Whiplash Page #4

FLETCHER (CONT’D)

Trumpets. Bars 36 to 38. One-two--

The TRUMPETER on the right starts playing. Five notes before

Fletcher cuts him off with the slightest flick of his hand.

FLETCHER (CONT’D)

Next. One-two-(

the SECOND TRUMPETER misses

his cue)

Next. One-two--

Nothing. Fletcher looks up. There are no more trumpeters. He

looks over at Kramer: “Are you serious?”

FLETCHER (CONT’D)

Trombone. Bars 21 to 23. Four-and-(

TROMBONIST is scrambling to

find the right page)

Saxes. 48 to 50. “And” of one. And-one-(

ALTO SAX gets through one bar)

Next-

Before he even counts off, he notices the TENOR SAX’s

fingering -- all he needs to know.

FLETCHER (CONT’D)

Drums.

We get a split-second glimpse of the TENOR SAXOPHONIST,

wondering what just happened -- before we CUT to the drums,

Ryan at the ready.

FLETCHER (CONT’D)

Double-time swing.

Ryan takes a breath. Fletcher CLAPS him off. Ryan plays.

FLETCHER (CONT’D)

Thank you. You. Behind.

Palms sweaty, Andrew takes Ryan’s place. Trains his eyes on

Fletcher’s hands. Deep breath. Fletcher CLAPS, and Andrew begins

-- trying to get the motion right, trying to stay in time-

FLETCHER (CONT’D)

Thank you. Bass. Five bars of “Donna

Lee”.

We STAY ON Andrew as the BASSIST plays; Andrew slides off the

drums and back to his regular seat.

Pink (9/10/2013)

FLETCHER (O.S.) (CONT’D)

(to Bassist)

Thank you.

We CUT back to Fletcher. He looks over the band once more. We

see the MUSICIANS’ faces -- scared, but hopeful. Then--

FLETCHER (CONT’D)

Drums. Come with me.

Ryan’s heart starts speeding. His excitement visible, he--

FLETCHER (CONT’D)

Other drums.

Ryan freezes. Andrew is stuck in place for a moment. Then,

eyes wide --is this really happening? -- he rises and

approaches the doorway... There, Fletcher hands him an ORANGE

PAPER SLIP.

FLETCHER (CONT’D)

Give this to Admin for rescheduling. We

meet 6am to 1pm every day. Room B16.

And with that, he EXITS.

In a daze, Andrew drifts back toward the band. Kramer looks at

him. Andrew answers the look with a defiant smile. Vindicated.

MR. KRAMER

Ok fellas, let’s...let’s take it back from

the top..

He claps off. The band plays SECOND NASSAU BAND REHEARSAL CHART

(RYAN). Andrew pretends not to notice Ryan’s eyeing him in

shock. Just sits down, lets it all settle.

And -- ever so slowly -- Andrew’s face dissolves into a GRIN...

INT. PIZZERIA - NIGHT 17

NICOLE:

This is a nice place.

We’re at a cheap pizzeria now. Nicole is seated, two half-

eaten slices of pepperoni in front of her. An old jazz track

is playing --PIZZERIA CHART.

Seated across from Nicole is Andrew -- echoes of the earlier

grin still on his face, a brightness in his eyes.

ANDREW:

Yeah, I come here a lot.

Pink (9/10/2013)

Beat. Then -- clicking back to reality --this is not a nice

place, did I f*** up? --

ANDREW (CONT’D)

They have good music, so I -- it’s not

just the food...

(points, re:
the tune)

This is Jackie Hill, “When I Wake”, July

17th, 1938, Bob Ellis on drums.

NICOLE:

Are you trying to impress me?

ANDREW:

No -- sorry -- I didn’t mean -- they have

like -- ten songs they loop through.

They’re always playing the same thing.

NICOLE:

And you know the dates to all ten?

ANDREW:

...Yeah.

Nicole smiles. A moment. Andrew fidgets. Nervous.

NICOLE:

You know every time I saw you in the

theater you always had your eyes pointed

to the floor.

ANDREW:

Really?

NICOLE:

Like you were fascinated by the soda

stains on the carpet.

ANDREW:

My dad tells me I have a problem making

eye contact.

NICOLE:

My parents like to criticize me too. When

I was growing up my mom told me my chin

was too big and that that’s why guys

wouldn’t like me. ‘Cause my dad had

cursed me with a big chin.

ANDREW:

What?

Pink (9/10/2013)

NICOLE:

Yeah, it’s -- look --

(she turns, points her chin up)

It’s Jay Leno.

Andrew laughs. Nicole looks prettier to him than ever.

NICOLE (CONT’D)

She keeps asking me if I have a boyfriend

yet, and then blames it on the chin.

ANDREW:

She sounds insane.

NICOLE:

She wanted to be an actress when she was

my age.

ANDREW:

And you? What do you do?

NICOLE:

Other than serving you popcorn?

ANDREW:

What do you want to do with your life?

NICOLE:

(thinks; wasn’t prepared for

a question that direct)

I go to Fordham... I’m not sure...

ANDREW:

What’s your major?

NICOLE:

I don’t have one yet.

ANDREW:

Well what did you come here to study?

NICOLE:

I just came here for a general education.

ANDREW:

Right, but you picked Fordham for a

reason. Why Fordham?

Pink (9/10/2013)

NICOLE:

I applied to a bunch of schools, Fordham

let me in. Why’d you pick Shaffer?

ANDREW:

It’s the best music school in the country.

Beat. Nicole shrugs.

NICOLE:

Well Fordham was Fordham.

A moment.

NICOLE (CONT’D)

I don’t love it there to be honest...

ANDREW:

No?

NICOLE:

I mean -- the people there... I don’t

think they like me. I’m from Arizona and --

I don’t know, I think they see it in me.

A beat. Andrew thinks about this, then-

ANDREW:

I don’t like the people at Shaffer

either. But I think it just takes time...

Things change, you know.

NICOLE:

I know.

(then, opening up more than

she expected, more fragility

in her voice now)

I feel homesick sometimes. You know? I

hate how people in college pretend they

never feel homesick. Or maybe I’m

literally the only one, but... I don’t

think so.

A moment of silence. She looks at Andrew. He looks at her.

ANDREW:

I know exactly how you feel.

(then, he smiles)

I still go to the movies with my dad.

Nicole nods. Smiles back. Andrew said it playfully, but she

can tell he also meant it to reach out to her.

Pink (9/10/2013)

22

She scoots her legs. Her knee happens to touch Andrew’s. He

notices. So does she. They look at each other.

NICOLE:

...I like this song.

ANDREW:

Yeah -- this part is great -- here -

Nicole smiles. Looks at Andrew. He looks back. Their knees

stay still, just barely touching.

And, on this moment, just as the song ends --

18

INT. DORMITORY - ANDREW’S ROOM - PRE-DAWN 18

Andrew’s in bed -- fast asleep. Seems stress-free for once --

his body totally relaxed, his mind deep in a dream. His arm

hits his night stand -- WAKING him up. His eyes open. He looks

at his alarm clock. It reads: 5:17.

ANDREW:

Shi-

18A

INT. DORMITORY - HALLWAY - MOMENTS LATER 18A

Andrew bursts out of his room and RACES down the hall.

19

EXT. DORMITORY - NEW YORK STREET - MOMENTS LATER 19

Andrew DASHES across the green. It’s still pitch black outside,

the city cold and menacing.

20

INT. GEHRING HALL - STAIRWELL - CONTINUOUS 20

Andrew busts inside, runs down the STAIRWELL -- and SLIPS.

Falls full-throttle down a whole flight, hands smacking

against the tile. Rises, sore, and keeps running.

20A

INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 20A

Andrew reaches ROOM B16 -- pushes open the doors-

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