonging amidst a backdrop of familial dysfunction, societal expectations, and personal trauma.
primary motivations
- Juan's desire to protect and nurture Little.
- Little's quest for safety, acceptance, and understanding.
- Paula's struggle with addiction and her conflicting role as a mother.
catalysts
- Juan's encounter with Little in the condemned building.
- The escalating violence and bullying faced by Little.
- The reunion between Black and Kevin, which reignites past emotions.
barriers
- Societal pressures and expectations regarding masculinity and identity.
- Paula's addiction and instability affecting her relationship with Little.
- The bullying and violence that Little faces from peers.
themes
- The search for identity and self-acceptance.
- The impact of environment and upbringing on personal development.
- The complexities of love and familial relationships.
stakes
The emotional and physical safety of Little, the potential for Juan to find redemption, and the possibility of reconnection between Black and Kevin.
uniqueness factor
The narrative's non-linear storytelling and the deep exploration of masculinity and vulnerability within the context of the African American experience.
audience hook
The emotional depth and relatability of the characters' struggles, particularly the universal themes of love, acceptance, and the search for identity.
paradoxical engine or bisociation
The juxtaposition of childhood innocence against the harsh realities of life, creating a tension that drives character development and emotional resonance.
paradoxical engine or bisociation 2
The contrast between the characters' desires for connection and the societal forces that isolate them, highlighting the struggle between personal truth and external expectations.
Engine: Gemini
Highly Recommend
Executive Summary
Moonlight is a profoundly moving and beautifully written screenplay that masterfully portrays the complexities of identity, sexuality, and masculinity through the life journey of Chiron. Its poetic visuals, nuanced character development, and powerful thematic resonance make it a truly exceptional piece of storytelling. While minor improvements to pacing in certain sections could enhance the viewing experience, the overall narrative strength and emotional impact are undeniable, making it a highly recommended project.
- The screenplay showcases exceptional visual storytelling, crafting powerful imagery that conveys emotion and atmosphere effectively. The scenes where Chiron interacts with Juan, the beach scenes, and the wrestling scene are particularly effective in this regard. The use of evocative language in combination with visually potent scenes paints a vivid picture for the audience. high ( Scene 1 (1) Scene 3 (3B) Scene 13 (19) Scene 17 (17) Scene 53 (53) )
- The screenplay excels in its nuanced character development. Chiron's journey is carefully crafted, showing his evolution across different stages of life and the impact of his relationships. Supporting characters, like Juan and Paula, are also well-developed, contributing significantly to the overall story and their relationships with Chiron. high ( Scene 6 (6) Scene 9 (9) Scene 13 (13) Scene 20 (20) Scene 40 (40) Scene 41 (41) )
- The dialogue is realistic, sparse yet meaningful, reflecting the emotional complexity of the characters and their relationships. It avoids overly sentimental or cliché language, maintaining a sense of authenticity. high ( Scene 20 (20) Scene 33 (33) Scene 58 (58) Scene 59 (59) )
- The screenplay successfully maintains thematic consistency throughout. The themes of identity, sexuality, masculinity, and the impact of trauma are woven seamlessly into the narrative from beginning to end, creating a cohesive and resonant story. high
- The narrative structure, utilizing a three-part structure mirroring Chiron's life stages, is effective in showcasing his development and the recurring themes. The non-linear storytelling adds depth and complexity, keeping the audience engaged and invested in Chiron's journey. medium
- While the scene depicting the boys comparing their penises is impactful, its inclusion might feel jarring or gratuitous to some viewers, and potentially detracting from the film’s artistic integrity and pacing. Consider subtly altering the scene to maintain its thematic relevance while mitigating any potential discomfort. medium ( Scene 24 (24) Scene 25 (25) )
- Some sections of the screenplay could benefit from a slightly faster pace. Certain scenes, particularly those in the middle section, might feel slightly drawn-out, potentially impacting viewer engagement. Careful editing and scene trimming could address this without compromising the emotional depth. low
- While the screenplay effectively explores Chiron's internal struggles, a slightly more developed exploration of the societal forces shaping his life could enhance the thematic resonance and broader social commentary. Though implicit, making the environmental challenges Chiron faces more explicit could strengthen the narrative. low
- The use of music is masterful, complementing the visuals and emotional tone of the scenes. It enhances the atmosphere and underscores the characters' feelings, contributing significantly to the overall artistic impact. The specific musical choices enhance the cultural and emotional weight of the film, a deliberate creative choice that elevates the screenplay. high
- The screenplay’s use of symbolism, particularly the recurring motif of the ocean, is evocative and deeply meaningful, adding layers of interpretation to the story. It speaks to the larger themes of identity, self-discovery, and finding peace. high
- The non-linear narrative structure, effectively using flashbacks to unfold Chiron's life across three distinct stages, offers a unique and compelling storytelling approach. It enhances the emotional impact and allows for a richer understanding of Chiron's character arc. medium
- Underrepresentation of female perspectives While Paula and Teresa are significant characters, their stories feel somewhat underdeveloped compared to Chiron's journey. The screenplay could benefit from a more balanced exploration of female perspectives and experiences within the narrative, providing a deeper understanding of the societal forces that impact Chiron's life. medium
Engine: GPT4
Highly Recommend
Executive Summary
The screenplay for 'Moonlight' is a poignant exploration of identity, masculinity, and the complexities of human relationships. It effectively utilizes a triptych structure to delve into the life of Chiron, showcasing his struggles with his sexuality and the impact of his environment. The character arcs are deeply resonant, and the screenplay's lyrical dialogue and vivid imagery create a powerful emotional experience. While the narrative is compelling, there are areas for improvement in pacing and character development in certain scenes.
- The screenplay's use of vivid imagery and sensory details creates an immersive experience, drawing the audience into Chiron's world. high ( Scene 1 (1) Scene 1 (19) )
- The character development of Chiron is profound, showcasing his evolution from a vulnerable child to a hardened adult. high ( Scene 1 (20) Scene 1 (21) )
- The dialogue is authentic and reflective of the characters' backgrounds, enhancing the realism of their interactions. high ( Scene 1 (34) Scene 1 (54) )
- The screenplay effectively addresses themes of masculinity and vulnerability, challenging traditional stereotypes. high ( Scene 1 (19) Scene 1 (88) )
- The emotional resonance of the story is heightened by the use of music and sound, which complements the narrative beautifully. high ( Scene 1 (90) )
- Some scenes feel rushed, particularly in the transitions between Chiron's childhood and adolescence, which could benefit from more development. medium ( Scene 1 (24) )
- The pacing in the latter half of the screenplay slows down significantly, which may disengage the audience. medium ( Scene 1 (60) )
- Certain character arcs, particularly those of supporting characters, could be fleshed out further to enhance their impact on Chiron's journey. medium ( Scene 1 (31) )
- The resolution of some plot threads feels abrupt, leaving the audience wanting more closure on specific character relationships. medium ( Scene 1 (49) )
- The screenplay could benefit from a clearer thematic focus in certain scenes, as some moments feel disjointed from the overall narrative. medium ( Scene 1 (60A) )
- There is a lack of exploration into the impact of Chiron's environment on his identity, which could deepen the narrative. high ( Scene 1 (14) )
- More background on supporting characters would enhance the audience's understanding of their motivations and relationships with Chiron. medium ( Scene 1 (22) )
- The screenplay lacks a clear depiction of Chiron's internal struggles, which could provide a richer emotional landscape. high ( Scene 1 (35) )
- There is a missed opportunity to delve into the cultural context of Chiron's experiences, which could add depth to the narrative. medium ( Scene 1 (60) )
- The screenplay could benefit from more moments of levity to balance the heavy themes and provide relief for the audience. medium ( Scene 1 (88) )
- The use of the ocean as a recurring motif symbolizes Chiron's journey and emotional state, adding a layer of depth to the narrative. high ( Scene 1 (20) )
- The screenplay's structure, divided into three acts, effectively mirrors the stages of Chiron's life, enhancing the storytelling. high ( Scene 1 (90) )
- The screenplay's exploration of identity and self-acceptance is both timely and relevant, resonating with contemporary audiences. high ( Scene 1 (34) )
- The emotional weight of the screenplay is amplified by its focus on the complexities of love and friendship, making it relatable. high ( Scene 1 (54) )
- The final scene's ambiguity leaves a lasting impression, inviting the audience to reflect on Chiron's journey and future. high ( Scene 1 (96) )
- Character Development The screenplay occasionally overlooks the development of supporting characters, which could enhance the overall narrative. For example, characters like Paula and Kevin could have more backstory to enrich their arcs and their impact on Chiron's life. medium
- Pacing Issues Certain scenes feel rushed or overly drawn out, which can disrupt the flow of the narrative. For instance, the transition between Chiron's childhood and adolescence could be smoother to maintain engagement. medium
Engine: Claude
Recommend
Executive Summary
The screenplay for "Moonlight" is a poignant and visually stunning exploration of identity, sexuality, and the complexities of growing up in a disadvantaged community. With its nuanced character development, thematic depth, and unique narrative structure, the script is a compelling piece of storytelling that would resonate with a wide range of audiences. The screenplay's strengths lie in its authentic portrayal of the protagonist's journey, its exploration of themes such as masculinity and the impact of one's environment, and its use of visual language to convey emotion. While there are some minor areas for improvement, such as the pacing in certain sections, the overall narrative is a remarkable achievement that would make for an exceptional cinematic experience.
- The opening sequences establish a strong sense of place, introducing the viewer to the environment that shapes the protagonist's experiences. The vivid, sensory-rich descriptions and the careful attention to visual details help to immerse the audience in the world of the story. high ( Scene 1 (1) Scene 2 (2) Scene 3 (3B) )
- The script's character development is a significant strength, as it allows the audience to deeply connect with the protagonist, Chiron, and his evolving relationships with the people in his life, such as Juan, Teresa, and his mother, Paula. The scenes that focus on these relationships are emotionally resonant and help to drive the narrative forward. high ( Scene 4 (5) Scene 6 (9) Scene 10 (16) )
- The script's exploration of themes such as masculinity, sexuality, and the impact of one's environment on personal identity is a standout strength. The way these themes are woven throughout the narrative, especially in the scenes involving Chiron's interactions with other characters, creates a rich and multilayered story that challenges traditional notions of identity and self-discovery. high ( Scene 9 (15) Scene 11 (17) Scene 13 (19) )
- The screenplay's unique narrative structure, which follows Chiron at three distinct stages of his life, allows for a deeper exploration of the character and the evolution of his identity. This approach creates a compelling and immersive experience for the audience, as they witness the character's growth and transformation over time. high
- The screenplay's use of visual language and cinematic techniques, such as the effective use of lighting, framing, and camera angles, is a significant strength. These elements contribute to the overall emotional impact of the story and help to convey the character's inner experiences in a powerful and evocative way. high ( Scene 21 (34) Scene 27 (44) Scene 52 (90) )
- The pacing of the screenplay could be improved in certain sections, particularly in the transitions between the three main acts. While the overall narrative structure is compelling, there are a few instances where the flow of the story could be tightened to maintain the audience's engagement. medium ( Scene 12 (18) Scene 15 (24) )
- The script could benefit from more clearly defined character arcs for some of the supporting characters, such as Terrell and Kevin. While these characters play important roles in Chiron's journey, their own motivations and transformations could be more fully explored to add depth and complexity to the overall narrative. medium ( Scene 19 (29) Scene 20 (30) )
- Some of the dialogue in the script could be tightened or refined to enhance the authenticity and natural flow of the characters' interactions, particularly in scenes where characters are expressing complex emotions or grappling with difficult subject matter. medium
- While the script effectively explores Chiron's relationships with the key characters in his life, there could be more focus on the impact of these relationships on his overall well-being and mental health. Incorporating more explicit references to Chiron's emotional and psychological state could further strengthen the narrative and deepen the audience's understanding of his journey. medium ( Scene 26 (41) Scene 28 (46) )
- The script could benefit from more overt thematic connections or through-lines that tie the three acts together, beyond just the evolution of Chiron's character. Incorporating more explicit references to the film's central themes, such as masculinity, identity, and the impact of one's environment, could help to unify the narrative and solidify the screenplay's overarching message. medium
- The screenplay's handling of sensitive and complex subject matter, such as drug addiction, violence, and sexuality, is both nuanced and powerful. The script avoids sensationalism and instead focuses on the humanity and emotional experiences of the characters, creating a deeply empathetic and authentic portrayal of these issues. high ( Scene 14 (21) Scene 22 (34) Scene 31 (52) )
- The screenplay's exploration of the concept of masculinity and its impact on the protagonist's identity and relationships is a standout element. The script challenges traditional notions of masculinity and offers a nuanced and thought-provoking examination of this theme. high ( Scene 21 (33) Scene 23 (37) Scene 59 (97) )
- The screenplay's use of visual storytelling, particularly in the later stages of the narrative, is a standout element. The way the script utilizes lighting, framing, and camera angles to convey emotion and subtext is both evocative and thematically relevant, contributing to the overall cinematic impact of the story. high ( Scene 33 (53) Scene 54 (92) Scene 56 (95) )
- Lack of diversity in secondary characters While the script does a strong job of exploring the complexities of the protagonist's identity, there is a lack of diversity and depth in the portrayal of the secondary characters, particularly in terms of gender and sexuality. The script could benefit from incorporating more diverse perspectives and experiences to further enhance the authenticity and richness of the overall narrative. medium
- Occasional cliched dialogue There are a few instances where the dialogue, particularly in the earlier sections of the script, falls into more cliched or exposition-heavy patterns. Refining and tightening the dialogue in these moments could help to further elevate the authenticity and flow of the characters' interactions. low
Memorable lines in the script:
Scene Number | Line |
---|---|
58 | Black: You're the only man who's ever touched me. The only one. I haven't really touched anyone, since. |
20 | Juan: A faggot is... a word used to make gay people feel bad. |
1 | Juan: You know you my man, right Juan? |
8 | PAULA: Mama just want to make sure you’re okay, that's all baby. |
14 | JUAN: This one time... I ran by this old, old lady, was just a runnin' and a hollerin' and cuttin' a fool, boy. |