CELL RINGS.
SHE PULLS AWAY.
CLARISSA
Gotta go. Now don't be sayin' no shit about people from the south, right? I heard your rap out there.
TEEN 1
For sure. Wow!
CLARISSA GLANCES AT EMILY. SHE HOLDING UP A PLASTIC BAG: I “HEART” NY. SHE HAS THE LUNCH.
CLARISSA
Bye all. We'll be back someday.
TEEN 1
Sure hope so.
WOODS 1
Thank you girls.
CLARISSA WAVES, PUTS THE CELL TO HER EAR, AND LEAVES THE STORE. EMILY BLOWS SOME KISSES TO JEROME. SHE DISPLAYS THE PEACE SIGN AND TILTS HER HEAD TO THE LEFT.
WITH THAT, THEY'RE GONE.
JEROME'S SPEECHLESS.
TEEN 2
I think we gotta get a meal here now. To celebrate.
JEROME'S STARING OUT THE WINDOW.
TEEN 3
Jerome! Yo, Jerome!
TEEN 2
Pussy whipped.
THEY LAUGH.
******
1 van der Hoort, B., Guterstam, A., & Ehrsson, H. H. (2011). [Abstract]. Being Barbie: The size of one's own body determines the perceived size of the world. PLoS ONE, 6 (5), e20195. doi: 10.1371/journal.pone.0020195 Retrieved January 29, 2012 from http://www.plosone.org/.../info%3Adoi%2F10.1371%2Fjournal...
2 Marks, P. (2012). Tell me a story and I'll make you a movie star. New Scientist, 213 (2848), 20.
3 Sylvia's Restaurant (http://www.sylviasrestaurant.com/about_us.html)
4 Mouth - Merril Bainbridge (http://www.youtube.com/watch?v=8YIIM1EVDqg)
******
EXT. HARLEM - CNR W 125 STREET AND LENOX AVENUE - DAY
(CLARISSA, EMILY)
CLARISSA IS TALKING ON HER CELL TO SAMANTHA. AND EMILY'S CELL IS RINGING.
CLARISSA SIGNALS THE CITY CENTER AND THEY HEAD THAT WAY.
EMILY
Hello . . . Mr Huntsman? . . .
EMILY LOOKS AT CLARISSA.
CLARISSA
. . . you know, you did kind of ring me when I was in the middle of something. I love keeping things rolling though. Scene to scene; you know how it is . . . Yeah, I gave a check to Sylvia's, and kissed a guy, whatever feels right [1.] [2.]. . . . I guess I don't hesitate, don't contemplate, just go ahead and do it [1.] [2.], that's how I get so much done . . . Yeah, but this is only when I'm in NY - it's the big apple! If I'm in honeybee then I'm totally chilled. I like it both ways . . .
EMILY
Clarissa; I've got your dad on the line.
CLARISSA GIVES EMILY THE THUMBS UP.
EMILY
Oh . . . she's on the phone. . . . Yeah sure, I'll let her know. . . . Joseph Rotblat [4.]? You'll be speaking about him? Can't say I've heard of him. Clarissa may have . . . Yeah. Hang on, I'll look him up . . .
EMILY TYPES THE NAME INTO HER PHONE.
CLARISSA TAKES THE PHONE FROM EMILY.
CLARISSA
Whoa, Em! Don't tell my dad to hang on.
SHE PUTS THE PHONE TO HER EAR.
CLARISSA
You're a busy man, aren't you dad? . . . Ha ha . . .
CLARISSA HANDS EMILY HER [CLARISSA'S] PHONE. SHE LOOKS UP.
CLARISSA
Look him up on this. . . . Yeah dad, I'm at Harlem now - as you know. I'll be at the city in no time. Will this Joseph guy be with you? . . . Oh, died in 2005; yeah - that'd make it a little difficult . . . So, where will you be? Haven't seen you in - like - two weeks now . . . Liberty State Park? New Jersey. Jersey Shore territory. Ha ha. I'm guessing Mary Anne, Abby, and Liddy are with you? [6.] . . . Sweet. Hey; that's where you announced you were running for President, right?
EMILY
Joseph Rotblat - critic of the nuclear arms race. Sounds like a smart guy . . .
CLARISSA
Oh . . . you're talking about nuclear weapons? . . . Yeah, I know . . . look, I'll see you there, ok? Yeah. I gotta go. Bye daddy. Love you.
EMILY
Everything ok?
CLARISSA HAS A BLANK EXPRESSION ON HER FACE.
CLARISSA
Did you see that camera . . . in Sylvia's? The one the guys were looking at [5.]? How cool was it? It must just follow people. All these people . . .
CLARISSA LOOKS AROUND.
CLARISSA
They all have a story, you know [3.]. If I had a camera . . . I'd be filming everyone else, know what I mean? I wouldn't even be filming myself. They're all more interesting than I am . . . I don't even wanna go to this . . . this speech thing to be honest. I don't know if I want cameras up in my face. Do you want camera's up in your face, Em?
EMILY
Could be fun. I don't know . . .
WE TAKE A FEW STEPS BACK . . . WE DON'T WANNA GET UP IN CLARISSA'S FACE OR NOTHING. WE LOOK AROUND . . . BUT SHE AND EMILY ARE THE MOST INTERESTING PEOPLE ON THIS PARTICULAR BLOCK . . . WE SHOULD KEEP FOLLOWING THEM, RIGHT? SUDDENLY, WE'RE THE PAPARAZZI. LET'S FACE IT . . . WE LOOK DOWN AT THE GROUND IN SHAME . . . MAYBE WE'LL CATCH UP WITH THESE GIRLS LATER . . .
******
INT. LONE STAR KITCHEN - DAY
(CLARE)
THE KITCHEN IS FULL: JESSICA, CLARE, BRANDON, STEVE, DYLAN, MATT AND SAMANTHA. BRANDON IS PREPARING A MEAL AT THE BACK, DYLAN ON DISH, MATT STACKING, AND THE REMAINING FOUR ARE ON THE FLOOR AT THE FRONT.
NOW - THERE ARE TWO TYPES OF LARGE PLATES AT LONE STAR: THE LARGE OVAL ONE, AND THE LARGE ROUND ONE. PRESENTLY, MATT CARRIES A HEALTHY STACK OF THE LARGE ROUND ONES AND IS WEARING A MILK PITCHER ON HIS PINKY LIKE IT'S A RING.
THE MOOD IS HIGH AND THE ENTIRE FLOOR IS BUZZING WITH ENTHUSIASM.
MATT HOLDS THE PLATES AT WAIST LEVEL AND FROM THE PITCHER WE CAN SURVEY THE ENTIRE SCENE. MATT WALKS AWAY FROM DISH AND TOWARD THE LADIES AT THE FRONT OF THE KITCHEN. AT FIRST HE CAREFULLY CALCULATES HOW TO MAKE EACH STEP PERFECT BEFORE TAKING IT; ALREADY HE HAS ON HIS FEET NON-SLIP SHOES, AND HE'S NOT SLIPPING SO THIS IS GOOD.
HE ROUNDS THE BEND AND SMILES AT NO ONE IN PARTICULAR.
HE HOLDS THE PLATES A LITTLE HIGHER IN ANTICIPATION OF THE REMAINDER OF HIS WALK PAST THE GIRLS TO THE HIGH STACK OF ROUND PLATES UP THE AISLE AND TO HIS RIGHT.
THEY'RE LAUGHING, GIGGLING, CHATTING.
WE BASICALLY JUST HEAR STATIC BECAUSE WE'RE CONCENTRATING ON THE WALK . . . ONE STEP, TWO, LEFT, RIGHT, LEFT, RIGHT.
AND MATT PASSES THE GIRLS.
CLARE