by
Scott Yagemann
REVISED SHOOTING DRAFT
November 4, 1996
FOR EDUCATIONAL PURPOSES ONLY
Rev. 7/10/96
1 8 7
1 EXT. LOWER MANHATTAN SKYLINE - BROOKLYN BRIDGE - MORNING 1
RUSH HOUR
ON a pair of black Dexter penny loafers diligently
pedaling an old Schwinn mountain bike. ADJUST ANGLE now
to meet the bicyclist...
He's African-American. Anywhere from 33 to 40. Wears
wire-rim glasses, a fresh white oxford shirt, creased
slacks and a solid green tie. An unobtrusive figure, at
once familiar and yet undiscerning. The type you'd pass
on a sidewalk and never even notice. He's TREVOR GARFIELD.
ADJUST ANGLE FURTHER now to reveal the upper promenade
bike path and a dramatic view of Lower Manhattan behind
him. Morning sun glimmers off the Trade Center towers.
Trevor's shadow skitters along the wooden path, 160 ft.
above the East River.
A fat briefcase, strapped to the back of his bike, rocks
back and forth as he pumps the pedals.
FROM ABOVE now a sweeping view of Trevor, alone on the
bike path, a speck, suspended above a sea of rush hour
traffic on the bridge below.
2 EXT. ATLANTIC AVENUE (BEDFORD STUYVESANT) - MORNING 2
A wrought-iron train trestle covered with graffiti shakes
as an "EL" TRAIN ROARS overhead. Trevor races parallel
with it along Atlantic Avenue. Every city block becomes
more and more rundown.
3 EXT. ROOSEVELT WHITNEY HIGH SCHOOL (BEDFORD 3
STUYVESANT) - MORNING
A cyclone fence frames the stalwart face of the old
three-story administration building. Ubiquitous gray
patches of paint fail to cover where taggers have most
recently left their marks. The ASSISTANT PRINCIPAL, a
black man with a booming voice, barks at late-comers who
are about to be tardy...
ASSISTANT PRINCIPAL
(clapping his hands)
... Let's go, people! Tardy lock-
out starts in one minute! Get
your butts in gear! One minute,
people! Move it!
(CONTINUED)
1 8 7 - Rev. 7/10/96 2.
3 CONTINUED: 3
SUPERIMPOSE: ROOSEVELT WHITNEY HIGH SCHOOL -
OCTOBER 1994
The Assistant Principal, attention diverted, doesn't even
notice Trevor as he enters on his bike and races down the
sidewalk in front of the school. With all the prompting,
students still don't seem to be in much of a hurry.
4 OMITTED 4
5 INT. RWHS "A" BUILDING - MAIN ENTRANCE 5
... as Trevor squeezes through the doorway past students
being processed through card readers and metal detectors
and turns down the main hall.
6 INT. RWHS - MAIN FLOOR 6
With a glance over his shoulder, Trevor hops back onto
his bike and pedals it down the middle of the corridor.
STRAGGLING STUDENTS either ignore him or look at him
like he's insane.
STRAGGLING STUDENT
(as Trevor passes)
... No ridin' bikes in 'a hallway,
stoo-pit.
6A INT. STAIRWELL 6A
As Trevor reaches the end of the main corridor... and
steers his bike down the stairs.
7 INT. RWHS - BOTTOM FLOOR 7
Trevor coasts skillfully down the stairs and emerges
onto the bottom floor of the school. He pedals away
toward the other end of the corridor.
7A EXT. TREVOR'S CLASSROOM 7A
A crowd of 10th graders loiter outside Trevor's room.
Seeing him coming, they stir to life with a flurry of
taunts. Trevor chooses to face all dissension with a
smile.
(CONTINUED)
1 8 7 - Rev. 7/10/96 3.
7A CONTINUED: 7A
As Trevor hops off his bike and unlocks the classroom
door, he notices two lovers making out in the hallway...
VOICE IN CROWD
... Yuh late, Garfield.
TREVOR
(catching his breath)
... No, bell hasn't rung yet.
Okay, let's get inside. C'mon.
(as they file
into the room)
... Morning, morning. Rise and
shine.
TWO STUDENTS make passing comments...
AUGGIE
(shaking his head)
... You one crazy-ass nigga, G.
TYWAN
(a quarter stuck
in one ear)
... Damn skippy.
TREVOR
Thank you for sharing, Auggie.
TYWAN
(provoking Auggie)
... Auggie doggie.
AUGGIE (O.S.)
Fuck you, Tywan. Yer mama's a
gangsta-rapper.
Trevor offers a pleasant greeting to the two lovers.
TREVOR
'Scuse me, you two... this isn't
the Playboy Channel.
Trevor enters the room, but ducks his head back into
the hall.
TREVOR
'Morning, Juanita.
8 INT. RWHS - TREVOR'S CLASSROOM - CONTINUOUS ACTION 8
Walls are covered with assorted science posters.
Styrofoam nuclei dangle from the ceiling. Trevor
unstraps the fat briefcase from his bicycle and sets
it on a metal stool next to his desk...
(CONTINUED)
4.
8 CONTINUED: 8
TREVOR
(enthusiastically)
Let's get started. August and
Tywan, you pass out the books.
Thank you, gentlemen.
Auggie and Tywan don't budge.
TYWAN
Whas up wit' your car, G? Yer
Pinto blow up?
The majority of students aren't even paying attention. A
group in the back is already starting a card game.
TREVOR
(good-natured smile)
No, I don't own a Pinto, Tywan.
(addressing the class)
Okay, can I have everyone's
attention?
No response, but it doesn't phase Trevor. He removes
the front wheels from his bike.
TREVOR
The purpose of the bicycle is to
demonstrate the principle of
centripetal force. That's the
opposite of the force we studied
yesterday, which was...
VOICE IN THE CROWD
Magnum force.
Hoots and laughter.
TREVOR
Centrifugal force... Centripetal
force is where the acceleration of
a body moving in circular motion
is directed toward its center by an
opposing force, thus creating
momentum that constrains the body to
its circular path. Like a gyroscope.
(sees nothing
but yawns)
It's better if I show you. Here,
Tywan, you be my helper.
Tywan and Auggie are busy talking in the corner. They
still haven't passed out the books.
(CONTINUED)
5.
8 CONTINUED: (2) 8
TREVOR
Tywan? Come on.
Tywan, solidly built like a Rodin bronze, saunters over.
TYWAN
Whad-up, G?
(to rest of class)
Hey, shut up! Y'all too damn
loud, man!
Class quiets but only marginally.
TREVOR
I need you to demonstrate
centripetal force.
(removes briefcase
from stool)
Here, have a seat.
Tywan sits and Trevor hands him the upside-down bicycle.
TREVOR
Okay, hold the bike steady with
your knees. That's it. Seat
positioned against your chest.
Tywan glances over at Auggie and starts to laugh.
TYWAN
(to Auggie)
Shut up, foo.
TREVOR
Okay, now crank the pedals and get
that back wheel spinning about
180 R.P.M.
TYWAN
Whas up wit' dat?
TREVOR
(coaxing him along)
You'll see. Be patient.
A skeptical Tywan starts to crank the pedals, but he's
not pedaling hard enough.
TREVOR
... Put some muscle into it.
Tywan cranks the pedals harder now. Trevor back-pedals
over to the textbook shelf and randomly selects a
physical science book (but doesn't open it).
(CONTINUED)
1 8 7 - Rev. 7/10/96 6.
8 CONTINUED: (3) 8
TREVOR
... Keep pedaling. Harder.
A paper airplane sails past an oblivious Tywan. He
cranks harder and harder until he's sweating ham juice.
Now, he impales Trevor with a befuddled squint.
TYWAN
(incredulous)
Whas up? I tol' you you was
crazy, man.
A thin smile of confidence from Trevor now...
TREVOR
Now tilt the wheel to your right.
Tywan does and immediately the wheel pulls him to the
right, causing the stool to slowly spin on its axis.
TYWAN
(eyes wide like
a little kid)
Aw, damn. I'm spinnin'. Lookit
me, Auggie!
Trevor flickers a smile as Tywan's spinning starts to
draw the attention of the rest of the class.
Now Trevor refers to the physical science book in his
hand. Smile on his face immediately fades.
INSERT: Physical science textbook. In magic marker.
The large number 187 has been scrawled across every
page. Trevor flips through the book. He checks the
front page to see who it belongs to.
Juxtaposed to Trevor's distracted state, the class is now
focused on Tywan's achievement...
CLASS
(attempting unison)
... Tywan, Tywan, Tywan.
9 INT. RWHS - "A" BUILDING - MAIN CORRIDOR - SECOND 9
PERIOD
One of the fluorescent lights overhead flickers. The
place is deserted except for a custodian who pushes a
cresting wave of trash ahead of his broom. Now Trevor
heads up the north stairwell at the far end of the
corridor. He clutches the desecrated physical science
book. A student slides down the banister past him.
7.
10 OMITTED 10
11 INT. COUNSELING OFFICES - WAITING AREA 11
A PUERTO RICAN WOMAN prods a group of gangbanger wanna-
bes. Two of the teens hover over a Sony Walkman, sharing
the earphones.
SECRETARY
Okay, fellas, off the table. Put
the Walkman away. I said put it
away...
A 10th grade counselor's office opens and a student
emerges. Trevor walks directly in.
TREVOR
Walter, I need to speak with you.
WALTER (Anglo; 52) is a disheveled middle-aged counselor.
A lifer. He chews on an empty smoking pipe as he glances
through a student "cum" (cue-mm).
WALTER
(preoccupied)
I'm pretty busy right now,
Garfield. What is it?
Trevor sets the book down on Walter's desk and nervously
adjusts his glasses.
TREVOR
Could you open it, please?
Walter opens the book.
WALTER
(a weary look
of disgust)
Don't suppose this kid cares about
our budget crisis?
(shuts the book)
Have the textbook room charge him
for the book.
Walter snaps the book shut and looks up at Trevor.
That's all?
TREVOR
One-Eight-Seven is a penal code
number for murder, Walter.
Means the same thing as T-O-S.
'Terminate On the Spot.'
(CONTINUED)
8.
11 CONTINUED: 11
WALTER
(piqued)
For chrissake, I know what it
stands for. Look, kid probably
heard it in a rap song. Doesn't
mean anything.
TREVOR
... The book belongs to Dennis
Broadway. He's a known gangster,
Walter -- a 'Five Percenter.'
WALTER
Garfield, if I had a dollar for
every time a student threatened
faculty... Don't you think you're
overreacting a little?
TREVOR
(suppressing
trepidation)
Did you tell Dennis Broadway he
was getting a fail from me?
WALTER
(stymied)
I have legal access to those
files.
TREVOR
He's a transfer from Nixon High
School, isn't he?
WALTER
(becoming defensive)
Look, I'm not obligated to track
you down every time a transfer
student comes through here. You
want confidential information
like that, come look it up in his
cum (cue-mm).
Trevor exhales a sigh of resignation.
TREVOR
Do you have him on a contract?
WALTER
If he gets through the semester
without a fail then he gets to go
back to Nixon, so what?
TREVOR
... and be with his homeboys.
(CONTINUED)
9.
11 CONTINUED: (2) 11
Walter's caught between a rock and a hard place. His
instincts lean toward self-preservation.
WALTER
So he blew his opportunity. Now
he has to learn to live with the
consequences.
TREVOR
I don't think this kid's ready to
deal with the consequences. I
think he wants me dead.
WALTER
Relax, has nothin' to do with you.
TREVOR
I should have been told, Walter.
WALTER
Hey, I'm on your side, Garfield,
but my hands are tied. Kid has a
right to his privacy... Know what
your problem is? You're an
idealist.
TREVOR
What's wrong with that?
WALTER
You only see what you wanna see,
that's what's wrong. On one hand
you think someone's trying to kill
you. On the other hand you
actually believe kids are paying
attention in your classes.
Trevor resigns himself to the fact that he's come to
the wrong person for support.
TREVOR
(collecting himself)
Never mind. It's not a problem.
WALTER
(an empty promise)
Tell you what, as soon as I get a
chance I'll summons the kid.
Promise.
Trevor's bemusement holds us.
1 8 7 - Rev. 7/10/96 10.
12 INT. RWHS "A" BUILDING - MAIN CORRIDOR - MORNING 12
Trevor retraces his steps back up the empty corridor as
the passing BELL RINGS. Within seconds the corridor is
teeming with teenagers.
Into SLOW MOTION now. MANEUVERING THROUGH the crowd to
DISCOVER DENNIS BROADWAY (16). About ten paces behind.
His Snoop-Dogg Afro frames a gold earring and a pair of
deep-set eyes filled with vitriol. Oblivious of Dennis,
Trevor presses on toward the north stairwell.
VARIOUS SHOTS OVERHEAD and THROUGH crowd as the gap
between Dennis and Trevor narrows. Every facial
expression, every blink of an eye, all magnified a
hundred times.
Broadway's right hand is wrapped in a dirty white
handkerchief as he reaches into the front pocket of his
baggie Solos and pulls out a block of wood with a
ten-penny nail imbedded in it.
13 INT. RWHS - AT NORTH STAIRWELL 13
Trevor's heavy eyelids blink as he slowly glances up into
a parabolic mirror on the wall. A silent, paroxysmal
terror registers on his face.
In a parabolic mirror, the blurred image of Dennis
Broadway, pushing hard toward a conclusion now.
BACK TO SPEED as Dennis explodes forward, body blocking
Trevor from behind, pinning him against a wall and
sending the "187" textbook flying.
He rams his weapon into Trevor's back.
In a SERIES OF RAPID-FIRE CUTS, filtered sunlight
shimmers off the sharpened nail as it slashes downward.
A barrage of stabbing motions, tearing at cloth and
flesh. Trevor's backward flailing arms are ineffective
in blocking the frenzied stabfest. Downward slashing,
again and again... 10 times.
Aftermath. As quickly as it began it's over. Dennis
Broadway slams open an exit door and is gone. Students
scatter like cockroaches. An eerie stillness lingers.
Trevor Garfield is lying on his back now in a pool of
blood; black plastic framed glasses in pieces on the
floor; lifeless arms spread out at his sides. His
rheumy, unblinking eyes stare upward into infinite space.
Breathing is the major focus of his concentration now as
we SLOWLY MOVE IN ON his face. HOLD and now...
11.
14 EXT. TREVOR'S HOUSE (SOUTHERN CALIFORNIA) - 14
SUPERIMPOSE: LOS ANGELES - SAN FERNANDO VALLEY,
SEVENTEEN MONTHS LATER
It's a tiny one bedroom house in the East San Fernando
Valley. A chain-link fence surrounds the perimeter and a
large olive tree shades the neatly-mowed front lawn.
And in the back there's a wooden tool shed that borders
a narrow alley.
15 INT. TREVOR'S HOUSE - LIVING ROOM 15
In the predawn light a terra cotta angel stands guard
over a bookshelf.
16 INT. TREVOR'S HOUSE - BEDROOM 16
Stillness. Now the PHONE RINGS. A shape in the bed
stirs. A desk lamp flickers on, illuminating the phone.
Trevor's hand reaches for the receiver.
TREVOR
Morning...
SUB UNIT (V.O.)
'Morning, Mr. Garfield. This is
the Sub Unit. Are you available
for work?
TREVOR
(clearing his throat)
... Yes, uh huh.
SUB UNIT (V.O.)
There's a science class in the
Valley at John Quincy Adams. It's
a four day assignment. Teacher's
name is Eskander.
17 INT. TREVOR'S HOUSE - TREVOR'S PRAYER - SERIES OF SHOTS 17
We hear what God hears over the following...
A) IN SHOWER
Trevor hangs his head under a torrent of soothing
water.
B) TREVOR
Ceremoniously, he irons a shirt... and polishes his
shoes, a broad scar shows across the back of his hand.
(CONTINUED)
1 8 7 - Rev. 7/10/96 12.
17 CONTINUED: 17
C) ANOTHER ANGLE
His pressed slacks and tie hang meticulously over a
chair as he gets dressed.
D) CRUCIFIX
Now Jesus Christ looks down on Trevor from his crucifix
on the bedroom wall.
TREVOR (V.O.)
(kneeling bedside)
... If you're listening, God,
please help me today. All I ask
is a chance to do my job... t'do
the job you put me here to do in
the first place.
(prayerfully now)
Please help me accept those things
I cannot change... and give me
strength to change those things I
can.
(beat)
... This is me, Trevor, God.
Amen.
18 EXT. JOHN QUINCY ADAMS H.S. (SAN FERNANDO VALLEY) - 18
"A" BUILDING - MORNING
Traffic bottle-necks as students cross in front of cars,
and big yellow L.A.U.S.D. buses pull in. The green lawn
is scattered with students (about 65% Hispanic).
Compared to the scarred, institutional look of Roosevelt
Whitney, the face of John Quincy Adams is unblemished.
(This is your own backyard, not the inner city)
Sagging pants (Dickies, Ben Davis) and oversized jackets
(County Bens, Duke, Georgetown) are represented. The
different socio-economic and ethnic groups stick with
their own kind; the IHPs (Individual Honors Program), the
taggers, the Gangbangers, the Asians, the Armenians...
18A EXT. JQA PARKING LOT 18A
Anglo boy, Stevie Littleton, gets out of his mom's Lexus
in the school parking lot and walks towards school.
19 INT./EXT. TREVOR'S '64 RAMBLER AMERICAN - FACULTY 19
PARKING LOT DRIVEWAY
Trevor sits behind the wheel of his Rambler. Watches a
passing parade of students with detachment.
1 8 7 - Rev. 7/10/96 13.
20 INT. JOHN QUINCY ADAMS - "A" BUILDING ENTRANCE - FEW 20
MINUTES LATER
Trevor, fat briefcase in hand, crosses the front lawn.
He's not the same Trevor we met back in Bedford-
Stuvyesant. Withdrawn, guarded, he manufactures a
cautious smile at students in passing.
Trevor now approaches VICTOR SIFUENTES, a young plain-
clothes narc, who intermittently wands students with a
metal detector at the front doors. FAVOR a kid now who
wears a baseball cap with an emblem on the crown that
says "Fucd."
VICTOR
... Baseball cap, give it up.
The kid grudgingly reciprocates, handing over his cap.
VICTOR
(stopping Trevor now)
Hold it, please.
Trevor produces his blue employee card.
TREVOR
I'm a substitute.
VICTOR
(pointing)
Okay, you want the Main Office,
straight ahead. Check in with
Mrs. Ford.
21 INT. JOHN QUINCY ADAMS - "A" BUILDING/MAIN CORRIDOR - 21
BEFORE FIRST PERIOD
Trevor wanders up the crowded corridor. Along with his
briefcase he now carries a sub folder that contains a
homeroom roster, lesson plans and seating charts.
A sporadic row of teachers, like weary sentinels, stand
outside their classrooms.
TEACHER #1 is an insipid woman in her mid-forties. She's
overweight and wears too much make-up.
TREVOR
... 'Scuse me. I'm lost. I'm
looking for Bungalow...
(checks homeroom roster)
... eighty-six.
(CONTINUED)
14.
21 CONTINUED: 21
TEACHER #1
(pointing)
All the way out, next to the
parking lot. Last bungalow on the
left.
TREVOR
... Thank you.
TEACHER #1
(fatalistic)
Good luck.
Her comment weighs on him as he resumes his winding path
through the bustle of students headed for first period.
22 INT. JOHN QUINCY ADAMS - MAIN CORRIDOR/CLASSROOMS - 22
TREVOR'S POV
Glancing through open doorways. Observing the inner life
of various classrooms in passing... sees students watch-
ing TV, teacher ignores them.
INTERCUT WITH:
23 INT. JOHN QUINCY ADAMS - CLASSROOM #2 23
ANGLO MALE, 39, slouching behind his desk, attempting to
read a newspaper but distracted by an offstage commotion.
CLASSROOM #2 TEACHER (ANGLO MALE)
(erupting)
... Sit down. I come back there
and you're gonna be sorry.
INTERCUT WITH:
24 INT. JOHN QUINCY ADAMS - CLASSROOM #3/COMPUTER LAB 24
On the opposite side of the corridor... we can hear
Ellen Henry's voice before reaching her doorway. All
brightness and light, full of enthusiasm...
ELLEN (O.S.)
(like, a buzzer;
times up)
... EEEEgghh! Wrong. William,
you know this. C'mon, how do you
find the pound sign? What's the
fastest way?
(CONTINUED)
15.
24 CONTINUED: 24
Now we see her through the doorway. ELLEN HENRY (TEACHER
#3). She's thirty, Anglo, and non-tenured. At the front
of the class ten students stand linked together, arm-in-
arm, in a human chain. WILLIAM (15) sits behind a computer
in the front row struggling to decipher the problem...
ELLEN
(playfully)
You're not thinking.
(a major clue)
How 'bout Binary search.
William remains puzzled. The chain of students delight
in chiding him. "C'mon, Beavis!"...
ELLEN
(the answer)
You split them!
Ellen attempts to bisect the impulsive chain of students
with a double-handed karate chop. Fickle chain that they
are, they resist.
ELLEN
(amused)
... Very funny.
Now a SLOW MOTION fleeting moment as she catches Trevor's
passing gaze and openly smiles at him.
25 INT. MEN'S BATHROOM 25
Trevor rinses his face at the sink as Victor Sifuentes'
head speaks to him from above one of the heavily
graffitied stalls in b.g.
VICTOR
So who yuh here for?
TREVOR
Eskander.
VICTOR
(zipping up,
exiting)
Aw, man, you got bungalow
duty.
26 EXT. JOHN QUINCY ADAMS - BUNGALOWS - MORNING 26
On a MEANDERING COURSE, MERGING with Trevor now.
(CONTINUED)
16.
26 CONTINUED: 26
Increasing evidence of tagging, and bands of wandering
students, indicate a higher degree of disorder the
further one gets from the Main Office.
FROM ABOVE NOW, like Algernon and his maze, Trevor
negotiates his own path deeper and deeper into the
configuration of bungalows.
... And Trevor's trepidation. Eyes discerning every
passerby. His PULSE AUDIBLY RACES, senses heightened.
SHIFTING INTO SLOW MOTION AGAIN... And the reverberating
SOUND of a SPRAY PAINT MARBLE as Trevor rounds a corner
and comes face to face with three tag-bangers concealing
spray paint cans inside their oversized jackets. One of
the taggers locks eyes with Trevor as he passes, a slow
premonitory burn. The tagger has a "skin tight" (pelon)
hair cut and a string of black rosary beads around his
neck. A barcode tattoo on the back of his neck identi-
fies BENNY.
27 EXT. UTILITY SHED AND VICINITY - MORNING 27
... Behind the bungalows, adjacent the delivery gate.
Meet DAVE CHILDRESS, a forty-something ditto-head.
The residual effects of a hangover linger as he sneaks a
cigarette before first period. He wears a faded Hawaiian
shirt and Huarache sandals. An old military tattoo
emblazons his left forearm. As he crushes out his
cigarette, something catches his eye.
28 EXT. UTILITY SHED 28
... Thru a chain-link fence we see a handful of cholo-
types loitering around the shed.
Childress investigates. As he approaches the fence...
CHILDRESS
... Hey, ese(s)?!
Homeboys scatter in all directions, some hop the chain-
link fence, others scurry out a narrow gate behind the
shed. Childress weighs an amused smirk. Now out of
nowhere a gangbanger lurches from the shed, buttoning
his sagging Dickies and tripping over his own feet. He
scrambles out the back gate and is gone.
Childress, curiosity piqued, now enters the compound
through a tear in the fence.
1 8 7 - Rev. 7/10/96 17.
29 INT. UTILITY SHED - MOMENTS LATER 29
As Childress pokes his head inside he discovers...
Rita Nartinez, seventeen... braless. A niobium belly-
ring piercing her navel. She pulls a dark blue sweat
shirt on over her head. Glances up at Childress. Masks
her shame with a defiant smirk.
(Behind the heavy eyeliner and baggy pants of a chola,
Rita's really nothing more than a little lost girl.)
CHILDRESS
(knowing full well)
What the hell's going on here,
lil' sister?
30 INT. BUNGALOW "84" - MORNING 30
Trevor flicks on the lights, exposing bare, colorless
walls and closed venetian blinds. His breathing's
slightly labored as he sets down his briefcase. His back
faces the mob of students that trickle in now as he takes
a surreptitious hit off an inhaler. Almost instantly his
breathing returns to normal.
Now he shuts his eyes and prepares to conjure up the
dormant enthusiasm he used to have. Takes a deep
cathartic breath. Now he digs a file folder out of his
briefcase, opens it, selects a dispatch and approaches
the blackboard.
BELL RINGS as he picks up a piece of chalk... and begins.
First he writes his name in the corner of the blackboard.
Now he moves to the center of the blackboard and begins
to write per the file folder in his hand...
"GLIS WAS VERY FRAPPER. SHE HAD DENARPEN FARFIE'S
MARDSEN..."
No one pays much attention. Back still facing the
class...
TREVOR
... Before taking roll, I'd like
to prove a point.
Now one or two students begin to notice the
indecipherable gibberish he is writing on the board...
(CONTINUED)
18.
30 CONTINUED: 30
BARSEK
(Armenian; a disparaging
laugh)
'Farfie?'
(cholo-like)
Whad up, Farfie?
Trevor mentally blocks out the salvo of grunts, groans
and expletives. With each subsequent stroke of the chalk
he is exorcising his demons...
TREVOR
... It's not important what... or
who... 'Farfie' is.
Turning to face the class now...
TREVOR
Yuh wanna play, yuh gotta stay.
Have a seat, please.
A handful of students take their seats.
TREVOR
(pacing now)
The point I'd like to make is
this... Anyone here can be a
scientist.
... a grudging buzz of confusion.
ASIAN GIRL
(sotto; puzzled)
... What's he talking about?
TREVOR
... A scientist is like a
detective. He investigates data.
He scratches the surface of things
he doesn't understand to see
what's underneath.
(pointing to blackboard)
... Things like this. Okay, who
wants to read?
Barsek (the class clown) breaks in...
BARSEK
(standing up)
I'll do it.
Trevor quiets a harmless barrage of, "Bart," "sit down"
and "Armenian Power sucks"...
(CONTINUED)
19.
30 CONTINUED: (2) 30
TREVOR
Come on, we don't need disrespect.
Let 'im do it.
(to Barsek)
What's your name?
BARSEK
Barsek.
A wisp of gratification flickers at the corner of
Trevor's mouth.
TREVOR
Okay, Barsek. Read.
(The following is read in fits and starts and accompanied
by diminishing laughter and ridicule.)
BARSEK
... Glis was very frapper. She
had denarpen Farfie's Mardsen.
She couldn't galp a giberter for
Farfie. Instead she wharked to
plimp a mardsen binky for him.
TREVOR
Okay, anyone know what Barsek just
said?
... A unanimous "No." Trevor can see the light at the
end of the tunnel now. He's back in the zone.
TREVOR
That's alright. You don't need to
understand something to answer a
few simple questions about it.
Every one of you is capable of
decoding data. Watch.
Trevor writes question #1 on the board...
1. WHY WAS GLIS FRAPPER?
TREVOR
... Why was Glis Frapper? Can
anyone tell me?
The Asian Girl, into it now, tentatively raises her hand.
TREVOR
(pointing at
Asian Girl)
Okay.
(CONTINUED)
20.
30 CONTINUED: (3) 30
Asian Girl's POV as she studies the first two sentences
on the board.
ASIAN GIRL
(slowly; cautiously)
... Glis was frapper... because...
she had denarpen Farfie's mardsen?
TREVOR
(understated)
That's right. You got it.
(reactions all around)
Let's try another.
Trevor reads and writes question #2 on the board...
2. WHAT DID GLIS PLIMP?
TREVOR
... What did Glis plimp?
Before Trevor can finish writing the question, an
unidentified voice blurts out, "He plimped a Ho."
Scattered laughter. Trevor grimaces, shakes his head.
Now attempts to add the question mark at the end of the
sentence but the chalk breaks, causing dissension.
TREVOR
(searching blackboard
ledge)
... Hold on, hold on. Where's
your teacher keep the chalk?
ASIAN GIRL
... In the desk.
Trevor hastily rifles through the teacher's drawers. A
startling discovery abruptly halts his search...
CLOSER now INTO a brown paper bag Trevor has opened.
Inside the bag is a .357 Magnum.
OFF Trevor's narrowing gaze, an offstage voice
interrupts...
CHILDRESS (O.S.)
... Can I help you?
Trevor lifts his head to see Dave Childress standing in
the doorway of the bungalow. Trevor shuts the desk
drawer. You can hear a pin drop.
Childress piston-chews a wad of gum as he approaches
Trevor.
(CONTINUED)
1 8 7 - Rev. 7/10/96 21.
30 CONTINUED: (4) 30
CHILDRESS
Sorry I'm late. Had to handle
something. You a sub?
TREVOR
(puzzled)
I thought this was Science.
Ms. Eskander.
Childress weighs a shit-eating grin as he glances at
Trevor's name on the board.
CHILDRESS
No. This is Dave Childress,
American History.
Some students brave a laugh at Trevor's expense.
CHILDRESS
... Don't know how to break it to
you...
(glancing at
Trevor's name again)
... Garfield... but this is
bungalow 84.
Childress now places a patronizing hand on Trevor's
shoulder and steers him toward the window blinds.
CHILDRESS
See, you zigged when you shoulda
zagged. Course it's not your
fault someone jacked the number
off my door. Keep askin' Garcia
to fix it but all I get is 'nada.'
Childress draws the blinds on one of the windows exposing
another bungalow across the way.
31 INT. BUNGALOW #86 - THROUGH WINDOW PANE 31
... In complete disarray. Students clutter the doorway
as wads of paper intermittently zing past them.
CHILDRESS
... that mess over there, that's
Eskander's.
OFF Trevor's unflinching stare...
1 8 7 - Rev. 7/10/96 22.
32 INT. BUNGALOW #86 - MORNING 32
The bungalow was originally designed for lab science:
glass-encased cupboards, a caged white lab rat on a side
counter, an 8' by 3' counter top (island) at the front of
the room, including a built-in sink and butane gas valve.
Students crowd the opened windows on the far side of the
room. The chaotic atmosphere centers around one
student... Benny Chacon (18), the tagger we met earlier.
Trevor's back to square one. He struggles with
trepidation as he steps into the doorway of the bungalow
and hesitates.
A young black girl, LAKESIA STEWART (16), stands near the
doorway. She cradles a realistic looking E.N.A.B.L. baby
(Education Now And Babies Later).
LAKESIA
You our sub?
Trevor takes a peek at the doll.
LAKESIA
It's not real. We're studying
teen parenting in home-ec.' It's
computerized, so it cries and shit.
Crowd at the windows begins to disperse now, finding
their seats, except for Benny who doesn't budge. Trevor
approaches, gazes out the window, eyes sizing up the
situation.
33 EXT. BUNGALOW #86 - TREVOR'S POV - TEXTBOOKS 33
Scattered on the blacktop between the parking lot fence
and bungalow #86 are 35 science textbooks.
34 INT. BUNGALOW #86 34
TREVOR
(addressing Benny;
without prejudging)
You know how the books got
outside?
Benny plays with the black rosary around his neck.
Responds with mock ignorance.
BENNY
No speaky Engless.
(CONTINUED)
23.
34 CONTINUED: 34
Class erupts with laughter. A wad of paper sails past
Trevor and out the window.
BENNY
You speak Spanish, Mister... Whas
yer name?
TREVOR
Garfield.
BENNY
... You speak Spanish, Mister G?
(as Trevor ignores
the question)
Eh, G... know what dat means when
a homeboy calls you 'G'? Dat means
gangster, homes. You a gangster,
maestro?
TREVOR
No, I'm not a gangster.
(beat)
Would you please do me a favor and
pick up the books?
BENNY
(righteous
indignation)
Andate a la mierda.
(more laughs)
I ain't pickin' dat shit up. You
go pick it up.
Benny now finds a seat. Trevor follows him.
TREVOR
What's your name?
BENNY
Cesar Chavez. Don't you recognize
me?
Class laughs. Trevor refers to the seating chart (inside
the sub folder) in his hand but Benny's not sitting in
his proper seat. Benny indicates a 2" by 3" monitoring
device strapped to his ankle...
BENNY
See dis? I'm already on house
arrest, homes. Ain't nothin' more
you can do to me.
(CONTINUED)
1 8 7 - Rev. 7/10/96 24.
34 CONTINUED: (2) 34
Suddenly three students across from Benny (the other
three taggers we saw earlier, Cesar Sanchez, Stevie
Littleton and Paco) stand with bold impunity. All are
17. Cesar has a buzz-cut, Stevie's an Anglo speed freak
with a runny nose and a bleached one-clip haircut (roots
showing) and Paco, a Latino.
TREVOR
Sit down, please.
Cesar, Stevie and Paco ignore Trevor and walk out of the
bungalow. Their departure is accompanied by a tumultuous
outburst of catcalls and whistles.
LAKESIA
(peeking Benny's
hold card)
Mr. G, those guys that jus' walked
out aren't even in here this
period.
(pointing to Benny)
And this fool's name is Benny
Chacon.
BENNY
(whirls in his seat)
Shut yer mouth, hood rat! School
girl bitch!
TREVOR
Okay, Benny. That's enough.
Benny turns his wrath on Trevor now.
BENNY
Hey, you ain't no real teacher.
Fool, you're nothin' but a sub.
T'ink yer so cool... You mus' be
'Mr. culo.'
Scattered laughter. Trevor closes the sub folder and
just looks at Benny.
TREVOR
(a cool curiosity)
Why do you wear a rosary?
BENNY
(reacting)
Ain't none a' yer damn business.
To put God on me, okay? Why don't
you jus' go sit down and read yer
newspaper. Wanna-be, mother
fucker.
(CONTINUED)
25.
34 CONTINUED: (3) 34
Trevor just stands there, studies Benny. A palpable
beat.
TREVOR
Are you done?
There is dead silence as Benny stares Trevor straight in
the eye. Trevor stares right back.
BENNY
Jus' gimme a referral. Shit.
Trevor turns and calmly walks back to the island counter,
searches and finds a referral slip in one of the drawers,
fills it out...
TREVOR
(cool deliberation)
For future reference, anyone who
disrupts a class, or in any way
infringes on the rights of others
to get an education, is subject to
disciplinary action.
(beat)
When I'm here, ladies and
gentlemen, I expect to be treated
decently...
(walks back
to Benny)
... hopefully in an atmosphere of
mutual respect. This classroom is
our sanctuary, yours and mine.
Respect it.
(handing Benny
the referral)
For your information, I am a real
teacher.
BENNY
Whatever you say, Opie.
Benny has a smirk on his face as he sashays past Trevor
with the referral slip.
TREVOR
Okay, who would like to help me
pick up the books?
Benny, a self-aggrandized exit, crumbles the referral
slip and tosses it at Trevor, hitting him square in the
back.
Like a reflex, Trevor whirls and ducks. Students laugh
at his heightened reaction.
1 8 7 - Rev. 7/10/96 26.
34A EXT. JQA - FACULTY DINING ROOM 34A
We see kids at an armored Coke machine. PAN OFF machine
to see kids at lunch.
35 INT. JQA - FACULTY DINING ROOM - LUNCHTIME 35
Trevor sits by himself, lost in stirring a bowl of soup.
He observes a talkative clique of teachers at the far end
of the table, including Teacher #1.
Now Dave Childress sits down, disrupting Trevor's
solitude.
CHILDRESS
How goes the battle, Garfield?
Dave bites into a messy sandwich as he skims the front
page of a newspaper that someone left behind.
CHILDRESS
D'juh get that binky marsden farfied?
Trevor doesn't say a word. Just keeps stirring his soup
... Now notices Ellen Henry as she enters and joins the
food line.
CHILDRESS
Know what I think? I think that
Chacon punk's the one who opened
your bungalow this morning.
(another bite)
Eskander doesn't know how to lock
a window.
TREVOR'S POV - ELLEN AND CASHIER
The cashier (Armenian girl, 15) is one of Ellen's
students. As Ellen pays for a sandwich...
ELLEN
... Come by the lab after school,
we'll work on it...
BACK TO TREVOR AND CHILDRESS
CHILDRESS
Want some advice?
Trevor slides Dave a glance.
(CONTINUED)
27.
35 CONTINUED: 35
CHILDRESS
First homeboy that gives you the
slightest bit of trouble... send
'um tuh Larry Hyland. He's their
counselor. Right off the bat, yuh
have to sacrifice one. Let 'um
know who's boss. Show some balls.
(as Trevor nods)
And don't look for support from
the administration. Most of 'em
haven't been in a classroom in ten
years. They don't know shit. I
got tenure and I'm still out here
in the damn bungalows. I should
be in the 'A' building with a nice
air-conditioned room.
(sarcastically)
You met Garcia yet? The principal?
Trevor shakes his head as Ellen Henry takes the empty
seat at the end of the table, smiles at Trevor.
ELLEN
Ah! New blood!
(extends a hand)
Ellen Henry, computer science.
TREVOR
Trevor Garfield.
As they shake right in front of Childress' face he can't
help noticing the mean scar on the back of Trevor's hand.
CHILDRESS
Nice scar yuh got there.
There's something familiar about this sub.
CHILDRESS
Ever sub here before?
TREVOR
First time.
CHILDRESS
(curiously)
What about permanent?
TREVOR
I taught seven years in the
Bedford-Stuyvesant section of
Brooklyn. Roosevelt Whitney High
School.
(CONTINUED)
28.
35 CONTINUED: (2) 35
CHILDRESS
Roosevelt Whitney? Didn't some
teacher get stabbed to death there
last year?
TREVOR
Actually, he survived.
CHILDRESS
No, it was on 'Sixty Minutes.' Some
gangbanger stabbed this guy with a
ten-penny nail like a dozen times
in a hallway and...
Childress looks from Trevor silently stirring his soup
down to the scar again... and now it hits him.
CHILDRESS
Jesus Christ, you're him. It was
you.
Ellen blanches.
CHILDRESS
(awestruck)
Holy shit, Garfield. When was
that? December before last? No,
it was fall.
TREVOR
October 27.
CHILDRESS
Whadda schmuck. I'm sittin' here
givin' advice to a man with a
purple heart.
ELLEN
Excuse me...
Inexplicably, she gets up and leaves. As Trevor watches
Ellen go, Childress slides closer to him.
CHILDRESS
(sotto)
Lemme tell yuh somethin'. In my
book you're a fuckin' hero. Damn
straight.
Trevor slides a look back to Dave as he eats his soup.
TREVOR
... Getting stabbed doesn't make me
a hero.
(CONTINUED)
29.
35 CONTINUED: (3) 35
CHILDRESS
(disregards
Trevor's comment)
So what'd they give the kid?
TREVOR
They put 'im upstate in a facility
until his twenty-first birthday.
CHILDRESS
That all? They shoulda caned the
bastard. Like they did that kid
in Singapore. Remember?
(recollecting)
President of Singapore had a few
choice words. Use to have it
memorized... He said something
like, 'When a state of increasing
disorder and defiance cannot be
checked by the rules... then new
and sometimes drastic rules have
to be forged to maintain order.'
(slides Trevor
a glance)
'The alternative is to surrender
order to chaos and anarchy.'
TREVOR
So why do you still teach?
CHILDRESS
Same reason as you, Garfield -- for
the paycheck.
36 EXT. BUNGALOW #86 - AFTERNOON (SIXTH PERIOD; NEXT DAY) 36
The windows and blinds are shut now.
37 INT. BUNGALOW #86 - CLOCK ON WALL - CONTINUOUS ACTION 37
is inching toward the top of the hour.
Closing their books and loading their knapsacks, the
students talk and pay more attention to the inexorable
march of time than to Trevor writing on an overhead
projector.
TREVOR
Okay, someone tell me the
difference between the central
nervous system and the lymphatic
system?
(CONTINUED)
1 8 7 - Rev. 7/10/96 30.
37 CONTINUED: 37
Rita Nartinez (the chola from the "utility" shed) sits
near the front of the class. She wears her usual heavy
eyeliner and a new nose ring.
RITA
(obscenely)
Mr. G, you gotta nice butt.
Class erupts. Rita enjoys the attention. Trevor turns
and looks at her squarely.
TREVOR
You seem to be an expert on
anatomy, Miss --
(checks roster)
-- Nartinez. Central nervous
system and lymphatic system.
What's the difference?
RITA
... Uh...
Trevor doesn't expect anything remotely close to the
right answer.
RITA
It's like the central nervous
system, that's your brain and
spinal cord, and the lymphatic
system, that's the stuff in your
blood that fights diseases.
A beat. Trevor looks up at her.
TREVOR
Very good.
Trevor notices Cesar Sanchez writing on his desk. Stevie
cranes his neck to observe. Paco snoozes.
TREVOR
Cesar.
Cesar throws back his head and jerks both hands from his
desk top. Trevor walks up the aisle.
TREVOR
You writing on your desk?
(CONTINUED)
31.
37 CONTINUED: (2) 37
CESAR
(coolly)
You see anything in my hands?
(displaying his
empty palms)
I don't think so.
Trevor looks down at the tagging on Cesar's desktop. In
one corner are the letters K-O-S, and below that the word
"cartoon."
TREVOR
K-O-S, what's that? That a
tagging crew?
Cesar shrugs with a big grin.
TREVOR
Cartoon... Is that you, Cesar?
(off no response)
'K-O-S' has something to do with
your friend Benny?
CESAR
... Dawg. You're a sucker. K-O-S
stands for 'Kappin' Off Suckers.'
Don't disrespect my homeboy, Benny.
He don't like it. He don't like
you.
Trevor dismisses Cesar's comments.
TREVOR
Do me a favor, Cesar. Go get a
paper towel from the counter and
wipe off your desk.
(beat)
And Mr. Littleton, please oblige
me and turn that tagger shirt
inside-out.
Stevie wears a fusion T-shirt emblazoned with a giant
spray can.
STEVIE
(refusing)
Hyland said it was okay, Sucker.
Neither of them budge. Momentous deliberation. Now the
BELL RINGS and the classroom empties in a matter of
seconds. Cesar stares daggers at Trevor as he exits.
Rita hangs back, the last one to leave. She doesn't want
anyone to see her talking to Trevor.
(CONTINUED)
32.
37 CONTINUED: (3) 37
RITA
(self-conscious)
Don't pay no attention to them.
They jus' tryin' tuh fuck wit'
you, Mr. G. I mean play wit' you.
(beat)
Sorry I said you had a nice ass.
TREVOR
(a pensive beat)
... Apology accepted.
RITA
(in her own defense)
I ain't no school girl.
TREVOR
God forbid anyone should think
that.
Rita flickers an awkward smile, turns and exits. The
class empties and Trevor is left staring at the empty desks
where Benny and Cesar sat... WHACK -- Trevor's reverie is
broken by a BASKETBALL smashing against the side of the
bungalow.
POV - OUT THE WINDOW
A group of boys grin mischieviously at the reaction they
get from Trevor... continue smashing the ball against
bungalows.
TREVOR
shifts his gaze from them to the venetian blinds framing
the window... to the clock over his desk.
38 INT. BUNGALOW #86 - CLOSE ON VENETIAN BLINDS - LATER 38
(AFTER SCHOOL)
as they open -- revealing the clock -- and just as
suddenly close. TILT DOWN to find Trevor working the
cords to the blinds he's rigged over the timeplace.
A FAINT KNOCK breaks his spell as he glances up to
discover Ellen Henry standing in the open doorway.
ELLEN
May I come in?
(CONTINUED)
33.
38 CONTINUED: 38
TREVOR
Yeah...
(points at her)
... Ellen.
ELLENA
(pointing back)
Trevor.
He sees her looking quizzically at the blinds he's rigged
over the clock.
TREVOR
(explaining)
I'm making time a reward instead
of a distraction.
Impressed, Ellen peruses the room now with a benign gaze.
ELLEN
Clever... Listen, I wanted to
apologize for jumping up like I
did at lunch. I was just feeling
a little weird...
TREVOR
It's alright.
ELLEN
For what it's worth, Dave
Childress thinks you walk on
water.
TREVOR
Is that a good thing?
Ellen flickers a grin, point taken.
ELLEN
I think it takes a lot of
courage to go back into a
classroom after something like
that.
TREVOR
Not if the only thing you ever
wanted to do was teach.
ELLEN
(smiles)
Now you see, there's our
predicament.
(CONTINUED)
1 8 7 - Rev. 7/10/96 34.
38 CONTINUED: (2) 38
WHACK -- the noise pulls Ellen's attention out the
window where the boys play a rough game of BASKETBALL.
ELLEN
I assume you've met Benny Chacon?
TREVOR
I have.
ELLEN
(absently)
Last week Benny and his tagging
crew had Ms. Eskander pinned in
the corner over there.
(pointing)
... She's seven months pregnant
and he's tormenting her with a
broom handle... Can I help you
with those?
Trevor is trying to put some books on an upper shelf,
but he's having trouble raising his arm high enough.
Ellen sees he's in pain.
TREVOR
No thanks.
She watches him struggle, then breaks the awkwardness.
ELLEN
So anyway, Gloria kicks Benny...
and if the district construes it
as assault and battery on a
student, she's gone.
TREVOR
They'd do that?
ELLEN
In a heart beat. She's non-
tenured, they don't want to get
sued...
(with resignation)
Don't be surprised if she files
for stress leave by the end of
the week. Too bad, too. She's a
good teacher.
WHACK... WHACK... Outside, the kids continue to play.
The late sun makes their violent shadows swarm over Ellen.
ELLEN
Can I ask you a personal question?
(CONTINUED)
35.
38 CONTINUED: (3) 38
Trevor glances up. Here's what she really wants to
know...
ELLEN
(tentatively now)
Why'd that kid attack you?
TREVOR
Because I flunked him.
ELLEN
(sobered)
Is there any way you can see
something like that coming?
TREVOR
When they say they wanna kill you,
you'd best take it serious. This
kid was an O.T. -- Opportunity
Transfer -- but nobody told me
until it was too late.
A beat.
ELLEN
Did you know Benny's an O.T.?...
In less than a year he's been
convicted of felony assault and
suspended twice. I even testified
against him as a character witness.
Now I get to see him every day in
homeroom. I'm stuck with him.
Condition of his probation is
that he stay in school.
TREVOR
You talk to the principal?
ELLEN
Many times... Three weeks ago,
Garcia calls Benny's mother in for
a conference, but she refuses to
show up. She's afraid they'll
deport her because she's illegal.
So she contacts the A.C.L.U. and
some attorney tells her she
doesn't have to come in.
(still can't
believe)
Garcia got cold feet and dropped
the whole thing.
(fear building)
This kid's threatening me and all
he's worried about is a lawsuit.
(CONTINUED)
1 8 7 - Rev. 7/10/96 36.
38 CONTINUED: (4) 38
TREVOR
(intent now)
What'd Benny say to you?
Tears involuntarily well up in Ellen's eyes. HOLD for
an awkward moment as she collects herself.
ELLEN
That he wanted to hurt me. Real
bad.
TREVOR
Does he know where you live?
ELLEN
I think so. Someone's been phoning
me at night and hanging up... Two
weeks ago, my car was broken into...
And last Friday, I think he was
inside my house... But I can't
prove it.
The shadows of the basketball players rage inside the
bungalow.
ELLEN
(bottom lip quivers)
... I don't know what to do.
TREVOR
You can quit.
ELLEN
You didn't.
OFF Trevor's severe gaze...
39 EXT. LA RIVER OVERPASS - NIGHT 39
... Trace the cold underbelly of the overpass. The glare
of oncoming headlights flash overhead as we DISCOVER a
tagging wall.
CLOSER now...
... The wall is completely covered with graffiti. The
centerpiece of the wall is a 5' by 10' multi-color
"placa" that reads...
K.O.S.
ANGLING TO DISCOVER an Anglo tagger now as he defaces
the "S" in K-O-S, covering it with his own piece.
(CONTINUED)
1 8 7 - Rev. 7/11/96 37.
39 CONTINUED: 39
Suddenly the lone tagger feels a presence at his back.
He freezes. Now slowly turns to see...
... Benny, Cesar and Paco.
Merely shadows. Benny lights a blunt, illuminating his
face. Passes it to Cesar...
TAGGER
Do I know you?
BENNY
(indicates tagging)
You should. You're fuckin' with
my piece, puto.
TAGGER
(nervously)
... You from K.O.S.? No shit?
Cesar and Paco burst into hysterical laughter which
only manages to get Benny piqued.
TAGGER
(panicking)
Look, I didn't mean nothin'. Lemme
fix it. I can fix it. Okay?
Cesar and Paco laugh harder.
BENNY
(to Cesar)
Eh, shut up, mojado!
(to Tagger now)
Don't mess wit' me, whiteboy. I'll
cap yer ass.
He pulls a .380 or a .25 automatic out of his pocket.
Brandishes it at Cesar and Paco...
BENNY
I said shut up! Shut the fuck up!
A BEEPER hooked on Benny's pants pocket BEEPS. Benny
shuts it off. The Tagger sees his opportunity and makes
a break for it. Without a second thought, Benny SHOOTS
him in the leg. Tagger crumbles to the ground. Benny's
really pissed now. Checks his beeper's glow-in-the-dark
face for the message.
BENNY
(reacting to message)
I don't have no time to put up
wit' 'dis shit!
(CONTINUED)
1 8 7 - Rev. 7/11/96 38.
39 CONTINUED: (2) 39
Cesar and Paco attempt to subdue their laughter but
fail...
BENNY
You think it's funny?!
Benny lifts a pant leg. Indicates his ankle monitor with
the barrel of his gun.
BENNY
I don't call my P.O. in 15
minutes, I'm fucked.
Venting rage, Benny walks up the wounded Tagger and
STARTS SHOOTING (one hand high near his face, shooting
downward). Now he kisses the crucifix on his rosary like
a sick, distorted affectation.
BENNY
Dis is K.O.S.' neighborhood.
Cesar and Paco laugh even harder now, falling all
over each other. Benny storms off. He marches past a
street lamp and is swallowed up by the night.
40 EXT. L.A. RIVER - NIGHT 40
SUBJECT CAMERA FOLLOWING Benny. Oblivious that he's
being followed, Benny walks at a steady pace. As we
continue gaining ground on him, a SOUND UPCUT of
TREVOR CALLING ROLL transports us to...
41 INT. BUNGALOW #86 - ON BENNY'S EMPTY DESK - NEXT MORNING 41
(FIRST PERIOD)
Amid unresponsive cross talk:
TREVOR (O.S.)
Sergio Arrellano... Blanca
Orantes... Andrew Blackwell...
Benny Chacon...
LAKESIA
(chiming in)
Benny's not here.
Trevor gazes opaquely at Benny's empty seat.
LAKESIA
I think he went AWOL, Mr. G.
39.
42 EXT. VACANT DIRT LOT - AFTERNOON 42
An eight-year-old Hispanic kid pulls a red Flexi-Flyer
wagon (laden with pop bottles and aluminum cans) across
weeds and cracked earth.
He suddenly stops and stares at something in the weeds.
Snatches it up, studies it, and tosses it with everything
else.
SLOWLY MOVING IN ON the wagon now...
... thru a thin shroud of dust as it bangs and bumps
along.
Even CLOSER now on the last retrieved article... It's
Benny's ankle monitor.
43 INT. JOHN QUINCY ADAMS - "A" BUILDING - MAIN CORRIDOR - 43
DAY (FIFTH PERIOD)
Trevor emerges from Assistant Principal Ford's office and
walks up the empty corridor, without breaking stride.
ELLEN (O.S.)
(muted)
... Trevor.
Trevor retraces his steps back to the door of Ellen's
plant-filled, personalized computer lab. Over the
CLACKING of COMPUTER KEYS...
TREVOR
(quietly)
Eskander filed for stress leave.
They want me to finish out the
semester.
ELLEN
That's great...
TREVOR
(with humility)
It's only 'til the end of the
year.
ELLEN
Listen, I never thanked you
for letting me cry on your
shoulder.
Trevor flickers a conciliatory nod, now he averts his
eyes.
(CONTINUED)
40.
43 CONTINUED: 43
TREVOR
That's okay.
ELLEN
(digressing now)
Hey, have you seen Benny lately?
(as Trevor shrugs)
Ford told me he hasn't phoned
his P.O. in four days.
(weighs guilt;
whispering)
You know what they say. Be
careful what you pray for. Don't
get me wrong, Benny's made my life
a living hell. I even moved back
in with my mother because of him.
I love my mother, but if I eat one
more dinner off a TV tray or watch
one more rerun of 'Wheel of
Fortune,' I think I'll lose my
fucking mind.
Now an EGG TIMER RINGS O.S. on Ellen's desk. Back into
the classroom...
ELLEN
(to class)
Time's up. Everyone stop working.
Realizing now that all the CLACKING COMPUTER KEYS have
stopped moments ago. All eyes are fixed on Ellen and
Trevor.
... Big knowing grins all around.
44 OMITTED 44
45 EXT. TREVOR'S HOUSE - EVENING 45
Balmy and still.
ON bug zapper above garage, a churning, SLOW MOTION
swarm of bugs repeatedly throw themselves headlong into
the light.
46 INT. TREVOR'S LIVING ROOM - CONTINUOUS ACTION 46
MUSIC plays faintly on the STEREO. Numerous artifacts
occupy the bookshelves. A primitive AFRICAN MASAI BOW
(with two arrows) is mounted on a wall.
(CONTINUED)
1 8 7 - Rev. 7/10/96 41.
46 CONTINUED: 46
Trevor, tie loosened. Ellen, in nylon stocking feet,
leaning back against a couch. On the coffee table before
them are dirty dishes and half-full wine glasses.
Trevor's lost in a thin introspective smile.
ELLEN
(breaks the silence)
... So you have a wife hiding in a
closet somewhere?
TREVOR
(smile widens)
No. No wife.
ELLEN
Don't you ever get lonely?
Trevor considers the question.
TREVOR
(genuinely)
Sometimes. There's this passage
in God's Lonely Man by Thomas
Wolfe where he says, '... The
whole conviction of my life rests
upon the belief that loneliness is
the central and inevitable fact of
human existence.' I believe that.
ELLEN
God that's depressing.
They both laugh.
TREVOR
... My New York mentality.
(beat)
It's not always easy looking on
the bright side.
ELLEN
Especially after spending a year
in and out of a hospital, I
would guess.
A beat.
TREVOR
Actually, that wasn't the toughest
part -- it's the robbery that's
been hardest to recover from.
ELLEN
(didn't know about this)
What'd they steal?
(CONTINUED)
1 8 7 - Rev. 7/10/96 42.
46 CONTINUED: (2) 46
TREVOR
My passion. My old, unguarded
self. I resent that. I want them
back.
He offers a smile. Ellen returns it.
ELLEN
They're still there. Everybody
around me seems to have given up.
They're all so beaten down. But
you're different. You refuse to
be beaten.
TREVOR
So do you.
Kindred souls. Ellen fills her glass.
ELLEN
Remember the last time a student
surprised you?
TREVOR
You mean where a light goes on?
ELLEN
Yeah. Where the kid surpasses all
your expectations.
TREVOR
... Been awhile. So few you can
actually get through to... You?
ELLEN
(thinks)
... That would have to be Daniel
Terrazas. This was last year
sometime. Kid was failing miserably
... But he was the best Salsa dancer
in the whole school.
TREVOR
(brightens slightly)
Uh-oh.
ELLEN
So I made 'im a deal. Tutoring in
exchange for Salsa lessons.
TREVOR
Saw it... Jerry Springer.
(CONTINUED)
1 8 7 - Rev. 7/10/96 43.
46 CONTINUED: (3) 46
ELLEN
No, no. He was a perfect
gentleman.
TREVOR
(dryly)
Male teachers can't do things like
that. They get arrested.
ELLEN
Yep, double standard... By the way,
did you know Cesar Sanchez was
Special Ed?
(as Trevor shakes
his head)
Yep, he never should've been
mainstreamed. His I.E.P. says he's
L.H. but he acts more like S.E.D.
TREVOR
Severely Emotionally Disturbed...
that's great.
A beat. Then Ellen gets up, wine glass balanced in her
left hand.
ELLEN
Come on, Garfield -- on your feet.
Lemme teach you how to Salsa.
TREVOR
(resisting)
No, no, I'm no good at that.
Ellen spins the tuner on the STEREO to a LATIN STATION
and practically yanks Trevor to his feet.
ELLEN
Let's go. Don't play shy with me,
homeboy.
Trevor grimaces, awkwardly relinquishes, as Ellen walks
him through it.
ELLEN
(still holding wine
glass)
That's it... Okay, follow me. It
starts on the one. Step forward
with your left foot... One. Change
weight on, two.
(MORE)
(CONTINUED)
44.
46 CONTINUED: (4) 46
ELLEN (CONT'D)
And three, feet
back together... Now do the same
in reverse, starting with your
right foot.
(talks their way
through)
One, two, three... One, two
three...
Trevor concentrates. Up to speed now. Technically he's
got it, he just needs to loosen up. Ellen suppresses a
gleeful snicker. Now, Trevor attempts to cut loose.
He spins Ellen once, into a tango step, one-two-three.
Now an awkward dip, causing her glass to spill wine down
the back of his shirt...
ELLEN
(horrified,
giggling)
Oh, my God... your shirt. Oh, no,
I'm so sorry.
TREVOR
(self-conscious)
It's alright.
He dashes toward the hallway bathroom.
ELLEN
Can I help?
TREVOR (O.S.)
Grab the baking soda outta the
fridge.
In a flurry, Ellen rushes into the kitchen. Flips on the
kitchen light, jerks open the refrigerator and locates
the baking soda.
FOLLOWING now, as she MOVES STEADILY FROM the kitchen TO
the hallway bathroom...
47 OMITTED 47
48 INT. TREVOR'S - HALLWAY/BATHROOM 48
as Ellen steps into the doorway and lets out a startled
gasp, dropping the box of baking soda.
Trevor is bent over, scrubbing his shirt in the sink.
His bare back and shoulders are scattered with brutal
knife scars.
