MILLER'S GIRL
Written by
Jade Halley Bartlett
A cursor blinks on a blank computer screen. Text appears.
Adventures in Adversity.
The text is deleted and replaced.
Afflictions and Obstacles
The text is deleted and replaced.
I have nothing to say.
The words are deleted.
CU on clean, unpolished fingernails resting on the keyboard
of a laptop. We follow the fingers to the wrist, on which is
a series words written in faded ink, a grocery list of
vocabulary words: gormless, complaisant, obviate - The words
disappear into a sleeve.
CAIRO SWEET, 17 and plain in a dark hooded sweatshirt, sits
alone at a table in a huge, beautiful kitchen. It's dark, the
only lights coming from her computer screen, a dim bulb above
a massive chef's stove, and an expensive television hanging
on the wall, playing NOW, VOYAGER on mute.
She shuts the laptop and stares at the TV for a moment,
grainy black and white flickers casting shadows on her face.
Behind her, the sun is just starting to rise gray-pink in a
winter sky.
She unmutes the television just as Paul Henreid asks Bette
Davis if they should "just have a cigarette on it" in the
final scene of the film.
Bette Davis and Paul Henreid are reflected in Cairo's pupils.
TITLE CARD:
MILLER'S GIRL
EXT. BENSON AGRICULTURAL HIGH SCHOOL - PARKING LOT - MORNING
A gray Jeep Grand Cherokee sits in the vast parking lot,
exhaust smoking in the cold air.
Only three or four other cars are there - the early arriving
over-achievers and burn outs coming for last minute tutoring.
Cairo's face is reflected in the side mirror.
The reflection shifts to what she sees: a pair of stringy
teenagers walking toward the building.
2.
The girl says something that makes the boy laugh. He pulls
her close and kisses her as they walk.
INT. JONATHAN MILLER'S CLASSROOM - MORNING
Inspirational posters line the walls. A VANDERBILT UNIVERSITY
banner hangs above a dry erase board, on which is written MR.
MILLER - CREATIVE WRITING in beautiful, cursive handwriting.
Beneath that, a list of authors - Nabakov, Twain, Chbosky,
Sedaris.
Cairo sits at a desk in an entirely empty classroom, reading
her library copy of FINNEGANS WAKE. A venti Starbucks cup and
a small stack of books sit next to her on the desk.
JONATHAN MILLER, a tall, slim man in his 30s, enters carrying
a stack of freshly printed pages. He is surprised to find a
student in his classroom so early.
JONATHAN
Good morning.
CAIRO
Morning.
JONATHAN
Class doesn't start for another
hour.
CAIRO
Yes, I know.
She absently blows on the lip of her coffee but doesn't drink
it.
JONATHAN
What've you got there?
CAIRO
Joyce.
JONATHAN
Awfully big man for such a small
cup.
CAIRO
Shocking what you can fit in a
venti.
He smiles.
CAIRO (CONT'D)
It's a triple espresso.
3.
JONATHAN
Intense.
CAIRO
I'm not a morning person.
JONATHAN
Based on your arrival time I'd have
guessed otherwise. Do you live far?
CAIRO
No, just down the road in Lovell
Hills.
JONATHAN
Wow, nice.
CAIRO
My parents are lawyers. Perks of
the trade, I guess.
JONATHAN
What kind?
CAIRO
The expensive kind.
JONATHAN
Do you want to be a lawyer?
CAIRO
About as much as I want to be a
high school student.
He considers her.
JONATHAN
What's your name?
CAIRO
Cairo Sweet.
JONATHAN
I'm Mr. Miller.
CAIRO
I know.
He hands her a sheet of paper.
JONATHAN
Well, Cairo Sweet, I assume you got
this before Christmas, have you had
a chance to look it over?
4.
CAIRO
Yeah, I've read them.
JONATHAN
I know it looks intimidating but
we'll move through these quick
enough.
CAIRO
I mean I read the books.
JONATHAN
You read these books?
CAIRO
Yes.
JONATHAN
There are twenty-eight books on
this list.
CAIRO
I party hard.
WINNIE BLACK enters. She is 17 and gorgeous, overtly trendy
and just one inch away from being inappropriately dressed.
She gives Jonathan a once over.
WINNIE
I like this whole sweater without a
shirt under it business. I like it
very much.
JONATHAN
(uncomfortable)
Uh, thanks Winnie. Nice...feathers.
WINNIE
Oh, you like? They're sewn into my
hair.
JONATHAN
Okay.
WINNIE
(to Cairo)
You're overdressed as usual, I see.
CAIRO
Your underwear as usual, I see.
Winnie leans over and takes a sip of Cairo's coffee.
5.
WINNIE
This tastes like diabetes.
CAIRO
I can see your uterus.
WINNIE
You like?
CAIRO
You wish.
Jonathan clears his throat. Winnie smiles and spreads her
legs wider for Cairo.
WINNIE
What's on the agenda today, Killer
Miller?
JONATHAN
Nothing that will interest you, I'm
sure.
WINNIE
Try me.
JONATHAN
We'll be discussing censorship in
the American education system and
it's effect on young writers.
WINNIE
Boring.
CAIRO
Important.
WINNIE
Please. Censorship is dead. It
can't exist with the accessibility
of today's technology.
JONATHAN
It's not just the banning of books,
Winnie. It's the banning of ideas.
And without ideas, what are we?
WINNIE
Pop musicians.
JONATHAN
You're not wrong. Do you know why?
6.
WINNIE
Yeah, do you?
CAIRO
Censorship distracts us from what's
important. If we don't have ideas,
then we won't have any idea what's
going on.
Winnie rolls her eyes.
JONATHAN
(impressed)
Yes. Precisely.
CAIRO
If we're taught something is wrong
at an early age, we develop a
conditioned aversion without being
aware until it's too late, and by
then we're likely too apathetic to
care. It narrows our perception.
Narrow perception is certain death
for writers.
JONATHAN
And censorship is certain death for
readers. Clever.
WINNIE
Boring.
Winnie sits on Cairo's desk and her stomach growls, loud. She
rubs her belly.
WINNIE (CONT'D)
(to her tummy)
What's that you say? You need a
chicken biscuit?
(it growls again)
And a coke?
(to Cairo)
You heard the boss. It's
chickybisky coke-y time. Let's go.
CAIRO
You know chicken biscuits are made
of chicken, right?
WINNIE
So?
CAIRO
So I thought you were vegan.
7.
WINNIE
Ugh, hard no. The only weight I
lost was in bone density.
CAIRO
It's not a diet.
WINNIE
Because it doesn't fucking work.
CAIRO
Okay. May we get you anything Mr.
Miller?
JONATHAN
No thanks, Cairo. Sweet of you to
ask, though.
WINNIE
Ah. I see what you did there.
Cairo and Winnie exit.
Jonathan takes a deep breath and smiles to himself.
JONATHAN
Okay. Good start, Jon. Good start.
He looks at the stack of books on Cairo's desk. Finnegans
Wake. The Paris Review. And UNDER THE ROOFS OF PARIS by Henry
Miller. This surprises him. He takes the book and opens it.
BORIS FILLMORE (30s) enters, wearing a MEMPHIS TIGERS hat. He
carries a pastry box and two coffees.
BORIS
Pretty advanced for seniors, don't
you think?
Jonathan shuts the book immediately.
JONATHAN
It's a student's.
BORIS
What's her name?
JONATHAN
How do you know it's a girl?
BORIS
Boys are too lazy to read porn.
8.
JONATHAN
It's not porn.
BORIS
Every other word in that book is
peen, poon, pee in the poon, pussy
play peen poon and also anal. Gimme
that.
He snatches the book from Jonathan.
BORIS (CONT'D)
(reciting)
"Marcelle wants me to fuck her. She
leaps onto the couch and pushes
herself between the girl and
me...there's something so
fascinatingly horrible about her
that I can't move-"
JONATHAN
Okay.
BORIS
(still reading)
"-I turn my back to get away from
her when I feel her bald cuntlet
touching the end of my dick-"
JONATHAN
OKAY.
BORIS
Tell me her name.
JONATHAN
Cairo.
BORIS
No way.
JONATHAN
No way what way?
BORIS
I had her last year. Didn't know
she was a dirty nerdy. Heyyyyo.
JONATHAN
She's not and we are not having
this conversation.
9.
BORIS
(resuming his recitation)
"Marcelle stretches her tiny split
fig, holds it open and pushes it
down against-"
Jonathan snatches the book back from Boris and returns it to
Cairo's desk.
JONATHAN
And that is quite enough of your
elocution.
BORIS
Split fig is fucking poetry.
JONATHAN
Henry Miller, regardless of your
opinion on what he writes, is a
literary icon. If she's as smart as
you say she is, then I'm certain
she's reading his work for more
erudite reasons than self-pleasure.
Is that coffee for me?
BORIS
And a muffin too, if you want.
Jonathan pulls a muffin from the pastry box. Boris goes
through Cairo's bag.
JONATHAN
These look great man-
(he looks up)
Are you going through her bag?
BORIS
(digging)
How many wonders can one cavern
hold?
Boris pulls out a university press paperback with DDC numbers
on the spine.
BORIS (CONT'D)
Well slap my butt and call me
Gramma - Apostrophes and
Ampersands, six gruellingly pompous
short stories by Jon Albert Miller.
JONATHAN
(surprised)
My book? She has my book?
10.
BORIS
No one else could come up with a
title like that.
(he looks at the library
card in the back)
And she's the only one who's ever
checked it out. How sweet.
Jonathan takes this book from Boris as well.
JONATHAN
Don't you have a class to teach?
BORIS
I've got an assignment up on the
board.
JONATHAN
That doesn't count.
Jonathan stares at the cover a moment and replaces the book
in Cairo's bag. Boris finishes his coffee and free throws it
into the trash.
BORIS
I guess I can go pop in a movie for
them.
JONATHAN
Start the year off with a bang?
BORIS
We can't all be Mr. Chips. Later
Brofessor.
As Boris exits, Cairo bumps into him.
CAIRO
Oh, excuse me Coach Fillmore. Good
morning.
BORIS
Good morning Cairo.
As Boris exits, he turns around and mouths "split fig" behind
Cairo's back.
CAIRO
Forgot my wallet.
11.
INT. JONATHAN'S HOUSE - DINING ROOM - THAT EVENING
Jonathan sits at a table with his wife BEATRICE, (30s, rapier
wit, minimal empathy). She is typing furiously on her laptop
and cross referencing on her iPad. Chinese food cartons
separate them.
JONATHAN
Perhaps we could schedule a more
convenient time for conversation.
She looks up and shuts her laptop.
BEATRICE
Sorry, I've been back and forth all
day with the Nashville office, who
can't seem to articulate what they
want to my useless agent and think
they can somehow articulate it to
me, which is pretty ambitious
considering they think articulate
is a Danish cheese. So I'm gonna
start scooping my fucking teeth out
with a baby spoon as that seems the
most reasonable exercise to deal
with this day's lunacy. How are
you?
JONATHAN
Jesus, babe. You need a massage.
BEATRICE
I need a lobotomy.
(trying)
So, first day of the semester,
yeah? You like the new class?
JONATHAN
One of my first period kids is
really bright. She's reading
Finnegans Wake on her own, can you
believe that?
BEATRICE
Oh yeah?
JONATHAN
And guess what else?
BEATRICE
Infinite Jest.
JONATHAN
Probably. But no.
12.
BEATRICE
What.
JONATHAN
Apostrophes and Ampersands by yours
truly. Pretty cool, right?
BEATRICE
And obscure. I wonder where she
found it.
JONATHAN
She checked it out of the library.
BEATRICE
They carry your book at the
library? That's so sweet.
Her phone rings. She looks at it in dismay.
BEATRICE (CONT'D)
Hark. A confederacy of dunces.
He kisses her head and stands. The conversation is over.
JONATHAN
Deep breaths. Happy place.
BEATRICE
My happy place has all of their
heads impaled on giant Montblanc
pens.
She answers the phone.
BEATRICE (CONT'D)
Hello, Amy. What is it now?
INT. JONATHAN'S HOUSE - HALLWAY - EVENING
We follow Jon through the hallway of his little house toward
the kitchen. It's an older home with wallpaper so outdated
it's almost chic now. A little messy. Books crammed into
every available space.
He stops at a bookshelf in the hallway and pulls down a well
worn copy of Apostrophes and Ampersands. He opens it to the
inside cover, where a dedication reads:
"BeatriceJuneHarker -
13.
For you. Every last word.
Yours Ever, Jonathan Albert Miller."
He flips through the pages - some have been highlighted,
notes have been written in the margins in a thick, strong
handwriting. He reads through as he walks.
INT. JONATHAN'S HOUSE - KITCHEN - EVENING
Jonathan enters the small kitchen and goes to the fridge for
a beer, still reading.
BEATRICE (O.S.)
Can you get me a drink while you're
in there?
He sets the book on the counter and rinses out a lowball
glass. He pours a couple of fingers of Maker's Mark.
Beatrice stands in the doorway.
He holds the partially filled glass out to her. She types on
her phone without looking up.
BEATRICE (CONT'D)
You forgot the liquor.
JONATHAN
Liquor? You brought her.
He pours a bigger glass. She smiles.
JONATHAN (CONT'D)
Have you read Under the Roofs of
Paris?
BEATRICE
Henry Miller, yeah? The one where
he wipes come off a prostitute with
a dollar?
JONATHAN
(reciting from memory)
I take the first bill I find in my
pockets, wipe my cock on it, and
lay it crumpled on her bare belly
weighted with a coin.
14.
BEATRICE
Right, that one. I like that one.
He hands her the filled glass and kisses her neck.
JONATHAN
You want to reenact?
He runs his hands up her arms.
JONATHAN (CONT'D)
I can papier-mâché you with come
and money.
BEATRICE
(laughing)
Gross.
JONATHAN
We can crack you open like a pinata
after you dry.
He unbuttons her blouse.
BEATRICE
It's like the fun never ends.
JONATHAN
What if I do it while you work? You
won't even know I'm here.
BEATRICE
What if you do the dishes instead?
JONATHAN
Kitchen chores? What do you take me
for?
BEATRICE
Arts and Crafts specialist?
JONATHAN
The Kandinsky of Come. The Brecht
of the Boom Boom.
BEATRICE
Appalling.
He kisses her chest and face.
JONATHAN
After you make best-seller we can
have fleets of children who will do
all the chores.
15.
BEATRICE
If I make best-seller, I'll pay the
chores to do themselves.
(her phone rings)
Oh for fuck's sake.
It rings again. Jonathan sighs into her neck.
BEATRICE (CONT'D)
(answering, irritated)
What is it, Amy.
She walks back to the dining room, drink in hand. She leaves
her blouse unbuttoned. Jonathan adjusts himself in his
trousers.
EXT. BENSON AGRICULTURAL HIGH SCHOOL - A WEEK LATER - MORNING
The sun is rising. Jonathan sits on the side of a brick
building, smoking a cigarette. Boris sits down next to him
with two coffees and a pastry box.
BORIS
Shit, it's cold.
JONATHAN
Worth it for the sunrise. Best part
of my morning.
BORIS
Winnie Black's the best part of
mine. I like to play drinking games
with her outfits. Cooter shot?
Drink. Nipple slip? Drink. It's a
wonder I can make it through my
day.
JONATHAN
Without getting arrested?
BORIS
Without getting blasted. But I
guess that too.
Jonathan is not amused.
JONATHAN
Why do you always have to hold my
coffee hostage?
16.
BORIS
Because you're a fucking puritan
and I feel it's my duty to punish
the goodness out of you.
JONATHAN
You're a sadist.
BORIS
I'm a public school teacher.
Jonathan stares at the sunrise.
JONATHAN
Look at that. How beautiful is
that?
BORIS
You gonna sing about it?
JONATHAN
I'm going to bask in it.
BORIS
Gay.
JONATHAN
You're the one who made it a
picnic.
BORIS
No homo.
JONATHAN
Your applications of demotic
language are endlessly inspiring.
Cairo walks past wearing headphones. Jonathan waves.
JONATHAN (CONT'D)
Hey Cairo.
She doesn't hear him. Boris tosses a balled up pastry wrapper
at her.
BORIS
YO, CAIRO.
She picks up the ball and throws it back.
CAIRO
Is that how a gentleman says good
morning?
17.
BORIS
When you're older you'll see how
real men say good morning.
Jonathan is mortified.
JONATHAN
What are you listening to? Little
Wayne? No Direction?
CAIRO
(embarrassed)
Oh, uh. Celine Dion?
JONATHAN
No way, for real?
CAIRO
For real.
BORIS
(horrified)
But...why?
CAIRO
Why not?
JONATHAN
Ignore him. He wept openly, aloud,
to the Titanic theme song at our
senior prom.
CAIRO
Me too! Not at your prom,
obviously.
BORIS
(to Jon)
Do vows of secrecy mean nothing to
you? To the grave, man!
CAIRO
No judgement. It's devastating.
BORIS
I didn't cry.
JONATHAN
You were disconsolate.
BORIS
(butt-hurt)
Traitor.
18.
JONATHAN
Hypocrite.
BORIS
(to Cairo)
You want a muffin?
CAIRO
A what?
BORIS
Did I stutter?
He holds out a muffin for her. She takes it.
CAIRO
Okay. Thank you.
She takes a bite. It's buttery and sticky - the crumbs stick
to her lips and she uses her fingers to wipe them away.
CAIRO (CONT'D)
Whoa, this is crazy good.
BORIS
I know, right?
CAIRO
You made these?
BORIS
Yeah, but don't tell.
CAIRO
Why not?
BORIS
You know.
CAIRO
...I don't.
BORIS
You'll figure it out.
CAIRO
I won't.
JONATHAN
Can't have the baseball team
knowing he bakes muffins and cries
to Celine Dion.
19.
BORIS
(to Cairo)
Well. Fuck me, right?
(to Jon)
You're an asshole.
JONATHAN
Love you.
BORIS
This isn't love, you monster.
JONATHAN
(singing)
LOVE WAS WHEN I LOVED YOU...ONE
TRUE TIME I HOLD TO...IN MY LIFE
WE'LL ALWAYS GO ON...
Boris flips him a double bird as he walks away.
CAIRO
Y'all are sweet.
JONATHAN
Something like that.
(beat)
You're gonna be late for my class.
CAIRO
So are you.
Jonathan finishes his cigarette.
JONATHAN
Come by after school today if you
can.
CAIRO
Am I in trouble?
JONATHAN
I'd like to talk about your work.
INT. BENSON AGRICULTURAL HIGH SCHOOL - HALLWAY - MOMENTS
LATER
Boris walks down an almost empty hall, checking his phone,
humming the Titanic theme song to himself. He walks right
past Winnie Black, standing at her open locker - it looks
like a Lisa Frank installation.
20.
WINNIE
Excuse me, you can't even say
hello? I dressed up just for you.
He turns around, eyeing her.
BORIS
Winnie Black. If only that were
true and legal.
WINNIE
How's it going?
He walks up to her.
BORIS
What do you want?
WINNIE
Who says I want anything?
BORIS
You're the hungry type.
WINNIE
You think you've got me figured
out, huh?
BORIS
Not even close.
WINNIE
You're awfully close now.
Boris backs away from her.
BORIS
Tricky. Very tricky.
WINNIE
I was wondering if I could get back
into your physics class.
BORIS
Oh? What for?
WINNIE
I've got a boner for Bohr.
Heisenberg gets me hard.
BORIS
It would be a lot to catch up on,
Black. You'll be two tests behind
and only four away from midterms.
21.
WINNIE
Do you tutor?
BORIS
You don't need tutoring.
WINNIE
How do you know?
BORIS
Because I know you're smarter than
advertised.
WINNIE
Flattery gets you everywhere,
Boris.
BORIS
I don't recall giving you
permission to use my first name.
WINNIE
And I don't recall giving you
permission to check out my tits,
but I won't stop you.
EXT. BENSON AGRICULTURAL HIGH SCHOOL - ANOTHER HALLWAY -
MORNING
Cairo tries to enter the building from an outside corridor,
but two teenagers are blocking the door, making out. She
again tries to open the door, but they won't budge. She
knocks on the window. The girl pulls out of the kiss and
looks at Cairo through the glass. Cairo gestures to the door,
and the girl looks right through her before she goes back to
kissing the boy. Cairo is irritated but not surprised. This
is Benson Agricultural High School. She goes back the way she
came, passing other students carrying backpacks and coffees
and iPhones. Nobody notices her or waves to her. She is
singular and nondescript.
INT. BENSON AGRICULTURAL HIGH SCHOOL - HALLWAY - MORNING
Cairo enters through a different door and watches Winnie and
Boris for a minute before she joins them. They could be any
teacher talking to any student. Nothing unusual.
Boris walks away from a smiling Winnie. She turns and sees
Cairo and waves.
22.
INT. BENSON AGRICULTURAL HIGH SCHOOL - HALLWAY - MORNING
Cairo and Winnie walk together. More students and teachers
are starting to crowd the halls.
CAIRO
What was that?
WINNIE
I'm seducing Coach Fillmore.
CAIRO
Why?
WINNIE
Because I can.
A group of baseball players walks toward them in the opposite
direction. One of the guys whistles at Winnie.
JOCK
What's your going rate, baby girl?
Been saving up my lunch money.
WINNIE
(not missing a beat)
Finish growing out your vagina and
then we can talk.
The other jocks laugh at Winnie's retort and continue on
their way. Cairo barely notices. This is old hat to her.
CAIRO
Coach Fillmore though? He's a
fucking primate.
Winnie gestures to the student body around them.
WINNIE
These are primates.
CAIRO
You're a lesbian.
WINNIE
I'm an opportunist. You jealous?
CAIRO
If I say yes, will you lay off him?
WINNIE
If I say yes, will you lay on me?
23.
INT. JONATHAN MILLER'S CLASSROOM - END OF THE SCHOOL DAY -
AFTERNOON
Jonathan is attempting to grade papers while simultaneously
having a conversation with Boris, who sits on Cairo's desk,
eating a power bar.
BORIS
This tastes like chalk, why do
people eat this shit?
He tosses the rest of the bar out the open window. From below
we hear student yell "the fuck?"
BORIS (CONT'D)
How's the book coming?
JONATHAN
Not fast enough.
BORIS
Trouble in paradise?
JONATHAN
No. Yes. No.
BORIS
Is she putting out?
JONATHAN
Wow.
BORIS
Knew it.
JONATHAN
She's busy.
BORIS
Too busy to get busy? Step it up,
brah.
JONATHAN
I'm not going to guilt my wife into
sleeping with me.
BORIS
Why not?
JONATHAN
Who wants guilt sex?
24.
BORIS
Guilt sex, make up sex, balloon
animal sex...
JONATHAN
This is why you're single. You know
that, right?
BORIS
I'm not single, I'm available. And
late to practice. What time is
dinner?
JONATHAN
Six. Please take a shower first.
BORIS
What, you worried Bea's gonna wanna
get with this?
(he stands and rubs his
body)
With this luscious sweaty man-meat?
JONATHAN
It is actually my worst nightmare.
Boris begins to Roger Rabbit out of the room.
BORIS
You better watch yo'self. I got
moves. I got skills.
JONATHAN
You've got brain damage.
BORIS
(singing as he backs out
of the room)
Iiiiiiiiif you want my body AND you
think it's sexy come on darling let
me know-
Once alone, Jonathan sings along to himself and resumes
grading papers. He dances a little in his seat.
Cairo stands in the doorway watching him. He looks up and
sees her, and immediately stops mid-lyric.
JONATHAN
Hey.
She tries not to laugh. He tries to be cool.
25.
JONATHAN (CONT'D)
Hi. Hello. Well that's
embarrassing, isn't it?
CAIRO
I won't tell.
JONATHAN
That's generous. Thanks for coming
by, I hope I'm not keeping you from
anything.
CAIRO
Nah, I'm just waiting for Winnie.
JONATHAN
Seems like you're always waiting
for Winnie.
CAIRO
Sounds like an album title. Waiting
for Winnie by the Gin Blossoms.
JONATHAN
Gin Blossoms. How old are you
again?
CAIRO
In my body or in my brain?
JONATHAN
What's she doing?
CAIRO
She's with Mrs. Rodgers getting her
portfolio together. She's applying
for Vandy, you'll be pleased to
know.
JONATHAN
Have you considered Vanderbilt?
CAIRO
God no. Tennessee is a fucking tar
pit. No offense.
JONATHAN
I think you'll come to appreciate
it when you're older.
CAIRO
Maybe. From afar. As it burns. Like
Nero.
26.
JONATHAN
And where do you intend to go?
CAIRO
Stanford, naturally.
JONATHAN
Naturally.
Jonathan opens a folder on his desk and pulls out a sheet of
paper.
JONATHAN (CONT'D)
I want to talk to you about this
week's assignment.
CAIRO
Okay.
JONATHAN
I asked for a first person short
story from an opposing social
perspective. Your peers wrote
varying articles about high school
social hierarchies - some attempted
a comment on classism, Ms. Black
delivered a scathing satire on
popularity - and you wrote about a
reluctant spider.
He begins to read from aloud from the page. The text appears
over the images we see.
EXT. CAIRO'S SHORT STORY - FANTASY
CU on a sturdy black garden spider spinning a web in a white
window sill.
JONATHAN (V.O.)
"Survival and desire amalgamated
and turned an aphotic eye inward.
ECU on her black legs against the silk. A shadow falls over
her and she begins to spin upwards on a single strand.
A hand perfectly manicured in dark purple nail polish plucks
the strand from the web, the spider floating beneath it.
JONATHAN (V.O.)
I saw my expectations dismantled
and dismembered by those harsh and
starving dogs of reality-
She begins to spin upwards toward the hand that holds her.
27.
JONATHAN
- the truths that sit in the
vacuity of space like a
hypergiantstar, burning to ash all
elements too weak to withstand the
awesome heat.
She makes it to the flesh of the hand. She crawls over the
top, over the fingers and around. She cannot find a way off.
The hand turns upward and she is cradled in the palm. She
stops moving and the fingers close around her.
The hand turns downward and opens and the spider falls.
JONATHAN (CONT'D)
We are what we are.
She tumbles down - down into what a appears to be a
primordial forest.
She falls into the mouth of a venus fly trap.
JONATHAN (CONT'D)
And all creatures must eat."
We pull out far enough to see the arm and torso belonging to
the hand, which now rests on a white windowsill, on which
also is a small terrarium full of carnivorous plants.
INT. JONATHAN MILLER'S CLASSROOM - AFTERNOON
He puts the pages down and looks at her.
CAIRO
She's not reluctant, she's
resigned.
JONATHAN
To her death?
CAIRO
To the order of things. She eats
and also waits to be eaten.
JONATHAN
Is she you?
CAIRO
I suppose all fiction is just
cloaked confession, isn't it?
28.
JONATHAN
And what does your spider confess?
CAIRO
The weak are made to be devoured by
the strong.
JONATHAN
That's dark.
CAIRO
That's nature.
JONATHAN
Could I keep a copy of this?
CAIRO
Why?
JONATHAN
Because it's gorgeous and I want my
wife to read it. I'm hoping she'll
write you a letter of
recommendation.
CAIRO
Why not you?
JONATHAN
An author's endorsement will carry
more weight than your teacher's.
CAIRO
Maybe to the school.
JONATHAN
You'll be a superstar in college.
God, you can post-grad anywhere you
want.
CAIRO
Like Iowa?
JONATHAN
Without doubt.
CAIRO
I was joking.
JONATHAN
I wasn't.
You shine. And you're just gonna
get brighter.
29.
CAIRO
That's what I thought about high
school.
JONATHAN
What do you mean? You're gonna be
valedictorian.
CAIRO
That's just following a formula.
Show up, make good grades. It
doesn't have anything to do with
being remarkable. You're the first
person in four years to notice me.
JONATHAN
You'll see. Once you're away from
the troglodytes of track and field,
you'll find those more discerning
individuals of taste.
CAIRO
Once I get into Stanford where they
can appreciate the egregious abuse
of my sublime vernacular?
JONATHAN
It's better to have fat to trim
than not enough to cook.
CAIRO
You learn that at Vanderbilt?
JONATHAN
Missisissy.
CAIRO
What?
JONATHAN
My Aunt Sissy from Mississippi.
When I was a kid I thought my
parents were saying "we're going to
Missus Sissy", but they were saying
Mississippi. So I always called her
Missississy. She taught me that.
CAIRO
That's a good story. You should
tell that at parties.
30.
JONATHAN
I'm too boring for parties. I'm
more librarysnooper than
cabinetsnooper.
CAIRO
Because you define people by what
they read, you big snob.
JONATHAN
People are defined by what they
read, little snob.
CAIRO
I read your book.
JONATHAN
Oh.
It wasn't as well received as I'd
have hoped.
CAIRO
That surprises me.
JONATHAN
There's no accounting for taste, I
guess.
CAIRO
Not in Tennessee.
JONATHAN
Not in New York either.
CAIRO
You went to New York?
JONATHAN
Alas to no avail.
CAIRO
Was it fun?
JONATHAN
It was an education.
CAIRO
What did they say?
JONATHAN
"No."
31.
CAIRO
Well, brevity is the soul of wit.
If you find that sort of thing
funny.
He laughs.
JONATHAN
They found my work...overreaching.
Ambitious without direction, was
the official word.
CAIRO
They were wrong.
JONATHAN
That's kind of you to say.
CAIRO
I wouldn't say it if I didn't mean
it.
Beat.
JONATHAN
What did you make of it, truly?
CAIRO
I memorized it.
She looks into his face. CU on the wrinkles of skin around
his surprised smile. He looks at her beneath his lashes.
JONATHAN
You didn't.
Cairo laughs, awkward.
INT. CAIRO'S BATHROOM - NIGHT - FLASHBACK/FANTASY
Cairo sits in a clawfoot bathtub filled with pillows. She
wears tie-dyed pajama bottoms and an oversized, peeling
sweatshirt that says something like WORLD'S BEST GRANDPA.
She's reading the plastic sheathed library version of
APOSTROPHE'S & AMPERSANDS.
We look up at her from the page of the book. The text appears
on her face, as if projected there.
32.
CAIRO (V.O.)
"She was an electric white, noon-
shadow moon casting cold light like
water over the flat earth of my
face - don't look into the sun,
they say, but the moon - the moon -
I stared until I was nothing but a
bleached bone monument beneath her,
human ruins of a madman's love."
INT. JONATHAN MILLER'S CLASSROOM - AFTERNOON
CAIRO
I've read it countless times.
Impossible not to.
JONATHAN
Wow.
CAIRO
Is that weird? It's weird, isn't
it, I'm so sorry.
JONATHAN
Please don't be. I'm flattered.
It's the first story I ever had
published. It's my favorite.
Beat. Jon blushes a little.
CAIRO
There's something magic in the way
the words and ideas come to you
that very first time, unaccompanied
and audacious, beautiful in the
anarchy of it, like stars before
they come together in a
constellation - stop me if this is
moronic.
JONATHAN
No, no you're - I agree completely.
CAIRO
Chaos is the score upon which
reality is written.
JONATHAN
Henry Miller.
CAIRO
You like Miller?
33.
JONATHAN
I do.
CAIRO
That's what your work feels like to
me. There's a slow violence to it,
a creeping-upon that is so
unexpected and...luxurious.
JONATHAN
Where were you when I was in high
school?
CAIRO
What were you, like class of `89?
JONATHAN
NINETY-NINE, thank you very much.
God, you weren't even born.
CAIRO
Wish I was. The nineties were tops.
JONATHAN
You're not wrong about that.
CAIRO
I'm not wrong about many things.
A moment passes between them - a silent thing that smiles and
knows without question or answer.
CAIRO (CONT'D)
Is there more I could read? Short
stories, poems, anything.
JONATHAN
I wish I had something to offer
you. I haven't written in a long
time.
CAIRO
Why?
JONATHAN
I don't know.
I got married. I started teaching.
I didn't have anything else to say.
CAIRO
Maybe you will.
He smiles.
34.
JONATHAN
Maybe.
Hey. How'd you like the scoop on
the midterm?
CAIRO
Sneaky. I'd like it very much.
JONATHAN
I'm going to have you write a short
story in the style of your favorite
author. I think it should be the
highlight of your portfolio
submission for Stanford.
CAIRO
Yes. That's genius.
JONATHAN
Yeah?
Winnie enters the room, dramatically dropping her bags on the
floor. She's got a thick painter's portfolio under her arm,
stuffed with loose canvasses.
WINNIE
She wants me to have fifteen new
pieces in OIL. Fifteen. Do I look
like a fucking Time Lord to you?
No. I don't.
My shift starts in like an hour and
a half and mama needs some snickity
snackities, let's roll. Hey JMill.
JONATHAN
JMill? Is that my rap name?
WINNIE
Obvi. You're so fucking gangster.
JONATHAN
I'm skrate hood shawty.
WINNIE
Nope. Don't do that.
She motions for Cairo to join her.
CAIRO
Bye, Mr. Miller. I'll see you
tomorrow.
35.
JONATHAN
Bye Cairo. Bye Winnie!
Holleratchaboy.
The girls grab their stuff and leave. Jonathan tries to
continue grading his papers, but is distracted. He smiles to
himself.
INT. CAIRO'S CAR - AFTERNOON
HEARTBEATS by THE KNIFE
Cairo's car is filled with crumpled paper, used books, and
candy wrappers.
Winnie sits cross-legged in the passenger seat, paintbrushes
and more food wrappers beneath her.
Almost every available space of the interior - the ceiling,
the doors, the console - is covered in art and language - an
ever evolving art piece by Cairo and Winnie.
We watch their town pass outside the car. Rural, beautiful,
overgrown. Yards with chickens, cotton and soy fields.
EXT. GAS STATION - AFTERNOON
Cairo's car pulls into a small country gas station.
INT. CAIRO'S CAR - AFTERNOON
Cairo leaves the car running.
WINNIE
You want anything?
CAIRO
A pack of cigarettes. Marlboros.
WINNIE
Okay, do you want anything for
real?
CAIRO
That's what I want.
WINNIE
Cigarettes.
CAIRO
Yeah.
36.
WINNIE
Cigarettes.
CAIRO
...Cigarettes, Winnie.
WINNIE
Okay.
INT. GAS STATION - AFTERNOON
The Jock is behind the counter - not nearly as cool out of
uniform.
Winnie goes to the refrigerator and grabs a vanilla Coke,
then to the candy for a Zero bar and a bag of jerky.
She sits everything on the counter. Outside of school, Winnie
and the Jock are totally different to one another. Kinder.
WINNIE
Hey.
JOCK
Hey Winnie. You want anything else?
He starts ringing everything up.
WINNIE
Can I get a pack of Marlboros?
JOCK
You smoke?
WINNIE
I might.
JOCK
You're too pretty to smoke. My
mom's skin looks like a handbag.
WINNIE
It's for a project. I promise not
to inhale.
The jock grabs a pack of menthols and sets them on the
counter.
JOCK
Show me your id. Just for the
cameras.
She does. He checks it and smiles at her.
37.
JOCK (CONT'D)
Good picture. It'll be ten eighty.
She sets a ten and a five on the counter.
WINNIE
Keep the change. Buy yourself
something pretty.
JOCK
See you at school tomorrow?
WINNIE
Game on. See you then.
She leaves.
INT. CAIRO'S CAR - AFTERNOON
Cairo is doodling on her steering wheel with a silver
sharpie.
Winnie gets in and tosses the cigarettes in Cairo's lap and
opens her candy bar. CU as she sinks her teeth into the white
chocolate.
INT. CHAIN RESTAURANT - EVENING
Beatrice, Jonathan and Boris sit at a table in the back of a
family restaurant. An empty lowball glass sits in front of
Beatrice, and various beers in front of Boris and Jonathan,
who pick at chips in a basket.
Winnie, wearing a her own very tight version of what the
other waitresses are wearing, talks to the table.
BEATRICE
(annoyed)
This isn't a five star restaurant,
honey. What is the hold up?
Her attitude doesn't faze Winnie. She's a pro.
WINNIE
Some stupid fuck up in the kitchen
that was entirely preventable. Can
I get y'all anything else while you
wait?
BEATRICE
Another Makers.
38.
WINNIE
You got it. Coach?
BORIS
Corona, no lime. Working late on a
school night, aren't you?
WINNIE
Drinking late on a school night,
aren't you?
BORIS
You think sassing me will get you a
better tip?
WINNIE
It gets me a better grade.
BORIS
Touché.
WINNIE
Another for you Mr. Miller?
JONATHAN
I'm good, Winnie. Designated
driver.
WINNIE
See? Why can't you be a nice,
boring teacher like Mr. Miller?
JONATHAN
Boring?
BORIS
And let my students make their
grades on scholastic merit? Never.
JONATHAN
You think I'm boring?
WINNIE
You're so square I can count your
pixels. Don't ever change.
She goes back to the kitchen.
BEATRICE
I like her.
BORIS
Everybody does. Hipster Helen of
Troy.
39.
BEATRICE
She's in high school?
BORIS
Devastating.
JONATHAN
She's in my morning class.
BEATRICE
I'm impressed she's ever had to
make use of a brain with a body
like that. Goddamn.
BORIS
She's a 4.0 student.
BEATRICE
No shit, really? How wonderfully
unexpected. She writes, she reads
Joyce? Hell, I want to date her.
BORIS
No, you're talking about Cairo.
JONATHAN
The one who was reading
Miller...and Miller.
He laughs at his own joke.
BORIS
Winnie and Cairo are best friends.
Beauty and the Brain, I call them.
BEATRICE
You feel good about that one?
BORIS
Yeah, I thought it was pretty good.
It's funnier if you've met them.
I'm not a writer.
JONATHAN
They're nothing alike. Winnie is
trendy. Cairo is transformative.
BEATRICE
She's a teenager.
BORIS
He's prepping her to be his
transcendence into the annals of
academic glory.
40.
BEATRICE
What a lovely departure she must be
from the technology rotted jello
brains of modern youth.
JONATHAN
You have no idea. She reminds me
why I do this. Teaching someone as
bright as she is almost makes the
rest worth it.
BORIS
Makes what worth it?
JONATHAN
Teaching. Striving to make a
difference.
BORIS
Nah, that's a pipe dream, bro. Our
freedom as educators is restricted
to what seven or eight nine-hundred-
year-old-asscravats on a school
board decide fits their political
spank bank agenda.
BEATRICE
It's tough gettin' crushed under
the wheel of oppression, huh?
BORIS
Uh, yeah. It is.
JONATHAN
You are not oppressed.
BORIS
Name me one teacher other than
Michelle Pheiffer over here who
doesn't feel completely impotent.
JONATHAN
A teacher who is attempting to
teach without inspiring the pupil
with a desire to learn is hammering
on cold iron.
BEATRICE
Horace Mann?
JONATHAN
Ten points for Slytherin.
41.
BORIS
We can't discipline them and we
can't enlighten them. So we sit
around with our dicks in our hands
regurgitating under-funded,
outdated programs that do fuck-all
for nothing and no one. Icarus gets
the rock up the hill only to have
it crush his ass on the way back
down.
BEATRICE
Sisyphus.
BORIS
Bless you.
JONATHAN
You're only as helpless as you
allow yourself to be.
BORIS
Your idealism is so sweet, really
it is, Jon. But this is the public
school system. We don't grow
presidents and peacemakers. We grow
celebrities and domestic abusers.
You wanna make a difference? Grow a
fucking tree.
JONATHAN
I had no idea you had so
many...feelings.
BORIS
Just look at your paycheck,
Professor. That's the American
story right there.
BEATRICE
Bukowski couldn't have said that
better. I salute you.
BORIS
Who dat?
BEATRICE
A misanthrope.
BORIS
A whaddapope?
Beatrice rolls her eyes.
42.
JONATHAN
You wouldn't feel that way if you
had a Cairo. I know you wouldn't.
BORIS
You know?
JONATHAN
You have nothing to rise to,
nothing to earn.
BORIS
That's rich from the man who
stopped rising to earn nothing as a
high school teacher.
JONATHAN
Hey.
BORIS
Your dreams defeated you, man.
Don't talk to me about nothing to
earn, just get your ass down here
in the mud where it's warm. You let
those waxy wings get too hot and
they'll fall right off.
BEATRICE
That's Icarus.
BORIS
Do you have a cold?
BEATRICE
And not inaccurate.
JONATHAN
What is that supposed to mean?
BEATRICE
Well it's not like something bad
happened to you, you don't have
brain damage, we don't have kids.
You stopped writing because, I
imagine, it wasn't for you.
Otherwise you'd still be doing it.
JONATHAN
I'm...a writer.
BEATRICE
You haven't put pen to page since
we were in grad school. You're not
a writer.
43.
JONATHAN
Okay.
Beat.
BEATRICE
Have I hurt your feelings?
JONATHAN
No, I just - I didn't realize you
saw me that way, is all.
BEATRICE
What way?
JONATHAN
As one over the other.
BEATRICE
It's not that you can't write, it's
that you don't write - you chose to
be a teacher. Why would I see you
as anything else?
JONATHAN
Because you fell in love with a
writer.
She smiles at him.
BEATRICE
I did, didn't I?
She gets up goes off to find the restroom. Boris and Jon
share a look.
INT. CAIRO'S BEDROOM - LATER THAT EVENING
Cairo is typing away on her laptop, smoking a cigarette and
ashing into a coke can. Winnie lays on the bed watching
herself in the mirror suggestively finish a popsicle. Her
tongue is purple. Her work uniform is crumpled on the floor.
WINNIE
(re: the cigarette)
You like it?
CAIRO
It feels like something I never
knew I was missing.
WINNIE
So you're a smoker now?
44.
CAIRO
I'm smoking now. No plans for it to
define me yet.
WINNIE
What do you want to do this
weekend? I traded all my shifts.
CAIRO
What we always do Pinky - try to
take over the world.
WINNIE
Can't take over the world in a
sweatshirt. A bunch of new shit
just opened in Overton Square.
Let's go shopping.
CAIRO
Stealing the clothes off a
Taiwanese prostitot does not
constitute as shopping.
WINNIE
You're a pretty girl somewhere
under that mop of hair and those
illfitting sweat sacks.
(she goes to the mirror
and checks herself out)
Think how much farther you can get
if you're hot. I make all the
monies with these bad bad bunnies.
She plays her boobs like bongos.
CAIRO
I don't give a fuck about being
hot, Winnie. I give a fuck about
being smart.
She watches Cairo in the mirror.
WINNIE
You can be both. What are you
doing?
CAIRO
Short story.
WINNIE
I can fucking see that. What's it
for?
45.
CAIRO
It's the midterm for creative
writing. He hasn't assigned it yet.
WINNIE
Shouldn't you be writing the essay
for your Stanford app instead of
prematurely writing a short story
for your hottie the body teacher?
CAIRO
I would if I had any idea what to
write.
WINNIE
What's the subject?
CAIRO
What has been your greatest
adversity to date, and how have you
overcome? What the fuck am I
supposed to say -- dealing with the
toothless booniebumfuck waitresses
at CK's? I have had zero legitimate
adversity.
WINNIE
It must be hard, what with your
awesome parents and being an only
child.
CAIRO
I imagine it's about as hard as it
is for you to wake up every morning
looking like FuckMe Barbie.
WINNIE
Aren't we just so fucking tragic.
CAIRO
Let's be real for a second. I don't
have enough money to get legacied
into Ivy, and I'm sure as fuck not
going to a state school and for
double fuck not in this state. Is a
4.2 GPA enough? Of course not.
Because we are so super fortunate
to grow up in a post 90's
politically correct clusterfuck,
where my hard work is not enough.
Oh no.
(MORE)
46.
CAIRO (CONT'D)
I have to be a deaf, legless orphan
from Cuba who canoed my dead
mother's carcass to America using
her bloated arms for oars, only to
become a prodigy violinist who
speaks three languages and started
a Fortune 500 company at the tender
age of 14. And still maintained at
least a 4.0. I have to be that.
WINNIE
You ain't that. You better invent
something.
CAIRO
No shit, but what? I'm not poor
enough, not rich enough, not fat
enough, not ethnic enough -- and no
one gives a shit if you're smart
enough. I'm a girl, so maybe at
least one part of me is minority
enough to exploit.
WINNIE
We all invent our own reality.
You're smart enough to create
something.
CAIRO
About what? On paper I am the most
boring of all borings. I bore me.
WINNIE
You could write about the time your
friend fucked a teacher.
CAIRO
Only if I made it first person. Are
you really going to try to sleep
with him?
WINNIE
Haven't decided. What's it to you?
CAIRO
You really want someone like Coach
Fillmore to swipe your V card? He's
like twenty years older than you.
WINNIE
He's only fourteen years older than
me and so what? Older men are easy-
peasy eggs and cheesy.
47.
CAIRO
So it doesn't mean anything to you?
WINNIE
What?
CAIRO
Your virginity.
WINNIE
God no. I mean I'm not holding onto
it for any special reason.
CAIRO
Then why haven't you fucked any of
the guys at school who said they've
fucked you?
WINNIE
Why settle for lunch meat when you
can have Kobe beef?
CAIRO
What?
WINNIE
We're like, the fucking American
wet dream. Young girls with
ambivalent sexuality, pheromones
steaming off our bodies I don't
want some little jock-twat whose
sexual standards are mandated by
the shit porn he downloads. That's
deli meat. I want a dry-aged,
perfectly marbled slab of hot man
meat to take me to pleasure town.
Oof. I'm hungry.
CAIRO
And you think that's Boris
Fillmore?
WINNIE
Comparatively, yes.
(Cairo makes a face)
Miller's no different. I've seen
the way he looks at you. When you
don't look like a homeless Eskimo.
CAIRO
No. No way.
48.
WINNIE
He's not nearly as overt as Boris.
But like, he's still a guy, you
know?
CAIRO
Mr. Miller is nothing like the guys
at Benson.
WINNIE
I see. His separation from the
peasants makes you wet, is that it?
You're in love with him for his
exoticism.
CAIRO
I appreciate his contrast. He's
different. He's smart.
WINNIE
I'm just saying, he's human. And he
has, what I'm sure is a giant man
cock that secretly wants to find
its way into a hot student.
CAIRO
Stop.
WINNIE
You must trust in my infinite
wisdom. I'm vastly more qualified
than you. Get up.
Winnie takes Cairo's cigarette, pulls a drag and dumps it in
the coke can. She takes Cairo to the mirror, where she lets
down her hair and pulls her sweatshirt tight to show off her
form.
WINNIE (CONT'D)
See? Just a little work and you're
totally fuckable. I'd fuck you.
CAIRO
I know.
Winnie and Cairo both appreciate her form in the mirror. It's
intimate.
WINNIE
Go forth my child, and conquer yon
JMill.
49.
CAIRO
What, with my luxurious maiden's
hair?
WINNIE
Make him love you.
CAIRO
For what?
WINNIE
For sport. For love, I don't care.
I'll get BFill and you get JMill.
Oh my God, rhyme schemes are the
best schemes.
CAIRO
I'm not into him like that.
WINNIE
Says Ye of the Preemptive
Assignment. Everyone loves someone
pretty and talented, Sweet.
CAIRO
No offense, but no one at school is
walking around talking about how
big your brain is.
WINNIE
And yet I'm still top ten in the
class. You are such a fucking
square with your
prettycan'tbesmart bullshit. In
fact, it makes you a conformist.
They do. Winnie puts her face on Cairo's shoulder and her
hands on Cairo's waist.
WINNIE (CONT'D)
Join the revolution. Be smart and
pretty. It's totes the American
way.
CAIRO
You make such a strong argument.
Winnie releases Cairo and sits back on the bed. Cairo stays
in the mirror, watching herself.
WINNIE
Listen, they're all the same --
bifocals or biceps - they're men,
and we got what they want.
(MORE)
50.
WINNIE (CONT'D)
No reason you can't get yours too,
however you like it. You want nerdy
professor love? Go get you some,
girl.
CAIRO
Don't make me look like a Thai boy
hooker.
WINNIE
What is with you and South Asian
sex trafficking?
INT. BENSON HIGH SCHOOL - OUTSIDE - NEXT MORNING
Jonathan and Boris sit in their usual location. Jonathan
smokes a cigarette. The sun is rising.
JONATHAN
It's not that cold. Don't be such a
baby.
BORIS
I can see my breath.
JONATHAN
Then go inside.
BORIS
And miss Godot?
JONATHAN
Soon't yourself.
BORIS
Did you just say `soon't'?
JONATHAN
So?
BORIS
Soon't.
JONATHAN
How do you say it?
BORIS
Suit. I say suit. Because one would
suit oneself, not soon't, whatever
the hell that is.
JONATHAN
That's what I said. Shut up.
51.
INT. CAIRO'S CAR - MORNING
Cairo sits in the passenger seat of her own car, while Winnie
puts blush on her cheeks. She holds three coffees in a tray
in her lap. Winnie sits back to look at her handiwork.
WINNIE
(admiring)
You're really very pretty.
CAIRO
Shut up.
WINNIE
Like actually pretty, not just
smart girl pretty. Like full on
She's All That transformative.
Goddamn, I'm a genius.
Cairo takes a deep breath.
CAIRO
This is nuts.
WINNIE
This is fun.
WINNIE (CONT'D)
You're ready. Onward.
Cairo gets out of the car. Winnie watches her walk away and
rolls down her window to cat call her.
WINNIE (CONT'D)
(singing)
Tryna get to yoooooou and dat booty-
EXT. BENSON HIGH SCHOOL - OUTSIDE - MORNING
Cairo rounds the corner of the building, carrying the
coffees. Her hair is down and she's wearing a fitted coat,
tights, and boots. She looks like an adult.
CAIRO
Morning.
She hands them each a coffee.
BORIS
What's this?
CAIRO
It's coffee.
52.
BORIS
No, no. What is this I see before
me? You look like a girl.
CAIRO
Thank you?
BORIS
Yes indeedy Cairo sweetie, you
clean up good. Got a big date?
CAIRO
Nope.
BORIS
Presentation in class?
CAIRO
Nope.
BORIS
Get laid?
JONATHAN
OKAY.
BORIS
I like it.
JONATHAN
Thank you for the coffee. You
didn't have to do that.
CAIRO
Oh, totally my pleasure.
BORIS
Muffins, muffin?
Boris hands her a white pastry box. She opens it.
CAIRO
Oh my God these smell amazing. What
flavor?
BORIS
Split fig.
Jonathan chokes on his coffee.
CAIRO
Have you thought about getting some
art on these? Like a logo.
(MORE)
53.
CAIRO (CONT'D)
You could sell them to raise money
for the team.
(Boris laughs)
Don't you laugh! There's nothing
cuter than a boy selling a muffin.
You'd buy some, wouldn't you Mr.
Miller?
JONATHAN
I can't resist a cute boy with a
muffin.
CAIRO
I know you can't. You could get
Winnie to design it for you! She's
great at stuff like that. Oh my
god, you could call yourself the
Muffin Man.
JONATHAN
That is pretty cute.
CAIRO
Winnie and I could help you with
whatever you needed and you could
be an experience on our college
apps.
Cairo lights a cigarette.
JONATHAN
You smoke?
CAIRO
Will you tell on me?
BORIS
No one would believe us if we did.
(to Jon)
Would you really buy some of my
muffins?
JONATHAN
Why pay for what I already get for
free?
BORIS
Damn. That's cold.
CAIRO
I would. All the girls would.
54.
BORIS
Okay yeah. I'm the Muffin Man. I'm
the motherfuckin Muffin Man.
(he jumps up and down)
My balls are slowly creeping
inward. You coming in?
JONATHAN
Nah, I'm gonna have one more. You
go ahead.
BORIS
Soon't yourself, Brohan. Bye Sweet.
CAIRO
Bye!
Boris leaves. Jonathan opens his pack to Cairo.
JONATHAN
You want one of these?
She pulls out her own pack.
CAIRO
Set higher standards, Mr. Miller.
Have a menthol.
INT. CAIRO'S CAR - MORNING
Winnie sits on her knees in black ripped jeans and a tight
tee shirt with a screen print of a Lichtenstein weeping
woman. She's coloring in sharpie on the ceiling of Cairo's
illustrated car. She's listening to a cover of NO DIGGITY by
CHET FAKER.
Blurry students move around the car, oblivious to her and she
to them.
She's drawing a sugar skull around Cairo's handwriting - the
central piece of the ceiling - a mix of quotes from Tropic of
Cancer by Henry Miller.
Genius is dead. The world is rotting away.
It needs to be blown to smithereens.
GIVE UP THE GHOST AND PUT ON THE FLESH.
55.
The bell rings. Winnie looks over her shoulder.
WINNIE
GD.
INT. BENSON AGRICULTURAL HIGH SCHOOL - HALLWAY - THAT
AFTERNOON
Jonathan is exiting the teacher's lounge as a tall, elegant
woman is entering. This is JOYCE MANNER, VICE PRINCIPAL
(50s).
JONATHAN
Oh hey Vice Principal Manner.
How're you settling into the new
gig? Better than 10th grade
English?
JOYCE
I only get to talk to people who
are in trouble. And typically
trouble makers aren't the brightest
so you can imagine how painfully
bored I am. I think this job may
have been a lateral move.
JONATHAN
Bummer. Well you look great.
JOYCE
Thanks. How's the magical world of
an elective class? Must be charming
what with your kids choosing to
take your course and all.
JONATHAN
Yeah, it's good this year.
JOYCE
Your student reviews were
outstanding. You giving them weed
or something?
JONATHAN
Say nope to dope, Joyce.
JOYCE
I say a friend with weed is a
friend indeed.
JONATHAN
Do you?
56.
JOYCE
No. But I like that it rhymes.
Who's manning your class right now?
JONATHAN
Ah, the hope of the future.
JOYCE
You're streaming a movie, aren't
you?
JONATHAN
Dead Poet's Society.
JOYCE
O Captain, my Captain, your class
is probably sleeping.
JONATHAN
Yeah, I should get back. Catch you
around, boss.
JOYCE
Only if you fuck up.
INT. BENSON AGRICULTURAL HIGH SCHOOL - HALLWAY - THAT
AFTERNOON
School has let out and kids are shouting in the hallways,
ready for the weekend. Cairo is putting books away in her
locker. Winnie stands next to her, playing on her phone.
WINNIE
What did he say? Did he eye-fuck
you so hard?
CAIRO
He didn't say anything.
WINNIE
Fool. You look super hot.
The baseball player entourage walks past the girls. The JOCK
smiles at Winnie.
JOCK
Coming to the game, ladies? I'll
let you hold my bat.
WINNIE
If I wanted to hold a tampon, I'd
just pull it out of your pussy.
57.
JOCK
Fuck you, Black.
WINNIE
Omigod, your whole vocabulary in
one sentence! Come fuck me with
that big nasty rhetoric.
Winnie humps the air. The JOCK flips her off and continues on
his way.
WINNIE (CONT'D)
Jock-twat.
CAIRO
Don't feed the animals, Winnie.
They can't be domesticated.
WINNIE
You ready?
CAIRO
I've got to run by Mr. Miller's
room first.
Cairo shuts her locker.
INT. JONATHAN MILLER'S CLASSROOM - CONTINUOUS
Winnie is on her phone by the door, keeping a watchful eye on
the scene. Jonathan is packing up his bag and shutting down
his computer. He's happy to see her.
JONATHAN
Hey, kid. How are you?
Cairo sets her things down at her desk.
CAIRO
I wanted to say hello before the
weekend. You in a hurry?
JONATHAN
I am. We're heading to Nashville to
meet with my wife's editor.
CAIRO
That's exciting.
58.
JONATHAN
If you're into self-righteous
literary types patting themselves
on the back and forgetting your
name, then sure. It's thrilling.
CAIRO
Have you met me? I'm always into
that.
Jonathan stuffs a packet of papers in his bag and checks to
make sure is computer is actually off.
CAIRO (CONT'D)
Can we talk about the midterm for a
second?
JONATHAN
Of course. What's up?
He has all of his things. He comes around and sets his stuff
on Cairo's desk.
CAIRO
I'm having second thoughts about my
author and I want to get your okay
before I go in deep.
JONATHAN
Who is it?
CAIRO
Henry Miller.
JONATHAN
Whoa, provocative. He's not on the
approved reading list.
CAIRO
I think I can justify him.
JONATHAN
His structural merit is challenging
to emulate.
CAIRO
(excited)
It's not just structural though,
it's everything - his decadence,
his total disregard for literary
etiquette, his destruction of
convention. You know. The good
stuff.
59.
JONATHAN
Okay.
CAIRO
Okay?
JONATHAN
If there's anyone I trust to handle
that kind of source material, it's
you. Write what you know. Best
advice I've ever received. You must
write from life, from the depths of
your soul!
CAIRO
That's...that's from Little Women.
The movie. The remake movie.
JONATHAN
Yes...well...it's true. I don't
ever want you to censor yourself,
okay?. That's not what this is
about.
Beat. A moment of suspension passes between them - Cairo
smiles and he returns it a moment before remembering himself.
JONATHAN (CONT'D)
I have to go.
CAIRO
I know. Have a nice trip.
JONATHAN
Thanks sweetheart.
He walks to the door, then stops. Winnie is still on the
phone.
JONATHAN (CONT'D)
Cairo.
(she turns)
Try and do something fun this
weekend, okay? Take a recess.
CAIRO
I'll rest if you'll write.
He smiles at her.
JONATHAN
I'll see you Monday, kid. Bye
Winnie.
60.
He exits. Winnie drops her phone, that she wasn't even on,
and runs over to Cairo.
WINNIE
You like him.
CAIRO
Don't be gross.
Winnie hikes up her skirt and bends over Jonathan's desk
suggestively.
WINNIE
Oh Mr. Miller...I just love the
decadence and the words and
breaking all the rules.
She throws herself on the desk like a naughty school girl.
Boris comes to the door but they don't see him.
CAIRO
I didn't say it like that.
WINNIE
You thought it like that.
(Cairo rolls her eyes)
We make a good double-team-team. Oh
my God, you're totally trying to
seduce him.
CAIRO
I am not trying to seduce Mr.
Miller. I'm trying to get into
college.
BORIS
Am I interrupting girl talk?
Winnie slowly gets up off the desk and pulls down her skirt.
The action is not lost on Boris.
CAIRO
No, we were just leaving, weren't
we Winnie?
BORIS
Uh, listen, I think your idea is
great. And I'd love your help too,
Winnie.
WINNIE
With what?
61.
BORIS
Can you keep a secret?
WINNIE
I'm keeping Victoria's in my pants.
Does that count?
Boris shifts uncomfortably.
BORIS
I uh...bake. Muffins.
CAIRO
And he's going to have the baseball
team sell them to raise money. How
hot is that?
WINNIE
My clothes are literally melting
away.
CAIRO
They're going to call themselves
the Muffin Men. And he wants you to
design the logo.
BORIS
Yeah so, I was thinking I could
call you girls out on your lunch
break or something to go over the
specs.
WINNIE
Why don't you give us your number?
We could all maybe go look at some
packaging options at the Hobby
Lobby. Right, Sweet?
CAIRO
Yeah. Totes.
Cairo looks at Winnie like she's crazy.
WINNIE
Here. Give me your phone and I'll
program myself.
He hands Winnie his phone. Cairo digs through her bag looking
for her own.
BORIS
Cool. So we'll...get together soon.
62.
CAIRO
Hey can you call me?
Winnie punches on his phone.
WINNIE
And now you'll have Cairo's number
as well.
(she listens a moment)
It's just going to voicemail.
CAIRO
Shit.
She hangs up and stuffs the phone in her bra.
WINNIE
Whatever, I'm sure it's in the
bottom of your bag.
CAIRO
No, I just had it a minute ago.
WINNIE
It's Friday and we're still here.
Let's a-fucking go.
She begins to haul Cairo out of the room.
BORIS
Uh, Winnie?
WINNIE
Uh, Boris.
BORIS
My phone?
WINNIE
My phone?
BORIS
Your phone?
WINNIE
Your phone? Your phone.
She pulls his phone from her bra.
WINNIE (CONT'D)
Right. Sorry.
She hands it to him.
63.
BORIS
Thanks. See you later girls.
Winnie and Cairo leave, arm in arm.
WINNIE
BYEEEEE!
CAIRO
You're unbelievable.
WINNIE
I'm practically a professional.
INT. JONATHAN'S HOUSE - KITCHEN - LATER THAT AFTERNOON
Jonathan sits at a table in the now clean kitchen. Suitcases
are packed and ready to go by the back door. He is reading a
paperback copy of Stephen King's ON WRITING.
Beatrice is on her phone.
BEATRICE
(On the phone)
I'm aware.
(she puts her hand over
the phone)
I'm sorry, just a few more minutes.
JONATHAN
We were supposed to leave forty
minutes ago.
Beatrice walks away. Jonathan goes back to his book.
Some serious gangster rap emanates from his bag.
He stares at it. It stops. It starts again.
Jonathan digs through his bag and retrieves a cell phone.
JONATHAN (CONT'D)
(answering)
Hello?
INTERCUT between CAIRO'S BEDROOM and JONATHAN'S KITCHEN.
Cairo sits at a desk smoking a cigarette.
CAIRO
Hi. I think you have my phone.
JONATHAN
And whose phone do I have?
64.
CAIRO
Cairo Sweet's.
JONATHAN
Cairo. It's Jonath- uh, Mr. Miller.
CAIRO
Sticky Fingers Miller. How's the
thieving business?
JONATHAN
Alive and well, apparently. How are
you?
CAIRO
Out of touch with all the world and
tethered to a landline since you
know, you stole my phone.
JONATHAN
I assure you it wasn't deliberate.
CAIRO
Are you already in Nashville?
JONATHAN
I should be.
Cairo and Jonathan hesitate. Beatrice pops her head in the
room.
BEATRICE
Forty-five minutes.
JONATHAN
Are you serious? We won't get there
till after nine as it is.
(she shrugs and exits)
Sorry. You still there?
CAIRO
Still here.
JONATHAN
You live over in Lovell Hills,
right?
CAIRO
How did you remember that?
JONATHAN
I'm eidetic. And Mensa.
65.
CAIRO
...that's incredible.
JONATHAN
My mom is really proud.
CAIRO
What are you doing teaching high
schoolers?
JONATHAN
Withering on the vine.
Cairo smiles and tucks a piece of hair behind her ear.
JONATHAN (CONT'D)
What should we do about your phone?
We'll pass you heading East - We
could just drop it in your mailbox
or something.
CAIRO
Yeah, that would be great.
JONATHAN
Okay, what's your address?
CAIRO
400 Huxley. You just take a right
into Lovell Hills from Brunswick
and keep going straight. You'll see
us on the left - big old
antebellum.
Beatrice enters, still on the phone.
CAIRO takes a drag of her cigarette.
BEATRICE
I don't give a flying backwards
fuck, Amy. Give them the first
draft, they'll think it's new.
Jon waves at Bea to get her attention.
JONATHAN
I must have accidentally picked up
one of my kid's phones on my way
out of class. We need to drop it
off on our way.
BEATRICE
Why don't you go do that now, while
I'm on the phone?
66.
JONATHAN
Will you be ready when I get back?
BEATRICE
Promise. Get me some tampons while
you're out.
(to Amy)
Not you, Amy, obviously.
JONATHAN
Jesus. You owe me.
BEATRICE
Big time.
JONATHAN
Like road head big time.
BEATRICE
I have to work.
JONATHAN
Multitask.
(Beatrice dismisses him
and leaves)
Sorry about that. I'm fixing to
head out, is now okay?
CAIRO
Yep, just call me on this number,
okay?
JONATHAN
Got it. See you soon.
They hang up.
Jonathan dog ears his page and shuts the book. He grabs his
keys, puts his wallet in his back pocket and waves at
Beatrice, who takes no notice. He runs his hand through his
hair in the mirror in the hallway.
INT. CAIRO'S BEDROOM - MOMENTS LATER
Cairo sets the phone down and drops her cigarette in the coke
can. She goes to her floor length mirror and pulls off her
sweatshirt.
She grabs a cotton dress crumpled on the floor and pulls it
over her head, smoothing down the wrinkles as best she can.
67.
EXT. DRUG STORE PARKING LOT - EARLY EVENING
Heavy clouds stain the horizon. It's going to rain.
Jonathan starts his car. LOVER, YOU SHOULD HAVE COME OVER by
JEFF BUCKLEY plays on the radio. He sings along. A bag of
tampons sit next to Cairo's cell phone in the passenger seat.
INT. CAIRO'S BEDROOM - EARLY EVENING
Cairo stands at her open window, her hand on the sill. A fat
raindrop smacks against the white casement. A small spider
crawls inside.
Jonathan pulls up in the driveway. Through his windshield, he
sees her in her window and waves to her.
INT. CAIRO'S HOUSE - PORCH - EARLY EVENING
Cairo opens the front door. Jonathan stands with a bag in his
hand, hair wet from the rain.
FADE TO BLACK
INT. HOTEL ROOM - NASHVILLE - THAT NIGHT
Beatrice wears earbuds and types on her laptop. She is
surrounded by paper. A bourbon rocks sweats in a glass next
to her.
The television plays Bette Davis in Jezebel on low volume.
Jonathan is on his laptop.
CU on the screen - a blank word document with a blinking
cursor. He stares at it.
His beautiful hands hover above the keyboard.
Beatrice pulls out an earbud.
BEATRICE
Whatcha doin?
He reduces the document. His email is behind it - amid
various promotions is a new message from
CAIRO.SWEET@GMAIL.COM.
JONATHAN
Nothing important.
68.
BEATRICE
I'll give you a kiss if you go get
me some more ice.
He leans over to her. She kisses him on the cheek.
JONATHAN
Want anything else?
BEATRICE
Just ice. Thank you, sweet man.
Beatrice pops her earbud back in.
INT. CAIRO'S BEDROOM - EARLIER THAT AFTERNOON
Back to us, Cairo sits at her computer desk wearing a black
strappy yoga bra. She smokes a cigarette and we watch the
muscles in her back move as she slow motion ashes into a coke
can.
INT. HOTEL HALLWAY - EVENING
Jonathan walks down the hallway with an empty ice bucket in
hand.
He walks past a door marked BUSINESS CENTER.
INT. CAIRO'S BEDROOM - EARLIER THAT AFTERNOON
We face her now, the glow of the computer screen washing her
out in blue light. We can tell she's typing by her focus and
the subtle movement of her shoulders.
She smiles and goes still. She brings the cigarette to her
lips and takes a drag. We hear a single click of her mouse
and the swoosh of a sent email.
INT. BUSINESS CENTER - EVENING
CU on a booted up computer screen.
Jonathan sits alone in the empty business center, a full
bucket of ice next to him.
He opens Cairo's email.
Subject: Preemptive Midterm
He clicks the email.
69.
"Here's a shot. -C"
He smiles.
CU on printed pages filling a paper tray.
INT. HOTEL ROOM - NIGHT
Jonathan enters with the ice bucket and a stack of papers.
Beatrice still sits with her headphones in, typing away. She
never even looks up at him.
He sits the bucket down next to Bea and goes to the bathroom
with the papers and a red pen.
INT. HOTEL BATHROOM - NIGHT
Jonathan runs the bath but doesn't plug it. He sits on the
floor and leans against the bathroom door.
CU on the pages in his hand.
"For Jonathan From Cairo". He smiles and takes the cap off
his red pen, ready to grade.
INT. JONATHAN'S CAR - NEXT DAY
Beatrice is in the passenger seat, napping. Jonathan watches
the road ahead of him, face blank and unreadable.
INT. CAIRO'S CAR - DAY
Cairo drives through the rural streets of Tennessee, hand out
the window. She wears make up and her hair is in a ponytail.
She drinks a neon red Slurpee. Her lips and tongue and teeth
are stained with it.
INT. JONATHAN MILLER'S CLASSROOM - THE FOLLOWING MONDAY -
MORNING
It's very early in the morning.
Jonathan sits stiffly behind his desk, and Cairo sits on the
desktop of hers. Her hair is done and she wears make up.
The clock ticks loudly.
70.
JONATHAN
I think you need to pick another
author.
CAIRO
Why?
He starts to say something. Stops. Reconsiders.
JONATHAN
This is inappropriate.
CAIRO
Inappropriate.
JONATHAN
Yes.
CAIRO
Why?
JONATHAN
When you said you were going to
write like Henry Miller, this is
not what I thought you meant.
CAIRO
What did you think I meant?
JONATHAN
I thought you were going to be
explicit in your descriptions. I
thought you were going to mix high
language with modern
colloquialisms. I didn't think you
were going to write...what you
wrote.
CAIRO
I did all of those things.
JONATHAN
You're better than this.
CAIRO
Better than what?
JONATHAN
Why did you write this?
Beat.
CAIRO
You asked me to.
71.
JONATHAN
No - why did you choose this
content?
CAIRO
You said to write what you know.
JONATHAN
This is what you know?
CAIRO
This is. Us.
Beat.
JONATHAN
Cairo.
CAIRO
It's allegorical.
JONATHAN
Explain it to me.
She stares at him a moment before listing on her fingers, as
though she were speaking to a child.
CAIRO
It's about two like people
abnegating social convention. It's
a comment on the sexual
anesthetization of a culture super-
saturated with pornography. It's
about the inefficacy of said
culture's romantic dogmas on young
people's expectations.
It's layered.
JONATHAN
I think you may have misunderstood
the assignment.
CAIRO
I don't think I have.
JONATHAN
This is not what we discussed.
CAIRO
I was clear about how I intended to
write the piece.
72.
JONATHAN
Cairo, I can't - I'm not sure how
you expected me to respond to this.
CAIRO
I expected you'd be able to
appreciate the literature, to
recognize the various metaphors,
most of which we've already
discussed casually; I thought you'd
be able to show some objectivity.
JONATHAN
That's what I'm trying to do.
CAIRO
You're afraid of the content.
JONATHAN
I'm not.
CAIRO
You're afraid of what it makes you
feel.
JONATHAN
Cairo, listen to me. I think
you're...you're so smart. Which is
why I'm not really sure what you
thought you'd accomplish with this.
CAIRO
Why are you talking to me like I'm
a stranger? Say what you mean.
JONATHAN
I'm having a hard time
understanding why you would choose
this subject matter.
CAIRO
And I'm having a hard time
understanding why you're
antagonizing me. I wrote in the
style of Henry Miller. Like you
asked.
JONATHAN
This is pornography.
CAIRO
It's an illustration of social
hypocrisies in a psychosexual
culture obsessed with youth.
73.
JONATHAN
You can dance with the language all
day long, it doesn't change that
this is obscene-
CAIRO
Obscene? Heavy word for a man who
so strongly postures against
unmitigated literary censure.
JONATHAN
Stop.
Do you know what this looks like?
CAIRO
Do you?
Beat.
JONATHAN
I won't indulge this conversation.
CAIRO
You won't indulge me, like I'm a
fucking child?
JONATHAN
Yes, like you're a child. Because,
make no mistake, that's what you
are.
Cairo is stunned.
JONATHAN (CONT'D)
Write a new story with a new author
in mind.
CAIRO
You're unbelievable. I did the
assignment.
JONATHAN
I won't accept this.
CAIRO
I won't rewrite it.
JONATHAN
Then I'll have to fail you for the
midterm.
74.
CAIRO
You're gonna fail the top student
in the class? How are you gonna
explain it? What's the reason?
JONATHAN
I DON'T NEED A REASON.
CAIRO
GOOD. You'll really set the bar
high for antithetical teachers
everywhere, right?
JONATHAN
I think you need to calm down.
CAIRO
And I think you need to stop being
such a fucking coward.
Beat.
JONATHAN
This conversation is over, Cairo.
CAIRO
You know what, you're right. This
is fucking over.
JONATHAN
Watch your language.
CAIRO
Oh please. Now you have some sort
of moral compass? Like it's okay
for you to treat me like we're
friends, like we're peers and
then when it suits you or becomes
too fucking real or whatever you
just shut down?
JONATHAN
Too real?
CAIRO
You can't blur the lines and expect
me to see a boundary when I
suddenly cross it.
Beat.
75.
JONATHAN
I apologize if you feel I've been
anything but equitable -- but let me
be very clear with you; you're my
student. We are not friends. We are
not peers. Any misconceptions you
have about that are regrettably
something you shoulder alone.
Cairo's face shifts backwards on her skull. A tightening of
pain and realization move over her.
CAIRO
Write what you know, is what you
said.
JONATHAN
I know what I said.
CAIRO
No you don't. You don't know
anything you say.
He's coming unraveled. Her posture tight and coiled. A cobra.
CAIRO (CONT'D)
(slowly)
This is good. You know it is. So
let's examine the real issues,
which are you and your failures as
a writer.
JONATHAN
Excuse me?
CAIRO
You thought you were gonna be hot
shit, didn't you? You thought you
were gonna be somebody, didn't you?
"Overreaching without ambition."
You know what that means? It means
you weren't brave enough to be
better. It means you are mediocre.
You wanna fail me? I fucking dare
you. Screw your courage to the
sticking place and make it mean
something to you because this
banality, this falsity you wallow
in will devour you until you are as
small as you pretend to be. And
then you will disappear and no one
will give any more thought to you
than they do an unread cookie
fortune.
(MORE)
76.
CAIRO (CONT'D)
(she moves toward him)
I thought you were a good writer.
But you just regurgitate the work
of better authors. You're a bad
impression of a good writer.
He is stunned.
CAIRO (CONT'D)
How disappointing your inadequacies
must be to those who believed in
you. No wonder you're a public
school teacher.
Cairo takes her essay from his desk and leaves.
EXT. BENSON HIGH SCHOOL - OUTSIDE - MORNING
TOXIC by YAEL NAIM.
Cairo walks through an outside corridor. Sleepy students are
starting to arrive.
She goes to the parking lot, gets in her car, and lights a
cigarette.
A text from Winnie appears on the screen: "Where you et
bish?"
CAIRO puts the jeep in reverse. Her eyes in the rearview
mirror are dead.
INT. JONATHAN'S HOUSE - LATER THAT EVENING
Beatrice sits at the dining room table, laptop, iPad and cell
phone all lit up. Papers and books are everywhere. A half-
eaten plate of spaghetti sits forgotten next to a sweating
soda cup.
Jonathan enters and immediately walks over to her, grabs her
face, and kisses her.
BEATRICE
Hey. You okay?
(he sits down and puts his
head in his hands)
Jon?
JONATHAN
Bad day.
BEATRICE
What happened?
77.
JONATHAN
Well, I gave Cairo the midterm
assignment and she drafted a
version and - let me preface this -
she's gifted, okay? Actually
brilliant. So my expectations were
high. But what she gave me was
staggeringly vulgar. She made Henry
Miller look like Dr. Seuss.
BEATRICE
She chose Miller as her author and
you're surprised the paper was
vulgar?
JONATHAN
She was supposed to use his
literary technique not his subject
matter.
BEATRICE
What's it about?
JONATHAN
An English teacher and a student
who have an illicit affair,
complete with precome and cherry
popping.
She stops typing and looks at him.
BEATRICE
No shit? Can I read it?
Jonathan regards Beatrice, who is staring at him expectantly.
JONATHAN
I returned it to her. I'd have
thrown it away if I hadn't.
BEATRICE
What? Why would you do that?
JONATHAN
Don't be dense, Bea. It's about me.
BEATRICE
Was it well written?
JONATHAN
What do you mean was it well
written? It was pornography.
I told her to rewrite it.
78.
BEATRICE
What did it say? Tell me.
JONATHAN
No.
BEATRICE
Come on, Mr. Eidetic Memory. Dazzle
me with a recitation.
JONATHAN
Oh God, don't make me recite it.
(she looks at him like a
child awaiting a bedtime
story)
Well, after the teacher and the
student have sex for the first
time, she describes the - the blood
as an oil slick.
BEATRICE
What?
The quoted text appears on the screen as he recites.
JONATHAN
"Alice sat back against the soft
down of her pillows, her sex split
and sore, and imagined herself as a
pitted peach, with bruised and open
flesh. The sanguine testament of
her virginity lay heavy like an oil
slick in the cream lace of her
Tuesday's."
Beatrice blinks at him once, twice.
BEATRICE
Her Tuesdays. Like her Tuesday
panties.
JONATHAN
Yes.
BEATRICE
Clever. What else?
JONATHAN
Four pages of teacherstudent rape.
Yay!
79.
BEATRICE
Clearly allegorical.
(Jonathan stares blankly
at her)
The English teacher forcibly takes
the narrator, whom I will infer is
a young writer, through a
traumatizing and equally liberating
physical transition. It's literary
rebirth. I mean that's practically
fucking Greek in its layered
psychology.
JONATHAN
Well great.
BEATRICE
How is the teacher described?
JONATHAN
"Mr. Murphy, tall and carelessly
attractive, kept his thoughts to
himself and his blue eyes at
halfmast. One might assume his
drowsy appearance to be symptom of
a vague institutional ennui, but
Alice saw it mostly to hide the
shock of indecency he felt when he
lay his eyes on the young unripened
bodies of his female students.
He licked his chapped lips,
imagining his tongue instead
sliding into the cleft between each
of their legs. Imagining himself as
the first. As the standard. None
were exempt from his salacious
reveries. Not the pockmarked wall
flower picking her fingernails in
the corner, nor the silver haired
princess silently deprecating her
ephemeral reflection. All cunts
were created equal and magnificent
in his mind."
BEATRICE
Shit. She's good.
JONATHAN
The quality of her writing isn't in
question here. It's the content.
BEATRICE
Her language is...advanced.
80.
JONATHAN
She's a kid, Bea. It's not like I
can sit down with her and be like,
Hey Cairo, great use of language.
`Pussy' and `cuntlet' really give
it that something extra. A+ +.
BEATRICE
Well look she's a seventeen year
old girl. You're dealing with a
creature whose whole identity is
offset by a culturally predicated
conformity she's been trained from
birth to create. Teenage girls are
hostile. Unpredictable. Attempting
or expecting any kind of balanced
relationship with one is the height
of idiocy. They're incapable of
separating themselves from the
world around them - any examination
not prefaced with accolade becomes
instead an act of vituperation. She
assumes you were disparaging the
work itself, and therefore, because
it is an extension of her...her.
JONATHAN
What?
BEATRICE
She took it personally.
JONATHAN
What am I supposed to do with that?
BEATRICE
It's an opportunity for a
fascinating sociologic observation.
JONATHAN
That's your advice?
BEATRICE
My advice is not to worry. She's
besotted. It's kinda sweet, in a
twisted way. Twisted in her
Tuesdays.
Jonathan pulls out a cigarette and lights it. It is a
Marlboro Menthol Light 100.
JONATHAN
I want to get drunk. Can we get
drunk tonight?
81.
BEATRICE
I have to work.
JONATHAN
You can't take one evening to get
drunk with your husband when you
drink all the live long day as it
is? I'm not going to try to sleep
with you, if that's what you're
worried about.
BEATRICE
What is that supposed to mean?
The front door bangs open.
BORIS (O.S.)
Y'all shouldn't leave the damn door
unlocked.
Boris enters the room carrying a large case of beer.
BORIS (CONT'D)
What up?
INT. CAIRO'S BEDROOM - THAT EVENING
Cairo and Winnie sit on Cairo's bed, passing back and forth a
bottle of vodka.
CAIRO
God, how could I have been so
stupid? I mean it offended him,
Winnie. Like for real offended him.
Scared him. He's no different than
the other single-celled fuckwits
infesting this godforsaken shit
hole.
WINNIE
Maybe he wasn't offended. Maybe he
was affected.
CAIRO
Maybe he's just appallingly simple.
WINNIE
But you still like him, right?
CAIRO
NO. Are you kidding? He's a
pretender. At least with Boris what
you see is what you get.
(MORE)
82.
CAIRO (CONT'D)
Jonathan Miller is like fucking
imitation crab meat in gas station
sushi. Fuck that. Fuck him. What a
waste of time I mean Jesus, he came
to my fucking house - I need to
disinfect. You fuck Fillmore yet?
WINNIE
You know I'd tell you.
CAIRO
I don't know that.
WINNIE
Whatever. You know when I wax my
vagina. I tell you everything.
CAIRO
Let's play a game.
WINNIE
Okay.
CAIRO
Text him. Tell him you're drunk
dialing him, that way he'll imagine
you drunk and what you might be
doing drunkenly.
WINNIE
Are you serious?
She is. Winnie pulls out her phone and starts to draft a text
to "B.FILL."
WINNIE (CONT'D)
What do I say?
CAIRO
Ask him what he's up to.
She types the text and sends it.
WINNIE
Oh my God I sent it. What do you
think he's doing?
CAIRO
Probably masturbating.
Winnie's phone chimes. The text appears on the screen. She
shows it to Cairo.
I was just thinking of you.
83.
CAIRO (CONT'D)
Ask him what he's thinking about
you.
She types Cairo's response.
WINNIE
Would you ever make out with him?
CAIRO
I don't know. Maybe. He's your
jurisdiction.
WINNIE
I thought you found him primitive.
CAIRO
Well beggars can't be fucking
choosers, can they?
Winnie's phone chimes again. She shows it to Cairo.
What are you doing awake at this hour, young lady?
CAIRO (CONT'D)
Tell him you're with me and we're
doing what all girls do at this
hour.
She types the response.
WINNIE
Too bad you're over J.Mill now. I
was looking forward to a double
banger.
CAIRO
You'd fuck him too?
WINNIE
For sure. He's kind of hot in a
schlubby, sexually repressed
collegiate way. I bet he's kinky as
fuck.
Winnie's phone chimes, she shows Cairo.
And what might that be?
CAIRO
Tell him girls like us are
measuring the depths of our
sexuality within the safe confines
of BFFdom.
84.
Winnie types.
WINNIE
Sick. You should just seduce
admissions. You got mad skill, son.
Winnie's phone chimes.
What does that entail?
CAIRO
Let's show him. Take off your
shirt.
Cairo runs into the bathroom. Winnie pulls off her shirt. She
wears a neon push up bra.
WINNIE
What are we gonna do?
CAIRO (O.S.)
We're gonna make out.
Cairo comes out of the bathroom in a simple lace bra. Her
hair is down.
CAIRO (CONT'D)
How's this?
Winnie is wide eyed.
WINNIE
Yeah. Good.
CAIRO
Give me your phone.
Sit on your knees and face me.
Closer. What are you, a dutch
clock? Come get like right up on
me.
Winnie comes closer. Their stomachs touch. Cairo sets the
phone to face them. She frames them in the shot.
CAIRO (CONT'D)
Ready?
They kiss. Cairo snaps the picture and a flash bleaches them
in white light. She pulls away.
CAIRO (CONT'D)
Send it.
85.
WINNIE
What do I say?
CAIRO
Nothing. Just send it.
She does.
WINNIE
You should text Jonathan.
CAIRO
No need.
WINNIE
How come?
CAIRO
Boris will show him that picture. I
don't ever need to say anything to
Jonathan Miller ever again.
WINNIE
Cairo-san, I am most impressed with
your magnificent mojo. And utter
indifference to consequence.
CAIRO
I'm not indifferent, I'm evasive.
WINNIE
You're lawyer progeny, that's for
fuckin' sure.
CAIRO
Haven't you ever read The Art of
War?
WINNIE
No but I'm guessing you have.
FLASH TO:
Cairo walks through students like a ghost, making her way to
her locker.
CAIRO (V.O.)
All warfare is based on deception.
Appear weak when you're strong, and
strong when you're weak - move your
enemy but don't be moved by him.
FLASH TO:
86.
She grabs her things, among them an UNLABELED MANILA FOLDER,
into which she stuffs the copy of her essay.
CAIRO
Get them close enough to check your
pulse then slip the knife under the
ribs. It's chess.
WINNIE
Jesus. You're kind of scary.
CAIRO
Any tool is a weapon if you hold it
right.
FLASH TO:
Cairo drops the essay into an INBOX outside the door of JOYCE
MANNER, ASST. PRINCIPAL'S office.
WINNIE
How do you just come up with this
shit?
CAIRO
Ani DiFranco?...come on, really? Do
you listen to anything I give you?
WINNIE
Only the compliments.
Cairo's mom calls up the stairs.
CAIRO'S MOM (O.S.)
Honey? We're going to bed. You
girls need anything?
Cairo walks to her bedroom door, cracks it and shouts down to
her mom.
CAIRO
No thanks Mom, we're good.
CAIRO'S MOM (O.S.)
Okay, goodnight. I love you.
CAIRO
Love you too, tell Daddy goodnight.
WINNIE
LOVE YOU MOM!!
87.
CAIRO'S MOM (O.S.)
Love you too, Winnie. Don't y'all
stay up too late, okay?
CAIRO
Night.
She shuts the door and grabs her cigarettes from her
backpack.
CAIRO (CONT'D)
Have a cig with me.
WINNIE
Okay. No. Okay. No. I'm just going
to lay right down here and die.
Cairo digs through Winnie's bag and pulls out the Muffin Men
logo.
CAIRO
I'm going to draw this on you.
WINNIE
What?
CAIRO
The logo. On your tits.
WINNIE
Why?
CAIRO
Because chaos is the score upon
which reality is written.
WINNIE
So sexy when you talk books to me.
Do it.
INT. JONATHAN'S HOUSE - KITCHEN - SAME NIGHT
Beatrice and Boris sit in the kitchen. Chinese food cartons
and several beer bottles are spread over the table.
BEATRICE
Well, I wanted to tell her to eat a
bag of dicks but I smiled and shook
her hand and bit my tongue in half.
88.
BORIS
I don't believe it. You wouldn't
know how to hold your tongue if it
was handed to you.
BEATRICE
No, I really did it! I mean, she
deserved an extreme vagina punch
and I held my shit together. Cheers
to me.
The phone rings. Beatrice gets up to answer it. Boris is
texting on his phone.
BEATRICE (CONT'D)
(on the phone)
Hello? This is his wife, who's
this? Uh huh, just a second.
INT. JONATHAN'S HOUSE - BATHROOM - NIGHT
Jonathan is staring at himself in the mirror. His pulse is
slow and his mouth is sticky. He looks sick.
FLASH TO:
Jon's POV. Cairo sits on the desk across from him, smiling.
Beatrice pops her head in.
BEATRICE
Jon?
He looks up at her. He watches her mouth moving.
BEATRICE (CONT'D)
(covering the receiver)
It's the assistant principal ah,
Joyce? Want me to tell her you'll
call her back at a reasonable hour?
He focuses on Beatrice's tongue behind her teeth.
BEATRICE (CONT'D)
Jon?
He snaps to.
JONATHAN
Uh, no I'll take it.
He takes the phone and Beatrice leaves.
89.
Jon takes a breath before he says anything.
JONATHAN (CONT'D)
(on the phone)
Hey Joyce, what's up?
INT. LIVING ROOM - NIGHT
Beatrice sits back on the couch with Boris, who finishes his
text and puts his phone back in his pocket.
BEATRICE
Who is she?
BORIS
Not telling you that.
BEATRICE
Okay, I'll guess. Becky? Tara?
Tiffany. A stripper, naturally.
BORIS
This is why I will never tell you
her name, Bumble Bea.
BEATRICE
Can I help it if every girl you've
ever dated owns a pair of five inch
lucite heels and is named after a
character from the Babysitter's
Club? No I can't. Your life, your
choices.
BORIS
You're a snob. Kristy was great.
BEATRICE
She had one leg.
BORIS
Shoulda seen the way that nub could
work a pole.
BEATRICE
You're a pig.
BORIS
Pigs have thirty minute orgasms.
(he downs his beer)
Alright baby girl, I gotta run.
90.
BEATRICE
So soon? You've only eaten three
pounds of food.
Boris gets up and tosses the food cartons in the trash.
BORIS
I've got fortyfive popquizzes on
thermodynamics to grade. Or fail.
Jesus, we haven't even reached
fractals - fucking hopeless youth
of America. Tell Jon I had to run?
BEATRICE
You got it.
BORIS
Thanks kiddo. I'll see ya.
He kisses Beatrice on the head and leaves through the back
door. She finishes her beer.
Jonathan enters, visibly shaken.
BEATRICE
Jon?
JONATHAN
I don't...someone found the story.
Cairo's story.
BEATRICE
What?
JONATHAN
Well, it had "To Jonathan from
Cairo" written at the top, so you
know, no mistaking - and uh, I
guess someone read it and unable to
appreciate the motifs, turned it in
to the assistant principal. Joyce
would like to speak with me
formally to go through the
necessary paperwork.
BEATRICE
Paperwork for what?
JONATHAN
An incident report. I think she did
it.
BEATRICE
Think who did what?
91.
JONATHAN
Cairo. Cairo turned it in. I should
have shredded it.
BEATRICE
It's a short story, Jon. Not a
communist manifesto.
JONATHAN
It's the implication if she
convinces them that something
happened between us, I could lose
my job.
BEATRICE
Why would she offer that
information?
JONATHAN
She offered it to me.
(he stares at her)
Can we get drunk now?
INT. BENSON CITY REC CLUB - OUTSIDE - FOLLOWING MORNING
Various people in work out gear run around a track surrounded
by metal bleachers. Jonathan, also in running gear, sits
alone watching the runners and smoking. He looks hungover.
One of the joggers, a young man in a BENSON BASEBALL sweat
suit, waves to Jonathan.
Boris enters the track and jogs over to him with a bounce in
his step.
BORIS
Good morning, Brochill. Sorry for
bailing last night. You know how I
feel about shitting in other
people's homes.
JONATHAN
What's with all the sunshine?
You're effervescent.
Boris pulls out his cellphone.
BORIS
You won't believe me if I tell you,
so I'm just gonna show you. Don't
be judge-y.
JONATHAN
Oh God. Okay. Show me.
92.
He shows Jonathan a picture on his phone.
BORIS
Take a look at that, my brother.
JONATHAN
Woah. Woah. Who's that?
BORIS
You don't recognize them?
JONATHAN
Should I? Damn.
(Boris flips the picture)
Is that...is that the Muffin Men
logo? On some very pert tatas?
BORIS
Perfectly pert perky tatas, painted
to look like muffins. It's genius.
JONATHAN
Where do you find these girls?
BORIS
That's the beauty and the brain,
brother. Being beautiful and not so
smart.
JONATHAN
(horrified)
Boris - You have to delete that.
BORIS
Like hell I do.
JONATHAN
Neither of those girls are
eighteen. That's child pornography.
BORIS
Two girls making out in what could
easily be bathing suits is not
child pornography, it's a beautiful
statement about equal rights.
JONATHAN
How did they get your number?
BORIS
Don't pretend like you don't think
that's hot.
93.
JONATHAN
That's exactly what I'm going to
do.
BORIS
You don't have to.
JONATHAN
Some really weird like weird things
have been happening with Cairo and
that - that just perpetuates - I
can't get involved in that.
BORIS
The fuck are you talking about?
JONATHAN
I don't know. I think she's into
me.
BORIS
Doesn't look like she's into boys.
JONATHAN
You don't think this is deliberate?
BORIS
Maybe on Winnie's part.
JONATHAN
They're fucking with you man, can't
you see that?
BORIS
Alright, paranoid android, calm
your tits. I can like it enough for
both of us.
JONATHAN
Does this idiocy come naturally to
you or is it an active effort?
BORIS
Mostly natural. What's your deal,
man?
94.
JONATHAN
My deal is that my student has
recreated her own Justine as a
gesture of, of...I mean, I've read
some prurient stuff before but this
was some shameless, Marquis De Sade
shit and in a classic character
foible reserved for schmucks like
me, I didn't destroy it and the
goddamn thing was admitted to
administration for its graphic
content and I know how this is
gonna sound, but I think she did it
to punish me because I
didn't...because - I don't know.
And now I have to meet with Joyce
because it was fucking dedicated to
me and I have to explain why and
what it means.
BORIS
You couldn't have known what she
was going to write.
JONATHAN
I approved Henry Miller as her
author. I gave her the assignment
early. She said it was inspired by
me and her.
Fuck, this is so bad.
BORIS
Was it?
JONATHAN
Was it what?
BORIS
Inspired by the two of you.
JONATHAN
How can you ask me that?
BORIS
Look, I know you haven't dipped
your wick in a while and along
comes this attractive, intelligent
girl who thinks you invented the
fucking Oxford comma - you spend
lots of time together, she's
obviously your favorite - I mean,
you like her. I wouldn't blame you
if you had a little thing.
95.
JONATHAN
A little thing? That's completely
insane, you know that right? You
really think I would have an affair
with a student? Jesus, she's only
seventeen.
BORIS
And it's not that different from
eighteen.
JONATHAN
Yes the hell it is. One is legal
and one is not.
BORIS
Don't tell me you haven't thought
about it.
FLASH TO:
Cairo's lips wrap around a cigarette. She laughs with it
between her teeth.
JONATHAN
I haven't.
BORIS
You're a fucking liar.
JONATHAN
What do you want me to say? That I
think she's beautiful - that I
fantasize about being with her?
BORIS
Do you?
JONATHAN
What difference does it make?
BORIS
Because it's completely possible
that you misled her.
FLASH TO:
Cairo and Jonathan laughing with Boris in the morning.
JONATHAN
No. No way.
96.
BORIS
You're good to her, man. You treat
her like she's our equal. You treat
her like an adult.
FLASH TO:
Cairo and Jonathan in his classroom, talking after class.
JONATHAN
That was never my intention.
BORIS
Are you sure?
JONATHAN
Yes I'm fucking sure.
BORIS
I just think you have to examine
your own actions before you go
accusing a kid of going after you.
And c'mon, this is Cairo, we're
talking about here - she's as
threatening as buttered toast.
FLASH TO:
Cairo smiles. What once was sweet is now sinister.
JONATHAN
You'd have to have read the story.
It was fetishistic. The fact that
she has that kind of stuff rolling
around in her brain is unsettling
at best. The idea that she wrote it
about us, that she told me she did,
is beyond perception.
BORIS
I think it turns you on.
JONATHAN
No.
FLASH TO:
Cairo brings a cigarette to her lips.
97.
BORIS
You're rolling out all these
diatribes about how bad it is, but
if I'm being real, it sounds a
little like you've got a case of
the Gertudes.
JONATHAN
The what?
BORIS
Methinks thou doth protest too
much.
JONATHAN
Quit telling me what the fuck you
think I think.
BORIS
You want me to lie to you?
JONATHAN
I can't have this conversation with
you.
BORIS
Because you know I'm right. You
don't want me to be because it
fucks up your idealistic little
interpretation of yourself, but I'm
right.
JONATHAN
This isn't about how I feel it's
about what she implies - you
realize people get crucified for
shit like this? You realize I could
be a sex-offender.
BORIS
Velcro-shoed unmarked van drivers,
maybe. Not guys like you, Jon.
JONATHAN
Guys like me - guys like me go
down while guys like you are
looking at naked pictures of your
students.
98.
BORIS
Oh you're so fucking lofty, aren't
you. So righteous. You think you're
any different?
FLASH TO:
Jonathan leans over Cairo's desk to look over something she's
written. Their faces are close.
JONATHAN
I am.
BORIS
Your defensiveness speaks for
itself, you fucking hypocrite.
You're worried she's into you and
now it's gone too far? Well so
sorry for you, man. You did this.
You instigated it.
JONATHAN
Enough. Fucking enough.
Jonathan leaves Boris sitting on the bleachers.
INT. CAIRO'S BEDROOM - EARLY AFTERNOON - SAME DAY
Daylight pours into Cairo's bedroom from an open window. Her
bare feet stand in front of her mirror, her hand hangs by her
thigh, lit cigarette between her fingers. She brings the
cigarette to her lips and stares at herself, her face devoid
of emotion.
In the reflection we see her open laptop in the background.
An online application for STANFORD UNIVERSITY is open, cursor
blinking.
INT. JONATHAN MILLER'S CLASSROOM - LAST PERIOD OF THE DAY
Jonathan is sitting at his desk, head in his hand as he
grades with the other. The classroom is full, save for one
desk in the middle back. Cairo's.
The rest of the class is watching GOOD MORNING, MISS DOVE.
The bell rings and everyone leaves but Winnie.
He looks up at her briefly, then back down at his papers.
JONATHAN
What can I do for you Miss Black?
99.
WINNIE
Have you seen Cairo?
JONATHAN
I haven't.
WINNIE
I'm surprised she hasn't come by.
Jonathan's pen hesitates, only a moment.
WINNIE (CONT'D)
I haven't seen her in a few days. I
thought maybe...maybe you had.
JONATHAN
I haven't seen her to talk to her.
WINNIE
Oh you don't text or anything?
JONATHAN
Did she tell you we do?
WINNIE
Um, no. I mean not really.
JONATHAN
Did she tell you that we - what has
she said that we do?
WINNIE
Well, you know. Cairo's good at
saying everything and nothing.
He considers this.
JONATHAN
Winnie...
He's at a loss. So is she.
JONATHAN (CONT'D)
What is happening?
WINNIE
I don't know anymore.
They both look at one another. Desperation separates and
unifies them.
100.
INT. JOYCE MANNER'S OFFICE - LATER THAT DAY
Joyce sits behind her desk. Her educational diplomas and a
framed photo of her, her husband, and two teenage daughters
hang on the wall.
INTERCUT between JONATHAN and JOYCE and CAIRO and JOYCE - two
separate conversations that feel like one.
CAIRO
Mr. Miller asked me to write it.
JOYCE
Is that true?
Jonathan looks uncomfortable.
JONATHAN
Well, yes and no. The assignment
was to write a short story in the
style of their favorite authors. So
yes, I asked her to do the
assignment but I didn't specify the
content.
JOYCE
And the mid-term is what percentage
of the final grade?
JONATHAN
Twenty percent.
JOYCE
Henry Miller is not an approved
author for public school studies.
CAIRO
We're both big fans of his work.
Jonathan - I'm sorry - Mr. Miller
is enthusiastic about his work.
JONATHAN
I'm sorry do you have any water?
JOYCE
How often do you see one another?
CAIRO
I haven't been feeling well, so
recently not so much. But we used
to see each other all the time
before school. And in class, of
course. And sometimes after school.
101.
JOYCE
Do you smoke cigarettes?
JONATHAN
Yes. Is that relevant?
JOYCE
Do you smoke together?
CAIRO
Oh yeah, all the time. Usually
really early in the mornings before
class.
JONATHAN
We have smoked cigarettes together.
Yes, on - on the grounds. I mean,
we just happened to be in the same
place, smoking a cigarette. That's
how it started. Not that there's
anything - I mean that's how we
started smoking together. I'm not
explaining this properly
Jonathan is sweating.
JOYCE
Do you see each other socially?
CAIRO
Sometimes, at his behest.
JONATHAN
Absolutely not.
JOYCE
Would you consider yourselves
close?
CAIRO
Mr. Miller's very involved.
JONATHAN
God, I'm sorry. I just have the
worst cotton mouth.
JOYCE
Have you ever seen each other
outside of school?
CAIRO
He came to my house once.
102.
JONATHAN
No. Well, yes. Sort of. It's so
stupid. I suppose I had
accidentally picked up her phone on
my way out of class. I was just
dropping it off.
JOYCE
Were you alone?
JONATHAN
My wife was supposed to go with me
but she, um - didn't.
CAIRO
My parents were out of town.
JOYCE
And what did you do?
JONATHAN
Did she tell you we did something?
CAIRO
We...discussed the assignment.
JOYCE
You were in the house together,
alone?
CAIRO
He was pretty specific about what
he wanted.
JONATHAN
We didn't -- it's not like that.
Nothing happened.
CAIRO
Will this effect my standing as
valedictorian?
JONATHAN
(flustered)
What did she tell you? That I
encouraged this?
CAIRO
Mr. Miller's recommendation is so
important for my application to
Stanford...I just...I really wanted
to impress him.
103.
JONATHAN
I'm not yelling, I'm just
incredibly frustrated. But you're -
I'm sorry.
CAIRO
I have everything riding on my
grade in this class.
JONATHAN
Joyce, be real with me. How bad is
this?
CAIRO
I don't want to cause any trouble.
JONATHAN
If I could just talk to her, if I
could just-
CAIRO
May I go?
JONATHAN
To protect her. From me. Right.
INT. JONATHAN'S HOUSE - KITCHEN - NIGHT
Jonathan leans against the sink. Beatrice stands in the
doorway, holding a stack of paper.
JONATHAN
I didn't sleep with her.
BEATRICE
You were in her house.
JONATHAN
It was raining.
BEATRICE
Why didn't she just bring it out to
you?
JONATHAN
We were discussing the assignment.
BEATRICE
In her house.
JONATHAN
Yes.
104.
BEATRICE
You can tell me. If you fucked her
I'd rather you tell me than find
out later.
JONATHAN
I've never touched her.
BEATRICE
You've been suspended.
JONATHAN
I know.
BEATRICE
The ramifications from this - not
only for you, but for me, for my
career - are completely
devastating, did you think about
that?
JONATHAN
Do you hear yourself? Can you try
not to be so self-centered for two
seconds? Jesus.
BEATRICE
This doesn't effect just you.
JONATHAN
You think I don't know that?
BEATRICE
Your actions say otherwise.
JONATHAN
I don't know if I'll ever work in
another school in this city again.
The scandal alone for being
suspended is practically career
suicide - even if I'm acquitted,
the idea that I could have done
what she said - that's all anyone
will see, I'll always be
suspicious.
BEATRICE
Then I guess you should try not to
look so fucking guilty.
JONATHAN
Excuse me?
105.
BEATRICE
You let that little bitch take you
inside. Are you actually that
stupid?
JONATHAN
You obviously think so.
BEATRICE
What the fuck else would I think?
Now we're going to have to get a
lawyer that we certainly can't
afford--
JONATHAN
Well you won't have to worry about
that. They've given me a lawyer.
She laughs, quietly.
BEATRICE
Jon, what the fuck.
JONATHAN
And this is exactly what I was
worried about, isn't it? I told you
I was concerned, and you completely
dismissed it.
BEATRICE
No I didn't.
JONATHAN
Yes, you did.
BEATRICE
I wasn't trying to diminish your
concerns.
JONATHAN
Of course you weren't because you
couldn't be bothered, could you?
God forbid you take an interest in
something other than your precious
novel, God forbid you take an
interest in anything but you.
BEATRICE
(vicious)
You wanna know the truth of it,
Jon? I wasn't concerned about it
because I really just don't give a
fuck.
106.
Beat.
BEATRICE (CONT'D)
You're the banner boy of mediocrity
waving your flag of spotless virtue
like some kind of middling American
hero - You are insufferably
pedestrian. What would I possibly
worry about other than dying of
boredom having to listen to your
inventions of conflict?
She's cut him deep.
JONATHAN
How can you say that?
BEATRICE
How can you not see it?
JONATHAN
I didn't invent this.
BEATRICE
Give yourself more credit, baby.
You made it all the way in her
house on a rainy afternoon. It
writes itself.
JONATHAN
WHY ARE YOU PUNISHING ME?
BEATRICE
Did her sycophancy get you hard or
was it the smell of teen spirit?
JONATHAN
Oh very grown up, Beatrice.
BEATRICE
Explain the parallels in this
story, Jonathan. The harpy wife?
The fucking tampons? She knew I was
on my period.
(she throws the papers at
him)
Explain this. Explain how this girl
got so easily confused about your
relationship because it looks fishy
as fuck.
JONATHAN
I don't know.
107.
BEATRICE
That's not good enough.
JONATHAN
It doesn't matter how she got there
- she's a straight A student and a
girl and extra fun, her parents are
both attorneys.
BEATRICE
No. You don't get to be the victim
in this.
JONATHAN
Jesus, I am the victim.
BEATRICE
Oh, you are? You're victim to a
seventeen year old girl?
JONATHAN
I know how it sounds.
BEATRICE
It sounds like you're lying.
JONATHAN
She was my friend.
BEATRICE
Your friend. You're a grown ass
man. What business did you have
befriending a seventeen year old?
Did you text her? Did you kick it
at the arcade?
JONATHAN
WOULD YOU HAVE EVEN NOTICED?
BEATRICE
I suppose it's my fault, is it? I'm
the negligent wife who was so busy
doing the thing you can't that you
had to go stick your dick in a
child to feel like a man again? You
selfish fuck.
108.
JONATHAN
No, you're a text-book narcissist
who treats this relationship like
an autocracy while I run around
behind you hoping one day you'll
notice for once that I'm your
fucking husband and not your errand
boy.
BEATRICE
Oh how your self-sacrifice moves
me. You're such a goddamn martyr,
Jon.
JONATHAN
Don't.
BEATRICE
This isn't about the forfeits of
your wonderful fucking life, GEORGE
BAILEY, this is about some bitch
who flattered you, who read your
little book and your inevitable
surrender to adulation. God, are
you so starved for approval?
What does that say to you?
You fucking fell for it.
Finally, finally someone read your
reductive little short stories and
you can't help but get hard for it
because you suddenly feel worth
something?
JONATHAN
YES, SHE MADE ME FEEL WORTH
SOMETHING, WHAT DOES THAT TELL YOU?
BEATRICE
I feel sorry for you. I really do.
For your insufficiency, for the
ruin of your precious fucking
morality. You're just so...effete.
JONATHAN
Stop.
BEATRICE
Why should I? Did you?
JONATHAN
I DIDN'T FUCK HER.
BEATRICE
I DON'T BELIEVE YOU.
109.
JONATHAN
CAN YOU STOP ATTACKING ME FOR TWO
FUCKING SECONDS? I DIDN'T FUCK HER.
I NEVER TOUCHED HER. I barely
understand how this happened,
something I'm trying my hardest to
expiate and you just won't give me
a fucking break.
I need someone on my side Beatrice,
because this is going to be bleak.
So do you think you can be a big
girl and get your goddamn
priorities in order and remember
your fucking vows? Do you think you
can do that? Because if we're going
to try to figure this out, I'm
going to need you to not be such a
self-righteous fucking cunt.
Beatrice and Jonathan stand off.
BEATRICE
I'm sorry.
JONATHAN
Are you?
BEATRICE
I'm a self-preservationist.
JONATHAN
That's not the same thing. Try
harder, Beatrice.
BEATRICE
I'm sorry this happened.
Jonathan looks at her, expecting more but it's all she can
offer. He is entirely defeated. He sits down and stares at
nothing.
INT. CAIRO'S BEDROOM - LATER THAT EVENING
Cairo is sitting on her bed, leaning against the wall, hand
writing on a legal pad in red ink. She smokes and ashes into
a coke can. Winnie enters without knocking.
CAIRO
Sure. Come on in.
WINNIE
Where have you been?
110.
CAIRO
I have been...
(she writes)
...one acquainted with the night.
WINNIE
What?
CAIRO
I have walked out in rain, and back
in rain, I have out-walked the
furthest city light.
WINNIE
Robert Frost?
CAIRO
Yeah, thanks for that. You just
inspired the opening for my essay.
WINNIE
Essay.
CAIRO
Yes, Winnie. For Stanford?
WINNIE
Oh you're just working on your
essay? That all?
CAIRO
I'm smoking a cigarette too, if you
wish to be very literal.
WINNIE
Answer me.
CAIRO
Question me.
WINNIE
Don't be a bitch. Why are you
avoiding me?
CAIRO
It hasn't been with any great
effort, I assure you.
WINNIE
You won't return my phone calls.
CAIRO
I've been busy.
111.
WINNIE
Clearly. What are you doing to Mr.
Miller?
CAIRO
I'm testifying against him.
WINNIE
Why?
CAIRO
Oh you didn't hear? I've been
victimized.
WINNIE
Like fuck you have.
CAIRO
He exploited my trust and abused my
faith in him as a teacher.
WINNIE
Are you reciting a rape pamphlet to
me?
CAIRO
I think they call it sexual battery
by an authority figure.
WINNIE
You sound like a PSA.
CAIRO
Jonathan Miller asked me personally
to write a special short story for
the midterm - one that he wanted to
proofread himself. He told me to
write in the style of my favorite
author, who as it turns out, is
Henry Miller. I requested his
permission to do so, and he was
enthusiastic about the idea. So
much so, that he came personally to
my house to pick it up -- came in my
house, in my bedroom. Jonathan
Miller deliberately procured an
inappropriate relationship with me,
his student. Come to think of it,
it might also be aggravated sexual
exploitation of a minor. Six of
one, half dozen of another, right?
WINNIE
That's...that's a fucking lie.
112.
CAIRO
What would you like me to say?
WINNIE
The truth.
CAIRO
I'm telling the truth.
WINNIE
Your version of it.
CAIRO
Is there another version?
WINNIE
This isn't funny, Cairo.
CAIRO
Am I laughing, Winnie?
WINNIE
You can't take do this.
CAIRO
Watch me.
(she looks at her pad and
recites)
"In the end, ultimately, I
understood the severity of our
actions. Our mutual naiveté, my
trust and his arrogance, exposed us
to the caprices of modern society
and rendered us defeated, suddenly
alone in separate camps. I stand
firm in mine, burdened and acutely
aware that my puerile conceptions
about adult relationships were just
that -- the infantile notions of the
American girl, learned early and
perpetuated into an unhappy
adulthood. I cannot say whether or
not I am grateful for the
experience, for the knowledge; is
ignorance truly bliss, even at the
expense of personal happiness? The
answer evades me. The felicity of
youth has been ripped from me like
skin, and exposed as I am, sore and
open as I am, I can feel the growth
of something new over me, like
armor. And it will serve me as both
shield and weapon."
113.
WINNIE
(reeling)
You created this.
CAIRO
I engendered it, certainly.
WINNIE
This is really fucked up. Even for
you.
CAIRO
Even for me...what does that mean,
Winnie? Even for me.
WINNIE
You know what it means. You're so
unassuming that you think no one's
watching you creep under them like
a fucking virus, taking what you
want and decimating everything
else.
You're going to ruin his life. And
for what? To avenge your rejection?
To punish him because he didn't
want to fuck you?
Cairo lights another cigarette.
CAIRO
(singing)
I've got no strings to hold me
down, there are no strings on me.
WINNIE
I'll testify against you.
CAIRO
No you won't.
WINNIE
Excuse me?
CAIRO
I'll show them what evidence I have
against you and Boris and not only
will your credibility be shot to
shit, but you'll incriminate him as
well. Two teachers can lose their
jobs. Oh hey...we could double
team.
WINNIE
This isn't what I meant.
114.
CAIRO
Isn't it? Haven't I played it out
exactly like you imagined?
WINNIE
I didn't want this, I would never
want this for - I was joking -
CAIRO
You weren't joking, you just didn't
expect me to follow through.
WINNIE
You're a monster. Why are you doing
this?
CAIRO
Because there is no greater tragedy
than mediocrity.
WINNIE
The fuck are you talking about?
This isn't a game.
CAIRO
You're right. It's adversity, and I
will overcome it.
She turns back to her legal pad. She is in profile against
the wall. We pull back to reveal the wall behind her, which
is Jonathan's hotel bathroom. They lean against each other in
different spaces and times.
INT. HOTEL BATHROOM - NASHVILLE - NIGHT - FLASHBACK
Close in on Jonathan, who sits with his back against the
door, red pen in hand, reading Cairo's short story. As before
with Cairo, we look up at him from the page and watch the
text project onto his face and in the air around him.
JONATHAN (V.O.)
Mr. Murphy drove with the
resignation of the already dead. He
imagined he felt the way Dylan
Thomas did heading into the White
Horse to take the drink that would
kill him. He knew what they were
and what they were not.
Slow close on the blue of his eye - in the reflection of his
pupil we see the story playing out, the slow drizzle of rain
and a dark haired girl standing at an open window. Closer and
closer until we're there...
115.
INT. CAIRO'S BEDROOM - SHORT STORY - FANTASY
The dark haired girl looks out the window. Behind her, the
room glows faintly with the soft diffused gray light of a
rainy afternoon.
The window is open and fat rain drops smack against the sill.
We hear a car pull into the driveway.
Rain splashes her hand. Her cell phone rings and she answers.
The quoted text appears with a blinking cursor. We see what
she sees.
CAIRO
"Hello", she said.
JONATHAN (V.O.)
I'm here.
CAIRO (V.O.)
Alice thought immediately of a
slaughtering lamb, though she
couldn't be certain which of them
was meant for sacrifice.
Close on a water droplet landing on the white windowsill
into...
INT. HOTEL BATHROOM - NIGHT - FLASHBACK
A drop of water from the running bath has landed on the page
Jonathan is reading. He wipes at it and the ink runs.
His face is unreadable, his pen unmoving.
CAIRO (V.O.)
He was outside. He was inside.
Jonathan blinks.
INT. CAIRO'S BEDROOM - SHORT STORY - FANTASY
When his eyes open, he stands before her in her bedroom, bag
in hand.
The text floats over what we see, a reenactment of the story.
CAIRO
"You gonna plug a dam?" She said,
noting the drugstore bag filled
with tampons.
116.
JONATHAN
"I thought this was a fashionable
gift for young ladies." He said.
CAIRO (V.O.)
She laughed at him. With him. Their
rapport was effortless.
(she puts a cigarette in
her mouth)
"You want one?"
The flame and Cairo are reflected in Jonathan's pupils.
CAIRO (V.O.)
Smoke drifted from her mouth with
practiced effort - something she'd
picked up in some obscure noir
she'd watched with her mother.
JONATHAN
It excites you, doesn't it? The
surreptitiousness of it all.
CAIRO
Is it more romantic for you that
way?
Mr. Murphy smiled wide, the lines
around his mouth deepening into
parentheses that framed his perfect
lips into a punch line.
Jonathan's face fills the frame, looking right at us.
JONATHAN
This is no romance. I'm sorry to
disappoint you.
He snatches her wrist and the cigarette falls to the floor,
spewing ash and spark from its tip before being crushed with
her shoe.
INT. HOTEL BATHROOM - NIGHT - FLASHBACK
Jonathan's eyes scan the page. He shifts on the floor.
CAIRO (V.O.)
Alice opened her mouth to say
something, but the words fell away.
Mr. Murphy loomed over her, his
Cadillacblue eyes hungry and
bored.
117.
INT. CAIRO'S BEDROOM - SHORT STORY - FANTASY
CU on Jonathan's mouth as the dialogue spells itself out of
his mouth.
JONATHAN
In what peril you find yourself.
CU on Jonathan's face close to Cairo's. We don't see their
legs, but we see them shift.
CAIRO (V.O.)
He pressed the knee of his starched
chinos into the space between her
legs.
JONATHAN
I want you to read to me.
CAIRO (V.O.)
Alice watched in slow motion as Mr.
Murphy's tongue undulated when he
spoke - pink tide against the bone
shore of his teeth.
JONATHAN
Read it to me the way you read it
to yourself.
CAIRO (V.O.)
Their bodies separated like a
single cell splitting.
ECU on Cairo's sticky glossed lips separating in slow motion.
CAIRO (V.O.)
Alice took the tattered Henry
Miller paperback off of the
bedside table and spread it open on
the comforter of her bed.
CU on a large framed print of Virginia Woolf - the last
portrait taken of her, smoking a cigarette. In the reflection
of the glass, we watch Cairo lean over the book and bed.
Jonathan stands behind her.
JONATHAN
"Page thirteen", he said, behind
her. One hand slid up the front of
Alice's short cotton dress, as the
other pointed to a sentence on the
page. "Begin here."
118.
CAIRO
Alice recited. "It's not because
she's a child, it's because she's a
child with no innocence."
INT. HOTEL BATHROOM - NIGHT - FLASHBACK
Jonathan slips his hand into his pajama pants.
INT. CAIRO'S BEDROOM - SHORT STORY - FANTASY
A spider crawls across a window sill.
JONATHAN (V.O.)
He was against her then and Alice
felt a push of muscular wetness
between her legs. Mr. Murphy placed
his slender hand over hers and
guided her to the mound at her
center, pressing her fingers into
the dark fold there--
Fingers move over white fabric.
CAIRO (V.O.)
just behind the damp fabric of her
panties, feeling her feel herself.
JONATHAN (V.O.)
He found his way around the elastic
at her leg and slid two deft
fingers into the warm darkness of
her virgin cunt. "Keep reading", he
said.
CU on Cairo's mouth as she reads. CU on Jonathan's mouth as
he listens.
CAIRO
(reciting)
"Look into her eyes and you see the
monster of knowledge, the shadow of
wisdom--"
JONATHAN (V.O.)
She felt him shift, his weight
suddenly very low. He kissed her
ass through her dress, pressed his
face to it.
119.
CAIRO
(reciting)
"-the roundness and shapelessness
of childhood have scarcely left her
body. She is a woman in miniature,
a copy as yet incomplete."
INTERCUT between the hotel bathroom and Cairo's short story.
Images of the real Cairo, Jonathan, Beatrice, Boris and
Winnie begin to blend with what he sees.
Jonathan's hand is on her bare thigh.
CU on Cairo's hands resting between her legs under her desk.
JONATHAN (V.O.)
A thousand years of violence and
conquering boiled within him as he
held the mouth of her pubis like a
hooked fish, a thing gasping for
release, for mercy, for death.
Close on the back of Cairo's neck and Jonathan's open mouth
against it.
CAIRO (V.O.)
Alice stopped reading.
Cairo's hands grip the comforter.
CU on a half-eaten muffin. An ant is picking away pieces of
it.
JONATHAN (V.O.)
Her gullet tightened as he went
deeper within -- searching for the
answer to a question he'd doubted--
CAIRO (V.O.)
but there it was--
Jonathan is masturbating in the bathroom.
JONATHAN (V.O.)
-the answer and the question
separated by that thin fleshy veil--
the cicatrix that will never heal-
Blots of dark red ink drop onto a thick white page.
Winnie, wearing no make up, uses a fine watercolor paintbrush
to thin out the ink in a long slender stroke.
120.
CAIRO (V.O.)
the serpent's apple.
The spider crawls onto the bed.
JONATHAN (V.O.)
He would renounce everything he
believed in for a taste of her. He
would abandon all of his burdens--
Beatrice sucks a raw oyster out of its shell.
CAIRO (V.O.)
The impassive harpy wife, the
marginalization-
CU on Beatrice's hands as she uses Apostrophes & Ampersands
as a coaster for her bourbon.
JONATHAN (V.O.)
The ethics, the abstemiousness--
Cairo watches Jonathan with his back to us, standing at a
blackboard. She sits at her desk and scratches a raw mosquito
bite on her ankle with her other foot.
CAIRO (V.O.)
All surrendered and sacrificed to
the seduction of subjugation.
Cairo's earring is tangled in her hair.
Jonathan masturbates in the shower while Beatrice brushes her
teeth at the sink.
JONATHAN (V.O.)
He peeled the wet cotton down her
legs and pressed into her from
behind, the width of his face
forcing her legs apart at their
seam. Her cul was slick against his
chin--
Jonathan presses Cairo's bare shoulders onto the bed, his
fingers splayed wide over her blades as her hair fans out
above her. The muscles in her back shiver as he moves against
her.
CAIRO (V.O.)
Just as he imagined it was when she
was alone, maybe in her bedroom--
The spider crawls across Cairo's pillow.
121.
Boris and Winnie pass in the hall. Neither looks at the
other.
JONATHAN (V.O.)
Maybe in a bathroom stall at
school, her own fingers knuckle
deep - trying to rub out that itch
A pair of shoes under a bathroom stall, panties stretched
around the ankles.
CAIRO/JONATHAN (V.O.)
The ache inside.
Jonathan's face against Cairo's.
Wide shot of the hotel room. Jonathan with his back to us
against the frosted glass bathroom door. Beatrice sits in
bed, typing. Separate worlds.
JONATHAN (V.O.)
He saw himself burying his cock in
her, brutally fucking away the
exigency that swelled her clit and
choked her better judgements. He
would fill her up with come.
CU on Cairo's eye. Reflected in it is the spider, crawling
across the sheets.
INT. HOTEL BATHROOM - NIGHT - FLASHBACK
Jonathan comes.
He sits there a moment, the papers and red pen beside him. He
closes his eyes.
THE LIGHTS IN THE BATHROOM ARE SUDDENLY BRIGHT AND AUSTERE.
He opens his eyes to...
EXT. COURTHOUSE - MORNING
Jon sits alone on a bench outside. He lights a cigarette.
Cairo walks toward him, her parents in tow. She wears a
skirt, sweater and keds, and looks terribly young. She waves
to him. A slow, sad smile spreads across her face.
CAIRO (V.O.)
Checkmate.
END.
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