While We're Young Page #12

Through an examination of the power

structure the voice of the working

class has to be revealed in the

margins through its very absence. If

that makes sense.

The phone rings. Both Dave and Josh look at it.

HEDGE FUND DAVE:

Hey, I’m suddenly so popular.

74.

JOSH:

(barrels on)

But it’s not even really about thepower structure but about what itmeans to make a film about it. It’s

about the very possibility of makingthis film...It’s really about America.

Dave can’t help it. He lunges for the phone.

The sound of KNOCKING.

48 INT. BREITBART’S APARTMENT - DOORWAY. DAY 48

Josh stands in the doorway, he wears his bike helmet andholds his hat. Breitbart smiles.

BREITBART:

I was just working on my speech for mymemorial. What’s on your mind, son?

Josh nervously unstraps his bike helmet and puts on his hat.

An awkward exchange as he has trouble holding both. Heexhales. Breitbart finally accommodates by taking the helmet.

JOSH:

Would you watch what I have? I think

I’m at a point where I need a new setof eyes.

BREITBART:

Ten years with the same project willdo that to you.

JOSH:

Yeah.

BREITBART:

(warmly)

Of course I’ll watch it. Come in,

son.

CUT TO:

49 INT. BREITBART’S APARTMENT - LIVING ROOM/KITCHEN. DAY 49

They watch the scholar on Breitbart’s new TV. Josh can’t

look at the screen, his eyes on are Breitbart.

CUT TO:
Josh, still watching Breitbart. The movie ends.

Breitbart nods, shuts off the TV with a remote.

BREITBART:

I just got this TV. It’s a smart TV.

75.

He gets up and stretches, clearly very stiff from sitting forso long.

BREITBART:

I’ll put a kettle on. You want some

tea?

JOSH:

Okay.

Breitbart goes to his kitchen. Josh waits, impatiently.

BREITBART (O.S.)

Well, you have a lot of good materialthere.

JOSH:

Uh huh.

BREITBART (O.S.)

Lots to think about. I need to

process it.

JOSH:

Uh huh.

Breitbart reappears in the kitchen doorway.

BREITBART:

Do you need the stuff about Turkishpolitics?

JOSH:

Yes, because it connects to what he’ssaying about the shift in power in thecontemporary global economy. And, ofcourse, it relates back to the earlierstuff on the Ottoman Empire.

BREITBART:

Right, but it feels like a detour.

What about the lengthy history of theTriangle Shirtwaste Factory Fire? Do

you need that?

JOSH:

The interview with Tillie

Kupferschmidst’s great great niece?

That’s the emotional center of the

movie. That’s where things cometogether. Without that scene...whymake the film at all?

76.

BREITBART:

But it’s too long.

JOSH:

It has to be long. The point is itmakes you uncomfortable.

BREITBART:

(gently)

I wasn’t uncomfortable, I was bored.

The kettle goes off. Breitbart goes back into the kitchen.

Josh follows him in.

JOSH:

Well, maybe boredom is your defensefrom the discomfort.

BREITBART:

(growing impatient)

You just showed me a six and a halfhour movie that runs about seven

hours too long. I’m trying to help.

JOSH:

I understand, I understand. I think I

need to shoot some more interviews -

BREITBART:

(quickly)

Don’t shoot anymore! You have enough.

JOSH:

Yeah? I just don’t think you’regetting it or maybe there’s somethingabout me or what you saw that’sclouding your judgement.

BREITBART:

I’m telling you what I really feel.

JOSH:

I don’t believe it. I think you’rebeing deliberately critical.

BREITBART:

Josh, I’m trying to help you.

JOSH:

Bullshit! Is it because Cornelia and

I didn’t have children?

BREITBART:

Oh, come on, Josh.

77.

JOSH:

We tried. There were miscarriages.

I had to give her a shot in her assevery day for three months. It’s a

huge f***ing needle.

BREITBART:

I didn’t know you tried so hard. She

didn’t tell me. I thought you guysdidn’t want kids.

JOSH:

We didn’t want to hope for somethingwe probably couldn’t have.

(collecting his things)

This was a mistake.

BREITBART:

I’m sorry you feel that way.

Josh starts for door.

JOSH:

I know you think I didn’t reach mypotential.

BREITBART:

No, son, no I don’t think you did.

(beat)

Your first film was so wonderful and

entertaining. We recognized ourselvesin it. This is ungenerous, it’s likeyou took your ball and went home.

JOSH:

You know what? I’m sorry I didn’tbecome you.

BREITBART:

I don’t want you to be me, Josh.

JOSH:

Yeah, right.

BREITBART:

I’ll see you at Thanksgiving.

JOSH:

I’m not going to eat another fuckingfried turkey FYI.

BREITBART:

Then make your own.

Blue (09/16/2013) 7878.

Josh slams the door.

50 EXT. WEST END AVENUE. DAY 50

Josh walks up to a sign-post. His chain-link chain has been

severed in half. His bike is gone.

JOSH:

F***!

51 EXT. HOUSING PROJECTS, BASKETBALL COURT. DAY 51

Jamie aggressively drives to the basket, pulls back and makesa jump shot over a leaping defender. He fist bumps histeammates as they hurry back on defense.

Josh watches through a chain link fence.

CUT TO:
Jamie, sweating, sees Josh through the fence. He

jogs over and they talk through the chain-link.

JAMIE:

Yosh! How did you find me?

JOSH:

(sheepishly)

There’s like eight different ways tofind out where you are on theinternet. And also through people weboth know.

JAMIE:

Ha! You want to play?

JOSH:

Nah, I don’t have the right shoes.

(pause)

Hey, I was thinking...you know howyou asked...maybe, if you’re still upfor it, I will co-direct with you...

Jamie hesitates.

JOSH:

You know...if that’s still cool?

JAMIE:

I’m not sure, Yoshy, I’m...at thispoint, I’m kind of in it, you know?

JOSH:

(his face turning red)

Uh huh.

Blue (09/16/2013) 78A78A.

JAMIE:

I mean, I’m kind of into doing it all

now... I mean...you know?

79.

JOSH:

Uh huh.

JAMIE:

I better get back to the game. I’ll

see you tonight, yeah?

JOSH:

(quickly)

Yeah.

52 INT. JAMIE AND DARBY’S APARTMENT, BUSHWICK. DAY 52

Josh enters -- he’s late. The space is packed -- mostly witha sea of 20-something kids who lie on top of each other onthe floor watching Jamie’s movie. Tipper, dressed up in asort of Mary Jane outfit and horn-rimmed glasses, perched upon a table, watching very seriously, her arms wrapped aroundher long bent legs. Jamie stands in back, he looks nervous.

Darby a few feet away from him is texting. Cornelia waves

from a crowded corner. Josh smiles wearily.

Kent talks soberly on screen.

KENT (ON SCREEN)

In the report it says we followed

procedure. A flashlight, three

flares, and the hand signals...

A quick jerky zoom into Kent, missing his face and thenadjusting to find him. He does the hand signals, punctuatingthem with:

KENT (ON SCREEN)

...bum, bum, bum...but that’s not how

I remember it. It was sheer f***ing

panic when the bus approached the

convoy. We opened fire -

Josh moves closer, looking for a place to sit or stand. He

steps over a couple lying on the floor.

BENNY:

Ow. Those are my fingers.

JOSH:

Sorry, sorry.

Josh stops in his tracks. Over on the side, the Moon Landingheadline above his head, stands Breitbart. To his right, thehedge fund dude, Dave.

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