One Chance Page #9

Synopsis: One Chance is a 2013 British-American biographical comedy-drama film about opera singer and Britain's Got Talent winner Paul Potts, directed by David Frankel and written by Justin Zackham. It was screened in the Special Presentation section at the 2013 Toronto International Film Festival.
Production: The Weinstein Company
  Nominated for 1 Golden Globe. Another 3 wins & 4 nominations.
 
IMDB:
6.8
Metacritic:
52
Rotten Tomatoes:
63%
PG-13
Year:
2013
103 min
$1,318,022
Website
845 Views


HIS POV; where Pavarotti’s full gaze is on Alessandra, who

although flattered, tries to turn his attention to Paul,

but to no avail.

Finally, the aria ends to polite applause. Ignoring Paul

completely, Pavarotti rises to leave until the Asst.

Conductor whispers in his ear.

PAVAROTTI:

Ah, si.

(turns to Paul; obviously

hasn’t heard a word)

You inhaled after in te, vivo ravviso il

sogno. Rodolfo would not have run out of

breath there.

52.

Paul is about to speak, but Pavarotti’s back is to him and

he’s heading for the door, arm in arm with Alessandra

leaving Paul alone on stage, destroyed...

Paul stands for a moment, then slowly turns and walks off

as we...

DISSOLVE TO:

EXT. PORT TALBOT - DAY

Gray as ever. A bleak contrast from the vibrancy of Italy.

ROLAND (V.O.)

I hates to say it, but I did warn you.

INT. POTTS FAMILY KITCHEN - DAY

Where Paul and his parents are just finishing Sunday

dinner. Paul stares at his plate.

YVONNE:

Put a sock in it, Roland. At least he had

the nerve to have a go.

ROLAND:

Which has left him where?

PAUL:

Thanks, mum. That was lovely.

He takes his plate to the sink.

YVONNE:

There’s treacle tart and strawberries.

PAUL:

I’ve got work in an hour.

Kisses her goodbye.

YVONNE:

When’s that lovely girl coming to visit

again?

PAUL:

See you guys.

ROLAND:

Oy. Hang on a second.

He follows Paul out the front door.

53.

EXT. POTTS HOUSE - DAY

Paul works the combination lock to his bicycle which is

chained to the iron railing at the base of the steps.

ROLAND:

There’s an opening down the mill. The

wait list’s a kilometer long, but, how’d

you like to come work with me?

PAUL:

No thanks, dad.

ROLAND:

It’s time to grow up now, son. You’ve had

your great adventure, which is more’n I

ever had, but singing didn’t work out so-

PAUL:

I know, dad.

ROLAND:

(grabs his arm)

No you bloody well don’t! You think

you’re too good to work the mill. Well

I’ve got news for you, boy, you’re the

one’s not good enough.

PAUL:

(after a beat...)

I’ll be late.

Roland lets him go. Paul pedals out onto the road.

ROLAND:

Just what the world needs, more bloody

mobile phones!

EXT. PORT TALBOT - DAY

As Paul cycles stoically to work.

INT. CAR PHONE WAREHOUSE - DAY

Where Paul rings up a sale for an ELDERLY COUPLE...

ELDERLY WOMAN:

Right. Now how far away from the house

will the telephone actually work?

PAUL:

As far as you’d like.

54.

ELDERLY MAN:

Nonsense. The cord on our last telephone

didn’t even reach to the back door.

PAUL:

But this hasn’t got a cord.

ELDERLY WOMAN:

We don’t take kindly to bullshitters.

PAUL:

That’s because you’re bloody insane.

He walks away, despite their protestations. Braddon sees

this and, after throwing a look at Paul, goes to help the

elderly couple.

BRADDON:

(shouting)

Good afternoon! May I help you?!

INT. CAR PHONE WAREHOUSE, BACK ROOM - DAY

Paul puts together a cardboard display stand. His phone

buzzes. He sees Julz picture with a text message: “?”

He taps it, revealing the “text thread”; a series of “?”

and “!” and “?!?!?!?!” stretching back over a week.

He switches his phone off just as Braddon enters.

BRADDON:

Not quite the pinnacle of customer

service, I’d say.

PAUL:

Sorry.

BRADDON:

Perhaps you’re confused...see you’re the

diffident, jolly one, whilst I’m the

edgy, mysterious bloke with bubbling

cauldrons of danger and pizzazz.

PAUL:

Right.

BRADDON:

It’s bad as all that is it?

(off Paul’s look)

Right... Come on.

Pulls Paul to his feet.

55.

PAUL:

Where we going?

BRADDON:

Desperate times call for naked dancers.

CUT TO:

INT. STRIP CLUB - NIGHT

Where Paul and Braddon sit at the edge of the stage,

framed between the legs of a gyrating dancer.

Braddon’s smile is ear to ear as his head bobs and swivels

to the music... Paul still looks miserable.

EXT. STRIP CLUB - NIGHT

Braddon follows Paul out of the club where they unchain

their bicycles from the pole holding up the marquee.

BRADDON:

There you are. All better now?

PAUL:

(not at all...)

Yes, loads. Thanks.

BRADDON:

D’you know, I think I could headline

there. The first step on my career to pop

superstardom.

PAUL:

That’s your dream is it?

BRADDON:

When I was younger. Before x-box payments

and chest hair and whatnot.

PAUL:

You haven’t got chest hair.

BRADDON:

‘Course I do. Gallons of it... It’s just

very blonde.

PAUL:

Right... And what about now?

BRADDON:

Dreams? Honestly?

56.

PAUL:

If possible.

BRADDON:

Be nice to have a family of my own. Oh

and one day go to New Zealand. Hire a car

and do the Lord of the Rings tour. See

where the hobbits live.

PAUL:

That’s it?

BRADDON:

Well, yeah. The lower your expectations,

I find, the greater your general level of

happiness.

PAUL:

(agreeing)

Right.

They pedal off down the road...

BRADDON:

Then again, a threesome wouldn’t be the

worst thing that could happen.

PAUL:

Obviously.

EXT. PAUL’S APARTMENT BUILDING - NIGHT

Paul hops off his bike and pushes it towards the entrance

where Julz stands with several large suitcases.

PAUL:

Hi.

JULZ:

Hi.

PAUL:

How did you--?

JULZ:

Mum drove me. She waited as long as she

could but...

PAUL:

Right. Um... Sorry, did we?

JULZ:

You stopped ringing me back.

57.

PAUL:

Yeah.

JULZ:

Playing hard to get again?

PAUL:

Just feeling sorry for myself.

JULZ:

Always flattering on a man.

PAUL:

He didn’t even know I was there.

JULZ:

(shrugs)

He’s a celebrity.

PAUL:

Sorry?

JULZ:

He may be a great singer, but anyone that

famous can’t be anything but an ass of

intergalactic proportions.

PAUL:

It’s lovely to see you.

JULZ:

Is it?

PAUL:

I’m an enormous idiot.

JULZ:

You are. And?

PAUL:

I’m truly sorry.

JULZ:

And?

PAUL:

I’m an ass of intergalactic proportions?

JULZ:

Well said. Lucky for you, I’ve decided to

take you up on your offer.

PAUL:

You have?

58.

JULZ:

I have.

PAUL:

Em, which offer exactly?

JULZ:

Seeing as your self-esteem’s down the

loo, and we’re never going to have a

proper go at a relationship living so far

apart, I decided to accept your offer

to...move in together. To give it, you

know, a proper go. Nothing ventured...

PAUL:

Nothing gained.

JULZ:

So...?

Paul stares dumbfounded... Realizes she’s hanging herself

out there for him...

PAUL:

Oh right! Yes, of course. That would be,

um...

JULZ:

What?

PAUL:

Wonderful.

JULZ:

(smiling)

And?

PAUL:

I’m an ass of intergalactic proportions.

JULZ:

Yes, though there’s still hope for you.

He reaches down to carry one of her suitcases but can’t

even lift it off the ground.

JULZ (CONT’D)

I packed a few things.

PAUL:

We may need a bigger flat.

CUT TO:

59.

EXT. ABERAVON BREAKWATER - DAY

An immense seawall jutting out into the gray water.

Surfers and wind surfers brave the cold waters alongside

as Paul and Julz walk hand in hand.

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Justin Zackham

Justin Zackham is an American and British screenwriter, director and producer. He wrote the hit films The Bucket List, One Chance, and the FX series Lights Out, and The Big Wedding, which he also directed. more…

All Justin Zackham scripts | Justin Zackham Scripts

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Submitted by aviv on November 15, 2016

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