“To all who are passionate about writing, poetry, art, film, music, never let go of that passion. One day, that passion will rule the world.” - Shivaya Gojo
EXT. APOLLO ACADEMIC INSTITUTE - MORNING
The epitome of waking up at 6 AM. Not a single ray of the sun rises above the horizon. Harmonized footsteps reign as the background of a mellow melody of orchestra. BEETHOVEN. The look on every performer, stoic and glued to the empty abyss. They carry on with eyes made of stone and hearts drowned in sheet music. The incoming students, all prepped in romanticized suits, rise up to the entrance. Their every step militaristic. The front reads “Carpe diem” (seize the day). But even without the translation, every student knows what it means. It's ingrained into their minds.
INT. AUDITORIUM - DAY
The students are lined up into rows. At the front of each one is an easel hoisting a banner with the school's emblem. FLASH OVER to the School of Science and their standard gold wheel of the natural sciences. Every kid in that section has a smug and prideful smirk. They feel so beyond everyone. REIGN IN ON the House of Architecture with pillars of Rome, the School of Law with books from the Ancient Greeks, and eventually… The School of Film. Just a small handful of students you could count on your hands, but a mighty bunch. They rocked the emblem of the Academy Award of Merit - a title they would all waste their lives chasing. Except for one: CLOSE TO a short, toned woman in the staple silver blazer. The exception - this girl would not wast her her life, she would live it. On stage are the members of the faculty, significantly older and dressed in royal blue. The VICE PRINCIPAL, LEON SILVUS, 35, prepares the podium and the speech transcript. He glances at the film section with a reassuring smile though no one sees him. He hands off the spotlight to a taller, older, and wrinklier man. All eyes curve to PRINCIPAL GARY EARL, 65. Utter Silence.
EARL
Good morning, good afternoon, and good evening. Why do I say all three at once?
The principal scans the floor, expecting an answer. No student dares to raise their hand.
EARL (CONT'D)
I say it because when we wake up, it should not be our morning that is productive, rather the entire day. Carpe diem. Seize the day. Not the morning, afternoon, or the evening. Seize the entire day.
The room bursts into synchronized applause. Our heroine stands motionless. A student nudges her and she joins in halfheartedly.
EARL (CONT'D)
Ladies and gentlemen, I would like to congratulate all of you for standing before me today. There is no smooth road to get here. Yet, I must warn you. It only gets worse starting now. Roughly 35% of you will drop by the semester's end, and that number shall jump to 56% by the first year.
(pause)
Unless you're in film, in which case, only one of you might drop.
Earl snickers to his own joke and like a herd of mindless cattle, the faculty and students follow along. Their cries are far grislier and exaggerated, like screaming bugs. The principal motions for silence.
EARL (CONT'D)
With that in mind, get ready for the toughest battle you'll ever fight. Welcome to Apollo Academic Institute. Thank you
More applause. You can cover your ears, close your eyes, and shut off all your senses, but it is still there.
INT. FILM CLASSROOM - DAY
A fresh start to the day with a class boasting only seven people. Let's make it eight as ANDREA MARIE, 19, walks into the deafening silence. Then a tall MAN, 30s, walks out of the office. He whistles an off-beat tune. The students follow this strange man trotting across the classroom. He begins scribing on the chalk board. Andrea, along with the other students, frantically flip the pages of her notebook and attempts to follow. This man is far from ordinary, in his academia fashions style and curtained hair from the 90's. PROFESSOR DAVID MAXWELL, as he was called, stands underneath his name barely legible on the board. He turns around to see the separated classroom.
MAXWELL
My, you are all quite far apart. Gather round.
Maxwell turns around, and when he faces the front again, nobody has moved. He smiles.
MAXWELL (CONT'D)
(more reassuring)
Come on, now. It's weird for me to talk to one side and then turn to the other constantly. It's a small class. Gather round.
The students shuffle shift to the first row.
MAXWELL (CONT'D)
No, not there. We're film, we're theater. We sit like the Knights of the Round Table. Drag these chairs up here.
The students slide eight chairs in a semi-circle on the short platform. They all huddle close enough to rub elbows. Maxwell adds his own chair and sits the opposite way.
MAXWELL (CONT'D)
Greetings, fellow students. My name is Professor David Maxwell, in accordance to the school, but if you like, you can call me Director Maxwell.
(beat)
I would like to shed light on a few things. This school is one of the most prestigious private universities in the country. Those who attend have very noble pursuits. Physics, engineering, law; These are all respected goals, but film is a different story.
Maxwell waits for the perplexed class. They all stare glances at one another, all asking the same question: “But why?”
MAXWELL (CONT'D)
I see you all thinking, “but why?” They respect poetry and literature. Beethoven and Monet. But not film. Why not film?
A petite FEMALE STUDENT raises her hand.
MAXWELL (CONT'D)
Don't answer that question. Ask it.
The students awkwardly follow Maxwell at the chalkboard. He underlines what he has written.
MAXWELL (CONT'D)
If I can make a flower bloom, I will. Can anyone demonstrate what this means?
Hesitation. ELISA VIOLET, 19, the short-haired, petite girl from earlier, raises her hand.
ELISA
If you can make something beautiful happen, you will.
MAXWELL
(imitates a buzzer)
Wrong. Don't tell me. You're filmmakers. Write me a story.
(no answer)
Anyone? Yes.
Maxwell points to Andrea.
ANDREA
An... Introverted teen runs away from his abusive parents. He explore the world hating it, but as he meets new people he realizes, he won't get happiness from watching the world burn. He'll get it by seeing the smiles of children, the laughter of reunited couples, and the joy of the world. So, that's what he decides to dedicate his life to. To make flowers bloom.
Andrea leaves the room breath-taken. She slowly opens her eyes to her teacher's ever growing euphoria.
MAXWELL
That... Was beautiful.
The room bursts into applause.
MAXWELL (CONT'D)
Did everyone catch that? That was a beautiful response. Now, there was nothing wrong with what Ms. Violet said. This phrase quite literally means, “if I can make something spectacular happen, I will.” But Ms....?
ANDREA
Andrea Marie.
MAXWELL
Ms. Marie raised the question. If I can make a flower bloom, would I? I would. That's the art of film making. Don't show. For example if you want to write a character who hates love, don't tell me. Maybe he hates love because people only show it for a fraction of a second and then leave. Show me that.
An innocent looking boy, JULIUS CLAYMORE, 18, raises his hands. He is so innocent and lacks awareness that he still bears his name tag.
JULIUS
Or maybe he doesn't have the courage to ask her out.
Maxwell loves it.
MAXWELL
Yes, a twist. He doesn't like love because he's waiting for it to come to him. Wonderful, Mr. Claymore. What's your favorite film?
Maxwell picks up a chalk.
JULIUS
That's hard to pick.
MAXWELL
That's alright. Name me one of your favorites.
JULIUS
Whiplash.
MAXWELL
A fantastic film by Damien Chazelle.
Maxwell writes this in capitals on the board.
MAXWELL (CONT'D)
One could argue that Whiplash is a well-known craft. If I asked the other students, they would say, “Ah yes. That's a great movie.” But if I ask them about Damien Chazelle...
Long silence. Not even crickets.
MAXWELL (CONT'D)
That is what I would get. The truth I'm trying to preach is that filmmakers are judged by their final product. It doesn't even matter if it took us three months or three years, they only respect the final product. So, forget everything about the people outside. Never have a single ounce of respect for anyone that doesn't have respect for your passion.
More applause. Those words hit every student, but it did not hit any student as hard as it did Andrea Marie.
INT. CAFETERIA - NIGHT
On the wall, a fine mural depicting the bright and prosperous future of the fellow students of Apollo Academic Institute. It is exampled by a portrait of NEIL FLETCHER, the founder of the school. It has loud colors and smooth line work. Every square inch paints a unique story that comes to form one big journey here at Apollo. It was clear that the artist thought of everything. Everything except for Andrea Marie, a film student, eating a bowl of carbonara in front of it. With a fork in one hand, and a pen in the other, she marked her notebook, absentmindedly ignoring that her back is turned to one of the finest painting at Apollo.
ELISA
Can I sit here?
Andrea catches her classmate, Elisa, in front of her, waiting for an answer.
ANDREA
The seat's open.
Elisa sat down opposite of Andrea. At first, she admires the mural, like every student. Then, her eyes catch something more interesting.
ELISA
Is that your writing?
Andrea glances up, not sure if Elisa is actually interested.
ANDREA
It is. Five years of my life.
ELISA
That's a long time to be writing.
ANDREA
When you have a heart, nothing is long.
The conversation is interrupted by stifling laughter. It comes from the adjacent table, across the walkway.
ELISA
Don't you ever want to punch them? The “ye' old pride of Apollo.”
ANDREA
You could, but then you would have to deal with Daddy's money.
Elisa snuffles at the comment. Andrea takes a look at the boys at the table trying to break eye-contact.
ANDREA (CONT'D)
On second thought, with those haircuts, I doubt Daddy takes care of the bills.
ELISA
You know it's bad when my baby sister could cut better.
The two girls laugh at their own joke.
ELISA (CONT'D)
I never introduced myself. I'm Elisa Violet.
Andrea looks at at Elisa's hand, pause...
ANDREA
Andrea Marie.
She accepts.
ANDREA (CONT'D)
And don't pronounce it the American way. Anh-dre-ah. Emphasis on the r.
ELISA
And the “marry” part?
ANDREA
(slightly triggered)
Not Marry. If you have to go stereotypical Italian, do it. But don't say Marry. Maarrie.
INT. DORM - NIGHT
Click. Click. Click. The annoying type. The kind that never rests, on and on, droning like a zipping housefly by your ear. No one would want to listen to such a sound. Unfortunately, this is what NICO HALTON, 19, has to endure. She sat on her bed, glancing up at Andrea every few seconds. She begins to grow curious.
NICO
Do you ever live outside that computer?
Andrea quickly turns for formality.
ANDREA
I do. Why do you ask?
Then, she turns to her screen. Despite the room being brightly lit, Andrea's laptop still shines the brightest. Nico can't help but be curious, however, her attention drifts to the pile of Chemistry homework on her desk.
NICO
What are you writing?
ANDREA
A film.
Nico's eyebrow perks up.
NICO
I'm listening.
In reality, she was multitasking with her assignments. Andrea rolled her chair by Nico's bed with a contagious smile.
ANDREA
It's a beautiful film. Heartbreaking, thought-provoking, and a realistic tale of a legend in the making. When I'm done with this movie, I'm going to sell it and make a name for myself.
NICO
Why not direct it yourself?
ANDREA
(innocent)
I'm no director. I've never held a camera in my life.
NICO
Isn't that why you're in film school? If you sell your film, the company will become famous. Your name will be forgotten.
Andre feels a heavy heartache from that last comment. Her face tightens.
ANDREA
What would you know? You're in medicine. You're going to be a doctor.
Nico flares up with similar emotions.
NICO
Honey, the last thing I want to be is a doctor. Chemistry, Biology. I'm not good at any of these “noble” subjects.
ANDREA
Why stay?
NICO
My parents. Since I was old enough to talk, I was handed a stethoscope and a MCAT Prep book. They made me start a microbiology club at my middle school. God, kids in middle school don't even know what microbiology is.
(finds Andrea)
Are you even listening?
Andrea is back at her desk, furiously typing with a smile. On the screen, she overlays Nico's heart wrenching words onto a character's soliloquy.
ANDREA
Did you ever think about running away?
NICO
Running away how? My parents pay my tuition. If I defy, say hello to the streets.
ANDREA
I left my home at 14. When I came here, I had no money. It taught me to work hard.
NICO
(dismissive)
You're crazy, Andrea.
ANDREA
No, we're all crazy. I'm crazy for running away, and you're crazy for not.
Nico rolls her eyes as if she understands the conversation. She tucks herself into her bedsheets.
NICO
Listen, I'm going to sleep. Try not to be on that laptop the entire night.
Nico sets her alarm and dozes off into heaven. Andrea smiles to herself in the darkness. Click. Click. Click. On the screen: Nico and Andrea's exact conversation. The title page: The Runaways.
INT. FILM CLASSROOM - DAY
Andrea sits by herself as the first student in the classroom. She scribbles in her notebook, every idea flowing into the next like a stream- there's no stop. Maxwell trots into the room, whistling and in a jolly mood. He continues whistling as he draws near Andrea's desk.
MAXWELL
My, did you write all of this yourself?
ANDREA
I did, sir.
Maxwell analyzes the composition. The writing is messy and rushed. The pencil graphite is dull and weak. Yet in every imperfect stroke, there's a hint of passion and love. Maxwell smiles as he hands the book back to Andrea.
MAXWELL
That is some fine work, Miss Marie.
ANDREA
You think so?
MAXWELL
Of course. It comes from the heart. Riddle me this, why do humans pursue goals such as writing, literature, film, when no one will respect our writing until we're Shakespeare, read our poems until we're Dickens, or watch our films until we're Kubrick.
No answer.
MAXWELL (CONT'D)
Because we can. And because it comes from our heart. Science will tell that it's our brain is what makes us humans, but I would argue it's our hearts. It's the way we express love for our friends, the way we talk to our loved ones, the way our eyes melt when we see the people we adore.
(MORE)
MAXWELL (CONT'D)
You can be the smartest person in the world, but if you don't follow your heart, you're not a human being. That's why we chase these goals.
Andrea looks at her paper, at the story of her life laid in graphite and illegible penmanship. She smiles, writing the next chapter of life. In her sharp pencil, she marks “If you don't follow your heart, you're not a human being.” - Director Maxwell. She looks up smiling at her festive professor. He writes on the chalk board: Short Story Project. Elisa walks into the room from the freezing cold.
ELISA
(shivering)
Good morning, Mr. Maxwell.
MAXWELL
Good morning to you too, Ms. Violet. I hope you're ready because you'll be having your first project.
Elisa freezes.
INT. HALLWAY - DAY
A CHILLING BELL. FOLLOW Andrea exiting her English classroom. She wears a disheartened face. A rhythmic stomp, like a heartbeat amplified, pounded toward her.
JULIUS
Andrea!
The voice sounds eerily familiar. Andrea attempts to match it to a face.
JULIUS (CONT'D)
Andrea!
Julius walks into frame, sweaty and out of breath.
ANDREA
Do you need something?
JULIUS
You are Andrea, right? I'm Julius Claymore. We're in the same film class.
They shake hands. Julius shoulders fidget and his hands are cold and bare to the touch.
JULIUS (CONT'D)
I heard you were writing a film. I'm also a screenwriter. Here's some of my stuff.
Julius pulls out messy stacks of printed paper. He hands them to Andrea.
ANDREA
You wrote all of this yourself?
JULIUS
They're all first drafts. I just can't keep my mind focused on one story. You know, every moment inspires another idea.
(leans closer)
Just the other day, I got an Instagram post about Indycar and I began writing a racing movie. I don't even know anything about racing except that “cars go fast.”
Julius boldly smiles. Andrea tries to match that, but it comes off awkward.
ANDREA
Wonderful.
(reads the first page)
Well, it's a good start. The characters are interesting, but there's an awful lot of talking. Where are the action blurbs?
JULIUS
I wasn't good at those, so I write everything as dialogue only.
ANDREA
(concerned)
Everything?
Andrea flips every last page, then gives Julius a scornful look of a disappointed mother. Julius doesn't see the issue.
JULIUS
It's unique. It could be my selling point.
ANDREA
Uniqueness is one thing, guidelines are another.
JULIUS
Don't you remember what Mr. Maxwell said? Follow your heart even if it goes against what is set.
ANDREA
Are you done wasting my time?
JULIUS
I do have one other thing to ask you. After class, I went around, looking for writers. There's one other person, Helena Monte. Her and I wanted work on the project together. I was wondering if you want to join?
ANDREA
No way. I write alone.
Andrea walks away, but Julius steps in front of her.
JULIUS
Wait. Please. I overheard Mr. Maxwell talk about your writing, and how good it was. I want to learn. I'll do anything. I'll learn to use actions blurbs even... Please.
Andrea tries to hold her composure at Julius' pleading face.
INT. DORM - NIGHT
NICO'S POV -- walking home after an exhausting tutorial session. Her hands are sore from all the writing and she barely walks in a straight line. She finds her dorm room unlocked. What the hell? Then she pushes on the cold handle. Inside are Julius and Andrea sitting together at a desk. Both of their faces are glued to the same computer.
ANDREA
...Always make sure to write in the present tense. It keeps it more engaging for the readers.
Julius doesn't spot Nico sneaking behind them. But Andrea does. She knows hell is about to go down... For her, at least.
NICO
That's cute. You're already bringing your boyfriend over.
ANDREA
Not my boyfriend.
Julius extends his hand to Nico, almost oblivious to the comment. Andrea can't believe how naive Julius is.
JULIUS
I'm Julius Claymore.
NICO
Nico Halton.
And with a teasing look at Andrea:
NICO (CONT'D)
Andrea's roommate.
(beat)
Don't mind the mess on my side of the room. Don't ask me to clean it either.
Nico pulls a thick book from her shelf and rests on her bed. Her room is more than a mess: She has to move the Burj Khalifa of shirts and dress pants to lay on her bed. Then those clothes jump from linen to leather. Nico glances up from her book.
NICO (CONT'D)
How do you two know each other?
JULIUS
We're in the same film class.
Nico jumps for the opportunity:
NICO
That's cute. You and her-
But Andrea cuts the rope with:
ANDREA
Do you not have... Chemistry homework?
NICO
(scoffs)
It's Friday. I've got the weekend to worry about it.
ANDREA
Oh? What would your parents say?
NICO
My parents are having a vacation in Germany while I'm stuck in this hell hole.
Julius becomes a ghost in the between the two girls conversation, silently mimicking the girls' every move with his hands. Andrea watches Julius and snaps back to form.
ANDREA
Come here.
Julius turns to Andrea.
ANDREA (CONT'D)
Right here, if you're switching topics, put a beat.
(MORE)
ANDREA (CONT'D)
It lets the actor know to switch the flow of the conversation.
JULIUS
Why do we need to put that?
ANDREA
An actor needs a clarification and time to do it. No one does it instantaneously.
JULIUS
I do.
ANDREA
You're a special case.
Julius rubs his scalp, trying to look at the situation through a different angle.
JULIUS
Still, I don't understand how that works. Do you have an example?
ANDREA
(frustrated)
Let's say I'm talking about... Where I'm doing to eat dinner, and then I go... How's your mom?
JULIUS
That doesn't make sense.
ANDREA
Well, I'm not an actor!
NICO
Did you know they used to sell triple-berry fudge cake in the school's cafeteria?
Nico smirks; she knows her claim is ridiculous. But she plays along further when Andrea gave her inquisitive looks.
ANDREA
What?
NICO
It's true. Every Friday, they would give out a slice of triple-berry fudge to the 100th student. Kids would beat each other bloody-bad to be the lucky one. Some would hope that by some miracle, they're number 100. It was chaos.
Andrea is intrigued where Nico is heading. Julius, however, is intrigued by the cake. His mouth begins to water. His entire mind is filled with thoughts of that delicious slice.
JULIUS
Do they still do it?
NICO
Heavens no. It was an absolute mess. The faculty worried it would hurt the school's reputation.
(beat)
How is it by the way? The school? Are any of the classes tough?
JULIUS
I got an A on my English test last week.
He gives Nico a reassuring thumbs up.
NICO
Did you not take the AP course?
JULIUS
No, my school didn't offer them.
(realizes)
When did we start talking about English?
NICO
After we talked about cake.
Nico drags herself besides Andrea and gives herself a seat on her table. She knows it infuriate Andrea.
NICO (CONT'D)
That was a beat. It helps to signal a transition and to make a conversation feel real. Like the one we just had.
Julius mouth squeals with overblown excitement and realization. Nico looks down at Andrea -- She's impressed.
ANDREA
I didn't know you could act.
NICO
I could act for days! 10th grade theater. Macbeth, a male role. Guess who got it instead?
Andrea could feel the ever growing pride in Nico's eyes. So, she let her have this moment.
JULIUS
You can really act. Why aren't you in film school?
Andrea nudges Nico in the gut.
ANDREA
(smirks)
Why aren't you in film school?
Nico pushes Andrea off her seat, but both girls have a smile on her face.
NICO
You know why I'm not. Besides, if I was, I'd get some serious humiliation.
ANDREA
Is that the answer? You want people to respect you.
NICO
(hesitant)
That's not true. I can live without people's respect.
ANDREA
Do you tell anybody you act?
NICO
No.
ANDREA
Why?
Nico thinks.
NICO
Because they think it's a stupid gag.
ANDREA
There it is. You change yourself for other people's respect, but why do you respect those who don't respect what you love.
NICO
What do you know? You've never seen me outside this room.
ANDREA
But I have seen you inside of this room. I know what your like and why you're changing it. The only actor that can keep acting forever is one who acts himself. They'll eventually come a time when you'll have to stop pretending. Make that time sooner than later.
Nico reflects on those words while staring at the ceiling. She glances at Andrea and Julius working together, following their passion. Then, she eyes the daunting chemistry textbook.
INT. FILM CLASSROOM - DAY
A tired, sleep-deprived classroom. Even without sound, the groans were audible. Maxwell exits the office in his customary whistling tune. He places his coast hanging on his chair and faces the class, ignoring their tired state. He writes on the board: Short Story Due Today.
MAXWELL
Last class, I gave you eight your first assignment. A short story on any topic of your choice. And I told you that project was due today. So, how many of us finished?
Not a single student. Maxwell is not mad, however.
MAXWELL (CONT'D)
That was many as I expected. I wanted to teach you all two important lessons about film. What are they?
A tall man, practically a grown man, EVAN BENSON, 19, speaks up.
EVAN
(jokingly)
You can't win an Oscar in one day.
MAXWELL
Precisely. There was no way any of you finished on time, but that's alright. A good film might take several years to be made.
(pause)
But I'm sure all of you still worked on the project, tiring yourself all night to hit the page mark. Open your eyes, ladies and gentlemen, you're in film class. Your brains need to think differently. Discipline and stress are different. Putting yourself under that “I have to get this assignment done by tonight” mentality will leave you with a product that's not so satisfactory. Putting yourself under discipline to write, even if it's a little, day after day is the remark of a true writer.
(beat)
That's only my first lesson. What's my second?
Silence.
MAXWELL (CONT'D)
Too tired to think? Let's see, Ms. Violet, how much of your project did you get done?
Violet pulls her face out of her desk with baggy eyes.
ELISA
(hesitant)
I... Didn't get anything done.
MAXWELL
Why is that?
ELISA
(embarrassed)
I'm not good at writing. I've never used any screenwriting software before, either. Sorry.
MAXWELL
There's no need to apologize. You must be good at something. What is it?
ELISA
Cameras. I like film and photography.
MAXWELL
(addressing the class)
So, Ms. Violet is not good at writing. She's never touched a screenwriting software, she says. But she likes the camera. Now, I've never seen your work, but I'm sure it's fantastic. Who else is good with a camera?
(looks at Evans)
I see Mr. Benson laughing. He knows he's awful with cameras. But that's alright, because Ms. Violet is splendid with that. And if she's not good at writing, someone in this room is.
Julius turns to Andrea focusing on Maxwell.
MAXWELL (CONT'D)
One person can't do everything in a film alone. So, I've changed the project.
Maxwell plays with a pair of chalk.
MAXWELL (CONT'D)
No due-date, but please don't turn it in during the summer.
The class snickers.
MAXWELL (CONT'D)
Again, a short story about anything of your choosing. This time, all eight of you will work together for one film. You walked into this door as individuals, but I will guarantee you will leave as a group. Go create, my wonderful students.
INT. DORM - NIGHT
A hectic hour of students pushing through one another and creating massive traffic jams in the corridors. It's always like this moments before dinner. FOLLOW a VERY TIRED Nico slipping through the crowd and to her door. Her skin is pale, her eyelids droopy, and no smile is present on her face. Before she reaches the door, her “friend,” CAROLINE MAYAN, 19, taps her shoulder...
CAROLINE
Hey, you're meeting us at dinner, right?
Before leaving again. Not even a sliver of time for Nico to respond.
NICO
(awkwardly responds)
Yeah, I'll meet you in a bit.
Nico enters her room where Andrea is cleaning up papers on her desk. She catches a glimpse: Act 1, First Draft.
NICO (CONT'D)
Andrea, can you take out the trash tonight?
Andrea glances up sharply, so caught off in her thoughts that she barely acknowledged that it was Nico who is talking.
ANDREA
Sorry, I can't. I won't be back for a while.
NICO
(taken aback)
Where are you going?
ANDREA
There's a class project. I'll be in the B-dorms.
NICO
That's cool. What's the project about?
ANDREA
(rushing)
We have to make a short film. It's about anything we want, but the whole class has to work one film. Look, I've got to go, but I'll be back by ten. Catch you later.
Before Nico could react, Andrea runs out the door. Nico calmly watches Andrea leave, a bit broken.
NICO
Yeah... Me too.
She locks the door.
EXT. CAMPUS - DAY
Nico shivers in her coat and pedals to the cafeteria. She crosses the fountain, but doesn't notice a TALL MAN, 30s, walking the opposite direction. He steps up to Nico and stops her.
TALL MAN
Ms. Halton. I need a moment with you. Are you busy?
She recognizes him to be THOMAS ANDERSON, her chemistry teacher. She immediately stiffens.
NICO
No, sir. I was just heading to the cafeteria.
ANDERSON
Good. Then I'll like to talk to about your grades. They're drastically declining in the past few weeks.
NICO
(not sure of what he hears)
I'm sorry?
ANDERSON
Last test's class average was a 95. You scored a 75. I did not expect this from a student like yourself. Now, I am aware that you want to enter the medical field, but grades like these won't cut it. I recommend tutorials, extra practices, and showing up to class.
NICO
With all due respect, Mr. Anderson. I have been showing up to classes and tutorials. Every single one. I can't seem to understand the topic.
Pause.
ANDERSON
Really? You've shown up to every class?
NICO
Yes.
ANDERSON
No. You have not. In the last three classes, you came to only one. That too, thirty minutes late. The problem is not the topic, it's your attitude. You do want to enter the medical field, right?
NICO
(choking on her spit)
Yes.
ANDERSON
Then I advise you to take these classes seriously. This is the foundation to everything there.
(turns around, pauses, and then)
Otherwise, switch your major. Take your “talents” elsewhere, Ms. Halton.
Anderson leaves. Those words slit through Nico's heart. Not leaving the medical field. She already long desired for that. But being asked to quit the only thing she was allowed to do. Nico silently drowns in her own thoughts, watching Anderson leave for another building. Did he even feel for his own words?
INT. CAFETERIA - DAY
Nico slams her tray down on the table. She's sitting by Caroline Mayan, a pretentious girl coming from a private high school feeder, and TED HANSEN, 19, a spoon-fed, wealthy student. The two immediately noticed Nico's timid face, but rather than sympathizing, they smirked.
TED
What's wrong?
NICO
Nothing.
CAROLINE
No one who's ever said “nothing” has meant it.
NICO
It's nothing I can't handle.
Did she mean that? Not even Nico knows. She kept picking on the cherry tomatoes of her salad.
TED
It can't be that embarrassing. Fess up.
NICO
(accepting it)
Mr. Anderson said I should switch majors if I keep screwing my grades over.
TED
What bad grades?
NICO
I got a 75 on my last test.
TED
The one we took last week? Get out of here. That was a little league game. How'd you mess up?
NICO
Same reason some other people messed up.
CAROLINE
Leave her alone, Ted. Did no one tell you to not mess with a woman who has a stick up her ass?
NICO
(offended)
I'm sure you're in a great position to speak. Who tutored you everyday?
CAROLINE
I got an 85 on that test. I have room to talk.
Nico immediately went quiet. Ted didn't.
TED
Maybe she caught a case of film-o-mania. She's been hanging out by those theater kids for the past week.
NICO
I'm hanging out at the theater, not with theater kids.
TED
Same difference. You skipped class because of it. How else do think you're doing terrible?
A third kid, WESS DREWS, speaks up.
WESS
Leave Nico to her own thoughts. What gives if she's into film?
TED
Are you kidding? Film is.. A joke. There's only eight kids there. Eight for one school?
WESS
So, what if it's eight?
CAROLINE
It's not about them. It's about the funding.
(leans away from Nico)
Film gets 15% of our budget. That's for eight kids and one teacher. That money needs to go to science, engineering. Give us that funding and you see performance skyrocket.
TED
Hell, we might even get a better teacher than Mr. Anderson.
The table laughs. All except for Wess and Nico.
CAROLINE
Speaking of teachers, did you know the film teacher is new? And an alumni, too.
WESS
He is?
CAROLINE
One of their best apparently. The school had to pay a crap ton of money to get him. And can you guess from where? MIT.
TED
(has a hard believing it)
No way, what was he doing there?
CAROLINE
Teaching physics. Can you believe it? Being paid Vegas to attend this school just to teach film?
More laughter. Nico slams her silverware. The laughter dies. Then, she slowly gets up.
TED
What's wrong with you, Nico?
NICO
Piss off, Ted.
Nico storms away.
TED
What's wrong with her?
CAROLINE
I don't know. Leave her alone.
INT. HELENA'S DORM - NIGHT
A private room, spacious and tidy. This belongs to HELENA MONTE, 19. She stands in front of the white board with a pair of markers.
HELENA
Let's begin planning. Three act or six-act structure?
Sitting on the ground are the rest of the film class. MATTHEW GOLDSTEIN, 19, opts for laptop notes.
MATTHEW
The three act is iconic.
GINA DAWN, 19, buts in.
GINA
But it's a bit repetitive. We can more expressive with the six-act structure.
EVAN
Wouldn't that be too much to put in a short-film?
JULIUS
They don't have to be long ideas, do they? How long does a short-film have to be?
CARLOS DIEZ quickly Googles the answer on his laptop atop the high table.
CARLOS
It should typically be around 30 to one hour, but any time less than the standard two hour feature film length is acceptable. That's what Google says, at least.
Helen rushes to get all these ideas onto the white board.
ELISA
What if we do something different?
HELENA
Well, does anyone have anything different?
A slight pause.
ANDREA
I do.
Helena motions for Andrea to stand. She hands her the markers.
ANDREA (CONT'D)
Typically, there are three stages to a question.
Andrea relays this onto to the board.
ANDREA (CONT'D)
There's the question, the method or journey, and then the answer. In that order. But what if we answer the question first?
Confusion.
EVAN
How does that work?
ANDREA
Stereotypes, common ideas that are accepted in our society. That can be our question. And the journey will beg to change that answer when it finally proposes the question.
There is a unison of agreement.
HELENA
I'm invested. Let's start naming some ideas.
GINA
You need a lot of money to be happy in life.
HELENA
Alright.
MATTHEW
You need to be famous to be successful.
CARLOS
You need to have a love partner in life.
EVAN
I've got a brilliant idea. Film is not a noble goal.
HELENA
A film about a film. That's tacky.
ELISA
And expensive. You'd need double the set and double the cameras.
Everyone scratches that idea out of their head.
HELENA
Anyone else got bright ideas?
JULIUS
I do.
HELENA
Hit me with it.
JULIUS
If I can make a flower bloom, I will.
GINA
The thing we did in class? What story would we use?
JULIUS
Andrea has one.
ANDREA
I do?
All eyes fall on Andrea.
JULIUS
Sure you do. You showed me that screenplay.
ANDREA
That's for my own personal project, not for school.
Julius stands up.
JULIUS
And we're in film school. We don't write and create for school, for assignments, for grades. We do it to create beautiful things. We're filmmakers. That's what we do.
(beat)
Andrea, I can't keep my mind focused on one project. It wanders from idea to idea, whatever I like.
EVAN
(pride and horror)
I know that feeling.
JULIUS
But when I read your project, I thought... What would I do if it was my story? I'd write it every day, aiming to make my story a reality. Andrea...
ANDREA
But... I'm not good at dialogue. And the shot scenes-
JULIUS
Then I'll help you write dialogue. It's the only thing I've been writing for six years. And Elisa can help with the camera. Carlos is great with audio, Evan does amazing set work, and Gina and Matthew are amazing actors. Let us help you.
Andrea hesitates. She wants to believe Julius.
HELENA
What's the name of the project?
ANDREA
(not sure)
Runaways.
Helena scribes that in quotes on the board.
HELENA
What is it about?
ANDREA
A girl who has no voice in her own home, runs away from her family. She's distant, introverted, and keeps her wildest thought in a small notebook-
EVAN
Kind of sounds like you.
HELENA
Zip it, Evan.
(re; Andrea)
Continue dear.
ANDREA
Well... She's also a pessimistic girl. If she can't get what she wants, no one can. It's not until she meets another girl, also without a voice of her own, that she realizes... They both realize two things: following your heart is more important than respect and that pain of others will not lessen the one in your heart.
Silence. Slow, heart-felt claps across the room.
HELENA
And you said the idea wasn't good. Though let's change the name.
MATTHEW
The Voices?
HELENA
Something more positive.
ELISA
How about Heart to Heart?
HELENA
Like the song?
ELISA
Yes. One girl learns to follow her heart, and the other learns to live with her heart. Heart to Heart.
Helena thinks- smiles.
HELENA
I like that.
In bold letters, she crosses out the original title and writes anew: Heart to Heart
HELENA (CONT'D)
There we have it, ladies and gentlemen. Our short story.
(MORE)
HELENA (CONT'D)
And we have all the time in the world to make it.
A cheer goes across the room. Andrea cuts it short.
ANDREA
One problem. It might be too much to fit into a short-film?
HELENA
How many pages is it?
INT. LIBRARY - NIGHT
On late nights, hardly anybody is at the library. That's why it is a strange sight to see Maxwell strolling through the building. He whistles a soft tune. He reaches a comber girl, lonely, hunched over, and her face buried in a book. It's Nico Halton.
MAXWELL
Hello.
Nico jumps, but her eyes are too dead to give an proper reaction.
NICO
(startled)
Oh God. Sorry, I didn't see you there.
MAXWELL
It's quite tough see in the dark. Much less read. I see you have one of Nolan's films.
Rested in Nico's hand is a thin book regarding Christopher Nolan's screenplay, Interstellar.
NICO
I am. I just wanted... Some time alone.
MAXWELL
Then I should give you some space. Sorry for interrupting.
NICO
(feeling guilty)
No, no, no. It's alright. You can stay. I'm Nico Halton.
MAXWELL
I'm Professor David Maxwell, but if you're willing, you can call me Director Maxwell.
NICO
You're the film teacher? I'm sorry I didn't recognize you.
MAXWELL
That's alright. Hardly anybody recognizes me these days.
There's an infliction of comedy in his voice, but Nico can't help but wonder if he's serious.
MAXWELL (CONT'D)
Do you like film?
NICO
Acting, yes. I love acting.
MAXWELL
And what do you like about Nolan's films?
NICO
I guess it's the character.
(realizes what she said was stupid)
I don't know, actually.
MAXWELL
You do know. You've just never talked about it. Go on. What is that you like?
NICO
The characters... They feel real. You won't recognize them from their names, but when you watch them, you feel as if those characters are real. You can find them in the real world. That's what I love about them. And that's how I want to act. Make my characters indistinguishable from real people.
MAXWELL
See, you do have an idea of what you like. Why don't you follow this passion?
NICO
I don't know. I want to, but I feel so trapped. Everyone around me has locked this feeling away.
Maxwell sits next to Nico.
MAXWELL
How are you sure that is not you who has locked this passion?
NICO
Are you saying it's fault?
MAXWELL
Not to undermine you, but you have locked your own passion in a steel cage and thrown out the keys to put on a facade for others. You've never talked about your passions, Ms. Halton, and that's why they're disappearing. You want to play characters that feel real, but how can you act others when you act yourself? Follow your heart, and the rest will come to fall. So, Ms. Halton, you have a big decision to make. Are you going to keep acting, or are you going to strip the away the layers?
NICO
(chokes with anxiety)
I...
MAXWELL
No one is asking you to choose right now, but make it sooner than later. Good luck, Ms. Halton.
INT. FILM CLASSROOM - DAY
All students gather around Maxwell's desk. He puts his pencil down and looks up with a reassuring smile.
MAXWELL
What prompted this sudden meeting?
Andrea, not sure where to begin, starts.
ANDREA
We need more time for the project, Mr. Maxwell.
MAXWELL
Why? I said there was no deadline. Take as much time as you need.
ANDREA
We also need funding.
This peaks Maxwell's interest.
MAXWELL
Funding? Interesting. What do you need funding for?
HELENA
Our short-film has turned into a feature length film. And we need money to cover the sets, props, cameras, and more.
MAXWELL
Why didn't you lead with that? So, you want funding from me? Are you aware that film already receives the highest budget?
ANDREA
Yes, but we don't use that money, sir. That's why we are asking you to let us use it.
MAXWELL
Money is a complicated game, my friends, and especially for those with a reputation to uphold. I can only give you the money if I'm willing to gamble on the fact that your movie will be a success.
ELISA
But it will be, sir.
MAXWELL
Why?
Silence. Maxwell has them beaten, and they all know it. Many of them choose to accept it. Andrea does not.
ANDREA
Because it's our passion. We're dedicated. We're resilient. We throw our lives away for this. Some people are passionate because they excel. Others excel because they are passionate. We may not look like it, but we promise you we are filmmakers.
Andrea looks at Maxwell for a response.
MAXWELL
Very well. Your project has my approval, and you may utilize the budget in any way.
The students relax, their stress washing away.
MAXWELL (CONT'D)
But, this is an important lesson. Starting now, I am your producer and every member has to meet specific deadlines set by the producer. Otherwise, “bye-bye” money. Do you think you can manage that?
ANDREA
Sir, you were the one who said “filmmakers are judged on their final product, irrespective of the time and effort.”
MAXWELL
(feeling proud)
How far are you into this script?
ANDREA
A little more than three-fourths.
MAXWELL
Have the script done in two weeks. After that, we begin with the casting.
No one in the class has yet realizes what those words mean.
JULIUS
Wait. Is it official? Are we making this film?
MAXWELL
No, you would've made the film regardless. I'm simply lending a hand.
JULIUS
(grabs Andrea's shoulder)
It's official! You hear that Andrea? It's official.
The class cheers as they swarm around Andrea. Maxwell tips his imaginary hat.
INT. VP OFFICE - DAY
In the refurbished room, Leon Silvus is busy filing paperwork. Three stacks on each side of the desk and a overheating computer with a million tabs open. Leon's pen stroke is perfect- calculated, sharp, meticulous. he signs his name at the bottom, then starts on a new stack. Suddenly, there are three hardy knocks on his door. Without looking up from his paper:
SILVUS
It's open.
The door creaks over. It's Maxwell.
MAXWELL
You called?
Silvus gets up from his seat and clears the coffee table.
SILVUS
Ah, Maxwell. I forgot I called you. Have a seat. Do you want tea? Coffee?
MAXWELL
I'll have a tea. No sugar though. I've been trying to watch that.
Maxwell sits down and Silvus turns on the kettle. He sits there while the water boils, admiring the office.
MAXWELL (CONT'D)
The last time I saw you we were snowboarding down the hill on a piece of wood we found.
SILVUS
I remember that. You broke your foot when you hit that tree. Your mom was so mad I thought I was going to die.
Silvus pours the steaming water into the cups with tea bags. He stirs sugar cubes into one and hands Maxwell the other. Maxwell lifts the cup as he's making a toast.
MAXWELL
Well, we both made it out alive. So, there's that.
The two clank cups.
MAXWELL (CONT'D)
So, why did you call me?
SILVUS
For this. We haven't talked since graduation and when I heard you would teach here, I had to arrange something.
MAXWELL
I'm flattered.
SILVUS
But it's true. It's been forever since we've met, and how poetic, back at the school that started it all.
MAXWELL
Yes, and under Director Fletcher's class.
(pauses, remembers Fletcher)
When that phone call came, and his wife told us he died... He would've made a great principal.
SILVUS
Do you remember what he said? “The only man more passionate about teaching than me is David Maxwell.” He chose you.
MAXWELL
And that's why I cam here. Actually, when I told Tiana I quite teaching, she threw a book at my head.
SILVUS
(snickers)
You quit teaching?
MAXWELL
No, I just didn't finish my sentence. I said, I quit teaching at MIT. And then she threw a fatter book. Finally, I told her I'm teaching here and that got her to calm down. After all, this is the place I met her. Tiana and I in Director Fletcher's class.
SILVUS
Don't forgot me. I went through every terrible joke with you.
Maxwell pats Silvus.
MAXWELL
How could I forgot? You were the punchline to all of them.
The two laugh.
SILVUS
How is your class?
MAXWELL
Splendid. Way better than my expectation. There's a girl, actually. Andrea. My, she's the spitting image of the Director if I've ever seen one. She's young, but her mind is already thinking like the greatest filmmakers.
SILVUS
So, she's the next Fletcher?
MAXWELL
No, no one could be like Fletcher.
SILVUS
Then the next Kubrick, Nolan, Tarantino?
Maxwell puts his cup down.
MAXWELL
The notion of the “next blank” is dumb. We're all unique. We're all different.
SILVUS
I think it's an honor to be compared to someone great.
MAXWELL
But it restricts us. Progress is a mountain we'll never see the peak of. Every human has attempted to climb it, aiming higher and higher.
(MORE)
MAXWELL (CONT'D)
If you compare yourself with someone else, that's your ceiling. That's all you'll ever be. When you climb a mountain, don't worry about where others have reached, worry about where you've reached. Be the next coming of yourself.
INT. CAFETERIA - DAY
The clock strikes 12 which is followed by students swarming into the cafeteria for lunch. Andrea is already there, sitting at her usual spot in front of the mural. She doesn't bother to get in line- With her half-eaten sandwich, she intensively scribbles in her notebook.
ELISA
How long have you been here for?
Andrea checks the clock.
ANDREA
An hour and a half.
Elisa sits down and takes a laptop out of her bag.
ELISA
A hour and a half of pure writing?
ANDREA
No, I write sporadically. When I get tired, I take a break. Essentially, I write whenever it suits me.
ELISA
There's one thing I never understood. Why do you write with pen and paper? Don't you think it'd be easier to do it on this?
Andrea glances at Elisa's laptop. It's new, sleep, and covered with too many stickers.
ANDREA
I do write on my computer, but only the final drafts. First drafts always go on paper.
ELISA
Why?
ANDREA
Why?
(stops writing)
Answer me this, is the first draft ever pretty?
ELISA
No.
ANDREA
Exactly. Technology will only make it look nice, but a first draft is always your wildest thoughts. Why not keep it like that with pen and paper, where every line comes out different.
ELISA
So, it's just poetic?
ANDREA
Isn't that what makes it beautiful? It's poetic nature.
ELISA
I guess you're right. But me? I could never live without this.
ANDREA
Sure you can. Just give yourself a camera.
Elisa snickers.
ELISA
Speaking of which, I looked over at the file you sent me and suggested some shot-ideas. I'll send you the file now.
T-DING! Andrea opens her message, and clicks on the files- heavily detailed, photos, references, and justifications. Andrea loves every word of it.
ANDREA
I asked for a rose, and you gave me a whole bouquet. I love this. Especially the close-up on the eye. I think that'll look beautiful.
ELISA
Hold your horses. We aren't at the shooting at. You've still got a whole act to finish.
ANDREA
That'll be a cakewalk.
ELISA
And then the casting. Have you thought about that?
ANDREA
What do you mean?
ELISA
What do you mean “what do you mean?” You're the director. You know the characters better than anyone else. Of course, you're in charge of casting actors.
ANDREA
I didn't think about that. Who will play the lead?
The two think for a short stint.
ELISA
You thought about yourself? It is inspired by your own story.
ANDREA
It is, but I can't act.
ELISA
But you're not acting. That character... Who is it? Elena? That's not her. It's you, Andrea. You're playing yourself.
ANDREA
What if I don't live up to it? I'm not up to par?
ELISA
You're not being asked to put on a persona. And if it's still so hard for you, it won't be like that forever. What was that smart-aleck think you were saying to Mr. Maxwell? Some are passionate because they're good. Others get good because they're passionate. You'll be fine.
Elisa holds Andrea's hard, but Andrea leans across the table to give her a hug.
ELISA (CONT'D)
Oh, okay. Alright. That's a new side of Andrea I haven't seen. The hugging side.
ANDREA
(laughing in Elisa's shirt)
Shut up.
(pulls back)
Thank you, Elisa.
ELISA
If you need a hug anytime, call me.
Andrea laughs.
ELISA (CONT'D)
So, we've got the main character down. What about the other girl?
ANDREA
Don't worry, I've got a great person for that role.
INT. DORM - NIGHT
Crrreeaak! In walks Andrea, carrying her brown book-bag through the gap. The first gaze landed at Nico, a foot-and-a-half deep into the valleys of textbook and notebook paper. The girl is hunched over, her legs tapping the ground, and her hands shaking.
ANDREA
Are you okay?
Nico looks up as if she never heard Andrea walk in.
NICO
(tapping her finger)
Yeah. I'm okay. You?
ANDREA
I'm doing alright.
Andrea settles down.
ANDREA (CONT'D)
I wanted to talk to you about something.
NICO
Can it wait?
Nico aggressively scribbles on her paper.
ANDREA
Did something happen?
Nico drops her pen, trying to relax herself, but her voice comes off jagged.
NICO
My parents called. Told me to be more studious and focus on becoming a doctor.
ANDREA
I thought you said that you won't see your parents for a while.
NICO
I would've... If my professor didn't call about my grade.
ANDREA
You're passing. Why would the teacher care?
NICO
You don't understand, Andrea! My dad went to this school, and from the moment I could read, he had shoved his dream to be a doctor onto me!
Silence. Nico just snapped. After a few seconds, she goes back to her work.
ANDREA
You know, when you first told me your story, I didn't think much of it. But now, I can't stop thinking of it.
NICO
What's that supposed to do to me?
Andrea takes out her notebook and places it front of Nico.
ANDREA
Read this.
Nico stares at Andrea.
ANDREA (CONT'D)
Go on. Read this page.
Nico reads and with every page, her smile grows wider.
NICO
Hey, it's me. That's me.
ANDREA
It is. Your story inspired this character and like this character learns a lesson, I think you will too.
NICO
What lesson?
ANDREA
Following your heart is better than respect. Nico, I need to ask you something. It's a big task, but I know you can do it.
Nico smiles, anticipating...
ANDREA (CONT'D)
We're shooting a movie. My movie. I can get the rest of the cast, but there's only one girl can play this character.
Nico predicts the following sentences.
NICO
No, Andrea. I can't.
ANDREA
Why not? I thought you loved acting.
NICO
It's was a stupid dream. I can't be an actor.
ANDREA
Who's saying that? You're parents? Nico, I told you, you don't have to listen-
NICO
I do! And I have no other future if I don't! How many times do I have to spell it out for you Andrea?
(heavy breath)
I... Can't.
ANDREA
(eating her words)
Nico, please. I trust in you. I made a very big and stupid decision when I ran away from home, and I also thought I would get nowhere. And I did. For a long time, I did get nowhere, but now I have a chance to get somewhere with this passion.
Andrea is the verge of tears. Seeing the flowing rivers on her face, Nico sheds tears of her own. Her fingers reach for Andrea's face, but she holds herself. She buries her face with darkness, talking to herself, thinking to herself- JUMPS OUT OF HER SEAT. ONTO THE BED.
NICO
(shaking her head)
I can't. I love your dream, Andrea, and I know you're going to make it on the big stage, but I can't climb this mountain with you.
ANDREA
You will. I don't care if I have to cut the mountain in half, I will climb this with you and only you.
(grabs her book)
You see this? This is you. No other woman- not my mom, my sister. No one!... But you. And you're the only one who can play this character.
In this moment, Nico thinks of Maxwell- the two sides clashing against one another. The fire in her heart, and the rivers of her parents.
ANDREA (CONT'D)
(softly begging)
I have gotten somewhere because of you, but I don't want to be the reason you get nowhere. Please, Nico.
Nico hops of the beg, crying. She hurls into Andrea's chest and wraps her into a hug. Andrea can only hug back.
ANDREA (CONT'D)
Come to film class tomorrow.
(rests her head on Nico's shoulder)
If you don't like it, then I won't force you anymore.
INT. FILM CLASSROOM - DAY
FOLLOW Nico, awkward, making her way inside the film classroom. She follows Andrea, sticking close behind her. The other students are gathered in the usual spot- a semi-circle around the front of the classroom... GATHERED around Maxwell, reading a play: HAMLET. Currently, playing Polonious.
MAXWELL
(funny, mocking voice)
We are oft to blame in this, ’Tis too much prov’d, that with devotion’s visage and pious action we do sugar o’er the devil himself.
The class laughs. Nico follows Andrea to the back.
MAXWELL (CONT'D)
(different funny voice)
O ’tis too true! How smart a lash that speech doth give my conscience!-
More laugher. Maxwell reads the rest of the lines. Then, he spots Nico in the crowd.
MAXWELL (CONT'D)
Ah, Ms. Halton. Welcome to film class. Everyone, this is young Nico. She is will be joining us on the voyage of cinema and acting. Now, Ms. Halton, are you familiar with The Tragedy of Hamlet?
NICO
Yes, I played it for my high school.
MAXWELL
Wonderful. Then would you be willing to act Hamlet's infamous soliloquy?
Maxwell steps down from the desk and giver her his copy of the play- messy, highlights, a lot like Andrea's books. Nico stands on the table. The crowd awaits her first whispers. Her eyes drift in space, locking with Andrea's, and a surge of confidence grows in her.
NICO
(deep breath)
To be, or not to be, that is the question: Whether ’tis nobler in the mind to suffer the slings and arrows of outrageous fortune...
Andrea smiles- So does Nico. Only softly.
NICO (CONT'D)
Or to take arms against a sea of troubles. And by opposing end them? To die, to sleep. To sleep, perchance to dream... To dream to become someone- a voice in the ocean, a tree in a garden, and a leader in an army. For in that sleep of death what dreams may come, when we have shuffled off this mortal coil, will bring more regret than solace. And when we close our eyes, we will pray for another chance, a penance to God, and a swear, that we will fulfill our mortal coils this time.
Nico stops- Eyes wide awake, starting at the stunned classroom. Feelings begin to drown her. Slowly, Maxwell begins clapping. The students burst into applause. Nico smile grows. For the first time, she was the sun, atop the world, raining down bliss. But in synchrony of the claps, she only hears Andrea, a blazing smile on her face.
INT. HALLWAY - DAY
Nico exits the counselor's office with a proud smile on her face. She looks down at the paper in her hands and squeals internally. She is happy - happier than she's ever been. So happy, that see doesn't notice her presence in the middle of the hallway, blocking the traffic.
INT. DORM - NIGHT
Nico and Andrea jump around on their beds, celebrating and yelling. Surrounding the bed are mountains of lemonade cans and bag of chips.
NICO
I did it. I did it! I'm going to be in film. I can act, Andrea. I can act!
ANDREA
I know. And you'll do amazing.
Nico rests down the bed and snaps open a can.
NICO
Thank you, Andrea.
ANDREA
For what?
NICO
For forcing me to come to film class.
ANDREA
I think you mean, for forcing you to get away from that damned table.
NICO
(laughs)
I'm serious. If not for you, I'd be stuck doing chemistry and biology every day. My dream would rot for eternity and I... I wouldn't be happy. You know that, Andrea. I'm really happy.
ANDREA
Don't get too happy. The best part is yet to come. Tomorrow, you're going to see the full world of cinema.
NICO
Does that mean I get to see Director “Marry” yet?
Andrea feels offended by that name, but he's overjoyed- too overjoyed- to even raise her voice. She lightly pushed Nico off the bed.
ANDREA
Yes, it does.
NICO
I'll be waiting.
KNOCK, KNOCK, KNOCK! Andrea goes to get it, with Nico lying on the floor. She opens the door... A staff member, wearing the royal blue blazer of the school.
STAFF
Are you Nico Halton?
ANDREA
No, but she's here. What do you need?
STAFF
The principal said this is for her. Hand it to her, will you?
He hands Andrea a sealed enveloped- beautiful red seal and Nico Halton scribed in elegant penmanship.
INT. OFFICE - NIGHT
Andrea, outside a panel door, fidgeting, listening to the muffled screaming. She clenches her hands, her back against the wall. Until...
EXT. LAKE - DAY
The night sky is a vast, murky canvas, sprinkled with a million tiny diamonds. But the moon is a crown jewel of this breathtaking artwork- the centerpiece. It hangs there, a perfect pearl, bathing the world in its cool, ethereal glow. Down below, a lake shimmers like a fragment of the moon itself. Its gentle waves ripple hypnotically... FROM FAR AWAY: Andrea, a silhouette against the moonlit sky, races down the slope. She comes to a stop at the edge of the lake, her eyes drawn to a solitary figure on a nearby rock- Maxwell, sitting on a rock, gazing into the moonlit water. The grass seems to shimmer with an inner light, swaying softly in the gentle night breeze.
MAXWELL
I didn't know you come here often, Ms. Marie.
Andrea stands motionless, watching Maxwell. She feels the whispering breeze running through her uniform. With a soft sigh, Andrea lowers herself down onto the grass, settling next to Maxwell.
ANDREA
(soft whisper)
She was good, right?
She pulls her knees close, wrapping her arms around them.
MAXWELL
Do you mean Ms. Halton? Absolutely. I've seen improv before, but never anything quite like that.
He glances at Andrea, and a flicker of relief washes over her face.
MAXWELL (CONT'D)
Let's say the worst happens. What will you do then? For young Nico.
Andrea thinks.
ANDREA
I'll fight.
Maxwell's face drops- then, he smiles.
MAXWELL
Then I wouldn't worry.
ANDREA
Why not?
MAXWELL
If I was thrown into the pits of hells, I wouldn't worry if I knew I had a friend like you fighting for me.
ANDREA
You'd still be burning in hell.
MAXWELL
But I would be the only human in hell who knows what heaven felt like. I would be the only human in hell who knows that I have a guardian angel watching over me.
Maxwell's voice trails off, painting a picture with his words.
MAXWELL (CONT'D)
So in a way, even in hell, I'd have a little piece of heaven with me.
Andrea listens intently, a feeling of contentment settling over her. A soft smile graces her lips. Slowly, she scoots closer to Maxwell, finding a comfortable spot to rest against his side.
MAXWELL (CONT'D)
Do you think they're still there?
ANDREA
Yes. Why?
MAXWELL
No reason.
The wind howls like heaven.
ANDREA
I heard you taught Physics before.
MAXWELL
I did.
ANDREA
Why do you teach film now?
MAXWELL
To give you the same lesson my teacher taught me.
INT. OFFICE - NIGHT
We see Nico, surrounded by the towering legacy of her two parents, keeping her head down. Her father - Donald Halton, stern faced, frantically checks the clock. Suddenly, the door creaks open and Maxwell enters the room. He glances at Nico, softly nods, then at her father with a wavering smile.
RECEPTIONIST
Can I get you anything?
MAXWELL
No, I'm just here to visit.
Donald grumbles.
MAXWELL (CONT'D)
(turns to Nico)
You must be Mr. and Mrs. Halton. It's nice to meet you.
Donald grumpily takes Maxwell's offering.
DONALD
You are?
MAXWELL
Professor David Maxwell, but my students know me better as Director Maxwell.
DONALD
Director? The blaring audacity. Have you come to instill your way of thinking onto my daughter?
MAXWELL
No, sir. I'm here to make her realize her way of thinking. If I may ask, Mr. Halton, what's your favorite film?
DONALD
I'm not willing to disclose that information.
MAXWELL
But you do have one. You appreciate the art of film. Then, why is that you don't let your-
DONALD
Film is mere entertainment. My daughter will not waste time in this insignificant field.
MAXWELL
But what will your daughter get from being a doctor. Money, reputation, a few hundred thousand in debt.
(snickers at his own joke)
But she will not achieve happiness. If you do not let your daughter follow what she loves, she will grow her whole life despising you for shunning her passions.
DONALD
(triggered)
Are you trying to teach me how to raise my daughter?
MAXWELL
No, I have no say in that. But Nico is one of my students. It is my responsibility to raise her as a student. And as my student, I teach her how to think for herself. Follow her heart.
DONALD
Mr. Maxwell, my patience for your antics is running thin. My daughter will not join this measly field. She will be a doctor and that is final.
(gruffs)
I want you to keep your bad influence away from my daughter.
MAXWELL
Mr. Halton- Film is no bad influence. It was a revolution on technology, on literature, on psychology, physics, science - on humanity. It taught us how to look at life with a different lens, became our parent when our parents couldn't be. That is no measly field.
DONALD
Mr. Maxwel-
MAXWELL
And your daughter is not wasting anything as an actor. Directors, we write to send a message, but we alone cannot send that message. Ultimately, it is the actors that will turn to the camera and say it. To smile for the children and make them happy. That is no worthless field.
Donald tries to talk again- Maxwell rushes to the front desk and grabs a framed photo.
MAXWELL (CONT'D)
Even the people you look up to will agree. Look at this picture- Mr. Fletcher.
CLOSE IN on the frame- a portrait photo of a tall, elegant man, well-kept hair, incredible fashion style.
MAXWELL (CONT'D)
The world knew him as a genius, a prodigy, the genius founder of the greatest school. But I always knew him as Director Fletcher, the one who taught me the value of my heart. And now, will you laugh at him too? Now that you know he was a film-head, are you going to say that what he did was worthless?
Donald doesn't respond, but his stance doesn't waver.
MAXWELL (CONT'D)
And if my word isn't enough, then maybe your daughter's is.
Donald turns to Nico, who immediately swoops her head down.
DONALD
(stern)
Do you want to be an actor?
The clock ticks. Nico can't answer. She bites her lips and swallows-
NICO
(hoarse)
Yes.
Donald stands up, furious.
DONALD
The indecency! I did not pay a fortune for you to waste your life away with this stupid dream of yours. You will do as I say. Now, before I tell the principal my decision, answer me. Are you going to be a doctor?
Nico chokes. She looks at her mom for answer- silence. But Maxwell...
DONALD (CONT'D)
Are you going to be a doctor?
Maxwell has a soothing smile.
DONALD (CONT'D)
I want an answer!
NICO
No!
Donald is stunned.
NICO (CONT'D)
I don't want to be a doctor- I hate studying to be one. And all this time, I've done it because I thought if I did, you'll finally listen to me. But you've never even called me by my name. I can't do it. I don't want to be a doctor. I want to be an actor.
Donald clenches his fist.
DONALD
I'm done paying for your education. If you're going to rot away with your dream, then do it!
Both of Nico's parents leave the room, slamming the door. Nico breaks down- tears well and spill over, tracing hot tracks down her cheeks. A fury of sob escape her lips. She collapses onto the chair, burying her face in her hands. Maxwell moves carefully. He places it on the table beside Nico, but it might as well be a world away. Her world is falling apart.
NICO
(hiccup)
Did I make the right choice?
MAXWELL
I don't know the answer to that. Only you do.
Nico cries further.
MAXWELL (CONT'D)
It's been a while since I've taught this topic, but... Entropy is the degree of disorder in the world. You can liken it to chaos. It only grows. Yet, in this world of increasing chaos, we were able to create cars, harness energy, and give heat and coolness to millions of people. How? Because the limit to chaos is far beyond human comprehension. So, you may cry now. But it will take more than tears to wash away our passion.
CREEAK... ENTER Leon Silvus. He takes in the situation, his gaze lingering on Nico's tear- streaked cheeks. Maxwell, however, has a glimmer of hope in his eyes.
MAXWELL (CONT'D)
What happened with Nico's parents?
Silvus turns to Nico, his voice surprisingly gentle.
SILVUS
You're Nico?
(waits for her hesitant nod)
Your parents won't be covering your tuition anymore.
Nico's breath hitches.
SILVUS (CONT'D)
You have the remainder of the semester left. Afterward, if they haven't changed their mind, you won't be able to attend Apollo University.
Nico violently jitters- The nightmare she'd dreaded unfolds before her. Silvus doesn't miss the shift in her emotions. He levels with Maxwell, seemingly unfazed.
SILVUS (CONT'D)
How much does film tuition cost?
MAXWELL
Twenty-five thousand a year.
SILVUS
(re; Nico)
What dorm do you stay in?
A flicker of confusion replaces the despair in Nico's eyes.
NICO
The Capitol.
Silvus runs the numbers in his head, his expression unreadable. Finally, he speaks.
SILVUS
I'll pay for your stay here.
Nico eyes flutter.
SILVUS (CONT'D)
But this not a loan. Consider it a scholarship. During your four years, you have to maintain a GPA of 3.0, minimize your absences, and...
He looks at Maxwell.
SILVUS (CONT'D)
Your movie has to score at least third place in this competition.
Silvus hands Maxwell a pamphlet - The Fletcher Film Competition, dated eight months from now. Maxwell has a surge of nostalgia in his eyes.
MAXWELL
That's certainly not a problem. We have a terrific director, and a world class actor to back her up.
Nico's gaze darts between the two men, processing the news... Slowly, a hesitant smile pulls at the corners of her lips. Hope blooms in her eyes.
NICO
Thank you.
Before she can stop herself, Nico throws her arms around Silvus in a grateful hug. Maxwell urges Silvus to hug her back, and returns the embrace with a hint of a smile.
INT. DORM - NIGHT
Andrea hovers the keyboard. Her eyes reflect the white paper of the software. She keys in the final lines and after a short pause... Exports to PDF. Done. The full script was finally finished. But something still lingered over her shoulder. Andrea rests on back her chair, staring at the door, hoping that someone would walk through and erase away her worries. That prayer would be answered when the door opened, revealing a neutral-faced Nico. She walked right past Andrea and sat on her bed. The two didn't say anything. Andrea tried to look at Nico, but only stared at her through the reflection on the computer screen.
NICO
I'm staying in film.
Andrea whips her head around.
ANDREA
What?
NICO
I can stay in film.
ANDREA
Your parents were okay with it?
NICO
(with a great smile)
No, they hated it. They even stopped paying for me. But Vice Principal Silvus said he would pay my tuition. I did it, Andrea! I can keep acting!
Andrea rushes to Nico.
ANDREA
Does that mean you'll act with me?
NICO
Yes!
Andrea smiles- The heavenly angel that pulled her friend out of hell.
INT. FILM CLASSROOM - DAY
Heart to Heart- the complete story, 120 pages, half an inch thick. The students gather around the desk.
JULIUS
It's finally finished.
ANDREA
Yes. Now we can finally begin with production. Evan, can you scout the school for the best locations? The main priority is outdoor settings.
EVAN
I can look at what's available in the city.
ANDREA
Good. Elisa, when can we get the shipments of camera by?
ELISA
Two weeks for primary camera order. We might need to supplement with rentals for specific lenses and grips.
HELENA
There is an old Arriflex cameras gathering dust in the storage room. They're not the greatest for night scenes, but we can use them in the meantime.
ANDREA
(nods)
Then we will hit the day scenes first. However, I want to begin set production right away. I'll a compile a list of everything we need. In the meantime...
Andrea takes out three more copies of the script from a cardboard box and hands them to Gina, Matthew, and Nico.
ANDREA (CONT'D)
The actors should get themselves familiarized with the story. Everyone clear on their roles?
The three nod.
ANDREA (CONT'D)
Good, now...
Andrea continues talking, unrolling a large schedule chart, setting down the layout of production and getting everyone up to speed. Maxwell enters the room with a smile.
CARLOS
If the first shoot happens a week from now, I say we finish all the scenes with Andrea solo. That would be allow her to focus more on directing.
EVAN
Most of her solo scenes are also indoors. That would give me more time to look for the bigger sets outside, as well.
Elisa turns to Maxwell...
ELISA
Mr. Maxwell, you live in the city, right?
MAXWELL
I do. You're free to use it when my wife isn't home.
JULIUS
You're married?
Andrea slaps the back of Julius head.
ANDREA
Worry about the important things.
Maxwell observes the situation with a faint smile.
INT. CAFETERIA - DAY
Nico enters the cafeteria and finds Andrea... All alone, Andrea sits with her back to the mural, staring intently at the script in her lap. Her brow furrows in concentration. She reads over and over again, only to end up back on the same line.
NICO
What are you doing here?
ANDREA
Practicing my lines.
Andrea reads, but frustrated with the lack of progress, puts the script down. The cafeteria echoes with emptiness— the silence of vacant trays, the lingering scent of yesterdays coffee, and the absence of student laughter.
ANDREA (CONT'D)
Do you think I can do this?
NICO
This again? Andrea, you're acting will be be amazing.
ANDREA
Everyone tells me that, but I don't feel that. When was the last time you saw me act?
Nico smirks.
NICO
Since you're so worried, let's play a little game.
ANDREA
A game? Nico, how-
Nico reaches out, her fingers brushing against Andrea's skin.
NICO
Shush. Just listen. I want you to close your eyes...
(covers Andrea's eyes)
And tell me, why you love film?
ANDREA
Nico, this is stupid.
NICO
It won't be if you answer the question.
ANDREA
Fine.
Andrea leans into the touch. She thinks- stumped.
ANDREA (CONT'D)
I don't know.
NICO
You do know. You've just never talked about it. Tell me, why do you love film?
ANDREA
Because it's fun.
NICO
More than that.
ANDREA
Because it's fiction... And in it, I can escape from the real world. From all the disappointment and tragedies; the boredom and anxiety. Everything. Fiction becomes my reality.
NICO
Good. More.
ANDREA
I can write anything I want without worry that what I'm doing is stupid. I can think about my characters being real and loving me more than real people love me. It's beautiful. It make me feel happy, really happy. Like I'm a human being, too.
Nico removes her hand away from Andrea's eyes- a bright smile is painted on her face.
NICO
And does that character love film as much as you?
ANDREA
(thinks)
Yes.
NICO
Then, why worry? You are the character, thick and through. You can't mess up.
(leans closer)
The only person who can act forever is one acting themselves.
Andrea smiles. She lightly punches Nico.
ANDREA
Get out of here with your cheesy lines.
NICO
They're your cheesy lines, Directory “Marry”.
ANDREA
Now, you've done it-
Andrea chases Nico across the cafeteria, the two girls leaving the frame laughing.
INT. VP OFFICE - DAY
The sweet sounds of hard work- Andrea and the rest of film working on the first scenes of the films, setting up the camera and lighting, microphones and props. A camera dolly with a RED camera mounted on its head glides silently on tracks across the set, manned by Elisa. On the other side, she gives Helena, with the ARRI, a thumbs up- A FEW STEPS BACK... Silvus flips through the pages of a newspaper in his arched chair. He sits by the window, with the shades up, and the panes open. Across from him, Maxwell sips from a steaming mug, his gaze fixed on the activity outside the window. SUBTITLE: ** _”SEVEN MONTHS UNTIL FILM” Maxwell picks up the flyer on the coffee table- different from what Silvus gave.
MAXWELL
Look at that. Jeremy is one of the judges. You remember Jeremy?
Silvus grunts in response, barely looking up from his paper.
SILVUS
(half-paying-attention)
Sure, I do. He was busting my balls my entire freshmen year. What is he judging?
MAXWELL
The film competition. My, he's a tough grader. Always has something to whine about.
Silvus snatches the flyer from Maxwell's hands.
SILVUS
I remember he used to hate coming-of-age movies. Are you worried?
MAXWELL
Why would I be? I'm not in control. If I was, it'd be a completely different story.
SILVUS
Right, you would beat up Jeremy and claim he doesn't know “real art.”
MAXWELL
That was a long time ago. Besides, the one in charge is more... diplomatic. It shouldn't matter who the judges are. True art doesn't aim for a person's interest. It aims for their soul.
SILVUS
Sure, Shakespeare.
Silvus continues with his reading.
MAXWELL
Are you not worried?
(Silvus looks up)
Your parlay is also on the line.
He casts a pointed look at Nico, standing beside Elisa, a wide grin on her face as she watches Andrea deliver a line.
SILVUS
I guess so. However, I, too, see no need to worry. I'm not in charge.
MAXWELL
Why did you do it?
Both of them know what he's asking about. With no hesitation:
SILVUS
Because I trust your judgment. You always had an eye for talent. Heard you defending her... figured she must be worth the risk.
MAXWELL
I have an eye for passion, not talent.
SILVUS
Sure, but passion gives birth to talent.
A cheer erupts from outside: the first scene was a success.
NICO
Let's go, Andrea! You did it!
Maxwell beams with pride.
MAXWELL
You indeed are correct.
INT. FILM CLASSROOM - DAY
Maxwell trots the hall right outside his classroom. He approaches the door, but stops... To the side, through the window, he catches Andrea- front row. She pushes her loose hair back, a stray strand escaping and curling against her cheek. She is glued to her book, like usual, and doesn't pay much attention to Maxwell's entrance.
MAXWELL
Class starts in...
(checks watch)
45 minutes. Is everything alright?
He says with a graceful care, also like usual. Andrea glances up, startled slightly.
ANDREA
Oh, hi, Mr. Maxwell. Yeah, I'm fine. Just...thinking. Personal “me” time.
MAXWELL
Oh. Then I should leav-
ANDREA
(feeling guilty)
No, no, no. There's no need for that. Your classroom.
Maxwell trots up to Andrea's desk and notices her messy handwriting. She's deeper into the book than last year- for that, he smiles.
MAXWELL
What are you thinking about right now?
Andrea struggles. There are so many things she wants to say at once.
ANDREA
How I'm going to get through this? Everyone wants to make it big time, until the pressure hits. Especially with all the expectations.
MAXWELL
What expectations?
ANDREA
With Nico... The whole situation with Vice-Principal Silvus... The rest of the cast. You.
Andrea looks up at Maxwell, expecting some harsh action. Except, his gaze soft looking onto his child. He crouches down and places his hands on the desk.
MAXWELL
Expectations are not meant to pressure you, my dear. They are your motivation, your ally. They're the reason you keeping moving when it's dark, your light in a cave. And the rest of them... They are like you. They will mistake and you will make mistakes. But eventually all of you will smile at your accomplishments.
A soft smile replaces Andrea's frown.
ANDREA
Thank you, Mr. Maxwell. Sorry, Director Maxwell.
MAXWELL
Oh, the years of my directing are far gone. My last movie was more than 12 years ago.
ANDREA
Seriously? You actually made a movie?
MAXWELL
Yes. But that is besides the point. A director is more than just someone who makes a movie. They are someone who creates visions, teaches lessons, gives meaning to an ordinary craft. And while my days of directing are behind me, yours are still to come.
Maxwell places a vintage notebook in front of Andrea. The pages are turned at the edges, and the spine is in shambles. The front cover is fading its vibrant red, turning maroon.
ANDREA
What's this?
MAXWELL
My journal. From when I was no older than you were?
Like a child on Christmas, Andreas rips through the book finding all sorts of clever writing, directing styles, and cinematography.
ANDREA
This is the Maxwell's notebook.
MAXWELL
Yes, yes it is.
(stands up)
Hopefully it will help make it easier to enter the world of directing.
She flips page after page, getting lost in the wonderful world of Maxwell's creations.
ANDREA
This is amazing. Oh. I want to try all of these-
Andrea rushes to leave her desk-
MAXWELL
Hold one second, Ms. Marie. While everything may look excellent on its own, that does not mean they should go together.
Confused, Andrea sits back down.
MAXWELL (CONT'D)
I liken it to music. I think every chord is beautiful. They all convey their own meaning and purpose. But does the likes of Beethoven use every chord in every song? No. They do not fit. You are not just a director; you are a composer, young child. And you must figure out what chords go together. I have given you the knowledge, now you must apply it. Tell me, Ms. Marie. Can you compose music? Can you direct?
A symphony churns in the back of Andrea's mind as she reads the notebook. THE CHORDS- they play all the once, disharmonious.
EXT. GARDEN - DAY
Nico, by herself, recites a performance in front of the cameras. She sits down by the flowerbeds, a chemistry textbook in one hand. Tears force through her eyelids. The low chords of Andrea's melody bang together. She shakes her head.
ANDREA
Cut! Cut!
Everyone puts down their equipment.
ELISA
What's with the cut? Nico did beautiful.
ANDREA
She did, but... It doesn't feel right in the scene.
She jogs to Nico and kneels beside her.
ANDREA (CONT'D)
Can you improvise?
NICO
I can try.
ANDREA
I don't want to try. I want you to do- feel. If you really know your character, which I know you do, I need you to improvise. Picture this: you see the beauty of this garden-
A SERENE MELODY OF HIGH NOTES-
ANDREA (CONT'D)
You feel comforted by nature. You're not sad, you see the blissful side of life. That you can do it, no matter how little your voice is. Can you do that?
Nico gives Andrea a reassuring smile.
NICO
Watch me.
ANDREA
(smiles back)
Alright, everyone. Places. Scene 17, Take 5. Roll camera. Roll sound. Action!
THE DARKER UNDERTONES SLOWLY FADE AWAY- REPLACED BY MID TONES. A HARMONIC CHORD PROGRESSION... Silence. The camera watches from afar, Nico's fairness in the garden. She looks at a swaying tree. A SWEET MELODY OF THIN NOTES... LARGE PITS OF EMPTINESS BETWEEN EACH.
NICO
I wonder how you do it. Dancing so carefree. No pressure. No commitments. You know your life might have a happy end. You'll get cut down or nature tears you apart... But you still dance. Even without a voice you still shine.
Nico contemplates those words. They rush back to her mind. The words turn into smiles, the smiles into chuckles, and chuckles into laughter. She drops the book, its pages rip open, and falls to the ground laughing.
ANDREA
Cut!
Cameras fall! Andrea rushes to Nico.
ANDREA (CONT'D)
(looking down)
That was amazing! Why aren't you a writer?
NICO
Cause you're the writer.
ANDREA
But that improv scene? It was beautiful. Way better than anything I can come up with.
NICO
I only could do that because you wrote the character. I learned from your writing.
Nico pulls Andrea's arm and drags her down on the soft grass.
HELENA
Alright, you two. The grass might look nice, but we can't be here a minute past ten.
NICO
Aw. Please?
HELENA
No. Evan's going to run a fit if we mess his schedule-
Nico also drags Helena to the ground. Reluctant, she stays on the flowing grass. A SIMPLE, REPEATING CHORD PROGRESSION PLAYS- this was the melody she had been looking for.
INT. HALLWAY - DAY
ELISA adjusts the aperture on her camera, peering through the viewfinder at the classroom scene- Andrea directing the seated actors. She tweaks the focus ring... Andrea exits the classroom, a clipboard in hand.
ANDREA
Is everything ready? We're rolling sound on a two-minute warning.
CARLOS adjusts the boom microphone over the scene.
CARLOS
Give me a second.
ELISA
(checking her camera)
Helena's checked out, and my settings are good. Waiting for your command.
Andrea glances around the set.
ANDREA
Alright, let's change one small thing. Let's have Nic-
A voice cuts through her focused energy.
ANDERSON
What on Earth is going on here?
It's Anderson- irritated and confused by his room. The students freeze. Nico shrinks back in her seat.
NICO
(mumbling)
Oh, God.
ANDERSON
(strides closer, eyeing the camera equipment)
Ms. Halton? Can you explain the meaning of this?
Nico does her best to avoid eye contact.
NICO
(standing, flustered)
Hello, Mr. Anderson. We're filming a scene for our film class project. It's directed by Andrea...
Andrea offers a small, awkward wave.
NICO (CONT'D)
We needed a biology lab for this scene, and Mr. Maxwell said it would be okay.
ANDERSON
Absurd. I have a real class scheduled in ten minutes. Everyone needs to pack up and leave immediately.
ANDREA
Wait, Mr. Anderson. We have permission. Mr. Maxwell must have mentioned it.
Anderson's brow furrows at the mention of Maxwell's name.
ANDERSON
Maxwell's authority does not dictate what happens in my classroom. And what happens in my classroom is certainly not... this. I want all of you gone in ten minutes or else I'll call the administration.
HELENA
(interrupting)
But we have permission from the administration.
ANDERSON
Is that so? Then I'll have a talk with Principal Earl and see what he thinks.
Anderson storms down the hallway, leaving a tense silence in his wake. Julius realizes the impending doom.
JULIUS
Shoot. We're screwed.
Evan looks up from his tool bag.
EVAN
We have the permission from the administration to do this. There's no need to worry, Julius.
(hands a tube to Carlos)
Put this on top of the door.
Carlos places the tube on the top frame of the door, illuminating the sign above. Evan plays with the light settings to get a soft blue.
JULIUS
But it's Principal Earl. He hates film! And if he hears someone complaining about film in his school...
Everyone gets the message.
CARLOS
We can say “ciao” to our film.
Everyone remains frozen. The actors peek out from the classroom, confused by the sudden halt in filming. The set outside rushes for solutions.
ANDREA
We have to find Mr. Maxwell. Julius, Elisa. Come with me.
Without waiting for a response, Andrea grabs their arms and pulls them down the hallway.
HELENA
(calling after them)
What about the equipment?
ANDREA
Leave it out! We'll be right back!
RUSHING-- Andrea and the gang blitz through the ground. THEIR OPPONENT: ANDERSON, calmly making his way to the administration. BACK AND FORTH, A RACE AGAINST TIME, PANICKED JUSTICE VS CALM JURISDICTION, UNTIL...
ANDREA (CONT'D)
(out of breath)
Damn it.
The door squeaks open to an empty room.
JULIUS
He's not here? Where do we go now? The staff room?
HELENA
We can't get in there.
Out of breath, Andrea is ready to admit defeat...
INT. OFFICE - DAY
Anderson enters the office, where Silvus is already there.
SILVUS
Mr. Anderson? What brings you here?
ANDERSON
I want to have a talk with Principal Earl about the film students.
SILVUS
(brow lifts)
Earl is busy with another student. I can help you with the situation.
INT. HALLWAY - DAY
The cast sits idle, on the windowsill, behind desks, leaning on the wall. Andrea keeping watch catches Anderson and Silvus walking her direction.
ANDREA
Everyone, Silvus and Anderson are here.
The classroom packs behind Andrea and she greets them.
SILVUS
(re; Anderson)
Students, I have been informed by Mr. Anderson here that you are using his classroom for a movie scene. Is that correct?
ANDREA
(hesitant)
Yes.
SILVUS
As you know, Mr. Anderson does have a class to teach during these hours. And being the Vice Principal, I make sure all sectors of this school are accommodated equally and... Mr. Benson!
Evan stops dead in his track.
SILVUS (CONT'D)
Did I give you permission to pack your equipment when I was talking?
EVAN
No, but you're probably going to kick out. So, I'm getting ahead of myself.
SILVUS
Indeed, you are getting ahead of yourself. Keep your equipment out. You can keep filming.
ANDERSON
What?
SILVUS
Finish your scene as fast as possible, and then pack up. You have until first period's end. Once that bell hits, I want everyone one of out. Does everyone understand?
ANDREA
Yes, sir.
With a beaming smile, Andrea directs everyone back to their locations. Cameras are opened up again, shoot-through umbrellas flair up, and the actors return to position. Mr. Anderson gets in front of Silvus.
ANDERSON
Mr. Silvus. This is unacceptable! I have a class to a teach. A real class.
SILVUS
Under the jurisdiction of the academy, the School of Film has license permission to film any part of the university for their teachings. Last time I checked, your room is part of the school. You may teach in the lecture hall four doors down.
ANDERSON
But you can hardly consider this teaching. In addition, I was not informed of this.
NICO
Excuse me-
Nico limps into the conversation.
NICO (CONT'D)
Sorry to cut in, but Mr. Maxwell did inform you, Mr. Anderson. He sent an email yesterday. He even showed us.
SILVUS
(pats Nico)
Thank you, child. Now return for your scene.
(Nico leaves)
There, your argument shattered by a child.
ANDERSON
Still, this is unacceptable-
SILVUS
Two words, Mr. Anderson. Lecture hall.
Defeated, arrogant, stubborn, and everything in between, Anderson storms away. Silvus glances inside the classroom...
ANDREA
Quick change. Nico, I'm going to have you start from outside. Stand by Elisa...
As Nico comes back out, her eyes meet Silvus. He nods, she nods back, and the two go their separate ways.
ANDREA (CONT'D)
Alright, everyone. Scene 35, Take 2. Roll camera. Roll sound. Action!
INT. CARLOS' DORM - NIGHT
Soft jazz plays in the background, from a speaker. Blankets and pillows are scattered around the floor. CLINK! Glasses of diet coke fly through the air. PAN UP to see the film student crew sprawled out on the floor and furniture
MATTHEW
Man, it's still unreal that we're making an movie. Not just writing them, but actually making them!
JULIUS
Tell me about it. I think I'm gonna wake up anytime.
ANDREA
You better not. I still need you edit scenes on the fly.
JULIUS
Who needs that? We've got Nico to improvise for us.
NICO
Alright, calm down, everyone. That was a one-time fluke. I'm an actor thick and through.
HELENA
Yeah. Nobody replacing Andrea's job anytime soon.
Carlos reaches for the soda pitcher and refills his glass. He raises his glass, about to pass out.
CARLOS
A toast to Andrea!
Everyone raises their glasses in a toast.
CARLOS (CONT'D)
For understanding my job is actually important.
EVAN
For always appreciating my craft.
GINA
For pushing me to be a better actor.
MATTHEW
For giving me a opportunity of a life time.
HELENA
For loving every one of my ideas.
JULIUS
For turning all my crazy thoughts into something awesome.
ELISA
For giving me a chance to shine.
NICO
For believing in me.
Heart-felt, Andrea places her glass next to all the floating cups and smiles.
ANDREA
For making this journey unforgettable.
The class cheers!
EVAN
Now whose up for a solo?
Evan pointed to Carlos' shining red drum set.
GINA
Yeah, Carlos. Show up something.
CARLOS
(shakes his head)
No, no, no. I am not performing for you all. I love you guys though... Well, maybe not Evan.
EVAN
Hey.
Laughing, Evan threatens to splash Carlos with his cup. Carlos returns the gesture.
CARLOS
I love you all, but I am not playing.
ANDREA
Not playing or scared to play?
Carlos eyes perk up-
CARLOS
Oh, don't go there, Andrea. I am not scared of anything.
ANDREA
Then play a piece.
CARLOS
You're on.
Renewed by a fire, Carlos takes off his sunglasses- which we was wearing indoors- and picks up the drumsticks. He hovers over the snare.
CARLOS (CONT'D)
Prepare your ears for awesomeness.
THE FIRST KICK STRIKES- A MONTAGE OF THE FILMS FINAL PIECES BEING MADE- FLASH CUTS OF CARLOS ROCKING OUT ON THE DRUMS TO... Andrea and Nico acting together, smiling, laughing, playing jokes on another.... Helena and Elisa bonding behind the camera. Evan and Carlos setting up the scene. Andrea getting into an argument with the owner of an amusement park over their permission to record. She lost. CARLOS REPEATEDLY STRIKES ON THE HI-HATS...
CARLOS (CONT'D)
Throw me my glasses.
Evan launches them onto Carlos hands, and then... BACK TO THE DRUM SOLO, MORE KICKS, MORE AGGRESSION, MORE SPEED- Julius reviewing the shots with Andrea-- The two of them organizing the scenes in the editor with Carlos... The scenes pile up, the edits on the script increase, step by step, every shot, audio clip, color grade, they piece together... UNTIL CARLOS STRIKES THE CRASH SYMBOLS, ECHOING...
INT. FILM CLASSROOM - DAY
FOCUS ON the entire class huddled around Andrea's desk, staring at her computer screen. It's open to the submission form for the FLETCHER FILM COMPETITION. With a deep breath, Andrea drags the file onto the submission and hovers over the enter. She looks at her classmates and... DONE. FILM SENT. The class leans back with a heavy exhale.
JULIUS
Finally done.
ANDREA
I can't believe it. We actually did it!
(views the submission)
You know...
ELISA
Oh boy, here comes Andrea's emotional therapy session.
Andrea almost laughs.
ANDREA
Like I was saying, on the first day of school, I didn't think I would make friends. Mostly because I never had friends for a long part of my life. And in this class, I never thought I would even talk with any of you, much less make a movie. So, thank you for all that. For making me realize what a wonderful thing life is.
Everyone smiles in silence.
NICO
Everyone, hug Andrea on three.
ANDREA
Hold on a second-
NICO
One. Two.
Andrea tries to run away-
NICO (CONT'D)
Three!
All her classmates grab onto her and pull her into a hug. Grinning, she hugs back.
INT. DORM - NIGHT
FOCUS ON Nico reading a book by her desk. No one's in the dorm except silence. SUBTITLE: ** _”2 MONTHS LATER” Outside, pitch black- the clock ticks, late at 10:40. KNOCK! KNOCK! KNOCK! Confused, Nico opens the door- It's Julius, beaming with energy and excitement.
JULIUS
Hey, Nico. Is Andrea here?
NICO
She left ten minutes ago. Why?
JULIUS
The results came in! Our movie got second!
Nico swings the door open wide.
NICO
Really?
JULIUS
Yes. Go find Andrea. I'm gonna tell the others!
Julius runs down the hallway.
NICO
Wait for me!
Nico slips her shoes on in a rush and storms out the door.
INT. FILM CLASSROOM - CONTINUOUS
FIND Maxwell at his desk, writing by a lone lamp, and every other light turned off. We heard sobbing- at first, quiet and controlled. But who? Maxwell leaves his work and goes towards the noise- It's Andrea, a hand over her chest, staring at the empty table. Maxwell kneels down and comforts Andrea.
MAXWELL
Why do you insist that second is a bad place?
Andrea doesn't want to talk, but her emotions force her to.
ANDREA
Because we could've done so much better. I could've done so much better.
MAXWELL
Is the expectations? You feel responsible that your friends are not first.
Maxwell takes Andrea's silence as the answer.
MAXWELL (CONT'D)
Your friends are happy. I'm sure they are. They came into this school with a wild dream and you made it a reality. It doesn't matter to them if they're first or second, or even last. Success is not based of placement. It's based of accomplishment. And you've already accomplished so much, Andrea. All of you have.
ANDREA
But people do look at where we rank.
MAXWELL
Tell me this, if you climbed Mount Everest, would you be happy?
ANDREA
(confused)
Yes.
MAXWELL
Why?
ANDREA
(laughs)
Because I climbed Mount Everest, that's why.
MAXWELL
But you're the not the first person to do so. You're the second, nor even the third. But you're happy because you simply climbed it. That's it. You made the choice to try, and that's what should matter to you.
Andrea frown softens, but it lingers.
MAXWELL (CONT'D)
I told you why I call myself a Director, and now, when everything is fallen, I'm sure you'll realize, too, what is means to be a Director. But even if you don't, I'll still be the first to call you Director Andrea Marie... my student.
EXT. CAMPUS - NIGHT
With the words of Maxwell floating around her head, Andrea makes the dreaded walk back to the dorms. She finds someone a distance away, sitting by herself, scribbling her notebook. Andrea grows curious and slows down. The girl looks up. Her name, ROXANNE BROOKS, 18, in the School of Law.
ROXANNE
Sorry, can I help you with anything?
ANDREA
No, I was passing by and notice you writing on our own. I became curious.
ROXANNE
Really? Well, I was just writing some ideas I had in my head. Do you want to read it?
Andrea sits down on the bench and walks into the world of Roxanne's brain.
ANDREA
Did you write all this yourself?
ROXANNE
Yes. I write in it everyday.
ANDREA
This is beautiful. You should become a writer.
The girl's face lights up.
ROXANNE
Do you think so? I mean... I've always wanted to write a novel.
ANDREA
Then why didn't you?
Andrea saw herself asking that question fast, with an ever growing curious.
ROXANNE
(stunned)
Oh-uh... I didn't think I could do it. My parents always told me to focus on my studies, so I never thought I had it in me.
ANDREA
But just because you have never had anyone tell you, doesn't mean you can't. The stuff you do is wonderful and if you love it, you should work on it.
Roxanne face beams as she grabs her book. And before she leaves:
ROXANNE
Thanks.
And without a trace of either ones' name, the two depart.
NICO
Andrea! Andrea!
ANDREA
Nico? What are you doing here?
NICO
Looking for you. The results came out.
ANDREA
What results?
NICO
The Fletcher Competition. We got second place.
ANDREA
We did?
NICO
Yes, come one. We're celebrating in Helena's room.
INT. COMMON ROOM - DAY
The delightful aesthetic of scrambling children- packed against one another, rolling over bodies, leaning across shoulders. School is almost over, and they all know it. Jittery, they crowd by the mailboxes, waiting for an array of letters- from parents, from teachers, from companies. FIND Andrea by the mailboxes. In the crowd, she searches for her number.
JULIUS
Andrea!
Andrea spins around, surprised by his excitement. Julius runs up to Andrea, almost losing control over his stride. He skids to a stop, shaky breath.
ANDREA
What happened? Did you win the lottery?
JULIUS
Better than that. I got an offer from a production label. They saw our short film.
Andrea eyes widen at the paper in Julius hands- the perfect, printed writing, the elegant signature, the majestic header up top.
ANDREA
This is amazing! You're going to be an actual screenwriter.
Julius jumps up and down in excitement.
JULIUS
I know. I know! I can't believe it!
Soon, Elisa joins them, practically bursting with news.
ELISA
Check this out! I got an offer to shoot for a small agency in New York this summer!
JULIUS
Woah! New York?
ELISA
Yeah! I've always wanted to live there.
Soon, the rest of the film class runs into frame, each with a life-changing offer from agencies across the states, all in that position because of one woman.
HELENA
What did offer did you get Andrea?
JULIUS
Yeah, you should have definitely gotten one.
Andrea hesitates, a knot forming in her stomach. The group falls silent, waiting. Andrea slowly unlocks her mailbox. Inside is the usual clutter- coupons, scam university offers, the daily school newspaper, but...
ANDREA
I didn't get one.
ELISA
What?
ANDREA
(shrugs)
I didn't get an offer.
HELENA
That's stupid. You're the director. How did no one notice you?
JULIUS
Maybe it hasn't come in yet.
CARLOS
Yeah, and all of ours came in already. I'm not sure about that, Julius?
NICO
You alright, Andrea.
Fluttering thoughts-
ANDREA
I've got to go somewhere.
She hurries away, leaving the group behind.
ELISA
Should we follow her?
NICO
No. She needs time for herself.
EXT. LAKE - DAY
Andrea runs down the hill and stops behind Maxwell standing by the water, hands in his pocket, whistling a tune. He turns around, smiling at Andrea's presence.
MAXWELL
Hello, child. How are you are?
ANDREA
I'm doing good. Did you hear? Everyone got offers from production agencies. They saw our film.
Maxwell's eyes raise in amazement.
MAXWELL
What about you?
Andrea is smiling. In fact, she was never not smiling. a big bright smile full of no regret.
ANDREA
(shakes her head)
I didn't get anything, but that's alright. I'm happy. I think when I made that movie, I kind of forgot what it was even about it. It was a story about me, and it didn't matter if no one in the world saw it. It was always for me. That's why I'm happy.
Maxwell turns, a smile creasing his eyes, and Andrea's own grin seems to light up the entire scene.
MAXWELL
That's a wonderful of looking at life. And just to toot your horn, if you're ever feeling low, just remember that you're the reason any of your classmates got their offers.
ANDREA
Yeah... I know.
Her eyes sparkle like the sunlit water. The wind picks up slightly, sending a wave lapping against the shore with a gentle sigh. Taking a deep breath, Andrea starts to climb the grassy hill behind them. Reaching the top, she turns back to look at Maxwell.
ANDREA (CONT'D)
You know... When you told me second place was okay and then showed me what real directing was about, I thought you were crazy.
Maxwell snickers.
ANDERSON
But that night, I met someone... Someone who loved writing like you and I do, and I became the first person to tell them they could do it. No matter how bad they are, or how scared, if they love it, they can do it.
A few students walking past glance at her awkwardly, but Andrea doesn't seem to notice.
ANDREA
I fell in love with writing once, but you made me fall in love again. Thank you! Not for the movie, not for the class, but for the lessons. Thank you, Director Maxwell!
Maxwell inclines his head in a gesture of respect.
MAXWELL
You're welcome Director Marie.
Andrea laughs with Maxwell- She hears the faint yells of her classmates.
MAXWELL (CONT'D)
You should hurry, Andrea. Your friends are waiting for you.
As she leaves the scene... PAN DOWN to find a crumpled piece of paper in Maxwell's pocket. He takes it out and reads it... “Ms. Andre Marie, an offer to produce 'Heart to Heart' with the Fletcher Film Production Company.”
INT. COMMON ROOM - THE NEXT DAY
As the sun rises on the next day, Andrea strolls though the common room.
NICO
Hurry up, Andrea. We're going to be late.
ANDREA
Just give me one second.
Andrea unlocks her mailboxes. There is a strange letter there along with her usuals. She reads it, her grin growing bigger. She slaps Nico's shoulder.
NICO
What'd you do that for?
ANDREA
Check this out!
NICO
(reads the paper)
Are you kidding?
ANDREA
No. It's real. Fletcher Productions wants to put our movie on the big stage.
NICO
Andrea, this is amazing! You're going to a film star! We've got to tell the others.
INT. FILM CLASSROOM - DAY
The students are gathered around the high desks, chatting about the final lecture that Maxwell is going to give.
ELISA
I can't believe we're about to finish our first year.
HELENA
Speak for yourself. I've been believing since I got to this school. One less year for me.
JULIUS
You mean you want to leave this school?
HELENA
Duh. Who wants to stay four years for so long?
CARLOS
Breaking news, everyone. Helena secretly hates all of us.
The class laughs.
HELENA
No, I don't. I love you guys. But if I had to share a dorm with Evan for four years, I would want to quit.
EVAN
Why does everyone pick on me?
CARLOS
Because you're the only one who doesn't wash your socks.
EVAN
That is not true-
NICO
Hey, everyone! Look what Andrea got.
Nico drags Andrea through the classroom doors and in the middle of the pack.
NICO (CONT'D)
Show them Andrea.
Andrea reveals the letter and her classmate hunch over trying to dissect it.
HELENA
“Ms. Andre Marie, from the behalf of our Production Office, we would like to offer you to produce 'Heart to Heart' with the Fletcher Film Production Company.” You've got to be kidding me.
ELISA
That's amazing, Andrea! You finally got your offer.
JULIUS
About time. Did you hear that, Mr. Maxwell? Andrea got an offer from the Fletcher Studio.
Maxwell smiles at the name, putting away his coat.
MAXWELL
Well, that's excellent news. Let's celebrate with our final lecture of the year.
The class groans.
MAXWELL (CONT'D)
No, no. This one will be an exciting lecture. We're going to back to our roots.
All eyes turn to Maxwell, full of life and emotion, eager to absorb anything that their teacher says, even if it's utter rubbish.
MAXWELL (CONT'D)
You all came here are meager students, not trained in the world of film. You couldn't even answer my simple questions. But now, each one of you has grown to develop your own mind of film and see the world in a different way. You have one week until your first years ends, and yet you've already grown so much. So, come on. Gather round everyone.
The students take their usual seats as Maxwell prepares the chalkboard. He turns around with a cheesy smile.
MAXWELL (CONT'D)
My, you are gathered quite far. We're film, we're theater. We sit like the Knights of the Round Table. Drag these chairs up here.
JULIUS
(cheeky smirk)
We know Director Maxwell. We were just messing with you.
MAXWELL
Is that so? Is the name tag on your shirt also just messing with me?
Julius looks down, not realizing he still had it on. The class laughs as they drag their chairs up front, close to the action. Maxwell scribbles on the board: “The Journey, Not The Destination.”
MAXWELL (CONT'D)
Can anyone demonstrate what this means?
Every student raises their hand. A surge of pride highlights Maxwell's face.
MAXWELL (CONT'D)
Ah, let's see. There's a lot of this time. How about the girl who's never touched a screenplay software?
The classroom snickers.
ELISA
(confident)
Love!
MAXWELL
What about love?
ELISA
There's not destination in love. It's all about the happy moments together, the heart pounding, the tears, the laughs.
MAXWELL
But can you write a story on that?
ELISA
Two strangers completely fall in love, but one of them has to leave for the military, and in that short time, he has to make every moment with his lover count.
EVAN
How about this? In the final scene, the two have their big kiss, and it ends with that. We never see him leave. We never see the love fail, even though we know it did.
HELENA
What would be call it?
MATTHEW
The Kiss of Eternity?
CARLOS
That's tacky.
NICO
War and Love.
CARLOS
Way too cheesy.
HELENA
Alright, hot shot. What name do you have?
CARLOS
Check this out.
(drum rolls)
The Forever Kiss.
The classroom groans.
CARLOS (CONT'D)
You know it's a good name, you just won't admit because it came from me.
Maxwell watches this absurdity play out with a laugh.
INT. AUDITORIUM - DAY
The students are lined up into rows. At the front of each one is an easel hoisting a banner with the school's emblem. FLASH OVER to the School of Science and their standard gold wheel of the natural sciences. Every kid in that section has a smug and prideful smirk. They feel so beyond everyone. REIGN IN ON the House of Architecture with pillars of Rome, the School of Law with books from the Ancient Greeks, and eventually… The School of Film. Just a small handful of students you could count on your hands, but a mighty bunch. They rocked the emblem of the Academy Award of Merit - a title they would all waste their lives chasing. Except that never happened: CLOSE TO a short, toned woman in the staple silver blazer. The woman who became the exception she swore to be. Sure, it came in a way different than she expected, but expectations are never meant to last. Andrea smiles proudly with the rest of class behind her. On stage are the members of the faculty, still significantly older and dressed in royal blue. Leon Silvus prepares the podium and the speech transcript. He glances at the film section with a nod. This time, Nico is there to return the gesture. The graduation ceremony proceeds as normal with graduates of the School of Science and Law receiving the first treatment. The cheers for them are loud, louder than any concert. Then comes the School Film:
EARL
Now, we move on to the School of Film. Which I am surprised is still here.
The School of Film roll their eyes.
EARL (CONT'D)
For that, I would like to bring to the stage Professor David Maxwell.
A half cheer runs through the crowd as Maxwell pops out behind the curtain. He waves to his small class. So small in fact, that he can hold all nine degrees in his hand with no trouble.
EARL (CONT'D)
The first student we have from the School of Film is Evan Benson.
Another half-assed cheer as Evan rises to the stage. He doesn't care though. He takes the degree from Maxwell and flashes it to crowd.
EARL (CONT'D)
Next, we have Matthew Goldstein.
Matthew collects his degree, has his pictures taken, and and descends down the steps.
EARL (CONT'D)
Gina Dawn.
A big cheer from all the girls in the crowd.
EARL (CONT'D)
Carlos Diez.
Carlos, with great pep, runs up the steps and flexes his degree in front of everyone in the School of Science. Earl looks at Maxwell, but he only laughs.
EARL (CONT'D)
Helena Monte.
Elisa pushes Helena up the ladder.
EARL (CONT'D)
Julius Claymore.
As Julius collects his degree, he finds his parents down in the crowd- his mom taking his pictures.
EARL (CONT'D)
Elisa Violet.
Elisa smiles at her parents in the stands.
EARL (CONT'D)
And the next student, was the first student to transfer to the School of Film. Take that for what you will. Nico... Silvus?
Nico trots up the steps and takes her degree. She shakes hands with Maxwell and then looks over at Sivlus holding a proud smile. We see the awkward reactions from Ted and Caroline. Wess, actually, is happy for Nico. Earl tries to find answers from Silvus, but he urges the old man to continue.
EARL (CONT'D)
(shakes)
Anyway. To finish off the school of film. We have Andrea Marie.
Andrea watches Early completely butchers her name, but she can't help but smile standing on the stage. She takes a deep breath and looks down at her classmates cheering her on, the only ones in her mind cheering her one.
EXT. CAMPUS - DAY
On the grassy turfs, Andrea runs away from her chasing class, giggling and laughing. She trips on the grass and rolls around.
NICO
You've got to step up your game, “Ms. Marry.”
ANDREA
I've got to step up my game? Maybe don't have eight people chasing me.
Nico laughs as Andrea lays on the ground.
ELISA
Oh, I can't believe it! We actually graduated!
CARLOS
You know I never thought I'd say this, but I'm actually going to miss you guys... Maybe not Evan. I'm probably not going to miss him.
EVAN
It's funny because I'm not going to miss you either.
CARLOS
Sure you're not, buddy.
HELENA
You two boys argue all you want, but all I know is, I'm living in L.A.
MATTHEW
You are? I thought you got that offer from Benjamin Murray?
HELENA
Ah. I turned it down. Los Angeles is the place for me.
NICO
LA isn't as fun as you think.
HELENA
Speak for yourself, Ms. Hollywood.
Nico rolls her eyes.
NICO
What about you Andrea? What are you gonna do?
ANDREA
Well, I got a lot of offers, but I turned them down.
JULIUS
What? Did you lose a couple marbles before graduation? You could be a big star, a big leaguer-uh- any other way to say big.
ANDREA
I know, but during this time, I learned what I really did this for.
HELENA
Which is?
ANDREA
Film. I did it for the love of my film.
CARLOS
And? That's not really correlating the reasons to deny your offers very well.
ANDREA
The point, Carlos, was not for the money or fame. But because I loved doing film and everything that it taught me.
NICO
So, what are you going to do?
ANDREA
Teach.
NICO
Teach?
ANDREA
Yup, teach film. I'm going to teach it here. I forgot to tell you guys. I got the job last week.
The gang laughs in shared emotions.
EVAN
Look at that. We got a Maxwell Jr.
NICO
Come here!
Andrea's class jumps on top of Andrea, but she wiggles out, forcing them to chase her again. ZOOM BACK THROUGH A WINDOW TO...
INT. HALLWAY - DAY
Maxwell watching in the brightly lit hallway, his students dancing in the sun. He grips the suitcase in his hands.
SILVUS
It's beautiful, isn't it?
MAXWELL
It is.
Silvus leans by the window frame.
SILVUS
I always thought you were going to be the one to make it big time. That I would see your movies everywhere. Was this always your dream?
Silvus glances a look at Maxwell's class.
MAXWELL
Yes. From the moment I picked up film, it was always about teaching and learning.
Maxwell steps back.
MAXWELL (CONT'D)
And now I don't have to worry about teaching my ways of film anymore, because there someone else better for the job.
He walks past Silvus...
MAXWELL (CONT'D)
Oh. Hand this to Andrea, will you?
Maxwell hands a custom made pin with royal gold colors and a blooming pink flower. On it, it reads:
SILVUS
If I can make a flower bloom, will I?
MAXWELL
Yes. Yes, I will.
Maxwell turns to Silvus, and he to him. They both have a smile the signal of gentlemen. And with that, Maxwell walks down the hall... Leaving behind a legacy that his teacher once set. THE END.