America America Page #2

Synopsis: Elia Kazan, ethnic Greek but Turkish by birth, tells the story of the struggles of his uncle - in this account named Stavros Topouzoglou - in emigrating to America. In the 1890's, the young, kind-hearted but naive Stavros lived in Anatolia, where the Greek and Armenian minorities were repressed by the majority Turks, this repression which often led to violence. Even Stavros being friends with an Armenian was frowned upon. As such, Stavros dreamed of a better life - specifically in America - where, as a result, he could make his parents proud by his grand accomplishments. Instead, his parents, with most of their money, sent Stavros to Constantinople to help fund the carpet shop owned by his first cousin once removed. What Stavros encountered on his journey, made on foot with a small donkey, made him question life in Anatolia even further. Once in Constantinople, his resolve to earn the 110 Turkish pound third class fare to the United States became stronger than ever. But try after try,
Genre: Drama
Director(s): Elia Kazan
Production: Warner Home Video
  Won 1 Oscar. Another 6 wins & 11 nominations.
 
IMDB:
7.8
Rotten Tomatoes:
71%
NOT RATED
Year:
1963
174 min
65 Views


I do help, don't you think?

Oh, yes.

We're all very grateful.

I was referring particularly to you,

you have a good business here...

the Turkish people like you,

and you have a good business.

We make a living.

Hold him there a moment.

I happen to know you do very well

and that makes me happy.

Very happy.

Come, my dear friend, join us.

Come, come.

Here, here.

To our friends everywhere.

Be grateful the governor

is my friend...

That's the way it is here!

Stavros!

Stavros!

Grandmother!

Grandmother!

Grandmother!

I came to see you, Grandmother.

You don't look well.

How's that good Greek, your father?

You know why the fox loves

the rabbit?

Because he hasn't any teeth.

How's your father?

Your grandfather was a man.

I was expecting you.

He told me you were coming.

Who?

Your grandfather.

He came he to see me last night.

I think he's found a new wife

in the land of the dead.

Well... What can you do?

But he still comes to see me.

What's the matter?

Nothing. Why?

You're moving around like a criminal.

What do you want?

I just came to see you.

You're lying. I hope to God you're

not going to be like your father.

Already you've got his smile.

What are you going to do?

All the men in our family lie.

The Turks spit in their face

and they say it's raining.

Be honest.

Tell me what you came for.

Don't lie again. Your grandfather

told me what you wanted.

What did he tell you I wanted?

Money. True?

True.

Why should I give you money?

What do you need it for?

You're an old woman.

Get out, you're just like

your father! Get out!

Don't do that.

Listen to me. You're my last hope,

do you know that?

You're going to listen to me.

I'm going away.

Good.

Far away.

The farther, the better.

To America,

I'm going to America.

Give me enough

to get to Constantinople.

There, I'll work and make the rest.

Hear me. You're my last hope.

Put me down.

Long ago...

you used to say to me

when I come of age...

you had something to give me.

I remember you as a little baby...

soft and round and made of butter.

And I remember you in a little blue

dress that your mother made you.

A little saint,

with a blessed, pale face.

And your eyes,

shining with God's own light.

My boy.

I thought, if only the whole world

were like that.

Here, take it.

It was your grandfather's.

I don't need this,

I need money.

You need this more,

take it.

It will remind you that no sheep

ever saved its neck by bleating.

I'll take it and put it

in the first soldier I meet.

Stavros! I'm an old woman,

you can't frighten me.

Where's your money?

I need money.

It is here, under my clothing.

You're not going to America,

you're your father's son.

Go home, be what you are.

Anything, anything...

help me.

Anything? Anything...

I'll remember you,

in America, I'll pray for you.

You?

You're going to America?

With the help of Jesus.

On foot?

However.

With nothing?

Each day, part of the distance.

How will you get there with those?

Take these.

Where do you come from?

Far away.

See those clouds? Behind

those clouds there are mountains.

The mountains of Armenia.

I shall never see them again.

I'll remember you.

Isaac!

Isaac, the family is eating.

Isaac, I've brought you some food.

I want you to eat something.

He did this once before,

stayed in there for nine days.

Isaac.

Isaac.

You're forgetting who you are.

If I want food, I'll call you.

I don't want to see you,

I want to see my son.

Stavros.

Stavros.

Where are your shoes?

What did you do with your shoes?

I've been waiting for you.

What? Where?

Where have you been?

Vasso, leave.

Yes, Isaac.

Remember,

you're talking to your father.

Come here, boy.

Sit close to me.

You look changed.

When I don't see you for a day,

you look changed.

Will you have a coffee?

No, thank you father.

You'll have a coffee with me.

Two coffees, immediately.

Immediately.

Look at your feet.

Make sure the shutters are closed.

The door!

Father...

I've made up my mind.

We're going to send you

to Constantinople.

What did you say, father?

Our family is going to leave

this place. You'll go first.

You will take everything

this family has of wealth.

You will.

I said everything

of wealth...

this family has.

Dig.

Dig.

This winter, I'll come here at night

and we'll weave together.

By the day of your wedding, you'll

have all the blankets you need.

From time to time,

I've had to do things that...

We live by the mercy

of the Turk.

But, Stavros, I've always kept

my honour safe inside me.

Safe, inside me.

And see, we're still living.

After a time,

you don't feel the shame.

Dig.

Lace collars? What will you

do with them, dearie?

Make yourself pretty?

It's too late, little dearie.

Yesterday, I got this from

our cousin in Constantinople.

I'll be honoured. Let Stavros

bring money for my business...

and I'll make him my partner.

He has a prospering establishment,

a prospering establishment.

Will it really be better for us

in Constantinople?

Yes, it will be.

Where else can we go?

It's our last hope.

You'll take our smoked meat.

You'll take the two big rugs

on the floor upstairs.

In fact, everything you can sell.

Our donkey,

you'll take our donkey...

and sell him when you get

to Constantinople.

The jewellery...

The jewellery which

came with Vasso...

when I took her for a wife.

This was my mother's.

See? She's wearing it there,

look.

I was going to give it to you

when you got married.

It's better this way, mother.

In time,

you'll bring your three sisters...

Are the shutters closed?

You'll bring your three sisters

to Constantinople.

As the eldest, your responsibility

is to see they marry well.

Then, as your business prospers...

you'll bring your four brothers

out to your side.

As the eldest, your responsibility

is to set them up in business.

Then it will be your mother's turn.

It is your responsibility to make

her final days happy ones.

Don't ask too much.

Vasso, there's a right way

and a wrong way.

Yes, Isaac.

We commit our eldest son

to your care.

Watch over him,

he is our hope.

Mother.

He's trusting you with everything...

Vasso!

Forgive me, Isaac.

Teach him that the meek

shall inherit the earth.

Except here.

Each and all men are brothers.

Trust no one.

A gentle word and a Christian smile

will turn away all wrong.

He's given you his coat.

I've sewed the money into the lining.

Feel it? Here.

And in this little sack, jewellery,

feel it?

Keep this coat on at all times.

Even when you're asleep.

Sleep with one eye open.

Vasso, be silent!

Vasso...

Vasso, what is it?

My dear God...

If you send him to the baker's

to bring bread...

you're never sure

he'll come back.

And now, Constantinople,

with everything we have.

Look at him.

Look at him.

Vasso...

if you and I...

have so brought up our eldest son...

that he could fail his family

at this time...

then we deserve to go down.

Mother...

I won't fail you, Mother.

Rate this script:0.0 / 0 votes

Elia Kazan

Elia Kazan (; born Elias Kazantzoglou; September 7, 1909 – September 28, 2003) was a Greek-American director, producer, writer and actor, described by The New York Times as "one of the most honored and influential directors in Broadway and Hollywood history".He was born in Constantinople (now Istanbul, Turkey), to Cappadocian Greek parents. After attending Williams College and then the Yale School of Drama, he acted professionally for eight years, later joining the Group Theatre in 1932, and co-founded the Actors Studio in 1947. With Robert Lewis and Cheryl Crawford, his actors' studio introduced "Method Acting" under the direction of Lee Strasberg. Kazan acted in a few films, including City for Conquest (1940).Noted for drawing out the best dramatic performances from his actors, he directed 21 actors to Oscar nominations, resulting in nine wins. He directed a string of successful films, including A Streetcar Named Desire (1951), On the Waterfront (1954), and East of Eden (1955). During his career, he won two Oscars as Best Director, three Tony Awards, and four Golden Globes. He also received an Honorary Oscar. His films were concerned with personal or social issues of special concern to him. Kazan writes, "I don't move unless I have some empathy with the basic theme." His first such "issue" film was Gentleman's Agreement (1947), with Gregory Peck, which dealt with anti-Semitism in America. It received 8 Oscar nominations and 3 wins, including Kazan's first for Best Director. It was followed by Pinky, one of the first films in mainstream Hollywood to address racial prejudice against black people. In 1954, he directed On the Waterfront, a film about union corruption on the New York harbor waterfront. A Streetcar Named Desire (1951), an adaptation of the stage play which he had also directed, received 12 Oscar nominations, winning 4, and was Marlon Brando's breakthrough role. In 1955, he directed John Steinbeck's East of Eden, which introduced James Dean to movie audiences. A turning point in Kazan's career came with his testimony as a witness before the House Committee on Un-American Activities in 1952 at the time of the Hollywood blacklist, which brought him strong negative reactions from many liberal friends and colleagues. His testimony helped end the careers of former acting colleagues Morris Carnovsky and Art Smith, along with ending the work of playwright Clifford Odets. Kazan later justified his act by saying he took "only the more tolerable of two alternatives that were either way painful and wrong." Nearly a half-century later, his anti-Communist testimony continued to cause controversy. When Kazan was awarded an honorary Oscar in 1999, dozens of actors chose not to applaud as 250 demonstrators picketed the event.Kazan influenced the films of the 1950s and '60s with his provocative, issue-driven subjects. Director Stanley Kubrick called him, "without question, the best director we have in America, [and] capable of performing miracles with the actors he uses." Film author Ian Freer concludes that even "if his achievements are tainted by political controversy, the debt Hollywood—and actors everywhere—owes him is enormous." In 2010, Martin Scorsese co-directed the documentary film A Letter to Elia as a personal tribute to Kazan. more…

All Elia Kazan scripts | Elia Kazan Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "America America" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/america_america_2659>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    America America

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the "midpoint" in screenwriting?
    A The climax of the screenplay
    B The end of the screenplay
    C The beginning of the screenplay
    D The halfway point where the story shifts direction