Hannah and Her Sisters Page #13

APRIL:

(turning to David and chuckling)

Well, let's hope so.

Holly enters the kitchen holding out a plate of clams. She

walks over to David.

HOLLY:

Here, I stole you a couple of extra

clams.

DAVID:

(taking the plate)

Ah!

HOLLY:

(looking busily

around the room)

Now.

DAVID:

(overlapping, gesturing)

Incidentally, I'm David Tolchin.

APRIL:

(turning to David)

Oh, uh, April Knox. Hi.

They shake hands.

DAVID:

(looking at her)

Hi.

APRIL:

(leaving the counter

and squeezing past

David and Holly)

Oh.

HOLLY:

(overlapping, moving

out of April's way)

I'm sorry.

April walks offscreen to another area of the kitchen. Holly

picks up a napkin from the crowded table.

DAVID:

(overlapping Holly's

apology, turning to her)

You're Holly.

HOLLY:

(nodding, looking at

David as she wipes

her hands with the napkin)

Yeah, we're the Stanislavski

Catering Company.

DAVID:

(chewing on a clam canapé)

Now I'm going to tell you the truth.

I really came in here because I was

bored stiff by the party.

HOLLY:

(laughing, still

wiping her hands)

What makes you think we're more

interesting?

David walks around the table, putting the plate of clams

down on the already crowded surface. Holly follows him,

chuckling, throwing her napkin into an offscreen garbage can

as David stops at a small television set near the doorway.

Guests in the other room can be seen chatting together in

clusters.

DAVID:

(turning on the set)

Actually, I'm going to listen to

Aida, if I'm not getting in your way.

Canned laughter and miscellaneous chatter is heard from the

television set. David watches the set, still munching on a

clam, while Holly and April reassure him offscreen.

APRIL:

(offscreen)

No...no. No--

(sniffing)

HOLLY:

(offscreen, overlapping)

Not at all.

David checks his wristwatch as Holly walks over to him.

HOLLY:

(gesturing, fiddling

with another napkin)

We saw, um, Pavarotti, eh, uh, in

Ernani at the Met, and I cried...

DAVID:

(nodding, his hand

still on his watch as

he looks at Holly)

I cry at the opera.

APRIL:

(offscreen)

Oh, I-I-I go limp in the last scene

in La Traviata. Limp.

Holly chuckles as David, listening to April, impressed,

walks over to her. She is standing by the table.

DAVID:

(nodding, to April)

Me, too. I have a private box at

the Met.

(gesturing)

I bring my little bottle of wine, I

open it, I sit there and I watch

and

(glancing over to the

offscreen Holly)

I cry. It's disgusting.

April chuckles as Holly walks back onscreen; she is busy

preparing another tray of hors d'oeuvres.

HOLLY:

(gesturing)

Oh, what, what do you do?

DAVID:

(nodding)

I'm an architect.

APRIL:

Wha--

(turning to glance at Holly)

What kind of things do you build?

DAVID:

Are you really interested?

APRIL:

Yeah.

HOLLY:

(nodding)

Yeah.

DAVID:

What time do you get off?

The three exchange glances. Holly shrugs.

CUT TO:

EXT. MANHATTAN STREET - DAY

A contemporary red building, designed by David, is seen,

squeezed in between two older buildings. Holly, April, and

David talk offscreen.

HOLLY:

(offscreen)

Wow, it's the red one?

APRIL:

(offscreen)

Oh, it's magnificent!

DAVID:

(offscreen)

Yeah.

HOLLY:

(offscreen)

It's terrific!

The film moves down from the buildings to reveal the trio

sitting in David's Jaguar across the street. David and

April sit in the front seat; Holly sits scrunched up in

back, her head slightly forward.

DAVID:

(gesturing, looking

back and forth from

the buildings to

Holly and April)

The design's deliberately

noncontextural. But I wanted to...

keep the atmosphere of the street,

you know, and the proportions.

HOLLY:

(nodding)

Uh-huh.

DAVID:

And in the material.

That's...that's unpolished red

granite.

(pausing as he

watches Holly and

April's reaction)

HOLLY:

Oh!

APRIL:

(overlapping)

Oh, is that what it is?

HOLLY:

(starting to speak)

Uh--

APRIL:

(interrupting,

nodding at Holly)

I-i-it has an o-organic quality,

you know.

HOLLY:

(nodding, overlapping)

Right.

APRIL:

(looking back at the

building with reverence)

It's almost...almost, uhhh, entirely

wholly interdependent, if you know

what I mean. I-I... I can't put it

into words. The important thing

is-is-is it-it breathes.

Rate this script:3.5 / 4 votes