Joe Page #3

Synopsis: In order to provide for his destitute family of drifters, a likable, sincere, able-bodied 15-year-old boy comes to hire on among a burned-out ex-con's group of aging forest laborers. As the man becomes more and more aware of the boy's abusive home life, his deeply buried humanity is roused. Drinking and smoking incessantly to remain detached from his volatile temper, he finally takes the matter into his own hands - come what may - when the boy's alcoholic father finally goes too far.
Genre: Crime, Drama
Director(s): David Gordon Green
Production: Roadside Attractions
  4 wins & 9 nominations.
 
IMDB:
6.9
Metacritic:
74
Rotten Tomatoes:
85%
R
Year:
2013
117 min
$257,588
Website
1,148 Views


I'm gonna make

a birthday cake tonight.

Are you, Stacy?

I love you, Henry,

but you know what?

I am the f***ing

birthday girl here

and I have to make

my own damn cake?

It's not my problem.

I'll make me

a birthday cake, no problem.

I gotta go uptown.

y'all need anything?

Honey, I think I need

some freezer paper.

Bring me back

some damn freezer paper

and another pack

of cigarettes.

- Good stuff.

- We love you, baby.

That back

scrapple, that's the part

that basically

I only eat.

Hello, Joe!

Hold on, boy!

Joe, you all right?

You know who did

that, that a**hole Willie.

He's crazy.

Ladies and gentlemen,

ladies and gentlemen,

ladies and gentlemen,

ladies and gentlemen.

Can we go now?

What you doing?

Where you gonna go?

We're gonna go into town

and get some food. Come on.

Get something to eat

with what?

We ain't got

hardly nothing here.

Well, it ain't much,

but it's something.

- Come on.

- I ain't getting up.

Are you drunk?

No,

I ain't drunk.

- I know you drunk.

- No, I ain't drunk.

You're like,

"I ain't drunk. "

I ain't take

my medicine today, boy.

- I didn't take my medicine today.

- "I'm just tired. "

"I ain't drunk. "

- Come on, get up.

- Uh, no.

Come on.

Come on, get up.

Come on, please?

You'll be all right.

Come on.

I'll help you up.

You can make it.

Yeah. No-

you know what?

I'm gonna sit right here

in the dirt.

I'm gonna teach you

a little about break dancing.

You ever see

break dancing before?

You know what "pop" and

you know what "locking" is?

Huh, do you, bud?

Take this hand right here,

pretend it's going over a wave

like you're out there

in the ocean.

You floating.

Come on, son.

You floating

out in the ocean.

Whoa. Tidal wave coming

across the other side.

Here we go. Oh, yeah.

We're waving now.

Bring it back up.

Here comes the big one.

Ow-oo! Yeah.

Here it is. Hey! Hey!

Oh, now, now. That sh*t

ain't funny right there.

That sh*t ain't

funny at all.

I'll come get it now.

You want it. You want it?

I'm not through

with my lesson.

Life's lesson. You only

learned about waving.

Popping.

You ever see popping?

Pop. That's pop. You

know what locking is?

I really can't do

a whole lot of locking

unless I'm standing and-

Stand up. Come on.

I don't see myself

doing much of that

in the near future

there, son.

I know you drunk 'cause

you about to spill it.

Oh, did I spill it?

I need a pillow.

Ah.

There we go.

Yeah.

One, two...

Hey, mister.

Hey, mister.

Can you

give me a ride?

Say it again?

Me and my daddy

was wondering

if you could give us

a ride back to town.

He ain't feelin'

too good.

Sh*t, yeah.

Yeah, I'll give

you boys a ride.

Come on.

Where's your daddy at?

He's back that-away.

What you chunk that gun

off the bridge for?

I just threw it.

You know?

Weapons tend to make men

do violent things.

You know, guns...

knives,

cannonballs...

little sticks

of dynamite.

Hell, even

automobiles.

Hey. Come here.

Look at my face.

You see that?

I see it.

I went through a windshield

at 4:
00 one morning,

and I don't

give a f***.

Now, folks

looking for trouble

tend to find more

than they're after,

and I'll kill his f***ing ass

if he ever slaps me again.

- You understand me?

- Who you talking about?

If he ever...

slaps me...

again.

Oh.

You got any sisters?

- What?

- Sisters!

You got any sisters?

Is she pretty?

Mister, don't you talk

about my sister.

Oh, well, sh*t.

You're a tough little

sumbitch, ain't you?

Who the f***

you talking to, huh?

I'm talking

to you, mister.

Don't you

disrespect my family.

You know

what I think?

I think I'm gonna say

whatever the f*** I wanna say.

You get the hell off me, mister.

I ain't done nothing to you.

I don't think I want to

give you that ride no more.

Mm-mm. I think

I'm gonna take you

and I'm gonna throw you off that bridge.

See how you

like that, hmm?

Hmm?

Look at me, son.

Look at my face.

I went through a windshield

at 4:
00 one morning,

and I don't

give a f***.

Look at me, you son of a b*tch!

You stupid motherf***er,

you think I'm a kid?

You think

I'm a goddamn kid?

I'll beat your ass and

now you know it's true!

Quiet!

Joe!

Joe!

Is he gonna bite me?

God damn it,

would you shut up?

Shut up and get back under

there! Let these ladies alone.

Git!

Y'all come on.

Dog won't bite.

That dog's crazy. What

if you hadn't been here?

If I hadn't

been here,

you wouldn't have had no

business in my goddamn yard.

Damn, what

happened to you?

Oh, hang on

a minute.

The place

is a mess, Joe.

I wasn't

expecting company.

Well, we was

just driving around,

looking for

something to do.

Didn't know

if you'd be home or not.

Open up!

Are you all right?

I gotta quit smoking.

What the hell

happened to you?

I slapped some a**hole

the other night at the bar.

He come back

and he shot me.

Jesus, Joe.

What, you and Willie Russell

be running around,

acting like kids

again?

It's ridiculous.

I don't even remember

what set you off

in the first place.

Neither do I.

So what was it you

wanted to talk about?

You need some money?

No, nothing like that.

You know that guy Frank?

The guy?

He's back in town.

And I don't want

to stay at my mama's.

I thought

she run him off.

She did. Twice.

But he called

the other night.

Came back begging

for forgiveness.

She said he could stay

as long as he promised

to leave me alone.

And he promised.

Just like he always does,

but...

Still got your job

up at the cleaners?

- Good.

- I wouldn't even hardly be here.

I could take care

of you...

if you let me.

I promise I won't even

tell her where I'm at.

You won't have to.

She'll know.

She already called here

40 times looking for you.

You can stay with me

if you need to.

I can't promise you much,

but I'll try to be nice.

One, two, three,

six, 11.

Get off your ass. You

ain't nothing but a number.

Let's go, y'all.

Yo, Sam, where you

been? Haven't seen you around.

You in those night school

classes or something?

Not yet.

Doing a little work

on the side.

Trying to make a little extra

cash, get my sh*t together.

- You know what I mean?

- Oh, I know what you mean.

I know. We're just not good enough

for you anymore, are we, Sam?

I didn't say that.

Who these white folks

you got working?

Yeah, I'm not sure. They

need work and I need help.

Young, old, black,

white, red, yellow.

I really don't

give a sh*t, Sammy.

Water. Where's your

f***ing water?

That's my water there.

why you drinking my water?

Thirsty,

that's why.

That's my personal water.

Why you drinking

my water up like that?

We're gonna have a problem

outta you all day, huh?

If I catch you

with my water again,

you're gonna have

a problem outta me.

- Joe sent you down here with me?

- Yeah.

Let me help you

with that pack.

The hell you

use this thing for?

I'll show you how to walk through it.

Man, this

thing's heavy.

You use this lever right

Rate this script:0.0 / 0 votes

Gary Hawkins

Gary Hawkins is an independent filmmaker born and raised in Thomasville, North Carolina. Hawkins has written and directed six films, including The Rough South of Harry Crews, which won an Emmy and the Corporation for Public Broadcasting’s Gold Award in 1992, and The Rough South of Larry Brown, which was picked by The Oxford American as one of Thirteen Essential Southern Documentaries and was reviewed by Variety as a “beautifully conceived documentary film.” Hawkins’s fiction screenplay DownTime was selected by The Sundance Institute for the Writer’s Lab in the winter of 2000. Hawkins is a former a member of the directing faculty at the North Carolina School of the Arts. As of 2012 he was a visiting professor at Duke University in North Carolina, teaching documentary film. [1] Larry Brown (in focus) and Gary Hawkins (foreground) on the set of The Rough South of Larry Brown more…

All Gary Hawkins scripts | Gary Hawkins 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

    "Joe" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/joe_11339>.

    We need you!

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

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does the term "protagonist" refer to in screenwriting?
    A A supporting character
    B The antagonist in a story
    C A minor character
    D The main character in a story