YOU

WERE

NEVER

REALLY

HERE.

Screenplay by Lynne Ramsay

Based on the novella by Jonathan Ames

GOLDENROD REVISIONS: 8.29.16 GREEN REVISIONS: 8.24.16 YELLOW REVISIONS: 8.17.16 PINK REVISIONS: 8.5.16 BLUE REVISIONS: 7.25.16 WHITE SHOOTING SCRIPT: 7.14.16 1 INT. TITLES SEQUENCE 1 Close-up: An adult man’s mouth under water (Joe). He gulps in water. E.C.U: A CLEAR PLASTIC BAG, filled with air, stretched smooth. The inside surface mists - droplets of moisture form - break into miniature rivulets... O.S. The whisper of a BOY’S VOICE (Young Joe) counting down - ‘...1001, 1000, 999, 998, 997...’ With a sharp inhale the clear plastic inverts. The face of A MAN (Joe) as the bag is suddenly sucked hard onto his skin, distorting his features into an inhuman mask. O.S. The boy’s counting suspends. The faint beat of a pulse rises to replace it. The man exhales. The bag balloons again, clouding with his breath. The man breathes again, slowly, the plastic bag balloons and inverts. O.S. The boy’s monotone whisper resumes - ‘...996, 995, 994...’ The man never blinks beneath the plastic, eyes unseeing, its rise and fall around his mouth and nose the only sign of life. TITLES END.

2 INT. HOTEL ROOM, CINCINNATI - NIGHT 2

A GIRL’S FACE, filling the frame - a passport style photograph...... 16-years-old, smiling, a hint of lip gloss and eye shadow, lightly Latin features. The image appears to dance and flicker with an inner light. Slowly at first the picture darkens, then rapidly distorts and blackens. With a HISS fire and smoke erupt through the girls face as the photograph curls up in flame. Goldenrod Pages - 8.29.2016 1A.

WIDER: The burning shards of photograph drop into a small metal trash can. Goldenrod Pages - 8.29.2016 2.

The rising smoke is staunched with a heavy bound book dumped onto the rim of the trash can - HOLY BIBLE QUICK CUTS: A man’s hands, pries open a cell phone - pink case, appliqué plastic gemstones, dangling charm - removing the battery and SIM card. Large tacky gold earrings slide into a zip-lock plastic bag. A cheap gold necklace follows; the pendant reads ‘SANDY’. The bag is sealed. The hands hold open a white plastic laundry bag. Items laid out on the bed are scooped into the bag one by one:- A baseball cap... A roll of silver duct tape... A bundle of heavy duty black plastic zip ties... CLOSE ON: A ceiling smoke detector as the condom that has been stretched over it is pulled free. The blackened scraps from the trash can are shaken into the laundry bag. A flip form prepaid cell phone as it strains between gloved hands. With a CRACK the hinge shatters. The two halves go into the laundry bag. A BALL PEEN HAMMER, lying the length of a bathroom hand towel. FRESH BLOOD on its head. The hammer is wiped with the towel and both items drop into the laundry bag. The bag is closed tight.

3 INT. HOTEL CORRIDOR, 2ND FLOOR, CINCINNATI - NIGHT 3 Low angle on the man’s torso as he emerges, the laundry bag dangling at his hip. CLOSE ON the bag as he makes his way stealthily down the dingy corridor. Rounding a corner a WOMAN hones into view. Goldenrod Pages - 8.29.2016 61.

8-yr-old Joe watches from underneath the sofa. His Mother stares at him. Blood runs from her ear.

127 INT. UPSTAIRS HALLWAY, MOTHER’S HOUSE - DAY 127 Joe is at the top of the stairs. Eye’s closed in concentration. His finger moves onto the trigger of McCleary’s gun.

128 INT. STAIRCASE - HALLWAY, MOTHER’S HOUSE - DAY. 128 Joe comes down the stairs like an express train, gun drawn. One continuous move takes him as he spins, firing two shots in quick succession. A long EERIE SILENCE broken by the beep of an incoming text message and the faint sound of a Gunman’s fingernails scratching at the floor. REVEAL - One gunman keels over. Dead. The other is on his belly, crawling away towards the kitchen.

129 INT. KITCHEN, MOTHER’S HOUSE - DAY 129 Staying low Joe stands over to the body of the dead Gunman. He rifles through his jacket pocket for his phone - reads the text... “is he there yet?” Joe types, “all quiet” and hits Send. CLOSE ON: Joe’s hand filling a glass of water from the faucet. The same 1990 Pop hit heard in Kuwait plays from the radio. He grabs a CHINTZY TEA TOWEL then slides down the sink unit to the floor. CLOSE ON: the bottle pills from the Midtown drug dealer - Joe shakes out 2 pills. He downs one... The 2nd Gunman lies slumped across from Joe. He’s in bad shape, bleeding out from the bullet to the stomach. Joe, tosses the Gunman the chintzy tea towel. The Gunman uses his free hand to limply clutch it to his stomach to staunch the bleeding. Goldenrod Pages - 8.29.2016 61A.

Joe crawls towards him, feeds him the other pill, holding the glass of water to his lips. Goldenrod Pages - 8.29.2016 62A.

The gunman’s suddenly wide awake staring with hyper alertness. He reaches for Joe’s hand, takes it and holds it tight. Goldenrod Pages - 8.29.2016 62.

Joe pulls himself into a sitting position beside the Gunman. The Gunman looks at him, unfocused. JOE Where’s the girl? A HARD CUT in the O.S. Radio music. Later in the song, a different tempo. Time has passed. GUNMAN Far away... A HARD CUT in the O.S. Radio music. GUNMAN (CONT’D) (eyes glazed) Safer than her dirty old man. Joe is now on the other side of the gunman. He rests his fingers on the man’s neck - feeling his pulse. JOE You work for him? GUNMAN ...the other way round. The gunman smirks, looks about to pass out. GUNMAN (IN SYNC WITH LYRICS ON THE KITCHEN RADIO) (CONT’D) I wish someone had talked to me like I want to talk to you. JOE What do you have on him? GUNMAN ...I ran out of places and friendly faces... [...].. I’ve been to paradise but I’ve never been to me... He sparks out. A HARD CUT in the O.S. Radio music. Joe nudges the gunman again GUNMAN (CONT’D) The Mother knew. Goldenrod Pages - 8.29.2016 63.

JOE Where’s the girl? The gunman stares at him. Past him. Joe gently takes the Gunman’s hand that still clutches the blood-soaked chintzy tea towel to his stomach. GUNMAN Her old man knows. He presses it firmly over the Gunman’s nose and mouth.

130 INT. JOE’S BEDROOM, MOTHER’S HOUSE - DAY (LATER) 130 O.S The SCREECH of duct tape wrenched from the roll. In the mirror: Joe has redressed the gauze on his JAW. He smooths a strip of silver duct tape over the dressing, sealing in his neck and lower ear.

131 OMITTED 131

132 OMITTED 132

133 INT. BEDROOM, MOTHER’S HOUSE - DAY 133 CLOSE ON: Joe’s hands lift his mothers feet. He gently removes her tiny floral slippers, placing them on the floor at the foot of her bed. CLOSE ON: Joe’s face as he lifts his mother up delicately by the shoulders. Her frail back comes into view. Long silver hair falls loose from its chignon. Joe blinks, almost cracking for a second. He lays his mother gently back down on the bed. Joe combs her tangled hair smooth with the brush from her dresser. CLOSE ON: the hairbrush as he sets it down on the bedside Goldenrod Pages - 8.29.2016 38.

CLOSE-ON: Towel Boy’s eyes widen at the betrayal.

78 EXT. BROTHEL STEPS - NIGHT 78 (The following sequence is shot from CCTV Point of view until otherwise stated) Joe walks up the brothel steps, his eyes shaded by his baseball cap, he punches in the code to the door. CUT TO:

79 INT. BROTHEL HALLWAY - NIGHT 79 A LARGE SEATED MAN sits reading a magazine. Joe is immediately on him.

The hammer strikes the Guard on the cheek bone sending him into the wall.

80 INT. BROTHEL STAIRWAY - NIGHT 80 Joe - he takes two steps at a time. Goldenrod Pages - 8.29.2016 39.

A SECOND GUARD at the landing. Joe swing the hammer two handed like a baseball bat sending it into the man’s sternum - he doubles up. Joe continues along the corridor. CUT TO:

81 INT. BROTHEL, HALLWAY - NIGHT 81 A NAKED SKINNY MAN WITH A MASK IS THROWN OUT OF THE DOOR WAY. Joe delivers a closing blow to the man. He continues down the hall, the CCTV camera lingers on the doorway, a small girl (9) wearing a night dress wanders out of the doorway and into the hallway in a daze.

82 INT. BROTHEL, ‘PLAYGROUND’ HALLWAY CORRIDOR - NIGHT 82 Another CCTV angle, joe approaches a closed door, he opens it, about to enter...

83 INT. BROTHEL, BEDROOM 2 - NIGHT 83 (WE TRANSITION FROM CCTV FOOTAGE BACK TO FILM) This room is dark, illuminated only by a UV ‘black light’ above the head of a single ‘cot’ bed. Goldenrod Pages - 8.29.2016 40.

A YOUNG GIRL (13/14) lies on top of a white sheet. Joe walks towards her. Her skin has a spectral glow. ...NINA? Joe takes the photograph from his top pocket. The girl’s eyes are closed. He puts a hand to her cheek - no reaction. He gently raises one eyelid between his finger and thumb. For a moment there is a bright blue iris and a dilated pupil before her eye rolls back. Joe is taken aback. It’s HER. Her neck arches back into the pillow and her whole body begins to stiffen. Joe leans in and levers the girl’s thin body into a seated position. Her head and arms flop forward like a rag doll. He lifts her chin with his free hand. JOE Nina... NINA. He snaps his fingers loudly beside her ear. JOE (CONT’D) Nina. Come on Nina. You can hear me. Look at me. Can you say your name Nina. A SHARP intake of breath and the girl’s head lolls forward again. Joe firmly cups her tiny face in his hand. Her eyes flicker open for a moment. Her lips move against each other. It is barely audible but she is counting. She is in the 700’s. CUT TO: The BIG SISTER, a skinny, diet pill blonde in a silk robe and artificial tits bursts into the room. She clutches a cell phone in one hand. Goldenrod Pages - 8.29.2016 41.

BIG SISTER (hysterical, Eastern European accent) Fuck is YOU? Joe advances on her, grabbing her elbow violently, prizing the cell phone from her grasp. JOE Get her dressed. Joe throws the Big Sister towards Nina. In shock she gets her off the bed. The only additional clothing in the room is a pair of childish frilled pop socks. Joe reaches the cell phone jammer from his jacket pocket. He slides the switch on its side, the green LED blinks off. He puts it away and then wrenches off his jacket. Joe advances again on the Big Sister and thrusts the jacket at her to dress Nina with. With his other hand he dials 911 on the Big Sister’s cell phone and clamps it to her ear. JOE (CONT’D) Police department. He glares into her eyes. She understands. JOE (CONT’D) Gunshots... The Big Sister looks confused. BIG SISTER Gunshots... The call connects. The distant female voice of the emergency services dispatch can be heard on the other end... 911 DISPATCHER 911, what are you reporting? BIG SISTER Gunshots! 911 DISPATCHER What’s your address? Joe shoots her a stern look... Goldenrod Pages - 8.29.2016 41A.

911 DISPATCHER (CONT’D) Where are you speaking from now? Goldenrod Pages - 8.29.2016 42.

Joe holds his look... The Big Sister is terrified, she can’t speak. Joe snatches the phone from her ear. JOE 544 East 38th Street 911 DISPATCHER Who is in the hou... Joe throws it to the floor and drives the heel of his boot into it - smashing it completely. JOE Leave. She looks at him, fear in her eyes, shakes her head. JOE (CONT’D) Now....Go! She shakes her head vigorously. Punches her own hand repeatedly on her head. She is paralysed with fear, won’t move. Throughout all this Nina has stood dazed and silent in the middle of the room Joe snatches his hammer up, grabs the sheet from the bed, wraps it once around Nina and scoops her off her feet.

84 INT. BROTHEL, ‘PLAYGROUND’ HALLWAY - NIGHT 84 Borne aloft in Joe’s arms Nina floats through the door of her room and along the playground corridor, her COUNTING DOWN a barely perceptible whisper below the piped music.

85 INT. BROTHEL 2ND FLOOR - NIGHT 85 The 2nd fallen Guard still fills one half of the width of the corridor, slumped on his knees, head cowled forward against the wall. A NAKED JOHN stands in the corridor, blocking Joe’s passage. He grasps a 7” hunting knife in one hand. His chest is emblazoned with an Eye of Providence tattoo. Joe gently lets down Nina. She ahead stares implacably. The rise and fall of Naked John’s chest. The Eye of Providence stares unblinking... CLOSE ON: Nina’s face. Goldenrod Pages - 8.29.2016 42A.

(O.S.) The sound of the almighty collision of BODIES. Goldenrod Pages - 8.29.2016 43.

86 INT. BROTHEL, 1ST FLOOR - NIGHT 86 The EMPTY STAIRWELL. Joe’s feet step over the sprawled body of the first Guard as he marches to the front door, seemingly in step with the dull thud of techno music from the P.A. Nina’s tiny socked feet follow a pace behind.

87 EXT. BROTHEL - NIGHT 87 At the top of the stoop Joe peers down the street - no cop cars. About six minutes have elapsed since Joe entered the brothel. With the girl light in his arms, he moves quickly to his rental. In one delicate move he has Nina in the front seat. She is all but out of it; but not completely. Stepping around the trunk of the car Joe flings open the rear passenger door and drags Towel Boy out by the shoulders and dumps him on the sidewalk. CLOSE ON: A storm drain opening. Joe crouches by the kerb as he fits the bloodied hammer through the opening, dropping it as deeply as his arm will reach inside. The cell phone jammer from his inside jacket pocket follows the hammer into the storm drain.

88 EXT. 38TH ST - NIGHT 88 Joe’s rental car pulls away. Towel Boy lies motionless on the sidewalk. Silence reigns...

89 EXT. RENTAL CAR, MIDTOWN - NIGHT 89 CLOSE ON: Nina through the passenger window. A cascade of reflections and rainwater play across the glass as she stares into the middle distance. A cop car passes sirens and lights blaring. CLOSER - her lips as they murmur. She continues her counting down. Goldenrod Pages - 8.29.2016 65.

139 EXT. WOODLAND, LAKESIDE, NEW JERSEY - DUSK 139 The shrouded form of Joe’s Mother lies in state across a broad rock at the water’s edge. CLOSE ON: Joe’s hands precisely placing a neat row of personal effects, the photograph of Nina, McCleary’s gun, amongst the foliage at the edge of lake. CLOSE ON: Joe’s hands as he scoops up a heavy flat rock.

140 EXT. WOODLAND, LAKE - DUSK 140 UNDERWATER: Joe’s feet stumble across the coarse shale of the lake bed. Joe wades chest deep into the river pushing his Mother’s corpse ahead of him. Flat rocks weigh her down so that she barely touches the surface of the water. He gently immerses the plastic bundle and with his fingertips tears open a small hole to the side of her head. Snow white hair pours out into the black water, wafting like reeds. Silently the black plastic crimps and flexes as air leaches from it. As Joe walks deeper the small body slowly sinks below the surface in his arms. The water reaches his eyes. UNDERWATER - The pockets of his suit bulge with rocks from the lakeside. He takes another step forward and disappears under the surface. CUT TO: UNDERWATER: In a limitless black void Joe and his mother are in embrace. The black shroud, cocooned tight around her. She seems tiny, the size of child as he clings to her. Her silver hair loosens and wafts in the water, whirling around his head and shoulders...glinting, beckoning strands of light. Joe’s mother’s shroud descends into the depths. Joe drifts away from her. Goldenrod Pages - 8.29.2016 65A.

A CRACK, muffled, from above the surface of the water... Goldenrod Pages - 8.29.2016 66.

A WHOOSH and almighty subaqueous CRASH as a thirty foot mass of dead tree smashes into and under the surface, almost on top of Joe, its branches spearing out underwater... Joe’s eyes snap open in an underwater churn of bubbles and trunk... On his wide eyes... He closes his mouth, his chest clenches. JOE’S POV - UNDERWATER, against a limitless black void, the diaphanous figure of NINA, her nightdress flowing around her.

141 EXT. HUDSON RIVER, PANINADES - DUSK 141 FOLLOWING JOE - His clothes are dripping wet. The rhythm of his sodden shoes the only sound. O.S Nina’s countdown continuous... NINA’S VOICE (O.S.) 220, 219, 218..

142 OMITTED 142 2 fF AR C HIN G BOBBY FT SCH EF R

screenplay by steven Zaillian

Based on the Book by Fred Waitzkin

Shooting Script June 1, 1992

PROPERTY OF PARAMOUNT PICTURES CORPORATION

THIS SCRIP? IS NOT FOR PUBLICATION, REPRODUCTION OR DISTRIBUTION WITHOUT THE EXPRESS PERMISSION OF PARAMOUNT PICTURES CORPORATION. TF LOST OR DESTROYED, PLEASE NOTIFY THE STORY DEPARTMENT.

2ETURN TO STORY DEPARTMENT PARAMOUNT PICTURES CORPORATION S555 Melrose Avenue LOS Angeles, Caiifornia 930038

E PARAMOUNT PICTURES CORPORATION Rewvsed 06/29 . PINK

CONTINUED:

A handsome young man emerges from a cluster of spectators to consider the derelict players. The black man from before, nursing a paper cup of coffee, jerks his head at the junkie perched across from him. VINNIE Go sit on a bench, man, I got a fish. The junkie doesn’t move - until Vinnie kicks at him under the table. He gets up and stumbles away finally, and the young man approaches. Clearly out of his element, whatever that might be, he offers the black man in a soft voice -- SHIRAZI Dollar a game? Vinnie pretends to notice him for the first time, and, after considering him a moment - VINNIE Yeah, sure, why not. As the young man takes a seat, Vinnie sets the hands of his beat-up chess clock and places it back on the marble top. VINNIE Two minutes. The young man nods. The game begins. The chessmen flow into lines of attack, paced by the nerve-racking snap of the clock, and Vinnie plays to the crowd that’s moving closer to watch. VINNIE You should get out more, you look like a vampire. Is that what you are, a vampire? You look like a vampire. The cerebral game of chess, as Vinnie plays it, more resembles His pieces challenge the other man’s, joust, ambush, plunge off the rim of the table to the ground. VINNIE You know how to kill a vampire? You got to put a stake in his heart. You ot to put a stake in his heart, drive it in, bam. You gotta drive it in, you gotta kill him before he kills you, ban. You gotta make sure he’s dead, you gotta kil] him, ban. Someone in the crowd whispers the name Shirazl1, "that’s Kamran Shirazi" and Vinnie glances over to Zilber while he plays. The bearded man nods almost imperceptibly, and Vinnie sneers at the pale young man across from hin.

(CONTINUED) Reread OG /Ot

CONTINUED: more than intrigued by the image of the young boy and the old Russian, others wander over to watch. Zilber topples Josh’s pawn with a bishop. Josh forays through the tforest" with Als queen. Bonnie, amazed that Josh knows how to correctly move the pieces, stares at her son like he might belong to somebody else. Zilber captures a knight. Josh gangs up on a rook with his queen and a bishop. Zilber slips away, but not before eyeing, briefly and suspiciously, this small boy sitting across from Him. At the next table, Vinnie smiles to himself. Josh tries to protect his king as Zilber advances with his He takes a "poisoned" pawn and the Russian goes in for the kill with an army of men. 7,1 L BER Mate. JOSH What? Josh doesn’t Know what the man means. He doesn’t know how the game ends. 71 It’s over. You Lose. Not the least bit disappointed or hurt by the quick loss, Josn gets up from the table. Indeed, he is thrilled to have played. Zilber gathers the pieces and begins setting them back into opening position, all but ignoring the boy. VINNIE What’s his name? Bonnie notices the fearsome black drug addict at the next table and doesn’t answer. JOSH Josh. VINNIE Josh what? BONNIE (whispers) Let’s go Josh, don’t tell him your last «= JOSH Waitzkin.

(CONTINUED) Revised 08/20 /K2 - Pine

CONTINUED:

ViNNILE Josh WaitzKin. Vinnie jots the name down in the margin of his newspaper. Bonnie almost groans out loud. VINNIE I’m gonna watch for you, Josh Waitzkin. Someday I’m gonna tell these patzers I saw you play here in the park like Bobby Fischer used to, and show them this. He stabs a finger at the newspaper. To Bonnie: VINNIE Your boy used pieces in combination to attack. She has no idea why that’s significant, of course, but nods anyway, and leads her kids out of the park before Josh can offer these derelicts his address.

OMT TTED

INT. YANKEE STADIUM CORRIDOR - NIGHT Bonnie, Katya and Josh (with a backpack) hurry along a corridor. The roar of the unseen stadium crowd reverberates off the walls.

INT. PRESS BOX = NIGHT Print journalists work, and eat, along the long arcing press desk that looks out over the field. Fred turns away from the Laptop computer in front of him to hug his son and daughter who’ve just come in with thelr mother.

(CONTINUED) 08/01. 02

EXT. HOTEL, CHICAGO =- DAY A large banner draped across tne entrance of a hotel ripples in the breeze ~ NATIONAL SCHOLASTIC CHESS CHAMPIONSHIP. A taxi pulls up and delivers Fred, Bonnie, Josh, Katya and, straggling out jast, Vinnie.

INT. HOTEL LOBBY - DAY A clerk calls out room numbers to a bellboy as she hands Fred and Vinnie keys and an uneasy smile. CLERK Welcome to Chicago. Across the lobby, Kalev quizzes Morgan on obscure openings from a RusSian chess encyclopedia. JOSH Hi, Morgan.

MORGAN Josh, where you been? jOoSH Fishing. He pulls out a snapshot of himself and his dad on a dock, posing with a big fish, and hands 1t to his friend.

MORGAN Whoa, look at this. He shows the picture to his dad who stares at it dumbly. JOSH No chess boards, no chess pooks - I wasn’t allowed to even talk about chess. Just fish. For two weexs. (to Kalev) It was my dad’s idea. Kalev nods absently. As the boys huddle to admire the picture more closely, Fred wanders over. KALEV Fishing? Fred shrugs, not at all sure it was a wise move taking Josh fishing before the biggest tournament of his life.

INT. HOTEL ROOM = DAY The bellboy opens connecting doors to adjoining rooms. Katya's as excited as Josh used to be, running around checking things

( CONTINUED) 09/01 (2 - WHITE L110

195. CONTINUED:

out. Fred tips the guy and glances over to Vinnie, wondering perhaps if he’s thinking about stealing something.

VINNIFE Very nice.

196. INT. BANQUET ROOM ~ LATER —- DAY Kids stream into the room with great decorum and search out their places at the tables. Against a backdrop of trophies, the tournament’s director squints into the lights of a minicanm. REPORTER The 400 young players finding their seats behind me represent some of the strongest chess minds of any age in the country. Traveling from as far away as Alaska and Hawaii, they’ve come here to compete against each other over the course of the next two long grueling days. To hecome the National Champion, one must win all seven games, I understand. NT RECTOR That’s right, Bob. REPORTER This is Donovan Clennan, director of the National Scholastic Championship. Tell me, is the next Bobby Fiscner somewhere in this room? The director tries to laugh good-naturedly at this, the lamest and most often asked question.

INT. LOBBY ~ SAME TIME =< DAY Closed-circuit monitors feature the number-one board and two empty chairs. Here in the lobby, parents banished from the playing room mill around waiting with equal dread for the beginning of the first round.

(CONTINUED) O98 /O1/R WHITE L1ij

CONTINUED:

FRETS This girl you’re playing is ranked> 82nd. Get through it quick so you can rest before the next round. LT7ii see you in a little while. Josh nods, Okay, starts to go, then glances back at his father’s * voice - . FRE) Josh ... Good luck. Fred watches with dread as his son disappears into the playing room, then joins Bonnie, Katya and Vinnie on a bench. FRED Heafs all aione.

INT. BANQUET ROOM =~ DAY Josh takes a seat opposite a girl his age and waits for the tournament director’s signal to begin. As the room quiets down he waves to Morgan at a nearby table, then glances up to the platform and the number-one board and Poe. Silence oe. DIRECTOR Start your clocks. Two hundred white pawns click against two hundred boards as two hundred clocks start ticking.

INT. LOBBY = DAY Fred stirring Cremora in a cup of coffee at a courtesy table. A chess mother comes over and fills a cup from the urn. ROND MOTHER Your son’s an excellent player.

BRET) Thank you. ROND MOTHER I’m afraid my daughter doesn’t stand a chance against hin. She’s only ranked 82nd. perl) Is that right? 82nd? I’m sure she’s very good anyway.

(CONTINUED) Revised 09/01 ‘2 WHTE

CONTINUED:

RONTD MOTHER The way I look at it, 1t’sS a no-lose sityation. If she happens to win by some miracle, it’d be fantastic. 7 she loses, 1t’s to he expected. Her pleasant manner and healthy outlook on winning and losing reminds him of his own - long ago. Very long ago. FRED I guess that’s true. He excuses himself to escape from the woman - or himself.

INT. BANQUET ROOM -~ DAY Half the games, including Poe’s, have ended, the players gone from the room. Josh is still here, though, across from the girl with the nice mother and the Lous rating, concentrating hard on each move. Not one of thelr pleces has yet been exchanged.

2Ol1. INT. LOBBY =~ DAY Several of the kids who’ve finished hang out with their parents in the lobby and coffee shop. Pacing nervously, checking his watch, Fred grows more anxious by the second. Kalev and Morgan come through. Josh isn’t still inKA there?Lee V (Fred nods gravely; long pause) Fishing. Fred shakes his head in dismay, afraid Pandolfini was right, that he’s set his son up for the fall of his life.

INT. BANQUET ROOM - DAY Officials looking as somber and ceremonial as palace guards move slowly past the handful of games still in progress. Josh’s hand slides a bishop timidly across the board, hesitates, withdraws it. Desperation shows in his eyes.

INT. LOBBY ~- DAY Monitors display the empty chairs at the number-one board. Outside, kids play in the sun.

(CONTINUED) CONTINUED:

Frea’s a mess. He can’t believe his son’s first game 1s going on so long. The girl’s mother unwisely chooses this moment to approach him. ROND MOTHER My daughter’s never played so well in her life. I really don’t know what to make of it. Too upset to speak, all Fred can manage is a pinched smile at tne woman.

INT. BANQUET ROOM <- DAY All but one of the games 1S over. Josh looks exhausted, eyes hollow and bloodshot staring at the board and eventually venturing a move.

INT. LOBBY ~- DAY The other kids have finished playing and sit around watching the monitors that now show, from an awkward angle, Josh’s game. While the girl’s mother revels in her having hung in there this long, Fred paces apprehensively. Noticing the Tuna Fish Father watching him smugly, he yells across the lobby at him -- FRED What are you looking at?

INT. BANQUET ROOM ~ DAY Weary and battle-scarred, Josh finally corners his opponent’s king. Like little adults, they exchange score cards, sign then, shake hands and get up from the table.

INT. YTOBBY ~- DAY They emerge from the playing room, Josh and the girl, as the other kids file in for the next round. His family meets him in the hall and Josh almost collapses on a chalr. FRED You okay? JOSH T have to rest. VINNIE The next round starts ~- now.

(CONTINUED) Ravtieedt 08/0! /R2 Writ L1i4

CONTINUED:

BONNIE Are you hungry? JOSH I’m too tired to eat. Bonnie goes over to get him something from the courtesy table. Fred stares at his son, angry with himself for what he’s done to WLM. FRED It’s my fault. VINNIE He’l1 be all right. Dimitri comes past with young Poe, looking refreshed and confident. VINNLE Josh? You got to get up, man.

INT. BANQUET ROOM ~ DAY Jonathan Poe gets up from the number-one table having soundly dispatched his weeping opponent. Below, Josh, looking like he might fall asleep any minute, watches him leave the room before glancing back wearily to his own board.

INT. LOBBY ~- DAY The Waitzkin camp waits for the outcome of the second game with their heads in thelr hands. The door to the playing room swings open and some kids, including Josh, emerge. The adults on the couch wait for the verdict, which finally comes ina slight weary nod.

INT. HOTEL ROOM - NIGHT As Bonnie readies a rollaway bed for Vinnie, he sits with Josh on a couch. VINNIE I’ve been watching hin. He’s good. He’s as good as [I am but you/’re better than me. Which means you can take him. Josh nods but it’s unlikely he believes it.

(CONTINUED) 09/01/82 WHITE

CONTINUED:

JOSH The better I play, the better I have to play. VINNIE That’s the way i1t works. JOSH When will it end? VINNLE Tomorrow. Tosh wishes tomorrow were already behind hin. JOSH Are you all right? VINNIE I’m great. T’m friends with the National Champion.

A2iQO. INT. DLOBBY - NEXT DAY A210. Vinnie emerges from the lobby.

2ZlLie EXT. COURTYARD As Poe works on endgame tactics with Dimitrl1 between rounds, Vinnie wanders over and watches. Dimitri glances up with a look that demands, Do you mind? The Washington Square hustler smiles. VINNIE You know what’s going to happen today. You’re gonna have to face my man Josh. POR Josh 18 a patzer. VINNIE Yean: Vinnie leaves without another word. The sneer on Poe’s face pales slightly.

INT. BANQUET ROOM - DAY Yosh has moved a little closer to the number-one board. glances up ~

(CONTINUED) Revised OC WHITE L116

CONTINUED:

JUMPCUT to Josh opposite another opponent, closer to the number- one board - JUMPCUT to Josh, closer still, and - HARD CUT TO:

2713, EXT. BANQUET ROOM =< DAY The playing room is completely empty and still.

INT. LOBBY ANTEROOM ~- DAY The tournament director steps past a computer printing out the pairing sheet for the seventh and final game - typing "Waitzkin" opposite "Poe" on Top.

INT. HOTEI, ROOM - DAY Alone in the room before the last game, Josh stares at tne walls, looking for the courage to go downstairs.

INT. BANQUET ROOM ~- DAY Poe sits at the number-one table like a King, looking out across the sea of lesser human beings below him as he awaits the arrival of that patzer, Waitzkin.

INT. HOTEL ROOM ~ DAY An apologetic knock on the door precedes its opening. Josn glances up and sees that it’s Pandolfini. PANDOLFINI Can Tt come in? He waits for Josh’s permission which finally comes in a nod. The tall man steps into the room with his battered briefcase, comes closer and sits. Long silence. PANDOLFINI How you feeling? Josh doesn’t answer. He considers his teacher in silence, amazed that’s he’s made the trip yet unsure exactly how he feels about him. PANDOLFINI Scarea?

(CONTINUED) Revised 09/01/82 Wrtlt

2917. CONTINUED: JOSH (finally) IT can’t beat Him. PANDOLFINI You might be right. I’m not supposed to say that but you’d know I was lying if I said anything else. He opens the briefcase. PANDOLFINI T have something for you. We takes out a framed document, considers it a moment, then reads from it -= PANDOLFINI "This is to certify that Joshua Waitzkin, on this day, the 14th of May, 1992, has, in the eyes of his teacher, attained the rank of Grandmaster." He hands it to Josh. It doesn’t look anything like the fake Xeroxed certificate the boy so desperately wanted before. This is one of a kind, on parchment with calligraphy writing. PANDOLFINI I’ve never been so proud of anyone in my life. I’m honored to call myself your teacher. Josh holds onto the certificate like its gold. He feels the tears coming and reaches out for Pandolfini. JOSH T’m so scared. PANDOLFINI T know. Pandolfini holds onto him tight and they sit there together for a long time not moving. Finally - JOSH Will you stay until it’s over? PANDOLFINI Will I stay? I wouldn’t miss it for the worida.

goshOo?r. tet the man help him up and slowly they move toward the

218. INT. BANQUET ROOM DAY Eyes dry, Josh climbs the risers and takes his place opposite Poe at the number-one board. Cevteed 09 /03 /82 - BULLE: L118

219. INT. LOBBY ~ DAY The same image on the monitors, Josh trying to stay calm under the enormous pressure he feels. Stationed under one of the many screens, Pandolfini feels a presence before he hears hin: DIMITRI It’s unsettling, 1sn’t it, realizing there are only so many things you can teach a child ... and tnat courage isn’t one of then. Pandolfini chooses not to dignify the comment with a response. DIMITRI Good luck. The old teacher steps away and the doors to the playing room close,

220. INT. HOTEL ROOM - DAY Moving slowly toward the certificate propped against pillows on the bed.

221. INT. BANQUET ROOM =~ DAY Moving toward Josh as he hears a voice say, Start your clocks. He hits his and there’s an echo of a hundred others and the Slap of pawns hitting a hundred boards. Rut Poe dqdoesn’t move. Josh glances to the clock as Poe’s time ticks away.

A22li. INT TOBBY ~ DAY Fred and Pandolfini and Bonnie and Vinnie glued to the monitors. They watch as Poe just sits not moving, and the look of confusion on Josh’s face.

B221. INT. BANQUET ROOM - DAY Finally, Poe calmly advances a pawn. Josh counters. moves. Josh moves.

2722. INT. LOBBY =- CONTINUED Watching the moves on the center monitor - PANDOLFINE Kraus Attack of the Slav Defense, hang hack. VINNIE Go after hin.

(CONTINUED) 09 /O3 - BLUE il8a

CONTINUED:

PANDOLFINI Develop your pieces, don’t bring your queen out. VINNLE Bring her out, scare the peasant.

INT. BANQUET ROOM ~ SAME TIME ~ DAY Josh’s hand reaches for his queen - O8 (01 [2 - WHITE

INT. LOBBY - SAME TIME - DAY Seeing the hand retreat from the queen, Pandolfini breathes a warning ~ PANDOLFINI Don’t do it, Josh, don’t even think about it. VINNIE Bring her out. PANDOLFINI Keep her back.

INT. BANQUET ROOM =~ CONTINUOUS =~ DAY Josh brings his queen out to the center of the board and Poe laughs to himself.

INT. LOBBY - CONTINUOUS - DAY Watching the move on the monitors -- PANDOLFINI Oh, Jesus. (Note: for TV version: .Oh, no.) FRED What. VINNIE All right, Josh.

INT. BANQUET ROOM - CONTINUOUS - DAY Poe zeroes in quickly on Josh’s brazen queen with several men. POE You’re dead already. He slams a bishop down on the queen and Josh feels it like a stake in his heart.

INT. ITOBBY ~ CONTINUOUS - DAY So does Fred, groaning in pain as if speared in the chest. Pandolfini turns away from the monitor unable to watch anymore. To him: RONNLE It’s over, isn’t it. VINNIE Over? Josh is setting him up. [| taught him that. glances over at Vinnie with a hopeless shake of his CPA, Revieed 00 /01/G2 WHITE

929. INT. BANQUET ROOM —- DAY If Poe were confident before, he now feels invincible, chasing Josh’s queenless retreating army. So consumed 18S he with his marauding, though, he leaves Ris queen momentarily unprotected and Josh topples her.

TNT. LOBBY - CONTINUOUS ~ DAY Vinnie, the only one in Josh’s group to witness the capture, leaps to his feet. VINNIE There 1t is! Fred and Pandolfini, some distance away, whirl around to check the monitors. Dimitri, too, gazes up at one apoplectic.

231. #$INT. BANQUET ROOM - CONTINUOUS —- DAY 233i. Poe stares at his fallen queen in disbelief. Finally, he glances up at Josn. JOSH Trick or treat. An expression of pure hatred sets on Poe’s face. This patzer lulled him into complacency, but he’ll regret it ... TIGHT ON THE CHESSBOARD from directly above. Moving slowly up, the platform is revealed and the combatants at 1t, and, higher, players at other tables, and, higher still, the entire room, all two hundred checkered boards and the four hundred kids at then.

CLOSE ON JOSH’S CAMP IN THE LOBBY, together now and still 24342 .¢ as a tableau, facing a monitor. TIGHT ON THE TIME CLOCK on the number-one table, the seconds ticking away. CLOSE ON JOSH, face straining, eyes darting from piece to piece. WIDE ON THE ROOM, some vacancies at the other tables now. SOME KIDS IN THE LOBBY, finished with their games, watching the monitors. TIGHT ON A HUGE WHITE BISHOP sliding diagonally. HIGH ABOVE THE PLAYING ROOM, more tables unoccupied. CLOSE ON FRED, nervously watching a monitor. TIGHT ON A BLACK ROOK sliding horizontally. CLOSE ON BONNIE staring up at a monitor.

(CONTINUED) evieed 09/01/82. WHITE Llé2l

CONTINUED: Corded.

TIGHT ON THE TIME CLOCK, then high above the only table still active, the number-one table. CLOSE ON VINNIE watching a monitor. And the hundreds of kids, finished, glued to others.

INT. BANQUET ROOM <- DAY Tight on the board. Poe takes a pawn with a knight but can gloat for only the second it takes Josh to knock one of his in response from the board. He goes after a bishop, topples it. Josh retaliates, capturing a pawn. A white rook falls. Another black knight. A white Daw?! » A black pawn. The moves are quick as the players lure each other into a speed game, attacking with increasing and unnerving violence, another knight, another pawn. A black bishop fells a white rook, the castle falling to the floor in slow motion, and everything stops ...

INT. LOBBY - DAY Seeing it on the monitor, Pandolfini whispers to himself: PANDOLFINI That was a mistake.

INT. BANQUET ROOM =< DAY Looking at his fallen rook, Josh’s body stiffens a little, sensing that the end, for one of them, is near.

INT. LOBBY =~ DAY The same image on the monitors. FRED What was a mistake? Who made a mistake? PANDOLFINI (ignoring him) Look deep, Josh, it’s there. It’s twelve moves away, but it’s there. You’ve got hin.

INT. BANQUET ROOM ~- DAY D234 Josh tries to analyze a long sequence of moves in his head. seconds tick away on the clock. Revteed 08/01/82 Writ

238. INT. LOBBY ~ DAY Tight on Pandolfini speaking softly to Josh’s image on the monitor as if he could hear him -~ PANDOLFEFINI Take his pawn with your pawn - g takes f6 forking his bishop and rook -

INT. BANQUET ROOM - DAY Tight on Josh searching the board ~- JOSH V.0O. - or I could take with my bishop - PANDOLFINI V.0O. ~ don’t take with your bishop, you need it to guard e7 - JOSH V.O. ~ g takes £6 ~ PANDOLFINI V.O. ~ he’l] take back with either his bishop or knight - JOSH V.O. -~ his knight or his bishop -

240. INT. LOBBY -~- DAY Close on Pandolfini again, whispering to Josh’s image on the monitor - PANDOLFINI ~ eithera way, check him with your rook at c6 -

JOSH V.O0O. - pook c6 check - PANDOLFINI - and he’1l have to retreat his king, probably to £5, hiding behind his rook JOSH V.O. - king £5 - PANDOLFINI he’ll~ take take on £6back with with your his bishop knight - or his bishop ~< JOSH V.O. ~ knight £6 or bishop f6 -

(CONTINUED) Segect 00/01 /2 : WHTt

CONTINUED:

PANDOLFINE ~“ and when he does, and this is the hard part, sacrifice your rook - JOSH V.O0O. I could attack his rook with my knight, either c4 or a7 but I don’t have a check. PANDOLEINI - capturing at £6 and giving check - JOSH V.O0O. I do have a check, if I sacrifice my rook for his Knight f6 - PANDOLFINI ~ King takes rook f6 -

INT. BANQUET ROOM —- DAY Tight on Josh, losing the sequence in his head. JOSH V.O. -~ or do I attack his pawn with my rook = PANDOLFINI V.QO. - give him a knight check at qd? forking his king and rook ~ he‘lli move to safety, King £5 ~- leaving his rook unprotected - JOSH V.QO. -~ or do I make a King move - PANDOLFINI V.0O. - take his rook with your knight e5 - JOSH V.QO.

PANDOLFINI V.O. -~ and he’1il take back with his King - JOSH V.Q.

PANDOLFINI V.Q. ~- and you’ve got him - JOSH V.Q.

PANDOLFINI V.O. Don’t move until you see 1t ~ Revised 09/01 : WHITE L124

INT. LOBBY =- DAY Tight on Pandolfini. JOSH V.O0O,

PANDOLFEFINE Don’t move until you see it ~

INT. BANQUET ROOM - DAY Close on Josh, straining to "see" 1t, pattern after pattern disappearing before his eyes. PANDOLFINI V.Q. Don’t move until you see it - He can’t see it and it’s killing him. He sucks in a long breath of air to keep from suffocating and stands up.

INT. LOBBY - DAY Pandolfini breathes again, exhausted too from figuring out the sequence. FRED What’s he doing? Where’s he going? On the monitor, Josh says something to the director, but there's no sound here in the lobby. The man leads him away from the table.

INT. MEN’S ROOM ~ DAY The director escorts Josh into the bathroom and stands guard at the door to prevent anyone from entering to coach hin. The boy crosses to the end of the stalls, slumps down against the tiles and cries in frustration. JOSH I can’t see it. Daddy? I’m sorry, I can’t see it. I’m sorry.

INT. LOBBY =- DAY A monitor. The empty chair at the number-one table. Everyone staring at it, wondering what the hells golng on.

INT. MEN’S ROOM <—- DAY Josh splashes water on his face in an attempt to wash the tears away and pull himself together. Reveed 08 /Ot ‘i WHITE

INT. BANQUET ROOM ~~ DAY The director leads him back across the all put deserted room to the platforn. He takes his seat, wipes at his eyes with +he hack of his hand and stares at the board.

INT. LOBBY =- DAY Close on Pandolfini watching the monitor. PANDOLFINI Okay, Tiger, here we go again - g takes £6 forcing white to take back with his knight or bishop -

INT. BANQUET ROOM = DAY Josh’s hand moves across the board to a knight and hesitates there.

INT. LOBBY ~ DAY PANDOLFINI No, Josh, g takes f6 - The other kids, even though they don’t see it, pick up on Pandolfini’s instructions. KIDS Pawn takes pawn £6 - g takes f6, come on, Josh, pawn takes pawn f6 -

INT. BANQUET ROOM ~ DAY

SearcPeeringTm through the pieces at board level, Josh’s eyes dart and PANDOLFINI V.Q. Here, I’1ll make it easier for you -

ADS5?. INT. CHESS CLUB ~- (FLASHBACK) - DAY A252.% Pandolfini’s arm rakes all the pieces from the board.

R257. INT. BANQUET ROOM ~ CONTINUED B252,% The board empty now, Josh stares at it, constructing and reconstructing, building the moves without the "distraction" of the pieces themselves, his mind visualizing the progression of moves ending in, and it shows in his eyes ... mate. Rerviged 08/01 /2 - WHITE

INT. LOBBY ~- DAY A smile slowly crosses Pandolfini’s face. PANDOLFINI

rhe eT) He’s got it? How do you Know he’s got it?

INT. BANQUET ROOM « DAY Josh glances up to Poe who’s staring back at him with disdain and impatience.

What. Josh doesn’t answer; he just keeps looking at the boy, knowing he’s got him, knowing he’s won, knowing he’s the champion. POE, Come on, move. Josh’shesitates hand and moves reaches toward instead the inknight offering to push to his it toopponent. e7, but then PO What’s that supposed to mean?

INT. LOBBY - DAY Fred stares at the image on the monitor. VINNIE What’s that supposed to mean?

INT. BANQUET ROOM =— DAY Josh keeps holding his hand out waiting for Poe to shake it. (irritated) What.

INT. LOBBY - DAY Close on Pandolfini as it dawns on him what’s happening. He smiles to himself at Josh’s image on the monitor ~~ and sees his own reflection in it.

(CONTINUED) 00/01/82 WHITE

CONTINUED:

PANDOLFINI He’s offering hima draw. VINNIE A draw? Why? Pandolfini glances across to Fred, then to Dimitri.

INT. BANQUET ROOM - DAY Poe keeps staring dumbly at Josh’s outstretched hand. JOSH T’m offering you a draw. POF You’ve got to be kidding. JOSH You’ve lost, you just don’t know it. I’ve got you beat. POE You’ve got me beat? Took at the board. JOSH T have. Tt’s mate in sixteen and it’s going to kill you. Take the draw, we'll share the championship. All of a sudden, Poe isn’t sure what to believe. JOSH Take the draw. Take it. LONG pause ... POR You can’t hustle me ... Move. Josh withdraws his hand and places it in his lap. Nothing happens for several moments before he reaches out again, grasps his pawn and takes white’s on f6. In quick succession then, the twelve moves are made, leading to a pawn race, both queens coming back on the board, a check by black and ... Poe stares at his cornered king, and time seems to stand still. A muffled cheer of hundreds of kids erupts from behind the closed doors. They swing open and the kids pour In.

(CONTINUED) Sete 00/01 xe > WrTe

CONTINUED:

Poe glances up from the board destroyed. He tries to make it to the doors and out but finds himself tangled in the mob rushing As Josh watches. opponent’s desperate attempt to flee, he feels none of the elation he thought he would beating him, but something else he didn’t, something deeper. The kids and his parents and sister surround Josh, hugging and congratulating hin. Vinnie waves the long-saved scrap of newspaper with "Josh Waitzkin" scribbled on the masthead, telling everyone he used to play him in the park. JOSH (to Fred) T tried to give him a way out.

FREED tT KNOW. And he’s proud of him for it. Josh’s glance finds Pandolfini standing off to the side; he knows too and 1s just as proud. Josh sees something else and steps down - It’s Morgan, holding back tears at having lost his own last game, and his father trying to get him to replay the final game of the tournament. Josh puts his arm around the smaller boy’s shoulder and guides him across the crowded hall to the doors.

EXT. HOTEL GROUNDS - DAY From the windows, Fred watches as Josh guides his distraught friend across the deserted courtyard. Ronnie comes over beside her husband and watches the two small figures moving under the trees. Close on the boys: JOSH I know what you’re feeling and I can‘t make it go away. I wish I could, but T can’t. But you know what? I’m going to tell you a secret. The younger boy wipes at his eyes as he looks up at Josh, who somehow seems, standing here, much older than the year that separates them. JOSH You’re a much stronger player than I was at your age. He puts his arm around Morgan and they move off, walking siowly, talking quietly, beginning to heal.

FADE TO BLACK the invitation

by Phil Hay & Matt Manfredi

1.8.10 DARKNESS The SOUNDS of a summer barbecue, a backyard pool party. Children squeal and splash. Adults chat around the grill. As these sounds continue, we FADE IN ON:

EXT. BACK YARD - DAY A static shot of an EMPTY BACK YARD-- a tranquil, sunny expanse of grass overlooking the Hollywood Hills. A soft breeze rustles through the trees. A sliver of patio in the foreground hints at a pool. There are no people present. Just the SOUND OF A PARTY from some time ago, the voices strained through someone’s memory. Snippets of conversation, of laughter and gossip. Meat sizzles as it’s thrown around the grill. A man’s voice. MAN (V.O.) ...just a little more, I think... A woman mumbles something in reply. More laughter. MAN (V.O.) Okay, okay.... Then, just barely audible, a child’s SCREAM. A VOICE, coming closer, cuts through the rest. VOICE (V.O.) Will. Will! WILL (V.O.) What? VOICE (V.O.) It’s Ty... All levity stops. A metal utensil clangs to the ground. Chairs scrape against the deck. Footsteps rush from the patio to the grass. WILL (V.O.) Oh, God... Ty? Ty? What happened? Worried voices overlap, mixing with Will’s. VOICE (V.O.) VOICE (V.O.) ... how did...... he’s not breathing. 2.

WILL (V.O.) No! No! Oh God... VOICE (V.O.) VOICE (V.O.) ... how, how...... oh God, call 911... VOICE (V.O.) Get back, just get back everybody, just... The shot continues-- the peaceful, empty yard, evening sun throwing long shadows. The voices rise in panic. WILL (V.O.) Ty! Ty! A woman’s voice, a wail of bottomless despair, pierces everything and we FADE TO:

ABOVE LOS ANGELES - DUSK The sun has already set. Color fades from the landscape as the sky grows dim. The hills become an ominous, dark outline. Sounds mix together, low, barely audible; broken transmissions, strange animal cries, quiet voices. The things that creep into the sky, both human and inhuman, organic and mechanical. We move down through the haze to find HEADLIGHTS, winding up through Coldwater Canyon into the Hollywood hills. The lights turn onto a narrow, twisting road. A car, a Saab station wagon, is moving up. IN THE CAR A young man, WILL (30’s) drives in silence. We linger on his face as he concentrates on the road. Behind his placid expression, we can see something pulling at him. There is a haunted quality to his eyes. EXT. HOLLYWOOD HILLS - SAME The car continues its purposeful climb, drawn into the ever- darkening tangle of streets, the orange-blue haze of dusk giving way to blackness. IN THE CAR A long moment on Will’s face, his eyes. The only sound is that of the engine, muffled by the closed windows. It’s claustrophobic. 7.

INT. CAR - CONTINUOUS Kira watches as Will comes around the front of the car and gets inside. They sit there for a moment. Will is a little out of breath. Kira looks at him, then forward. Shocked. KIRA Fuck. WILL I know. She puts a hand on his arm. KIRA Let’s go back. We don’t have to do this tonight. Especially after this. Everyone will understand. Will, both hands on the wheel, doesn’t answer. Finally... WILL How the fuck can she go back to that house? KIRA People deal with things in different ways. She’s trying. WILL And I’m not. KIRA You said that, not me. (pause) Maybe she wants to let people in. Maybe she wants to make some new, good memories in that place... WILL I don’t think things work that way.

EXT. ROAD The car moves up the narrow road in the hills, headlights glinting off parked cars. Everything seems precarious, somehow. Dark and twisted. They drive past lines of parked cars, closely packed on the side of the road. Just a glimpse, unseen to Will and Kira... 14.

It’s a GIRL, maybe 19 or 20, wearing only a tight t-shirt, naked from the waist down. Sleepy-eyed, SHE STARES DIRECTLY AT WILL, a weird smile on her face. DAVID (O.S.) We invited you here because we love you, and we’ve missed you. Will’s eyes are fixed on her. She slowly breaks eye contact and drifts away into another room. DAVID This dinner is a way for all of us to reconnect. We wanted to open the house again. To give it, and us, a new start. Everyone toasts, savoring the wine. GIRL (O.S.) Hey, save a glass for me... The girl, now dressed, slinks out of the hall and up to David, who laughs as she grabs at his glass, kissing at his neck. There’s something unsettling about her energy; skittish, an abused animal. On her wrist, the distinctive leather bracelet. Looks from Kira to Ben to Tommy... who is this? EDEN Sadie, meet our friends. SADIE Hi... She laughs, uncomfortably. BEN Hi, Sadie. I’m Ben. KIRA So, uh... how do you guys know each other? SADIE Um. Friends in common, I guess. 27.

AS WE FOLLOW HIM out through the living room, we see Kira and Eden together in the background. As he walks, we hear Kira and Eden’s conversation. EDEN (V.O.) Has he been like this a lot? So upset? KIRA (V.O.) It’s been hard, Eden. EDEN (V.O.) I’m sorry. But it’s really good he has you. KIRA (V.O.) I actually... I keep trying, but I don’t know if we’re going to make it. EDEN (V.O.) Can I ask you something. Has he ever been... violent with you? KIRA (V.O.) No. God no. Will enters the darkness of the stairwell. KIRA (V.O.) You’re not saying... EDEN (V.O.) Of course not. No... Will moves down the stairs. EDEN (V.O.) I just worry about him. How he’s dealing with things. You wonder. Will walks down the hallway. It seems, to him, unnaturally long. A trial. Will clears his throat, a sound to keep him company. He passes an open door. He stops, looking inside.

INT. BATHROOM - SAME A clawfoot tub sits empty in one corner of the immaculate bathroom. 28.

ON WILL’S FACE. The sound of voices, gentle splashing. The camera moves around Will, back to the tub, to find WILL AND EDEN IN THERE TOGETHER, YEARS AGO. Eden relaxes against Will, looking content and warm. They feel to us like completely different people. Will fishes a washcloth from the bottom of the tub. He starts to wash Eden’s chest with a goofy look of concentration. She laughs. WILL You’re very dirty there. EDEN Really? WILL (kissing her) Yes. Attention to detail is incredibly important. He continues washing her, making her laugh even harder. WILL It is my credo. EDEN It’s your credo! Suddenly, another voice can be heard. Will and Eden stop, look up-- Ty, their son, is peeking through a crack in the door. He’s giggling. WILL Why don’t you back to bed, buddy. We’ll be quieter. The boy looks at them, as if doing a mathematical problem in his head. Then he turns and leaves. WILL So that’ll be the time he saw his gross parents having sex. EDEN We are gross. A pause. 29.

EDEN Do you think he needs a brother? Will smiles. WILL He could probably use one. She turns, looks back at him. They kiss. She rolls over to face him. ON WILL’S FACE Will is lost in this memory. But as he slowly realizes, he is where he is. Today.

INT. HALLWAY - SAME Will moves further down the hallway toward a closed door. He puts his hand on it. He cannot bear to open it. Will walks away down the hall, to the door leading outside.

EXT. BELOW THE HOUSE Will opens the door and walks out into the night air. The woodpile is near, but, leaving the door open, he walks out into the backyard. He can hear the muted sound of loud music echoing up the canyon from a party. He takes a breath. Will steps out onto the patio, taking in the warm night air. He walks slowly around the pool. In the distance, the lights of the city spread out before him. On the other side of the pool, the yard extends out a good 50 feet before dropping off into the night. Will looks across the grass, unwilling to step out onto it-- as if something is out there. WILL’S POV - We’re in exactly the same space, but it’s daytime. Panic and movement. People are running to the yard. People ahead are backing away from something. A SCREAMING rises...

BACK IN THE PRESENT Will stares at the spot in the grass. 58.

A feast. EDEN Dinner is served. We close in on Will, and we begin a MONTAGE IN THE HALLWAY We creep through a darkened part of the house, inexorably. Voices are audible ahead. We are peering into rooms, into half-opened doors, drifting, moving on toward the light and sound. IN THE DINING ROOM We watch from above, the conversations in the warm pool of light of the dinner table. A droning sound, insistent, begins. AT THE TABLE We wash in and out of conversations, the night getting into its groove, food passed back and forth, laughter. TOMMY Penguins are overrated animals. AMANDA (laughing) Overrated? TOMMY Yeah, I think they’re cocky. Everyone thinks they’re just adorable and they... MIGUEL Oh, god... TOMMY They just know it. They’re haughty. BEN They do kind of lord it over you. Will laughs, too, but is still having a hard time. Trying to connect, but a step behind. We are deeply in his point of view. 59.

There is something about the way people are tearing at their meat, something primal. There is something mechanical about the conversations, the seams and gaps revealed. There is something grotesque about all of it. Will looks across to Ben, watches as, laughing, he tips back him wine glass, raising his eyebrows A FLASH Remembering, the same gesture, Ben lighter, younger. So much has changed. AT THE TABLE We wash back into the conversation, more wine has come out, more drugs. TOMMY I think generally it’s pretty simple how to act in this life. Do unto others. DAVID (smiling) I think we can agree to that. AMANDA No. I don’t agree. There are absolutes. And people need guidance. I know it isn’t a popular thing to say, but it’s true. They do. BEN I love when you tell me what to do. I like the clarity. AMANDA There are people who do know best. And there are people who should be told what to do. Deal with it, you know? KIRA I just don’t think we get to decide for anybody else. Will looks to Kira, the way she moves her hands. A FLASH - THE PAST - SOMEWHERE ELSE 60.

The same gesture. She looks at him expectant, open. AT THE TABLE Her expression very different. Darker. IN THE HALLWAY We move closer and closer to the sounds of the conversation. We creep toward it, like an animal, curious, approaching a campfire. AT THE TABLE Will sees Gina, looking at the empty seat where Choi should be. Kira puts down her glass, looking intently into it for a moment, then up at the table. KIRA All these big ideas that people kill and die for are meaningless. All these ideals and... beliefs. It isn’t worth it. It comes down to the people in front of you. DAVID But you can’t deny that sometimes the greater good calls for things that, in the short term seem... KIRA I don’t believe in that any more, David. I don’t. EDEN If we don’t think there’s anything bigger than just what’s in front of us, what’s the point then? What’s all of this for? We close in on Will’s face. A SHOT OF THE BACKYARD In the daytime, a child’s birthday party. Adults talking. Ty, his son, and another boy, a little bit older are playing, roughhousing a little bit. AT THE TABLE The droning sound is louder and louder. 61.

The people around him seemingly slower and faster, all at once. He looks to Kira-- the only one who seems real. She is not looking at him. He watches her. He says her name. She doesn’t hear him, doesn’t look over at him. She looks closed to him. Like a person he doesn’t know. THE BACKYARD Will runs. Pushing through people. The older boy is crying. He holds an aluminum baseball bat. WILL What did you do? What did you do? Eden is on her knees in front of them. She screams. AT THE TABLE Will’s face. The sound of the conversation rises into a cacophony. CUT TO:

SILENCE Will sits in the hallway, as if startled to be there. He looks back-- people are clearing plates from the table. Off to himself, he rubs his palms into his eyes, trying to get himself back together. He hears something. Water running in the bathroom. He gets up, drawn toward the sound.

INT. HALLWAY Will stands a few steps away from the bathroom. The door is open a crack. Through it, he can see Sadie standing in front of the mirror, leaning forward. He can’t quite make out what she is doing. He moves a little closer. Sadie is making faces at herself in the mirror. Horrible, twisted expressions, eyes and mouth wide open, screaming without sound. She stops. Looks at her reflection. Makes another face. A sort of game. Will watches, fascinated, disturbed. Finally, he turns away... just as she turns slowly to see him. 101.

A dog comes onto the lawn below them, a house dog with collar and tags that has gotten loose from another house. The fur around its mouth is matted with blood. It looks up at them, curious, then warily turns and crashes off into the woods. Still holding hands, Will and Kira walk down the steps, out of view, leaving us with the view of the city, the red lanterns, so many red lights. The view is still quite beautiful.

FADE TO BLACK. MOONLIGHT

Written by Barry Jenkins

Based on "In Moonlight Black Boys Look Blue" By Tarell Alvin McCraney 52.

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. 53.

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. 54 INT/EXT. BOX CHEVY - NIGHT - MOVING 54 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. 92.

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... 96 EXT. MIAMI BEACH PARKING LOT - NIGHT 96 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. 93.

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. 97 INT. KEVIN’S APARTMENT - NIGHT 97 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. 94.

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? 95.

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. 96.

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. 98 INT. KEVIN’S APARTMENT, BEDROOM - NIGHT 98 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. 97.

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... 99 EXT. OCEAN - NIGHT 99 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. 98.

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.