Grandma Page #8

Synopsis: Grandma is a 2015 American comedy-drama film written, produced, and directed by Paul Weitz. The film premiered at the 2015 Sundance Film Festival on January 30, 2015 and served as the closing night film. The film is Lily Tomlin's first leading role in 27 years after co-starring with Bette Midler in 1988's comedy film Big Business. It is the second collaboration between Tomlin and Weitz, who previously directed her in his 2013 film Admission. The film was released on August 21, 2015, by Sony Pictures Classics.
Genre: Comedy, Drama
Production: Sony Pictures Classics
  Nominated for 1 Golden Globe. Another 5 wins & 11 nominations.
 
IMDB:
6.7
Metacritic:
77
Rotten Tomatoes:
92%
R
Year:
2015
79 min
Website
1,790 Views


SAGE:

I know. I know. Stop yelling at

me.

JUDY:

This isn’t yelling. I’ll show youyelling. We’re going to have toget you an appointment at a clinic.

SAGE:

I already have one. I made anappointment. At 5:45.

JUDY:

That’s in an hour! I can’t take

you at 5:
45.

ELLE:

I can take her. I can take her.

If you pay for it.

JUDY:

How much?

SAGE:

We need five hundred dollars more.

JUDY:

Christ.

(to Elle)

You don’t have five-hundred

dollars?

ELLE:

I don’t, at the moment. And I

uh...misplaced my credit card.

Which I guess makes me some kind ofsub-human.

JUDY:

You said it, not me.

ELLE:

You know kid, you need a spanking.

JUDY:

I’d like to see you try it.

Okay. Let’s go to an ATM.

36 EXT. ATM - DAY 36

They are at an ATM by the building.

Judy puts her card in. Punches in her code.

JUDY:

You weren’t going to tell me, wereyou?

SAGE:

I don’t know.

(pause)

No, I wasn’t.

JUDY:

Why?

SAGE:

I was scared.

JUDY:

Why?

SAGE:

Because you’re scary.

Judy takes out a small stack of money from the machine.

JUDY:

(laughs)

I’m scary?

(nods to Elle)

And she’s not?

ELLE:

I didn’t really come here to takecrap from you.

JUDY:

No, you came here for money.

ELLE:

I haven’t asked you for anything in

years.

JUDY:

Right. Hooray for you.

(beat)

There were a lot of things I wantedto pay for. Nurses.

ELLE:

It wasn’t my decision. It was

hers. You know how private she

was.

JUDY:

Really? I just figured it wasbecause you were too proud to askme for help.

Elle doesn’t answer.

Judy turns to Sage.

JUDY (CONT’D)

(to Sage)

I am deeply, deeply disappointed inyou, you know that?

SAGE:

(quietly)

I know.

JUDY:

I thought you were doing better. I

thought you were becoming moreresponsible.

Sage is quiet.

ELLE:

...People make mistakes.

JUDY:

I’m aware that people makemistakes. That’s how I make myliving, cleaning up after people’smistakes.

(to Sage)

Here.

She holds out the money. Sage takes it.

JUDY (CONT’D)

Call me when it’s over.

SAGE:

I have to go.

Sage walks off.

JUDY:

Would you have told me?

ELLE:

That’s up to her. To tell you.

JUDY:

You’re awful. You’re an awful

mother.

ELLE:

I’m an awful mother?

(pause)

Well, luckily I wasn’t your onlymother.

JUDY:

No. Thank God. Thank God for Vi.

ELLE:

Maybe you outta try taking after

her more.

(beat)

Anyway I’ll try and be a bettergrandmother.

She turns and follows Sage. Judy looks after her, thinking.

37 EXT. HIGHWAY - DAY 37

The car speeds down the highway.

38 INT. CAR - DAY 38

They drive. Faces tense.

SAGE:

That went better than I thought itwould.

ELLE:

(stewing, angry)

That little brat. God damn little

brat. Vi spoiled her. She did.

She wanted to make all the

parenting decisions, Vi did.

People thought I was the

controlling one. HAH.

The car is making a high pitched whine.

SAGE:

We’re not gonna make it on time.

ELLE:

We’ll make it.

Elle presses the gas pedal to the floor.

ELLE (CONT’D)

We’ll make it if this a**hole gets

the hell out of the way!

She yells at the car in front of them.

ELLE (CONT’D)

Come on a**hole! Move over! Get

out of the way!

SAGE:

Calm down -

ELLE:

You wanna get there or not?

SAGE:

Be careful

ELLE:

I am!

Sage starts to cry. The CAR NOISE gets louder.

SAGE:

Am I going to hell?

ELLE:

What?

SAGE:

What if it’s true? What if I’m

going to hell?

ELLE:

Along with all the other millionsof women and girls who have gottenabortions?

SAGE:

Yeah. Along with them.

ELLE:

I don’t believe in that vengefulGod crap. When you’re dead, you’redead, end of story. It’s

blackness. The void. Might aswell face it.

(glances over)

(MORE)

ELLE (CONT'D)

STOP CRYING. STOP CRYING YOU

LITTLE TWIT! I’M TRYING TO DRIVE

HERE!

SAGE:

Don’t yell at me -

ELLE:

I’M NOT YELLING!

SAGE:

YOU’RE JUST LIKE MY MOM! YOU’RE

BOTH JERKS!

ELLE:

What? You out of your mind?!

(yells at car ahead ofthem)

GET OUT OF THE WAY, MORON!

Elle SWERVES THE CAR ONTO THE RIGHT SHOULDER, BOUNCING ALONG,

TRYING TO GET PAST THE TRAFFIC!

SAGE:

WATCH OUT! STOP!

The car BOUNCES on the uneven shoulder. There is a LOUD POP

and the car STOPS ACCELERATING.

ELLE:

DAMN IT! DAMN IT!!!!!

Elle manages to steer the car safely off to the side of theroad until it comes to a stop.

Elle is trying to start the car. She can’t.

ELLE (CONT’D)

SH*T! SH*T!

She opens the door. Pops the hood. A little smoke comes

out.

She kicks the car.

ELLE (CONT’D)

Piece of sh*t!!!

CUT TO:

39 EXT. HIGHWAY BY BROKEN DOWN CAR - DAY 39

Elle’s car is in the background, covered by its tarp.

68

Elle and Sage hold out their thumbs, trying to hitch a ride.

ELLE:

...sorry.

SAGE:

(looks over)

Excuse me?

ELLE:

...I’m sorry.

Sage looks at Elle. Then goes back to trying to thumb aride.

A grey minivan pulls over.

40 INT. MINIVAN - DAY 40

Elle and Sage, looking rough, sit in the back section of athree-row minivan.

There are a suburban dad and mom in the front seats (daddriving).

In the middle section are three little kids, strapped into

car seats.

The kids are zombied out, watching a TV in the ceiling of the

minivan, which is playing a kids’ movie.

DAD:

Where are you headed again?

ELLE:

A medical clinic. My granddaughterneeds to get a procedure

Sage starts crying again. The mom looks back.

MOM:

It’s gonna be okay, honey.

Sage wipes her eyes.

DAD:

What kind of procedure?

Pause.

ELLE:

It’s a female thing.

DAD:

(squeamish)

Oh. Well, don’t worry, we’ll getyou there!

KID (AGE 8)

Quiet! I can’t hear the show!

DAD:

YOU BE QUIET!

KID:

NO YOU BE QUIET!

The dad clenches his teeth and drives.

Elle leans over to Sage.

ELLE:

(whispers)

Sure you don’t want a kid?

Sage looks at Elle.

41

EXT. PARKING LOT - DAY 41

The minivan pulls into a small commercial complex.

42

EXT. PARKING LOT - DAY 42

The van stops and the back hatch opens automatically.

Elle and Sage climb out.

SAGE:

Thank you!

The hatchback closes automatically.

The clinic entrance is on the second floor, up a flight of

stairs.

There is a woman by the stairs to the clinic. She has a card

table with right to life pamphlets on it.

Sitting on a folding chair behind the woman is a six or seven

year old girl in a pony tail.

The van drives off. Sage looks over at the woman nervously.

ELLE:

Don’t worry, just ignore her.

The woman picks up a large wooden sign with a horrific imageof a decapitated baby on it.

PROTESTOR:

Don’t kill your baby!

SAGE:

Oh God -

ELLE:

Just ignore her.

The little girl sitting near the woman looks over and thengoes back to stringing some colored wooden beads.

PROTESTOR:

Your baby has fingernails!

ELLE:

Not until 22 weeks, genius!

PROTESTOR:

Baby killing slut!

ELLE:

Jesus - you talk like that in frontof that sweet little girl?

PROTESTOR:

You go in there, God’s going tosend you to hell! You’re going tohell!

ELLE:

You go on ahead, Sage -

SAGE:

Grandma -

ELLE:

Go on in, I’ll be right there.

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Paul Weitz

Paul John Weitz (born November 19, 1965) is an American film producer, screenwriter, playwright, actor, and film director. He is the older brother of filmmaker Chris Weitz. He is best known for his work with his brother, Chris Weitz, on the comedy films American Pie and About a Boy, for which the brothers, who co-directed, were nominated for an Oscar. more…

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