PUSH
A Tale for Tolerance
Screenplay
by
George Cameron Grant
adapted from his monologue
CHRISTMAS EVE AT THE ESPLANADE
and one act stage play
PUSH
WGA#1224407
Featuring the Song
PASS ON THE LOVE
Written by
George Cameron Grant
Version sung by The Persuasions on Spike Lee's PBS special
"Do It A Cappella"
https://youtu.be/gO-E7r9AKjc?si=cqH_ZXF8HJ16iZjb
Revised November 18, 2025
Inquiries & filming rights: [email protected]
PUSH
A Tool for Tolerance
Dedicated to adolescent and teenage victims of anger,
abuse, bullying, ignorance and exploitation.
In Memory of all those
pushed to desperate and irrevocable acts.
EAR-SHATTERING ROAR OF A PASSING SUBWAY OVER BLACK SCREEN.
TITLE:
PUSH
CUT TO:
Genres:
["Drama"]
Ratings
Scene
2 -
Christmas Eve Encounter
INT. SUBWAY STATION - 5AM CHRISTMAS EVE
Seen from the uptown local tracks, EVE, a girl of 16, sits
against a SUPPORT BEAM in the dimly lit end of the downtown
local station’s platform. Several wilting BOUQUETS are taped
to the beam, numerous others devoutly positioned about its
base. A TRASH CAN next to another beam is the only other
nearby object. Sound asleep, the hood of a RED SWEATSHIRT
covering her head that rests against raised knees, Eve’s
hands are stuffed into the pockets of the way too big RED
NYLON TEAM JACKET with BILLY embroidered on it, as the
approaching thunder of an EXPRESS TRAIN is heard. It quickly
roars through - and past - the station, now revealing Eve is
no longer alone - a BLACK HOODIED FIGURE, seen from behind,
lowers an OBJECT into the trash can, which suddenly rattles.
CUT TO:
CU of Eve’s face as she stirs, her eyes slowly opening.
CUT TO:
Hoodied Figure from Eve’s POV, as it hides behind the beam
near the trash can.
CUT TO:
WIDE SHOT of Eve springing to her feet, hands emerging from
the jacket, one holding a BOX CUTTER which she slides open
and extends toward the hiding figure.
EVE
I know you’re behind that pole, you
you might as well come out where I
can...(cautiously approaches the
trash can)...I’m warning you, I’ve
got a sharp blade in my hand and
I’m not afraid to use it, so if
you’re thinking of trying any funny
stuff, you’d better think again.
CUT TO:
Eve’s POV of trash can and beam that Hoodied Figure now peers
around, revealing the face of a terrified YOUNG GIRl, who
suddenly bolts away from the beam and down the platform.
EVE (O.S.)
Jeez, it’s a -
CUT TO:
WIDE SHOT of Eve as she walks toward the trash can and fading
footsteps.
EVE
Hey, come back, I thought you were
just another creep trying to -
really, you don’t have to...(she
closes and pockets the box cutter,
extending empty hands)...I put it
away, see? I’m not going to hurt
you, I swear. Look, if you’re
hungry, I’ve got half a sandwich
here somewhere...(extending a
WRINKLED BAG she removes from the
jacket pocket)...here it is, see,
now come back! Hey!
CUT TO:
LONG SHOT from Eve’s POV of Hoodied Figure vanishing into
platform darkness before climbing unseen stairs. The sound of
an opening and slamming EXIT GATE echoes through the station.
CUT TO:
FULL SHOT of Eve, as she stuffs the brown bag back into her
jacket pocket.
EVE
Gone.
Returning to the beam, she slides back down to the grungy
concrete.
EVE
Damn it, Billy, are you happy now?
CUT TO:
CU of Eve’s swollen face.
EVE (V.O.)
I don’t mean to yell at you, but
everything’s such a freakin’ mess
down here.
I’m a mess, Mom and Dad are a mess,
it’s all turned to crap, and I
don’t know what to do or who else
to turn to...(pounding her fists
against her knees)...so you’re just
gonna’ have to put up with this,
okay!
CUT TO:
ECU of Eve’s teary eyes.
EVE (V.O.)
I remember the exact moment you
told me. Thanksgiving morning, in
front of the TV, right before the
parade came on. I knew you’d been
holding something back, keeping
something from me, but I never
would’ve guessed -
Genres:
["Drama","Thriller"]
Ratings
Scene
3 -
Sibling Revelations
FLASHBACK - INT. APARTMENT
CU of Eve’s 18-year-old brother BILLY.
BILLY (O.S.)
I’m in love!
Faint sound of a MARCHING BAND is heard as camera gradually
PULLS BACK to WIDER SHOT of him sitting in their APARTMENT
LIVING ROOM next to Eve, who now wears a grey sweatshirt and
black sweatpants. PEN in hand, a tattered, opened NOTEBOOK in
his lap, Billy wears the RED SWEATSHIRT covered by the NYLON
TEAM JACKET. He snaps his fingers before Eve’s face.
BILLY
Did you hear me, Eve? I said I’m in
love.
EVE
I heard you.
BILLY
That’s all you have to say?
EVE
I’m sorry, Billy - look, that’s
great - I’m happy for you.
BILLY
I’d feel a lot happier if you meant
it.
EVE
I do mean it.
BILLY
But?
EVE
Come on, Billy, you’re always in
love.
BILLY
That’s not true.
EVE
Sure it is. You daydream about it,
talk about it when you’re not
daydreaming about it - don’t you
think I just heard you singing
about it in the shower? I’d bet
anything you’re working on some
kind of love poem or story in that
notebook of yours right now.
He shuts the notebook.
BILLY
What’s wrong with that?
EVE
Nothing, if you weren’t always
getting your butt kicked by it.
BILLY
Love’s a risk, sis, sometimes you
have to push yourself to the edge
and take a chance.
EVE
I wouldn’t know.
BILLY
How could you?
EVE
Why would I want to? All I know
about love is Mom and Dad - and you
- so forgive me if I’m not exactly
in a rush to find out for myself.
BILLY
That was mean.
EVE
But true! You’re the ones who are
supposed to be setting a good
example, and so far you’re all
doing a pretty lousy job.
BILLY
Gee, thanks.
EVE
Come on, Billy, you know the way
you are.
BILLY
This is different, sis.
EVE
Whatever you say.
BILLY
It is.
EVE
Alright, I believe you.
BILLY
This is serious, Evie, this time
it’s for real.
EVE
And all the others were -
BILLY
Me just trying to be somebody else.
She hugs him.
EVE
I love that somebody else - I don’t
ever want to lose him.
BILLY
Don’t worry, you won’t.
EVE
I’d better not.
BILLY
I’m still Billy, only this Billy’s
finally doing what he really wants,
with who he really wants, and not
who and what everyone else thinks
he should really want.
EVE
So who does this Billy really want?
Let me guess, it’s Jessica, right?
BILLY
(Making a face)
Jessica?
EVE
Then it’s got to be Deborah -
Deborah Spellman - I’ve seen the
two of you hanging out at the -
BILLY
No!
EVE
No?
BILLY
She’s just a friend.
EVE
Annie Hayes?
BILLY
Uh-uh.
EVE
Betsy Callahan.
BILLY
I think you’d better give up.
EVE
Well, do I know who it is or -
BILLY
No.
EVE
Then who is it? What’s her name?
He turns away.
EVE
Billy?
BILLY
What?
EVE
What’s wrong?
BILLY
Nothing.
EVE
Hey, this is me you’re talking to,
big brother, you never have nothing
to say about anything, especially
on the subject of love, so are you
going to tell me her name or -
BILLY
Javier.
EVE
Havi-what?
He turns to her.
BILLY
Javier. That’s - his name.
CUT BACK TO:
Genres:
["Drama"]
Ratings
Scene
4 -
Echoes of Grief
INT. SUBWAY STATION
MEDIUM SHOT of Eve sitting against the beam.
EVE (V.O.)
Yeah, I know, you kept talking
after that, but it had to be ten
minutes before I could hear what
you were saying - all I could do
was keep playing that name over and
over in my head - Javier, Javier.
Javier - thinking maybe it would
somehow change to Jessica, Deborah,
Juanita, anything but - Billy, I’ve
never been closer to anyone, so how
come I didn’t know this, never
sensed or suspected it, not for a
second? I mean, it’s not like you
didn’t go out with girls, plenty of
girls, and it’s not like any girl
you didn’t go out with wouldn’t
have killed to go out with you, so
how come every time you’d tell me
about your dates I never realized
there was something off, something
wrong? How come it never occurred
to me that what was missing in your
eyes was what I saw that morning
when you said the name? And why
didn’t you tell ME?
Could it be you never knew it
yourself? Maybe you did know, but
denied your feelings until you
found someone you couldn’t deny? Or
maybe you were just too afraid to
say anything because you pretty
much knew what the reaction would
be.
A CELL PHONE rings. Removing it from the jacket pocket, she
stares at the number.
EVE (V.O.)
Well, well, there they are again.
They call me every 10 minutes. Most
of the time I don’t even answer,
but if I do, I rarely make a sound,
I only listen.
CUT TO:
CU of Eve clicking the phone, then holding it to her ear.
MOTHER (V.O.)
Evie, are you there? Evie?
FATHER (V.O.)
Please answer your Mother, Evie.
MOTHER (V.O.)
Anthony, please!
Eve silently grimaces.
MOTHER (V.O.)
I know you can hear me, Evie.
FATHER (V.O.)
What your Mother’s trying to say is-
MOTHER (V.O.)
She knows what I’m trying to say,
now would you please let me handle
this! We want you back, baby, we
miss you terribly.
FATHER (V.O.)
Listen to your Mother, Evie.
MOTHER (V.O.)
We’re so sorry for everything that
was said, everything that happened.
EVE
Little freakin’ late for that,
isn’t it, mother?
MOTHER (V.O.)
You’re there!
EVE
Of course I’m here.
FATHER (V.O.)
She spoke to you?
MOTHER (V.O.)
Why don’t you ever answer me?
EVE
I just did.
FATHER (V.O.)
What’s she saying?
MOTHER (V.O.)
Shhh! We’ve been sick to death with
worry.
FATHER (V.O.)
Tell her, Mary.
EVE
Tell me what, Mother?
MOTHER (V.O.)
We want you to come home, baby.
EVE
Oh, that.
FATHER (V.O.)
Can I talk to her, please?
MOTHER (V.O.)
No! We need you, Evie, now more
than ever.
EVE
(Away from the phone)
Blah, blah, blah, blah.
MOTHER (V.O.)
What was that?
EVE
Nothing.
FATHER (V.O.)
Please let me speak to her.
MOTHER (V.O.)
Don’t touch the -
FATHER (V.O.)
We just want you home, Evie, no
questions asked!
EVE
No questions asked?
MOTHER (V.O.)
You heard your Father.
EVE
Hah!
MOTHER (V.O.)
Evie!
Eve snaps the cell phone shut and screams. The echo
reverberates throughout the empty station.
CUT TO:
FULL SHOT of Evie standing as she begins angrily pacing
between the beams on the platform.
EVE
No questions asked - big of them!
Slamming the beam bearing the bouquets, she begins to sob,
leaning sideways against it.
CUT TO:
CU of Eve, face twisted in grief.
EVE (V.O.)
Billy, maybe you already know this,
maybe you don’t, but the story’s
everywhere - TV, newspapers, radio,
all over the freakin’ internet.
Teen subway tragedy! Troubled honor
student jumps to his death!
Troubled! Can you believe that
crap?
She walks between the beams, then onto the yellow warning
stripe, feet dangerously close to the edge as she looks up.
EVE (V.O.)
Everyone thinks they know you,
think they have it all figured out,
but I know the truth, I know what
really happened. You didn’t jump,
not really.
CUT TO:
ECU of Eve’s angry face.
EVE
You were pushed!
Roar of a passing train as its lights strobe across Eve’s
face, the rumble morphing into a ringing SCHOOL BELL.
QUICK CUT TO:
Genres:
["Drama","Family","Tragedy"]
Ratings
Scene
5 -
Hallway Confrontation
FLASHBACK - INT. HIGH SCHOOL HALL - A MID-DECEMBER AFTERNOON
LONG SHOT of High School STUDENTS everywhere, scrambling from
one class to another, as bell stops and two TEENAGE GIRLS,
carrying armfuls of books, cut through the crowd.
CUT TO:
CU of Girls walking down the hallway.
TEENAGE GIRL #1
Betty said she saw Billy Davis with
some Spanish guy on City Island.
She said they were -
She looks around, leans toward Teenage Girl #2’s ear, and
whispers. A look of shock comes over Teenage Girl #2’s face.
TEENAGE GIRL #2
What? Get the frig outta’ -
CUT TO:
WIDE SHOT of both Girls walking down the hallway, surrounded
by scrambling students.
TEENAGE GIRL #1
You heard me!
TEENAGE GIRL #2
That’s bull, I don’t believe it.
TEENAGE GIRL #1
Why would she make that up?
TEENAGE GIRL #2
Billy Davis a freakin’ queer?
TEENAGER GIRL #1
Shhh! Guess who’s right behind you.
CAMERA shifts over Teenage Girl #2’s shoulder, refocusing on
Billy walking by in his Red Nylon Team Jacket and Sweatshirt,
busily writing in his notebook, backpack slung over his
shoulder. They stop as he quickly passes them.
CUT TO:
MEDIUM SHOT behind Billy and the two Teenage Girls as,
sensing their stare, he stops writing, then looks back at the
girls, returning the favor. They giggle just as a very tall
TEENAGE BOY, KNIT CAP pulled over his head, faded PLAID SHIRT
covering T-SHIRT and low riding RIPPED JEANS, turns a hallway
corner, roadblocking Billy’s path.
TEENAGE BOY
Hey faggot!
A stunned Billy turns and stops, inches away from the Teenage
Boy.
CUT TO:
SIDE VIEW of Billy and the Teenage Boy.
TEENAGE BOY
Yeah, that’s right, I’m talkin’ to
you, got a problem with that,
fairy?
As Billy tries to walk around him, the Teenage Boy rips the
notebook from his hand -
BILLY
Give that back!
- and holds it high above his head, out of Billy’s reach.
TEENAGE BOY
What’ll you do to get it, girlie
boy?
The Teenage Girls begin laughing as an excited crowd of
students gathers around them.
TEENAGE BOY
Oh, and by the way, how’s your spic
boyfriend?
The students oooh, ahhh, and giggle as Billy, fists clenched,
goes nose to chest with him.
BILLY
I said - give - that - back!
TEENAGE BOY
Uh-oh, faggot’s angry, I’m shakin’.
Billy begins walking away, suddenly pivots and leaps,
grabbing the book from the laughing Teenage Boy’s hands,
before pushing his way through the crowd.
TEENAGE BOY
Hey, where ya’ runnin’, flamer?
I’ve got something special here
just for you.
He grabs his crotch as the Teenage Girls and other students
laugh. Eve’s face fills frame.
EVE
Push.
CUT TO:
Genres:
["Drama","Coming-of-age","Teen"]
Ratings
Scene
6 -
Thanksgiving Anticipation
INT. - DINING ROOM - THANKSGIVING AFTERNOON
FATHER, a burly man in his late 40s, sits at the end of a
TABLE filled with all the trimmings for a perfect
Thanksgiving dinner, RED NAPKIN tucked inside the open collar
of his plaid shirt. MOTHER, a slightly younger woman, enters
with one last dish, RED APRON wrapped around the waist of her
simple housedress, as Father rubs his hands together in
anticipation.
FATHER
Let’s eat!
MOTHER
Billy! Eve! Please come downstairs,
dinner’s ready!
FATHER
Don’t make your mother call you
again, everything’s already on the
table.
EVE (O.S.)
Coming!
Mother begins removing her apron, walking toward the table’s
other end, across from Father.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
7 -
Tension on the Staircase
INT. STAIRCASE OUTSIDE DINING ROOM
Eve reaches the bottom of the staircase, then turns to block
Billy, still in his Red Jacket, who’s right behind her.
BILLY
What are you doing?
EVE
(Whispering)
Billy, are you sure about this?
BILLY
No.
EVE
Then why do it now?
BILLY
Why not do it now?
EVE
I don’t know, it’s just -
FATHER (O.S.)
That’s it! We’re starting without
you!
He brushes Eve to the side and heads for the dining room.
EVE
Billy!
CUT TO:
Genres:
["Drama"]
Ratings
Scene
8 -
Thanksgiving Turmoil
INT. DINING ROOM
WIDE SHOT of Billy standing between his parents at either end
of the table, as Eve comes around the other side.
FATHER
This isn’t a fast food joint, we’re
having Thanksgiving dinner here, so
take that damn jacket off and have
a little respect for your Mother,
alright?
BILLY
Mom, Dad, I’ve got something very
important to tell you.
FATHER
Let’s see, could it be you’ve
finally pulled your head out of the
clouds, out of your ass, and got
your old spot back on the team?
MOTHER EVE
Anthony! Daddy!
FATHER
What’d I say? What?
BILLY
That’s not important to me.
FATHER
Then I don’t give a crap - pass the
sweet potatoes.
Mother reaches for, and hands Father, a sweet potato-filled
bowl.
BILLY
I’m in love.
FATHER
That so?
BILLY
Yeah, Dad, it is.
FATHER
Where’s the butter?
MOTHER
For God’s sake, Martin, it’s right
in front of you!
He looks for the butter.
BILLY
But that’s -
FATHER
Where?
BILLY
- that’s not all of it.
Eve’s face fills the camera.
EVE
And then you dropped the bomb.
She moves off frame just as a furious Father leaps to his
feet, chair flying backwards behind him, trembling finger
pointing at Billy.
FATHER
You get the hell out of here and
don’t ever come back! Now who’s got
the freakin’ butter?
BILLY
Dad, I need you to listen -
FATHER
Love! You call that love? That’s
not love, that’s sick!
MOTHER
Martin, please, it’s Thanksgiving.
FATHER
Oh, that’s right, how could I
forget?...(looking upward)...Thank
you dear Lord for making my only
son a freakin’ faggot - guess you
misunderstood when I begged you for
a ballplayer, stupid me!
Billy turns to his Mother.
BILLY
Mom, please say something to him.
Mother blesses herself.
MOTHER
Jesus, Mary and Joseph.
FATHER
They’re not gonna’ help...(turning
to Billy)...you still here?
BILLY
Why do I have to go anywhere?
Father goes nose-to-nose with Billy.
FATHER
Because you’re a freak of nature,
an embarrassment, only human beings
live in this house and you just
lost your membership, now get out
of my face and out of my house
before I throw you out!
Mother steps between them.
MOTHER
For the love of God, Martin, please
stop it, you’ll give yourself a
stroke.
FATHER
Who gives a crap - (removing, then
slamming, his napkin onto the
table) I’m already dead.
Father returns to the chair, which he picks up, slams down,
then sits in, as Mother leers at Billy.
FATHER
Now where the hell is the dark
meat? You know how much I love dark
meat!...(looking up at a stunned
Billy)...Didn’t you hear me,
faggot, I said get the hell outta’
here!
A teary-eyed Billy runs from the dining room.
FATHER
And don’t even think of coming
back, ya’ hear me? I’m changing the
locks first thing in the morning.
Eve’s face again fills the frame.
EVE
Push.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
9 -
Seesaw of Heartbreak
EXT. - PLAYGROUND - DAYTIME
A crowd of HIGH SCHOOL STUDENTS clusters around the
playground’s swings and monkey bars as Billy, sitting alone
at the center of a seesaw, writes in his notebook.
JAVIER (O.S.)
Billy!
Billy looks up.
CUT TO:
Billy’s POV of JAVIER, an Hispanic man in his early 20’s,
dressed in RED SHIRT, BLACK WINDBREAKER, SLACKS & SHOES,
stands street side of the playground’s chain link fence.
CUT TO:
Billy getting up and walking toward the fence as the students
murmur and giggle.
CUT TO:
CU of Billy reaching the fence that Javier now grasps from
the other side.
BILLY
What are you doing here?
JAVIER
I’m going home, Billy.
BILLY
Home? What do you mean, home?
JAVIER
Home. My home. Back to Pamplona,
home.
BILLY
When? For how long?
JAVIER
Tomorrow. For good.
BILLY
I don’t understand.
JAVIER
I talked to my Uncle about a job
back home, and he said yes, he can
use me, so - I’m going back.
BILLY
What about us?
Javier turns away.
BILLY
Javier? What about what we have?
What we feel? What about -
He opens the notebook, rifling through the pages to one near
the end.
BILLY
What about everything we shared?
All the things we shared and said,
what you said -
JAVIER
I should go.
BILLY
(Pointing to book)
Here! That afternoon we were in the
park when you told me -
JAVIER
I have to go.
Billy angrily presses the open book against the fence toward
Javier.
BILLY
When you told me you loved me.
JAVIER
This is too much for me, Billy,
everything’s too crazy, it’s - how
do you call it - a freaking mess.
BILLY
Mess? You wanna’ talk about a mess?
I can’t go home anymore, Javier,
how’s that for a freaking mess?
JAVIER
I don’t understand.
BILLY
What don’t you understand? I told
them.
JAVIER
Told who? Told what?
BILLY
My parents, my sister, I told them -
about us. At Thanksgiving dinner.
JAVIER
You what?
BILLY
I don’t know what I was thinking.
I thought they’d understand, maybe
even be happy for me.
JAVIER
Why did you do that?
BILLY
I had to tell someone, and if
you’re not able to tell your own
family -
JAVIER
That was a mistake, Billy, a big
mistake.
Javier turns away.
BILLY
We could never be a mistake,
besides, look how everything’s
worked out.
TEENAGE BOY (O.S.)
Hey, get over here you faggots,
I’ve got a bone to pick with you!
Sounds of mocking laughter.
JAVIER
Yes, I see.
BILLY
To hell with them, there’s nothing
in my way anymore, I can come with
you right now.
JAVIER
Come with me?
BILLY
That’s right
JAVIER
That’s not possible.
BILLY
Of course it is.
JAVIER
No, Billy, it isn’t.
BILLY
Why not?
JAVIER
Because.
BILLY
Because?
JAVIER
Because - I don’t want you to.
BILLY
I don’t understand.
JAVIER
Billy, this - us - cannot happen
where I live.
BILLY
Then don’t live there, live here.
JAVIER
The plans are already made.
BILLY
Change them, we can live together.
JAVIER
It’s too late.
BILLY
No, it isn’t, let’s take a chance,
what do we have to lose?
JAVIER
It’s finished, Billy.
BILLY
Why can’t we just give it a little
time and see what happens? A month?
A few weeks?
JAVIER
Goodbye, Billy.
BILLY
No, Javier, wait.
JAVIER
I’m sorry, Billy.
Billy slams the fence that Javier first steps back, then
away, from.
BILLY
You’re sorry? I have nowhere to go.
CUT TO:
Billy’s POV through the fence at Javier, who coldly looks
back while walking away.
JAVIER
That’s not my fault, not my
problem.
CUT TO:
Billy seen through the fence, a group of mocking students in
the background. Stuffing the notebook in his back pocket,
Billy begins violently shaking the fence.
BILLY
Javier, wait!
He starts to climb the fence, stopping halfway.
BILLY
Come back - please - don’t go!
The students, now swirling below, howl and mimic him.
BILLY
I love you!
Eve’s angry face fills the frame.
EVE
Push!
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
10 -
Descent into Despair
INT. - SUBWAY STATION
ECU on Billy’s swollen face and teary eyes. Sadness turns to
rage as camera pulls back to reveal he’s standing on the
DOWNTOWN SUBWAY PLATFORM between the beams. Suddenly grabbing
the rolled notebook from his back pocket, he futilely tries
to rip, then bend, the book, before chucking it, intact, into
the trash can. Looking across the tracks, he begins to weep.
CUT TO:
Billy’s POV of STUDENT TORMENTORS clustered together across
the tracks on the darkened UPTOWN SUBWAY PLATFORM, leering at
him, inching forward toward the platform’s edge, their one-
word scream echoing throughout the station.
STUDENTS
Push!
CUT TO:
Billy’s face morphing from sadness to anger, as he begins to
inch up toward the yellow stripe at the platform’s edge. The
sound of an approaching train is suddenly heard.
CUT TO:
Billy’s POV of his parents now standing before the Student
Tormentors, joining in their threatening creep toward the
edge.
PARENTS & STUDENTS
Push!
CUT TO:
Billy, his fists now clenched as he leans forward, face
distorting from anger to rage.
CUT TO:
Billy’s POV as JAVIER has now joined Billy’s Parents and
Student Tormentors in their lockstep forward, their voices
and resulting echo growing louder.
JAVIER, PARENTS & STUDENTS
Push!
CUT TO:
Billy, his rage melting into despondency, emits one long,
tormented, primal scream, blending with the piercing sounds
of the oncoming express train. A train horn blasts. Strobing
lights fill the screen as it passes through the station.
CUT TO:
BLACKOUT AND SILENCE
FADE UP ON:
Genres:
["Drama","Tragedy"]
Ratings
Scene
11 -
A New Beginning
INT. - SUBWAY STATION - PRESENT
Eve, head bowed, on her knees, weeping at the exact spot
where Billy left this world. Collecting herself, she angrily
gets to her feet, shaking her clenched fists.
EVE
Damn it, Billy, why didn’t you come
to me first? You were always the
one I went to when no one else
cared.
The vague image of Billy is suddenly seen approaching Eve
from behind. A peaceful smile creasing his face, basked in a
soft glow, and wearing a pure white t-shirt, clean jeans and
sneakers, he draws closer, becoming clearer.
EVE
All those times I fought with Mom
and Dad, the time Tony Abolofia
asked Noreen Corcoran to the dance
instead of me, or that time Tommy
Flanagan called me a moon-faced
freak. I’ll never forget what you
said as you sat me down, wiped the
tears from my face, and looked into
my swollen eyes.
Eve looks up as Billy’s visage, now right behind her, gently
touches her shoulders.
BILLY
The moon was created by God to give
people freaked out by stuff during
the day something beautiful to see
at night.
EVE & BILLY
And if dopey Tommy Flanagan doesn’t
get that, then his head is harder
than the lifeless rock the moon is
made of.
CUT TO:
ECU of Eve as, eyes now shut, she begins to laugh. The echo
fills the station.
CUT TO:
WIDE SHOT of Eve from the UPTOWN PLATFORM. The DOWNTOWN
PLATFORM is empty - Eve is alone.
CUT TO:
Eve, alone on the platform.
EVE (V.O.)
Yeah, I smiled, of course I smiled,
you always made me smile,
especially those times when all I
wanted to do was disappear and die.
She stands, then begins pacing along the edge.
So what am I supposed to do now,
huh? Who do I turn to when my heart
is broken, when my soul is crushed?
Who fills the hole in my heart? I
can’t go back to school, Billy, how
do I walk the same halls with the
people who cursed and tormented you
without ripping their faces off?
How do I live under the same roof
with the people who tossed away the
one human being I loved more than
anything or anyone in the entire
world? You tell me, Billy, tell me
why, instead of being home in my
room, laying out my prettiest
clothes for midnight mass, I’m
standing here on Christmas Eve
wondering why I shouldn’t throw
myself off this platform and follow
you to wherever the hell you went!
The approaching rumble of an oncoming train is heard as she
stops onto the exact spot where Billy jumped and screams out -
EVE
You were always enough for me,
Billy, why wasn’t I enough for you?
The express train thunders through the station - strobing
lights and roar of the express train shaking everything
before passing, revealing Eve on her knees, head bowed.
CUT TO:
PROFILE CU of Eve, just as the trash can nearby rattles. With
a gasp, she pivots toward the noise, box cutter instantly in
hand.
EVE
Who’s there?
CUT TO:
FULL SHOT of rattling trash can as the sudden cooing, then
crying, of an INFANT, is heard.
CUT TO:
FULL SHOT of platform as Eve cautiously inches her way to the
trash can, pocketing the box cutter, then slowly pulling
herself up by the trash can’s open top and looking inside.
CUT TO:
POV of INFANT’s POV from INSIDE TRASH CAN, as the gauzy
silhouette of movement is seen through the debris its covered
by. Crumpled newspapers and trash are quickly brushed away to
reveal Eve’s shocked face looking down.
EVE
Oh my God!
CUT TO:
FULL SHOT of Eve carefully removing the CRYING INFANT.
EVE
What are you doing here?
She begins peeling away the remaining debris, then cradles
the onesy-covered baby. Removing Billy’s team jacket, she
wraps the infant with it.
EVE
Why aren’t you home, sound asleep
in your crib like all the other
little babies out there?
She clutches the suddenly screaming child against her.
EVE
Alright, alright, I get it, no
questions asked.
She rocks the baby back and forth.
EVE
You don’t have to be afraid
anymore, Evie’s here.
The infant begins to calm, then coo.
EVE
That’s better. Gee, you’re one
lucky little...(partially opening
the onesy, she peers into the
diaper)...boy.
Lucky I was here when I was. Then
again, maybe we’re both lucky,
lucky we were both at the right
station at the right -
Cell phone suddenly rings.
Uh-oh, guess who that is?
Removing the phone, she stares at it first before holding it
to her ear.
MOTHER (V.O.)
Evie, it’s me, are you there? Can
you hear me? Evie?
FATHER (V.O.)
Is she saying anything?
MOTHER (V.O.)
Does it sound like she’s saying
anything? Evie!
FATHER (V.O.)
Let me speak to her.
MOTHER (V.O.)
No.
FATHER (V.O.)
That’s it, Mary, I need to speak to
her.
MOTHER (V.O.)
I said, not now.
FATHER (V.O.)
No, Mary -
The sounds of a brief struggle.
FATHER (V.O.)
Now!
MOTHER (V.O.)
Give that back!
FATHER (V.O.)
Evie, it’s me, it’s Daddy.
MOTHER (V.O.)
You know she won’t say anything to
you.
FATHER (V.O.)
Please, baby, talk to me, please!
Evie?
EVE
What.
FATHER (V.O.)
You’re there! Thank God you’re
there!
MOTHER (V.O.)
She’s talking?
FATHER (V.O.)
Please don’t hang up.
MOTHER (V.O.)
Is she talking?
FATHER (V.O.)
We just want to know you’re
alright, honey, that you’re safe.
EVE
Yeah. We’re alright, I mean - I’m
alright.
FATHER (V.O.)
Are you sure?
EVE
I’m fine, Daddy, really.
FATHER (V.O.)
Where are you?
EVE
Doesn’t matter.
FATHER (V.O.)
You’re right, it doesn’t matter,
because wherever you are I’ll pick
you up and bring you right back
home.
EVE
No! I mean - I don’t know - I’m not
sure if I can -
FATHER (V.O.)
Evie, there’s nothing I can ever do
or say that can bring Billy back,
and that fact will break my heart
every second I got left on this
earth, but maybe one day, if you
give me half a chance, maybe I’ll
learn how to be the Father you
deserve. That you both deserved.
She stares into the eyes of the infant wiggling in her arms,
as the sound of an approaching train is heard. Quickly
stuffing the phone against her neck, she turns away from the
tracks, covering the infant’s ears, as both are suddenly
engulfed by the deafening roar and flickering lights of the
express train now whistling by.
FATHER (V.O.)
She’s in the subway!
MOTHER (V.O.)
Oh, my God, my baby!
Lights and rumble fade.
FATHER (V.O.)
Evie, are you still there?
EVE
I’m here.
FATHER (V.O.)
Are you sure you’re OK?
EVE
I said I’m - Daddy?
FATHER (V.O.)
What, honey?
EVE
(Smiling at infant)
Did you really mean that “no
questions asked” stuff?
FATHER (V.O.)
Absolutely. It can be a fresh
start, baby, a new beginning. For
all of us.
EVE
You mean for most of us.
FATHER
That’s right, baby, most of us.
Now where are you?
EVE
Not far.
FATHER (V.O.)
Please tell me where, I can jump in
the car and -
EVE
You don’t have to.
FATHER (V.O.)
I want to.
EVE
Don’t push so hard, Daddy, OK?
FATHER (V.O.)
Sure, baby, sure.
EVE
I can get home by myself, alright?
FATHER (V.O.)
But -
EVE
Alright?
FATHER (V.O.)
Anything you say, baby, just
please, please be careful.
EVE
Bye.
She slides the phone back into her jacket pocket, all the
while staring at the child in her arms.
So what do you think, little man?
What should we do?
Gently brushing the baby’s face with her hand, she stands,
then extends him outward and upward.
Look at him, Billy, look how
handsome he is, and can you believe
it?
He’s got a moon face, just like
...(looks up with a knowing smile -
then back to the baby)...guess
we’re just going to have get you
some food, clean you up, then try
to find your mommy, and if we can’t
do that, then, well, we’ll see - so
what do you say, little man, wanna’
come home with me?
The infant begins to giggle.
I’ll take that as a yes...(looking
up, with that smile)...You did it
again, Billy, you always make me
smile, and now you’ve even got him
doin’ it.
She begins to leave, stopping to look down at something she’s
kicked in the pile of debris she removed from the trash can.
Bending down, she pulls BILLY’S CRUMPLED NOTEBOOK from the
pile. Looking up, she smiles through her tears.
Thank you, Billy.
She stuffs the notebook inside the nylon jacket, then
clutches the baby tightly to her chest.
CUT TO:
LONG VIEW LOOKING DOWN PLATFORM, as Eve, infant in her arms,
turns and slowly walks down the empty platform, just as
another train roars into the station.
BLACKOUT and CREDIT ROLL
PASS ON THE LOVE begins over credits -
“Don’t hold back, don’t hold back, don’t hold back,
Pass On The Love
Don’t hold back, don’t hold back, don’t hold back,
Pass On The Love -
CUT TO:
Genres:
["Drama","Family","Tragedy"]
Ratings
Scene
12 -
Pass On The Love: A Final Call to Unity
SPLIT SCREEN - CREDITS SCREEN RIGHT - INT. SUBWAY PLATFORM
SCREEN LEFT
A GOSPEL SINGER and HIGH SCHOOL CHORUS are standing where EVE
stood, between the two beams, continue singing PASS ON THE
LOVE.
Woke up worried today, can’t help but wonder why
I see all these little children, disillusion in their eyes
With no one to look up to, who can set their spirits free
I swear those days are over, the change begins with me
We’ve gotta’ break through the fear, bust through the hate,
Reach out our arms, Pass On The Love, to the little children -
Don’t hold back, don’t hold back, don’t hold back
Pass On The Love
Don’t hold back, don’t hold back, don’t hold back
Pass On The Love
Today we turn the corner
We’re gonna’ start to make things right
Step out of the darkness, we’re switchin’ on the light
We’ve gotta’ teach our children a sense of worth and pride
We’d better get to fillin’ their emptiness inside
We’ve gotta’ break through the fear, bust through the hate,
Reach out our arms, Pass On The Love, to the little children -
Don’t hold back, don’t hold back, don’t hold back
Pass On The Love
Don’t hold back, don’t hold back, don’t hold back
Pass On The Love
Sending out our message to those who hurt or feel alone
We’ve gotta’ build a world where every child belongs
With laws of truth and gentleness no man can be above
Where the malady is ignorance, the antidote is Love
We’ve gotta’ break through the fear, bust through the hate,
Reach for the stars, Pass On The Love
Don’t hold back (you fathers), don’t hold back (you mothers)
don’t hold back, Pass On The Love
Don’t hold back (you brothers), don’t hold back (you sisters)
don’t hold back, Pass On The Love, to the little children
Don’t hold back, don’t hold back, don’t hold back,
Pass On The Love,”
MUSIC and CREDITS FADE