BRING ME THE SUN pilot script! scenes 17-28

13 Sep, 2024

INT. NYC - HELL'S KITCHEN - E'S APT - BEDROOM - LATER

• We squeeze between the dresser and desk / vanity in this corridor of a bedroom and find a full bed, which hugs length-wise against the window.

• Eleanor sleeps in a nightgown, mouth breathing, with her left arm stretched over her eyes. Wrapped around her right arm is Vaudeville Actor #3, dressed only in bedding.

• Suddenly: a tip-tap sound.

• #3 wakes. The sound continues: She looks at the window. A pebble hits: tip; and another: tap.

VAUDEVILLE ACTOR #3
(quick to panic)
Um, Eleanor.. !

• Eleanor wakes up immediately. Tip. Tap.

VAUDEVILLE ACTOR #3
Do you see it?

• She does now. Eleanor leaves the sheets to #3, crawls over her, and throws the window open.

ELEANOR
That better not be you, Sully.

• ...

ADAM (O.C.)
Yeah, it's me.

ELEANOR
(sticks head out window)
You are the biggest idiot, did you know that? Hey, Kabili.

• Outside in the dark alley stand two silhouettes: one waves enthusiastically, the other holds up some object.

ADAM
Look what we got!

ELEANOR
(squints)
God, the clouds are so heavy. I can hardly see! Whatcha got there?

• As if on command, it begins pouring again. The silhouettes yelp and frantically try to cover their (stolen) belongings.

INT. NYC - HELL'S KITCHEN - E'S APT - MAIN ROOM - LATER

ELEANOR
California!?

ADAM
Yeah, California.

• Around the DINING TABLE: Adam and Kabili (drenched) and Eleanor (now wearing the stolen dress). Vaudeville Actor #3 (dressed in Eleanor's nightgown) sits by the FURNACE, warming herself and drying off the camera, which sits upon her lap. The tripod leans against the wall.

• Outside, the storm gradually recedes and eventually drizzles.

ADAM
Sounds good, huh?

ELEANOR
Maybe, but I hate Taylor.

ADAM
Whaaat? Why?

ELEANOR
Don't know... I find it difficult to trust his reasoning, I suppose.

ADAM
Forget trust. Wanna join?

ELEANOR
How'd we get there? How 'bout rent?

• ...

KABILI
My ma lives in Chicago. If we could catch a boat or a train, we'd have a place to stay for a little while.

ADAM
Billy, that's perfect! Shit, we could catch Taylor's premiere.

ELEANOR
Think back to this all encompassing conversation with Taylor: did it INVITE you to his premiere?

ADAM
It was implied.

ELEANOR
Oh? And do we have any authoritative quotations available to reinforce said implication?

ADAM
El, I cannot recall how I got from the alleyway to this chair. It would be impossible or me to recite old sentences just to debunk your cynical but reasonably fair line of questioning.

ELEANOR
You were shouting "look what I stole" down the hallway. Mr. Doyle threatened to flog you for waking him up.

ADAM
(giggles)
That man frightens me.

KABILI
When should we leave? To Chicago.

ADAM
Hey, I could leave today.

ELEANOR
I have a march to attend later.

ADAM
Boooo.

ELEANOR
(a physical punch for every word)
Don't - boo - women's - suffrage, - Adam!
(Adam falls out of chair)
Sorry. Kind of. You know, I'm still boiling about that short.

ADAM
(climbing back up to chair)
Which one?

ELEANOR
Remember? The other day. That suffragette hit-piece we caught at the nickelodeon? I mean, it made us look.. MANLY. Gorilla arms?
(shudders, punches palm)
Who the hell made that filth? That's what I wanna know.

ADAM
(clears throat)
Taylor.

ELEANOR
Oh, good. Great! I prefer my hating others be reinforced with receipts.

ADAM
They were only commissioning his talents, El, not his ideas.

ELEANOR
It LOOKED ugly, Adam.

ADAM
Yeah, that's true... Effective filmmaking, though.

ELEANOR
I don't care.

ADAM
Wait, so what's the plan today?

KABILI
What about the set?

EXT. NEW JERSEY - DRY MEADOW - MEANWHILE

• There, abandoned in the dark, sits the set. Roofless, longing for sunlight, receiving only rain.

INT. NYC - HELL'S KITCHEN - E'S APT - MAIN ROOM - MEANWHILE

• Adam sits there, scrunched up with his head in his hands. Eventually, he faces his team.

ADAM
Maybe let's pay it a visit. Grab what we can... I cannot believe they ripped the whole God damn ro-.

• They stop and look at the front door: we hear an Irishman yelling at someone. A woman? A very loud, hotheaded woman.

• Kabili's eyes go wide.

KABILI
My aunt.

ADAM AND ELEANOR
Your aunt!?

KABILI
She knows where both of you live.

ADAM
Alright. Prob'ly kicked my door down already.

ELEANOR
Well, I don't want THAT.

• Eleanor hops up and opens the front door. A blast of noise. Left, down the dull hall, we see MR. DOYLE, an old, grumpy Irish immigrant dressed in a long nightgown and night cap. He waves his arms all around, going on and on about losing a good night's rest.

• Right in front of him, fully dressed for the day and wagging her finger stands KABILI'S AUNT, ready to shout at the whole world.

MR. DOYLE
Now look here, young, lady, I've worked too hard in my life to lose out on a good night's rest! Surely whatever business you have here can wait. Now get out!

KABILI'S AUNT
(at the same time as Mr. Doyle's rant)
Don't you go talking to me in that tone- YOUNG LADY? Do I LOOK like a young lady? You still asleep? Helloo? White ass nightgown and ha- I will go where I want whenev--!
(looks left)
Don't just stand there, honey, SAY something!

• At the far end of the hall, well away from the line of fire, stands KABILI'S UNCLE there in a white tank top, navy blue jacket, and brown pants. He holds an umbrella. He's drenched.

KABILI'S UNCLE
See, it's.. we're looking for our nephew, sir, and we're very sorry to have woken you up.

KABILI'S AUNT
No we are NOT.

MR. DOYLE
I saw a young negro with Ms. Eleanor.

• Mr. Doyle points to Eleanor, standing there in her door.

KABILI'S AUNT
YOU.

• The aunt marches up in a few long strides. The uncle stays behind. She swings the door open. Eleanor steps back. #3 turns, smiles politely, then returns to her furnace gazing. Adam waves. Kabili shivers.

• She opens her mouth to speak several times. Then, calmly:

KABILI'S AUNT
Come here.

• Kabili stands. The chair screeches against the hardwood. Adam reaches for his arm but Kabili walks away ghostlike.

• As soon as he's in arms reach, the aunt grabs him by the ear and yanks him out of the room. Adam and Eleanor hurry to the front door, looking down the hall:

KABILI'S AUNT
Better start telling me just where you were in the middle of the night and you'd better start fast! I have to go to work, are you trying to get me fired, boy? Your uncle was scared sick.

• Kabili and his guardians soon round the hallway. We hear creaky stairs, more lecturing, then nothing.

• Mr. Doyle shrugs, yawns, and shuts his door.

ADAM
Three cheers for growing up an orphan.

ELEANOR
Hip-hop hooray.

• She shuts her door.

• Vaudeville Actor #3 looks out the window: no more rain. Dim bulbs begin to light many windows. The clouds still hang heavy and dark, but far off in the distance small patches of pale blue and even a bit of yellow begin to appear.

• By now, Adam and Eleanor have returned to their seats. Eleanor looks down at the table, thinking, while Adam, also thinking but of something entirely else, looks right at #3.

ADAM
So! Uuuuuuuhhhhhhhhh--

• While droning on in "Uhh" his eyes shift to Eleanor, who scrunches her brows and mouths "What?" He tilts his head towards Vaudeville Actor #3. Eleanor points at #3 and raises her eyebrows. "Name?" she mouths. Adam nods. She shrugs.

ADAM
--uuuuhhhhhhh HEY! Could you pass me the camera?

VAUDEVILLE ACTOR #3
Huh? Oh.
(passes camera)
Y'know, stealing all this stuff was unwise. Unnecessary, even.

ADAM
(examining camera)
Thanks. Are you coming with, by the way? To California.

VAUDEVILLE ACTOR #3
Nah, gotta stick with my brother.

ADAM
Oh, they can come along too. It'd be good to have a couple o' thespians in arms reach.

VAUDEVILLE ACTOR #3
They're not going.

ADAM
(lowers camera)
What do you mean? I haven't even pitched it to 'em yet.

VAUDEVILLE ACTOR #3
Well, for one thing, they don't want to work for you anymore.

ADAM
WHAT!?

EXT. NYC - SAN JUAN HILL - SOAKED STREET - DAWN

• STREET VENDORS set up fruit and newspaper stands. Around the vendors and everywhere else, the black community of San Juan Hill hurries along to unknown destinations: ADULTS march, YOUNG ADULTS socialize, CHILDREN run. Somewhere below the horizon, the Sun makes his rapid approach towards the dawn.

• In the middle of that crowd, the aunt continues her tirade. Kabili hangs his head. The uncle trails passively behind.

KABILI'S AUNT
Just wait till your mom hears about this. Sneaking around in the middle of the night with some cracker!

KABILI
My boss. Who I like.

KABILI'S AUNT
I don't. You shouldn't. Same goes for those sluts.

KABILI
My coworkers.

KABILI'S AUNT
Not anymore they ain't.

KABILI
What the hell does that mean?

KABILI'S AUNT
Boy, you'd better shut that mouth. My sister didn't ship her son here to become a weaselly smart alack.

KABILI
Then why'd she give him away?

KABILI'S AUNT
She thought he needed a father figure. I think what he really needs is a whole lot of discipline.

KABILI
And what does any of that have to do with me?

• She smacks the back of his head.

KABILI'S AUNT
That's what. Now hurry up.

• Kabili halts in the middle of the intersection. The uncle accidently bumps into him.

KABILI
Watch it.

KABILI'S AUNT
KABILI!

• Uncle's confused. Aunt b-lines towards Kabili, bumps into several people along the way, then smacks him clean and hard across the face. The crowd forms a circle around them.

KABILI'S AUNT
What in the world has gotten into you, boy? I'm already late!

KABILI
Don't call me boy.

KABILI'S AUNT
Well, you ain't acting like a man now, are you? Throwing a little temper tantrum like that.

• Some teenagers giggle. Kabili's eyes well up with tears.

KABILI
If this is a temper tantrum then what are you doing?

• Her eyes bounce lividly left and right. For a moment, she's at a loss for words.

KABILI'S AUNT
You know? I really do not have time for this.
(to the uncle)
Take him home now.
(shakes head at Kabili)
I am ashamed of you.

• She speeds off to the right. The crowd gives way for her.

• In the parted gap, the Sun finally greets the new day. It glares harshly on Kabili, who hangs his head.

INT. NYC - OFF BROADWAY THEATER - MORNING

• The FRONT DOORS swing open, bringing blinding sunlight into the dark, rundown theater: it shines against the faded blue seats and paint chipped stage, where Vaudeville Actor #1 and #2 sit with slings and bandages and black eyes, each holding a script in their hand.

• Out of the sunlight come three silhouettes. Of the silhouettes come Adam (wearing the same, dirt clothes), Eleanor (back in her pastel attire), and Vaudeville Actor #3 (dressed in her regular wear as well).

ADAM
Gentlemen! Good morning!

• #3 walks up the ramp and onto the stage -- the door shuts -- then sitting next to her brother starts to pick at the paint.

• The other two actors stare at Adam.

VAUDEVILLE ACTOR #1
It was a good morning.

ADAM
Wonderful! Say, how'd you like to go on a little trip with us to li- uh... a place that's.. Chicago.

VAUDEVILLE ACTOR #2
(feigning interest)
Oh? What's so good about Chicago?

ADAM
I'd like to shoot a drama there. Serious MacBeth stuff. Pardon my language.

VAUDEVILLE ACTOR #1
You wanna rehire us? Well, Lumpy Lady's down a block.

ELEANOR
..We never fired you.

#1 looks at #2.

Vaudeville Actor #2
(clears throat)
Mr. Smith, we are no longer interested in working for you.

ADAM
What a shame, I was thinking you could travel with us to California.

VAUDEVILLE ACTOR #2
(actually interested)
California!? Why?

ADAM
Oh, you haven't heard about the imminent exodus from the Trust's sovereignty? Whole film industry. No big deal.

ELEANOR
Basically, we're running from the guys who beat you up.

• Both actors sit there at a total loss words.

ADAM
I seem to recall you once told me the majority of your income is from playing in movies, no?

VAUDEVILLE ACTOR #2
Well.. yes. BUT it's not like we get any credit. It merely foots the bill for this place, our true role as thespians!

• The actor stretches his arms out, clearly proud of this little rundown place. Eleanor yawns.

ADAM
Ok, from here on out you're in the credits. First and last names.

VAUDEVILLE ACTOR #1
Wait, really!?

VAUDEVILLE ACTOR #3
(still picking paint)
What's my name?

• Now our duo is at a loss.

ELEANOR
Wwooowww, Adam, what's wong with you? Beautiful name, you know.

VAUDEVILLE ACTOR #2
Excuse us for a moment.

• All three actors huddle and quickly whisper an agreement.

VAUDEVILLE ACTOR #1
(hoarse whisper)
Just say it again!

VAUDEVILLE ACTOR #2
You say it!

VAUDEVILLE ACTOR #1
Mr. Smith, we are no longer interested in working fo-.

ADAM
What do you mean!? You JUST sounded interested!

VAUDEVILLE ACTOR #2
Sorry! But we have a play to rehearse.

• Both men bury their noses in their copies of The Merchant of Venice. #2's script says Lorenzo. #1's, Jessica.

• Adam glares furiously at them. #3 shrugs. Eleanor turns away and walks to the front door.

ADAM
Alright, stay in this dump. Just remember this moment when I end up in the headlines and you're still here, selling six tickets a show.

• Sunlight floods in. Somewhere outside, a Model T horn.

ELEANOR
Adam.

• He stares the actors down just a while longer, then hurries out. We stay inside, watching the door... slowly... shut.

INT. NYC - SAN JUAN HILL - AUNT'S APT - KABILI'S ROOM - DAY

• Kabili lays wide awake. Same old ceiling, same old raggedy mattress. The city babel bleeds through the window. His uncle snores loudly in the other room.

• Suddenly Kabili hops out of bed and into that other room. We stay here, listening to the shifting of items.

• Kabili re-enters with a SUITCASE. He lays it on the bed, quietly undoes the two latches, and slowly opens it up.

MOMENTS LATER

• Some folded shirts lay packed on one side with jeans and an extra pair of slacks in the other.

• Kabili stands by the dresser, reading a letter. He crumples the paper, tosses it under the bed, then grabs his ball cap.

MOMENTS LATER

• The ball cap, the suitcase, and Kabili are nowhere to be seen. A gentle breeze blows in through the open window.

INT. TRAIN TO NEW JERSEY - COLORED PASSENGER CAR - LATER

The train is no less busy today than yesterday. Perhaps not as jovial -- at least concerning Kabili, who watches the drying countryside soak in the Sun.

EXT. NEW JERSEY - DRY MEADOW - LATER

• Suitcase in hand, ball cap on, Kabili walks toward the dry meadow. Behind him, the locomotive pulls 10 cars onward to its next destination.

• Kabili slowly descends the hill. He hangs heads low and takes no notice of the four muscular GOONS tearing down the set. The silence that fills the air once the train passes is soon overtaken by cicadas and goons. Kabili stops, finally lifting his head. Two of them he recognizes from yesterday:

GOON #1
Careful with that!

GOON #2
I'm careful.

GOON #1
No, you're not.

GOON #2
Yes, I am!

• They continue this useless back and forth all with their backs facing Kabili. He looks up the hill: too far way. He looks to his right: the dense trees. As he slowly makes his way, one awkward step at a time:

GOON #2
Ah, who cars about care, anyway!

GOON #1
Me. They could use this stuff back at the studio.

GOON #2
I thought we were repossessing. That's stealing!

GOON #1
Tomato, tomato. Now help me break down the bed.

• As they turn around Kabili hops into a bush. Startled, they quietly watch the bush... a squirrel hops out. #2 jumps.

GOON #2
Christ, I thought there was a boar in there.

GOON #1
There aren't no boars in Jersey!

EXT. NEW JERSEY - FOREST STREAM - MOMENTS LATER

• Kabili runs down the slope as quietly as he can. Upon reaching the stream, he stops to catch his breath.

• He splashes some water on his face. Takes a sip. A deep breath, a long exhale...

ELEANOR (O.C.)
(deep voice)
Ok, missy, this here's a stick up!

• Across the stream, Eleanor steps out of a bush on the right holding two finger guns. From a bush on the left:

ADAM (O.C.)
Shh! Get down!

ELEANOR
No, look! It's only Kabili.

• Adam peaks his head out of the left bush, then steps out.

ADAM
Oh! Hey, Billy.

ELEANOR
How you holding up? She yelled at you pretty bad, huh?

KABILI
Yeah.

ELEANOR
You ok?

KABILI
I'm getting there.

ADAM
(pointing at suitcase)
Whatcha got there?

KABILI
Some clothes. A notebook.

ELEANOR
So you're ready to go?

KABILI
I guess so.

ELEANOR
Great!

ADAM
Oh, God.

• Adam facepalms as if lightheaded, then quickly sits down on the damp, leafy floor.

KABILI
You ok?

ADAM
No, I'm sober.

ELEANOR
Wow, took you this long?

ADAM
Maybe I was distracted or something, I don't know. But... I am beginning to fully recall my going to California idea.

KABILI
Right.

ELEANOR
(kneeling down)
It's a good idea.

ADAM
Is it?

ELEANOR
..Yeah!

ADAM
'Cause I'm starting to have second thoughts. And thirds. Fourths.. Basically there's a million thoughts pointing towards no.

ELEANOR
Like what?

ADAM
Will they even like my movies? Or me?

ELEANOR
Ok, alright. Well, that's a lot to unpack right now.

ADAM
Yeah to be honest, I'm exhausted.

KABILI
The little no's: do they outweigh the yes? However few or many?

• ...

ADAM
Hmm. No, I don't think they do.

ELEANOR
Then it's settled. When do we leave?

KABILI
Let's hop on the next train.

ELEANOR
The camera's in my apartment.

ADAM
(facepalming again)
Jesus CHRIST.

ELEANOR
(slaps Adam)
Ah, shut up. Both of us need to pack, you know.

ADAM
I do, but I was thinking about how we stole a camera.

ELEANOR
YOU stole a camera.

KABILI
We.

• Adam cracks a smile.

ADAM
You know, California's quite far.

KABILI
Aim for Chicago first.

ELEANOR
We could get there in a day by train.

ADAM
I'm not necessarily worried about time.

ELEANOR
What do you mean?

ADAM
Maybe I'm severely deprived of sleep, but I am getting the paranoid sense that Edison's goons are cracking down on us. I mean, they're up there right now tearing down MY set.

ELEANOR
And my chair.

KABILI
You think they're after us?

ADAM
That guard did spot us.

ELEANOR
There was a security guard!?

ADAM
Well, yes.

ELEANOR
And he SPOTTED you two?

ADAM
Mhm. Didn't I mention that?

ELEANOR
NO!!

KABILI
Shh!

ADAM
To be fair, he was REALLY old. And napping. Maybe he forgot to report.

KABILI
He would've had to because you put a hole in that wall.

ADAM
Wait, that's true.

ELEANOR
You did what..

ADAM
With my head.

ELEANOR
Oh, Je-ho-VAH.

ADAM
Yeah, so they're probably after us.

ELEANOR
Got anything left?

ADAM
In my flask? No. Need some?

ELEANOR
It would help.

KABILI
What if we went up the Erie Canal?

ADAM
It might throw them off our scent. What's the fare?

KABILI
Not sure. $10 dollars?

ADAM
God damn, that's almost all the cash I've got left.

KABILI AND ELEANOR
Yup.

• They fall silent. Soon after, the forest seems to wake back up: cicadas chirp all around and frogs ribbit in response. Not far in the distance, the train horn.

ADAM
Alright, gang.

• Adam and Eleanor grasp hands and left each other up.

ADAM
Let's go to Chicago.