Whiplash Page #3

14 INT. GEHRING HALL - LOBBY OUTSIDE DEAN'S OFFICE - DAY 14

The next morning. Andrew, still riding high, is seated in a

lobby outside the DEAN’s OFFICE. In his hand -- a FILLED-OUT

TRANSFER APPLICATION.

ASSISTANT:

Andrew Neiman?

(Andrew turns)

Dr. Fletcher would like to see you.

ANDREW:

Oh. Ok...

Andrew’s thoughts are elsewhere. Distracted -- not sure what

this is about but doesn’t really care -- he dutifully follows...

15 INT. GEHRING HALL - FLETCHER’S OFFICE - DAY 15

BLACK. We hear knocking.

FLETCHER (O.S.)

Come in.

A door opens -- the black gives way -- and we see, seated at

a polished mahogany desk, Fletcher. He looks as imposing --

and as well-dressed -- as ever.

FLETCHER (CONT’D)

Hey, Andrew! I guess Sophie found you?

Andrew is taken aback. Fletcher remembers his first name?

ANDREW:

Yes... I’m... I-

FLETCHER:

Come in, come in, close the door...

Fletcher rises to greet Andrew, as Andrew closes the door.

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FLETCHER (CONT’D)

I like to chat with students coming in

and going out. I hear you’re going out?

Andrew looks surprised by the warmth in Fletcher’s voice.

ANDREW:

Yes. Transferring. To Columbia.

FLETCHER:

Terrific. Columbia’s a terrific school.

Did something precipitate this?

ANDREW:

I just decided to...

(not sure how to say it)

...to try out some other things. Not focus

only on drums. You know?

Beat. Fletcher looks at him. Is he upset? Dismayed?

FLETCHER:

Bravo.

(as he starts to head back

toward his desk--)

Too many students clamp down on their

“pursuits” like leeches.

(sits atop his desk)

Hobbies they picked up in their teens,

and for what? Take a seat.

ANDREW:

(starts heading to a couch)

Uh... Yeah.. I mean, I -(

passes by a “1st Place Prize”

plaque on a coffee-table)

-- I was a little younger than my teens

when I started drums, but--

FLETCHER:

What were you then? Twelve?

ANDREW:

Six.

FLETCHER:

Oh. Well, kids start swimming when they’re

six, doesn’t mean they’re Michael Phelps.

It’s a hobby, never anything you consider

going all the way with. Am I right?

ANDREW:

Definitely. I mean -- well -- for a time,

I thought I’d go all the way -- but, yeah-

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14

FLETCHER:

Well, kids want anything. I wanted to be

a nanny. Thank God those I trusted talked

me out of it. Good to listen to advice.

ANDREW:

Yes, I’ve done that, you’re right, it’s-

FLETCHER:

--good to get outside perspectives. So

long as they don’t have ulterior motives,

I’d listen to what the people you trust

tell you.

Andrew nods. But that phrase seems to echo. Ulterior motives...

Fletcher hops down from the desk and makes his way to the

couch.

FLETCHER (CONT’D)

So what’s the passion you’ve chosen to

pursue at Columbia, then?

ANDREW:

(as Fletcher takes a seat next to

him)

Oh... Well... I’m not...not really sure.

It’s not a specific thing I have in mind.

FLETCHER:

Ah. Well that’s ok. You’re young. Most

people, it takes years for them to find

their calling. My father, for instance --

he had no idea what he wanted at your age.

He tried a lot of things, a little bit of

this, a little bit of that. Took him years

before he realized his dream was

insurance. That was his passion. The

cubicle, the coffee breaks, the dry wall.

He lets this simmer for a beat. Then-

FLETCHER (CONT’D)

I’m sure you’ll find your calling as well.

He rises back up. A moment of silence.

FLETCHER (CONT’D)

I guess that’s it, then. Any questions?

He notices Andrew looking at a photo on the wall.

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15

FLETCHER (CONT’D)

That’s Sean Casey. Graduated three years

ago. Now he’s first trumpet at Lincoln

Center.

(heading toward the door--)

He came a long way.

ANDREW:

(trying to collect his thoughts

as he rises)

...So -- are you -- still looking for

Studio Band players then...?

FLETCHER:

(turning around to face Andrew)

Some, yes. But it’s no cakewalk. Most kids

here can’t last. Laszlo Polgar, Hungarian

psychologist, declares in 1967 that talent

is all about conditioning. Says he can make

his kids, whoever they are, the best in the

world at something. What that something is

he’ll decide. He’s a lousy chess player but

he picks chess because it’s objective. Goes

around looking for a wife, finds one who

agrees to his experiment. Starts having

kids:
Susan, Sofia and Judit. Gets them

practicing before they can even talk. These

weren’t kids who were sitting and smelling

the roses. These were kids who were going

to leave an actual mark on the world. Who

was the top female player by 1984? Susan.

Who played the eight-straight-wins “Miracle

of Rome” in 1989? Sofia. And who is

universally considered the greatest female

chess player of all time? Judit.

He takes a breath. Smiles. We linger for a second on Andrew,

standing in place, taking it all in. Andrew’s eyes quickly

drift to the photos behind Fletcher -- the images on the

walls... The Studio Band with Wynton Marsalis. Fletcher at the

JVC Jazz Festival. One jazz luminary after another...

FLETCHER (CONT’D)

Which is why I’m sure you’ll be great at

whatever you set your mind to at Columbia.

(puts his arm around Andrew, starts

escorting him toward the door--)

It was a pleasure chatting, Andrew, now-

ANDREW:

I just -- one thing first -- I mean -- I’m

not entirely sure I’m transferring yet...

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16

FLETCHER:

Well that’s worrisome. I’m sure you had

good reason to make your decision.

ANDREW:

I -- just might give it some more time-

FLETCHER:

No need to do that. First instincts are best.

ANDREW:

My first instinct...is not to transfer...

FLETCHER:

I’m not sure your first instinct is

right, then. Why don’t you give it some

more thought, and in the meantime...

(reaches the door; about to close--)

...make sure your double-time swing is

ready by Monday’s Nassau Band.

He closes the door. WE LINGER on Andrew. A spark has been lit.

INT. GEHRING HALL - NASSAU BAND ROOM - NIGHT 16

Andrew plays the drums with Nassau Band. Keeps missing hits.

The song’s SECOND NASSAU BAND REHEARSAL CHART (ANDREW).

MR. KRAMER

Alright, that’s... That’s enough of that.

Back to just the core, please.

MUSICIANS trade places. As Ryan trades with Andrew, he turns--

RYAN:

Dude -- what’ve you been practicing?

Just then, the DOOR SWINGS OPEN -- and in steps FLETCHER. All

eyes go to him. All talking ceases. Absolute silence, save for

Fletcher’s footsteps. Andrew waits. Heart pounding...

Fletcher arrives at the head of the band -- as Kramer silently

and meekly retreats. Fletcher props up the music stand to his

height, looks down at the sheet music, runs his finger down it

to find the spot he wants... Andrew, like all the other

players, is dead-still, eyes glued on Fletcher’s every move...

Fletcher looks up, surveys the band with his eyes. Then, raising

his hand--

FLETCHER:

Down the line.

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17

Instruments SNAP upward with military precision. No one wants

to miss a beat.

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