The Rip Revised pdf screenplay hannah bradford

THE RIP
Written by
Hannah Bradford
Spring 2023
Title based on "The Rip" by Portishead.
Screenwriting I
Professor James Jennewein

EXT. TECHNO CLUB - BROOKLYN, NY - NIGHT
1 1
Unnamed TECHNO/HOUSE NIGHTCLUB in the BUSHWICK neighborhood
of Brooklyn, NEW YORK CITY. The nondescript two-story
warehouse has small, skinny windows near the roof and two
industrial metal doors.
The door on the right is guarded by a thin tattooed man of
medium height, who appears to be the BOUNCER, devoted to a
queue of a couple dozen 20-year-olds. A closer look at the
line reveals the scene’s precarious, yet SEEMINGLY CURATED
DEMOGRAPHIC: fashion students, avant-pop stars, internet
supermodels, satirical meme page admins, and absolute
nobodies.
The door on the left functions as the exit and an makeshift
outdoor smoking patio, separated from the sidewalk with
plastic stanchions.
NORA (19 years-old, thin, pale, mousy straight hair with
short bangs) leans against the wall inside the smoking area,
cooly digging through her purse for a cigarette as she holds
a white BIC lighter in her teeth.
Her eyes scan the other members of the smoking area, and then
the queue.
Next to her is JULIAN (23 years-old, lanky, buzzed hair), who
Nora has been spending a lot of time with recently. He is
smoking a cigarette and is on the phone.
JULIAN
I’m sorry but I dunno...
(looks to the right at
queue)
Yeah man there’s like a hundred
people waiting to get in.
(beat)
I know...but..I told you, like,
midnight at the latest.
JULIAN runs his hand over his head. He glances at Nora,
smiling at her. When NORA smiles back, his gaze quickly
returns forward, his smile disappearing.
JULIAN (CONT’D)
Well, I’m not gonna keep telling
you what to do....but like it’s too
busy now to let people just skip
the line. You know they’re not just
gonna let you in.
Julian finally notices NORA still struggling to find a
cigarette in her bag.

2.
He pulls a carton from his front shirt pocket and waves it in
front of her face before handing it to her.
NORA
(mouths words)
Thank you.
Julian raises his eyebrows, and returns his gaze forward,
once again. He is still on the phone.
JULIAN
(ambivalent)
Okay...okay...alright.
(beat)
Bye.
He puts his phone in his pocket, and looks at Nora as she
lights the cigarette, wide eyed and amused. NORA opens her
mouth to ask about the phone conversation, but is
interrupted.
JULIAN (CONT’D)
(animated)
Woah, white lighter.
He grabs the BIC lighter from her, but it is too late. Her
cigarette is already lit. Nora narrows her eyes at him
through the smoke.
NORA
What.
JULIAN
(teasing)
These are bad luck right?
NORA just stares back, deciding whether to jest at him,
defend her choice of lighter, or act unbothered. A smile
slowly curls onto her face.
NORA
(patronizing)
Oh, Julian...
(she looks up at him)
I never pegged you as the
superstitious type. That’s kinda
embarrassing.
JULIAN looks back at her, entranced, but bites the inside of
his cheeks to keep from smiling back. He throws his cigarette
bud on the ground.
2.

3.
JULIAN
Well ya know, I just don’t fuck
with that kinda stuff.
NORA
(smiling)
I don’t even know what your talking
about.
JULIAN
Oh, shut up. I know you spend a lot
of time on Reddit.
NORA
(sarcastically ditzy)
What’s Reddit?
JULIAN
(scoffs)
We should probably go back in.
Without Nora’s agreement, Julian turns and steps back inside.
Nora throws her unfinished cigarette on the ground, and
stomps it out.
NORA
Yep!
She follows him.
SLAM CUT - TITLE CARD
Black screen with white block letters that read: ‘ THE RIP ‘,
accompanied by silence.
After the credits, we SLAM CUT TO:
INT. TECHNO CLUB - MOMENTS LATER
2 2
Wide on the TECHNO CLUB. We’re watching the back of Nora’s
head, as she weaves through the dance floor following Julian.
Strobing LED’s guide her path, and she bumps into people
dancing frequently.
Cut to handheld TRACKING SHOT following NORA. As she makes
her way to the front, near the speakers and DJ booth, the
music gets LOUDER and LOUDER, and the dance floor gets more
and more CROWDED.
She is standing behind Julian now, right in front of the
speakers. Looking at the floor, Nora lets out a moderately
loud, monotone SCREAM. It’s muffled, to demonstrate how
absurdly loud the music is.
3.

4.
JULIAN
(loudly)
WHAT?
NORA
(matching tone)
WHAT?
JULIAN
DID YOU SAY SOMETHING?
NORA
WHAT?
(beat)
NO.
Julian turns around, and Nora follows him to an area slightly
behind the speakers and to the side of the DJ booth.
They meet here a small group of boys, all in their early
20’s, dancing subtly.Two of Julian’s friends, MARK (22 years-
old, student with mild substance abuse issues) and RAY (24
years-old, tall, computer programmer) walk over to him and
Nora.
It is still loud behind the speakers, but you can still talk
to one another decently, with a slightly raised voice.
MARK
(over the music)
Hey.
JULIAN
I just talked to Keith on the
phone. Fucking idiot.
Nora stands slightly to the side, swaying gently. She knows
this conversation does not include her.
JULIAN (CONT’D)
You can’t just show up whenever you
want and expect to get in.
RAY
(shrugs)
Yeah.
MARK
Wasn’t he supposed to bring white?
JULIAN
Bro I’m already pushing it by
bringing five people--I don’t want
Blake to think I’m mooching.
4.

5.
MARK
(irritated)
Sure.
Nora, not paying attention to Julian and his friends, watches
a group of girls dance next to her. They are all three tall,
skinny, and stunning--DEFINITELY MODELS. They smile at each
other, but dedicate most of their attention to their
individual appearances and performances.
Nora is MESMERIZED, jealous, but in awe.
Julian and Mark continue an unheard conversation, and Ray
turns towards Nora, interrupting her daydreaming.
RAY
(to Nora)
Hey--Nora.
NORA
Hi.
RAY
I’m Ray.
NORA
(faking it)
I know!
RAY
Are you having fun?
NORA
Yeah! The set’s great.
RAY
(earnestly)
Oh, it’s amazing.
(looks towards the DJ
booth)
Blake’s so fucking talented.
NORA
For sure.
RAY
It’s super cool, I mean, me and
Julian have been going to his sets
since like freshman year.
(beat)
And, like, look at him now. This
space is so dope.
5.

6.
NORA
Yeah.
Nora looks around for Julian, who is gone now, perhaps in the
bathroom with Mark. She is stuck with Ray for a minute now.
RAY
So Julian said you do photography?
NORA
Yep...I’m in my second year at NYU.
RAY
That’s great. Your dad, Julian was
telling me -- isn’t he like some
famous photographer?
NORA
(feeling outed)
Yes, I mean, a little bit. So, he
had some photos published in
National Geographic in the ‘90s.
(clears throat)
Which is cool. Now he mainly does
landscapes, for like brochures, and
I think stock photos or something.
RAY
Oh, cool. I bet he taught you a
lot.
NORA
(assertive)
I guess, but we do completely
different stuff. Like I’m much more
into editorial fashion photography
(thinks for a second)
...and he’s much more like tress-
mountains-sunset-long-camera-lens-
tripod.
RAY
Oh, okay --
NORA
(Interrupts with more
justifications)
But, of course I am very grateful
to be the child of an artist, and
it does really help that we do the
same thing.
Ray looks at her, They stare at each other.
6.

(MORE)
7.
TECHNO CLUB - MOMENTS LATER
3 3
Nora, Julian, Ray, and Mark spend a few more hours enjoying
the club and we see montage of dancing, drinking, and
conversations. It is EUPHORIC.
The music plays louder than their conversations, and we see
Nora’s facial expressions move from interest to ambivalent,
then PERPLEXED. However superior she may feel, it is evident
she is not completely above it, as her desire to fit in
within this scene still shines through.
EXT. SUBWAY STATION - BROOKLYN, NY - LATER
4 4
It is 5:00 A.M. SLAM CUT to wide on a BOY near an entrance to
the Manhattan Bound L train, wearing a backpack and age-
appropriate clothing. He is VERY STILL.
The boy is holding a cell phone to his ear, and a faint
ringback tone is heard, and then he is sent to the voicemail
box of what sounds to be a middle-aged woman.
ANSWERING MACHINE (V.O.)
Hello. You’ve reached --
ERIC’S MOTHER (V.O.)
-- The Adler Residence.
ANSWERING MACHINE (V.O.)
Please leave your message at the
tone. When you’re finished
recording, you may hang up or press
“1” for more options.
BEEP. The boy hesitates, then speaks.
ERIC
Hey mom, it’s Eric. Sorry I’m
calling so late. Or early, I guess.
I thought I could catch you now on
your way to work.
(beat)
Oh, wait, it’s Sunday now. No work.
Sorry.
This is ERIC (25 years old, disheveled). He takes a deep
breath, his exhale quivering.
ERIC (CONT’D)
Yeah...Uh, Oh. I watched Marriage
Story last night. Wow -- you were
right. So good.
(MORE)
7.

ERIC (CONT’D)
8.
His best one yet, for sure...Sorry.
Wait -- that’s not why I’m calling.
He looks around, panicking. He is EMOTIONALLY NAUSEOUS.
ERIC (CONT’D)
I’m sorry. I’m so sorry. I love
you. Oh...thanks for already
booking me a flight home for
Thanksgiving. I might not be able
to make it, but thanks -- I’m
sorry. I love you. Bye.
He puts his phone in his pocket.
ERIC (CONT’D)
(under his breath)
Fuck.
He pauses, then turns to the face the subway station and
descends down the stairs.
INT. SUBWAY STATION - MOMENTS LATER
5 5
Eric walks onto the platform to wait for the train - the sign
says: “3 MINUTES AWAY.” He stops to wait for the train 15
feet away from a boy and a girl who also appear to be
waiting.
The boy is standing slightly behind a post, hiding from the
exit, and the girl leans against the other side. Eric looks
closer, and realizes the boy is peeing onto the tracks while
the girl stands guard. We now realize these two people are
JULIAN and NORA.
Nora sheepishly smiles at Eric.
NORA
(to Julian)
Oh my god. Hurry up.
JULIAN
Chill.
Julian zips up his pants, somewhat proud of his assertion of
dominance.
NORA
I’m so fucking tired.
JULIAN
Yeah...but you were a trooper
tonight!
ERIC (CONT’D)
8.

9.
NORA
Yeah?
JULIAN
Oh yeah...not many girls can hang
like that. The boys were impressed.
I think they like you.
NORA
(amused, but slightly
taken back)
Good.
Nora checks her phone.
NORA (CONT’D)
No way. I have so much fucking
homework.
JULIAN
That’s tomorrow’s problem.
NORA
It is tomorrow.
Julian shrugs.
The SUBWAY pulls up to the platform. Nora and Julian proceed
into the car, where they see a SLEEPING MAN (big coat, middle
aged), a NURSE (30s, plump, wearing scrubs) and a man wearing
a pristine suit, carrying a briefcase (assumed to be a
LAWYER). All passengers have distributed themselves evenly
throughout the car. There is a comfortable silence.
LOUD SPEAKER (V.O.)
“PLEASE STAND CLEAR OF THE CLOSING
DOORS.”
Before the sequential CHIME, an arm juts between the closing
car doors. The arm belongs to ERIC, and he slides in at the
last second.
Although there are many open seats, he chooses to stand in
the BACK OF THE CAR.
INT. SUBWAY CAR - CONTINUOUS
6 6
Eric is VISIBLY ANXIOUS, but no one seems to mind. The nurse
and lawyer are silent, and Nora and Julian converse quietly.
9.

10.
NORA
(leaning her phone screen
to Julian )
Wait, did you see this?
JULIAN
Yeah. Good for him.
Nora is showing Julian an INSTAGRAM post from his classmate.
The photo boasts an impressive artistic achievement.
We see the caption, which reads:
‘ UPDATE: MY SHORT FILM, ‘RUNNING MAN,’ HAS JUST BEEN
PURCHASED BY HBO! ‘
JULIAN (CONT’D)
(apparent jealousy)
I mean his stuff isn’t really for
me -- too straightforward. I try to
write with a little more nuance.
NORA
I really liked it.
JULIAN
You would.
(beat)
HBO’s too commercial now anyways.
Nora, off-put by the backhanded remark, contemplates a witty
rebuttal, but her eyes are compulsively drawn to the back of
the car.
Eric is staring out the window into the GANGWAY. He notices
her, and smiles. Nora smiles back.
NORA
(absent-minded)
Yeah...no, I agree.
JULIAN
(speaking over her)
I’ve just been so busy with films
for school. You know we’re not
allowed to submit them for
anything. I’ve told you that.
NORA
How’s that going by the way? Your
thesis film? It’s due in February
right?
10.

11.
JULIAN
(guarded)
Yeah...?
A beat.
NORA
(repeating herself)
How’s that going?
JULIAN
It’s still in conception--Rome
wasn’t built in a day.
(scoffs)
You know, film is really different
from photography, Nora. Really,
really different. Totally
different.
Nora raises her eyebrows at Julian, staring at him. She’s
really listening now.
JULIAN (CONT’D)
You can’t just like take out an old
35mm on Saint Marks and snap pics
of homeless people and write a
little blurb about capitalism or
whatever the fuck. Filmmaking is
storytelling. It’s complex and it’s
dynamic and it takes a long fucking
time.
NORA
(disbelief)
Julian...you’re drunk.
Nora looks down at her phone again.
JULIAN
And so are you?
Julian looks at Nora, who’s pissed off. He puts his arm
around her.
JULIAN (CONT’D)
Oh, babe, you don’t actually think
I’m talking about you, do you?
(chuckles to himself)
I love your photos, you know that.
Your stroller babies series was so
great. So original! And so cute.
Nora looks up at Julian, and he kisses her on the forehead.
11.

12.
NORA
Okay.
JULIAN
You just know how I feel about
street photography in general--
sometimes it can be a little
exploitative. Not you though. At
all.
NORA
(wry smile)
Thanks.
Nora continues scrolling on her phone as Julian watches the
screen with her over her shoulder.
At the end of the car, ERIC sets his backpack on the floor.
He pulls the door open and steps onto the OPEN GANGWAY.
Almost immediately, the train jerks and he falls between the
cars.
A LOUD BANG is heard. It almost sounds like an EXPLOSION.
He SHRIEKS. Camera slow PUSH IN on the empty doorframe, until
the door closes again. It is silent.
Handheld quick PAN around, looking down the car to revealing
everyone’s horrified expressions.
The Nurse starts SCREAMING.
Did he fall, or did he jump?
The train SCREECHES to a stop.
Nora is in shock. She looks down, stares at her shoes and
notices her left laces are untied. She does nothing. She is
SHEET-WHITE.
CONDUCTOR (V.O.)
(rattled)
Ladies and gentlemen, I have bad
news. A passenger has just jumped
from your train.
The NURSE is the first to take action. She procedurally gets
up, opens the gangway door and looks around, and returns to
her seat.
Before she sits down, the LAWYER stands up, and instinctually
pulls out his cell phone to make a call, presumably dialing
“911.”
12.

13.
The passengers of the car (except Nora) look at him, as if he
is the only one capable leading them out of this nightmare.
But obviously, there is NO SERVICE service underground. The
call immediately drops.
LAWYER
(to himself)
Shit.
The attention of Julian and the Nurse then shifts to Nora,
who is still staring at her shoes.
Her inhales begin to crescendo into HYPERVENTILATION.
JULIAN
(to Nora, whispering)
Hey, hey. It’s okay.
Julian squeezes Nora’s shoulders and jostles her a bit.
NORA
(muttering)
What are we going to do?! What
should I do--what should I do?!
JULIAN
(still whispering)
--Hey! Stuff like this happens all
the time. The city’s weird. You’ll
get used to it.
Nora responds with an almost offended, downturned expression.
Her eyes dart around the car looking for something to say.
CONDUCTOR (V.O.)
Passengers in the first few cars
are permitted now to exit the
train.
(clears throat)
Those in cars that have not yet
reached the platform: please exit
through the emergency doors into
the gangway until you reach a car
that has arrived to the platform.
Thank you.
NORA
Julian he looked at me--he smiled
at ME.
JULIAN
Okay, okay. I know. I’ll give you a
minute.
13.

14.
INT. SUBWAY STATION - LORIMER ST - MOMENTS LATER
7 7
NORA, JULIAN, THE NURSE, THE LAWYER, and THE SLEEPING MAN
step on to the platform at Lormier St Station, where there
are cops waiting.
The COPS step forward. The passengers are still and
attentive, awaiting further instruction.
Some passengers from the other cars walk past the cops,
through the turnstile, and up the stairs, exiting the
station.
COP #1
(procedurally)
Okay, everyone, listen up. We just
have a few questions regarding the
incident you all have just
witnessed and then I can let you on
your way--
NORA
(interrupting)
It was our car.
COP #1
Excuse me?
NORA
(self aware)
Oh, sorry. I said it was our car--
we saw it.
The Nurse glares at Nora, but more embarrassed for herself
than she is for her. She shakes her head.
Passengers from the front cars gasp. It’s like they’re
hearing this for the first time.
COP #1
I am so sorry. Anyone who was also
in this young woman’s car, step
forward? And you know what--
everyone else, you’re free to go.
The front-car passengers slowly clear out of the station.
Nora, Julian, the Nurse, and the Lawyer step forward.
COP #2
(to Lawyer and Nurse)
Come with me, please?
The Lawyer and the Nurse step aside with Cop #2. Their
conversation is not heard.
14.

(MORE)
15.
Julian stays with Nora.
COP #1
(to Nora)
Can I get you name?
NORA
Nora. Nora Meunier, spelled M-E-U-N-
I-E-R.
COP #1
(to Julian)
And you?
NORA
That’s Julian.
JULIAN
DeFoe.
COP #1
Okay.
(pause)
What is your relationship to the
individual?
NORA
Oh, I didn’t know him. He did smile
at me on the train...
(about Julian)
He doesn’t know him either. He’s
with me.
COP #1
Okay...can you describe the
sequential events in your own
words? What you saw, if there was
anything suspicious, what the other
passengers were doing--
NORA
It was just so awful--horrendous.
And just so-so unexpected. I was
just sitting there, you know. We
were out all night so we were so
tired and like you don’t really pay
attention to other people on the
train. But you should...Anyways he
was standing there and then he
wasn’t. He left his backpack on the
floor--I probably should have
brought that with me...
(eyes welling)
(MORE)
15.

NORA (CONT’D)
16.
I’m sorry...I’m doing everything
wrong.
COP #1
We’ve already sent someone back
there to see if he left anything.
And you’re okay, you’re not in
trouble.
NORA
(sniffles)
I’m not?
COP #1
You’re fine.
The cops writes onto a notepad. Nora tries to get a look.
JULIAN
Is that it?
COP #1
Um--yeah. You guys are all good.
NORA
You don’t need anything else? Can I
help at all?
COP #1
Like I said--all good.
Cop #1 walks away.
JULIAN
(under breath)
I need to get the fuck out of here.
Julian pulls out his cell phone. He has mentally checked-out
from the situation.
Nora looks both directions. She slides her phone out of her
purse and discreetly SNIPES A PHOTO of the cops in front of
the train now doused in CAUTION TAPE.
NORA
Julian, let’s go?
She turns away quickly and slides through the turnstile.
Julian follows, still staring at his screen.
Walking up the stairs, Nora pulls up Instagram on her phone,
uploading the photo she just took to her ‘story,’ and
captions the photo in all-caps:
NORA (CONT’D)
16.

17.
‘ CHECK IN ON YOUR FRIENDS TODAY. YOU NEVER KNOW WHAT SOMEONE
COULD BE GOING THROUGH. AS A SOCIETY, WE MUST DO BETTER ‘.
Another caption at the bottom of the photo reads, in smaller
letters:
‘ SUICIDE AND CRISIS LIFELINE: DIAL 988 ’.
Nora proudly smiles at her screen, before tapping ‘post.’
INT. CAB - GREENWICH VILLAGE - LATER
8 8
CUT TO:
Nora is still looking at her phone, although her expression
now is more VACANT. Her leg bounces with anxiety.
Julian taps the side of her thigh with the back of his hand.
CAB DRIVER
Left or right?
JULIAN
Uhhh...right side.
The taxi pulls up to the corner on Julian’s block. Nora steps
out of the cab while Julian pays the driver. He steps out.
EXT. JULIAN’S APARTMENT BUILDING - GREENWICH VILLAGE -
9 9
CONTINUOUS
JULIAN
(into the taxi)
Thank you!
He slams the door and the cab drives away.
Nora walks towards the entrance to his apartment building as
if’s her own, smiling at the doorman.
JULIAN (CONT’D)
Hey...Nora!
Julian motions her back towards him. Her smile fades.
JULIAN (CONT’D)
Yo, do you think you can go get
something for us to eat? I’m
starving.
17.

18.
NORA
(despondent)
What?
JULIAN
Yeah. You know that deli like two
blocks down I like? It’s like right
by your old dorm. Just get some
bagels or something.
(sighs)
I’m sorry, I just--I feel gross. I
need to take a shower.
Julian pulls out his wallet and hands Nora a $50 dollar bill.
She hesitates to take it, however she doesn’t resist when he
slips it into her purse.
JULIAN (CONT’D)
(as he walks away)
I’ll see you soon. We can watch
Entourage.
NORA
Wait.
(beat)
I think I’m just gonna go home.
JULIAN
You sure?
NORA
Yeah.
(yawns)
I feel gross too. I need to like
change and take a nap and just like
chill for a bit.
JULIAN
I’ll see you later though?
NORA
Mmhm.
EXT. BENCH - WASHINGTON SQUARE PARK - MOMENTS LATER
10 10
Nora is sitting on a bench, her eyes empty in an unfocused
stare straight ahead, almost as if she’s about to cry.
As her gaze intensifies, her expression twists. It is clear
she is trying to FORCE TEARS, not hold them back.
She takes out her cell-phone to make a call.
18.

19.
NORA’S FATHER (V.O.)
(groggy)
Hey, Nora.
NORA
(whimpering)
Daddy?
Isn’t it six A. M. in New York?
(realizes)
Hey, hey--What’s wrong? Are you ok?
NORA
(sobs)
Oh, Daddy. It was awful, it was so
awful. I’ve never seen anything
like that in my life.
Nora’s sobs dramatically increase.
Slow down. Are you okay?
NORA
No!
(concerned)
Are you hurt?
NORA
No...
(calmer)
Okay. What happened?
NORA
(matching tone)
There was this boy on the train--on
the subway and he was all by
himself and it seemed like all out
of nowhere he just opened the door,
to like switch cars or something--
but I don’t think he actually
wanted to switch cars because he
fell or like jumped between them
and I think he died--killed
himself. I mean I don’t think, I
know he died, or killed himself--it
was suicide and fuck, Dad, I’ve
never heard anyone scream like
that, it was so bad.
As she speaks, Nora works herself back up. Her last few words
are hard to understand through the OBNOXIOUS SOBBING.
19.

20.
Oh, honey. I am so sorry. We’re you
with someone?
NORA
(monotone)
No.
Okay.
(beat)
I’ll spare you the lecture, ‘cause
I know you don’t need that right
now--but c’mon Nora you know how I
feel about that.
NORA
Dad!
Is there anything I can do for you
honey? I’m sorry I’m not there. Are
you good on funds?
NORA
(clears up)
Dad that’s not why I called you.
Of course, I know that.
(beat)
I’m gonna send you three hundred,
okay? Order yourself some food or
go buy some candy or something. Is
it enough? Is that okay?
NORA
(sniffles)
It’s okay, Daddy. Thank you. I love
you.
I love you too, sweetheart. Get
some rest. Feel better. Call me if
you need anything.
NORA
Okay, bye.
Bye-bye. I love you.
Nora hangs up the phone. Her face slowly winds back to
neutral as she recovers from the award winning performance.
20.

21.
She wipes her tears and glares at the man watching her
judgmentally from another bench. Her stare says, “What?!” and
his returns, “you know exactly what.”
INT. NORA’S BEDROOM - NYU STUDENT HOUSING - LATER
11 11
Nora is sleeping on her bed, fully clothed.
Her bedroom walls are essentially bare, except for a few of
her photographs hastily hung with Scotch tape above her desk.
Her phone, lying on the bed beside her, blares an aggressive
alarm. The phone screen reads, “4:30 P. M.”
Nora wakes up and looks out her bedroom window. It is dark
outside.
NORA
(under her breath)
Fuck.
Sitting up, she turns off the alarm. Her eyes focus on her
lock-screen, revealing a flood of comments, text messages,
and instagram DMs.
She slides out of bed to stand up and get a better look.
The copious attention is INVIGORATING. Her eyes widen and
Nora is almost salivating.
Nora scans her body in the full-length mirror on her bedroom
door.
She signs intently, and stares at the mirror through her
eyebrows to reassure with herself, “you’ve got this.”
QUICK CUTS: A shower head turning on, shampoo squirts, shower
head turning off, hairdryer blasts, deodorant uncaps, tearing
off a ‘$49.99‘ sicker off a bong, the bong bubbles.
NORA’S LIVING ROOM - MOMENTS LATER
12 12
CUT TO: Nora coughing as she sits on her couch, the bong in
her hands as she stares at her phone in her lap.
“I Feel For You” by Chaka Khan is heard in the background
playing on her Bluetooth speaker.
She walks into her room to set down the bong and grab her
laptop.
21.

22.
On the couch, she opens the computer and types ‘ GOFUNDME.COM
‘ into the search bar and clicks the icon at the center of
the screen, that reads: ‘ START A GOFUNDME. ‘
As she fills out the form, the front door to her apartment
unlocks. It’s her roommate, LUCY (19 years-old, dark curly
hair, many tiny tattoos). Lucy and Nora went to high school
together in California but became close friends after their
freshman year of college.
LUCY
Oh! Hey. I didn’t think you were
home.
NORA
(not looking up)
Sorry.
LUCY
How was it?
(beat)
Oh, new bong? Dope.
Lucy walks over to the kitchenette and fixes herself a glass
of water.
NORA
(cooly)
Thanks. It was good--yeah. We got
to go behind the booth. It was a
really great set. Blake’s so
fucking talented.
LUCY
Oh yeah, Blake! Bro, he’s hot.
NORA
(perks up)
You haven’t met Blake.
LUCY
The ginger one?
NORA
No, that’s Mark. Blake’s the adult-
male-blond. He’s the DJ.
LUCY
(scoffs)
They’re all DJ’s.
NORA
Like, yeah.
22.

23.
Lucy brings her glass of water to the couch and sits next to
Nora, who not-so-subtly tilts her screen away.
LUCY
Dude, fuck--I saw your story!
NORA
(nonchalant)
Oh...yeah.
LUCY
Holy shit.
NORA
(performative and wide-
eyed)
I know. I-I couldn’t believe it.
LUCY
Are you okay?
NORA
You know that moments during a
traumatic event where it feels like
you can feel every second because
time is moving so slowly, but also
you have trouble remembering it,
almost like you blacked out?
LUCY
(breathless)
Yeah, totally.
NORA
And that’s like the tiny little bit
I have processed and can describe
to you right now.
LUCY
I’m so sorry.
Lucy scoots closer to Nora on the couch. Nora closes her
computer.
LUCY (CONT’D)
So like, you don’t have to answer
this if you don’t want to. I just
need to make sure, okay.
NORA
Okay.
23.

24.
LUCY
Are you having any, like, thoughts?
Like, PTSD?
NORA
(flustered)
No, no, no. I don’t think so. Well,
maybe--I don’t know. It’s different
from Maddie though, it’s not like I
know him.
LUCY
Just please let me know if you need
me. Or need anything.
NORA
I definitely will.
The heartfelt roommate moment is interrupted by a buzz from
Nora’s phone.
It’s a text message from Julian, that reads:
‘ WHAT ARE YOU DOING ‘
NORA (CONT’D)
(standing up)
Shit. I gotta go.
Lucy gives Nora a feeble, supportive smile.
LUCY
Okay.
(beat)
Are you going to the Habitat
meeting tonight? I think it’s at
eight?
NORA
(winces)
Yeah, I dunno. Julian’s still
pretty shaken up--he really needs
me right now.
LUCY
Oh, okay--I get that. You’re a good
friend.
NORA
(mocking)
“Friend”?
Lucy laughs. Nora thrives from this encouragement.
24.

25.
NORA (CONT’D)
Maybe not for much longer. We’re
trauma-bonded now.
LUCY
(laughing)
Bye.
Nora leaves the apartment, forgetting to close the front door
behind her.
Lucy is standing in the entrance, and her once upbeat
demeanor is now one of serious concern.
INT. JULIAN'S APARTMENT - GREENWICH VILLAGE, NYC - LATER
13 13
Julian opens his front door to see Nora with a version of an
‘I-told-you-so’ expression on her face.
She holds up a paper bag of bagels and beer from the deli he
likes.
JULIAN
Look at you.
Nora cracks a smug smile in response that lets her inside.
Julian’s apartment is owned by his father and is absolutely
opposite in decoration from Nora’s. Giant vintage
advertisement posters hang on white, lime-wash walls above
pieces of DESIGNER FURNITURE.
NORA
I bought this with the money you
gave me earlier. I have the change
if you want it.
JULIAN
(drawn out)
All good.
Nora hands him a twenty dollar bill and he throws it in the
direction of the coffee table.
JULIAN (CONT’D)
You feeling better now?
NORA
God, I mean...I don’t even know if
I’ve fully processed it yet.
Nora plops onto an amorphous leather sofa.
25.

26.
JULIAN
Yeah. It can be tough.
Julian sits down beside her, he is at ease. The two open up
their drinks and start eating the bagels.
NORA
So...how was the shower? And the
nap?
JULIAN
(like Austin Powers)
Rejuvenating, baby.
He takes a bite.
JULIAN (CONT’D)
Did you get up to anything naughty?
Nora finds Julian’s jesting somewhat bizarre and
inappropriate, but she lets it slide.
NORA
Pretty much the same as you.
Though, I did get a new bong.
JULIAN
Hell yeah. Stoner Nora. I’m
training you well.
(looks down at his hands)
Shit, this is getting everywhere.
Julian stands up from the couch and walks into the kitchen to
grab plates and napkins.
In Nora’s purse, a incessant flood of notification alerts
buzz from her phone.
JULIAN (CONT’D)
Damn, what’s going on? You’re
blowing up.
NORA
(inconspicuously)
Huh. I dunno.
Nora takes a bite and looks at her screen. Coming in at every
second, there is a constant stream of donations to the
GoFundMe.
NORA (CONT’D)
(mouth full)
Oh my god.
26.

(MORE)
27.
JULIAN (O.S.)
What?
NORA
Okay, so I made a GoFundMe, for
the, you know, boy, since I posted
that thing on my story and everyone
like wanted to do something--wanted
me to do something--and I literally
made it like an hour ago and I’ve
already raised five hundred
dollars!
Julian walks back into the room, taking slow, cautious steps.
This is news to him.
JULIAN
No fucking way. You’re fucking
crazy.
NORA
(hurt)
I’m not crazy--I’m a good person.
JULIAN
Don’t you think that’s like
overstepping a bit?
NORA
What?
JULIAN
Yeah, like...we don’t even know
him.
NORA
(straightens her posture)
Under normal circumstances,
absolutely--yes. But..I--and I
didn’t want to tell you this, not
this way--but what happens hit’s
really close to home for me.
Julian is still cautious, but he wants to understand.
NORA (CONT’D)
When I was in high school, my best
friend, she took her own life.
(deep breath)
(MORE)
27.

NORA (CONT’D)
28.
I was picking her up from school
one morning, like I always did
because you know, her parents
weren’t the most attentive type
like they were never home, and she
didn’t have a car... But anyway, I
was picking her up--I was driving
to her house, and I kept calling
her and calling her and she just
wasn’t picking up. So I finally get
there, and I knocked on the front
door and no one answered. So I
looked in all the windows and, you
know, nothing. So finally, I knew
that they always kept the door
inside the garage unlocked, so I
went around and typed in the garage
code, because, of course I knew the
garage code for like emergencies
and stuff and the door came up.
And, there was a grill--her dad’s
charcoal grill and she had lit it.
And there she was.
(beat)
Maddie was in the garage the whole
time.
Nora is in a trance-like state, wide-eyed. Her face is
PETRIFIED IN TRAUMATIC MEMORY.
NORA (CONT’D)
(snaps back to reality)
So, that was insane, and intense. I
took time off school and everyone
was so worried about me. But,
enough of that!
(laughs)
Too fucking much for one day!
Julian is seeing Nora in a brand new light. She looks back at
him with a wry smile.
JULIAN
(carefully)
Jesus, Nora. I’m sorry.
NORA
Don’t be sorry. You didn’t know.
(sighs)
But now, you understand. I need to
spread awareness--It’s how I cope.
NORA (CONT’D)
28.

29.
JULIAN
Of course--I get it. You gotta do
what you gotta do.
(epiphany)
You know, we could spread more
awareness.
I was thinking about this earlier
today, but after what you just told
me, I feel like it’s a sign.
(beat)
I think I’m gonna make my short
film about what happened.
Nora is silent.
JULIAN (CONT’D)
(offended)
What?
NORA
I thought you already started it?
But, isn't that a
bit...exploitative?
JULIAN
No, no, no, no, no. Everybody
does this kinda thing, where
you draw a little bit from
your own life in your work.
It’s like a pillar of
screenwriting. And, if I tell
the story from my
perspective, and make it
about me, it’s not like I’m
speaking for him.
NORA (CONT’D)
(hesitant)
Okay...
JULIAN (CONT’D)
And you can do the cinematography.
NORA
(convinced)
Okay.
(deep breath)
Maybe--okay, yeah. This could work.
JULIAN
(leery)
And maybe...we could use some of
that GoFundMe cash to fund the
film.
NORA
Okay--no.
29.

30.
JULIAN
No, no, no...not like in a “lying”
way. Like in a “we change the
description of the page you already
have set up” way. If someone finds
out, we have the proof backed on
our page that we weren’t lying. And
besides, people donate to these
things and forget about it five
seconds later, and five hundred
really isn’t that much.
NORA
(disbelief)
That’s fucked.
Julian gets on his knees in front of Nora, who’s still
sitting on the couch. He holds both her hands in his between
them, pleading.
JULIAN
(sincere)
Nora, please. You know how much
this would mean to me--and how much
you mean to me.
(gets closer)
And just think about how proud our
parents will be, to know that we
actually did something by
ourselves. And something
meaningful.
For the first time, Nora has something Julian wants, instead
of the other way around. She is invigorated, but she must
play it cool to stay on top.
NORA
Shut up.
She smiles.
NORA (CONT’D)
Fine.
30.

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