<script>
  <scene>
    <stage_direction>TITLE CARD: Fiction</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. MARCUS'S DORM ROOM - NIGHT</stage_direction>
    <scene_description>The time is circa 1985 . Vi and Marcus finish making love . Marcus has cerebral palsy .</scene_description>
    <character>MARCUS</character>
    <dialogue>Hey, you want to hear my short story now?</dialogue>
    <character>VI</character>
    <dialogue>Huh?</dialogue>
    <character>MARCUS</character>
    <parenthetical>( lifts a MS from a shelf by his bed . )</parenthetical>
    <dialogue>I can read it to you.</dialogue>
    <character>VI</character>
    <dialogue>You mean, again?</dialogue>
    <character>MARCUS</character>
    <dialogue>Well, I changed the ending a little.</dialogue>
    <character>VI</character>
    <dialogue>Oh. What happens now?</dialogue>
    <character>MARCUS</character>
    <dialogue>Well, actually, it's the same, but longer. I think it's better. More. raw.</dialogue>
    <character>VI</character>
    <dialogue>Well then, maybe you should just read the ending.</dialogue>
    <character>MARCUS</character>
    <dialogue>But it wo n't make any sense if you hear it out of context.</dialogue>
    <character>VI</character>
    <dialogue>I think you should leave it the way it was. It was good.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MARCUS</character>
    <dialogue>So you do n't want to hear my new ending?</dialogue>
    <character>VI</character>
    <dialogue>You'll read it in class tomorrow. Surprise me.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Anyway, I have to go. I promised Melinda I'd help her with her oral.</dialogue>
    <scene_description>She rises , starts dressing .</scene_description>
    <character>MARCUS</character>
    <dialogue>You're tired of me. I can tell.</dialogue>
    <character>VI</character>
    <dialogue>Marcus, I'm tired. That's all.</dialogue>
    <character>MARCUS</character>
    <dialogue>You've lost interest. You hardly even sweat any more when we have sex.</dialogue>
    <character>VI</character>
    <dialogue>I was never much of a sweater. You know that.</dialogue>
    <character>MARCUS</character>
    <dialogue>Look, Vi, I do n't blame you. You feel You feel pity now. The pleasure is n't there any more. The kinkiness has gone. You've become kind.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAMPUS GREEN - DAY</stage_direction>
    <scene_description>It is bright and sunny .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MR SCOTT'S CLASSROOM - DAY</stage_direction>
    <scene_description>Mr Scott , who is black , presides over his class . Marcus is reading from his story , Vi at his side . Catherine , a stunning intellectual , sits near the teacher . The rest of the students -LRB- Amy , Elli , etc. -RRB- listen closely and take notes .</scene_description>
    <character>MARCUS</character>
    <dialogue>. but when he saw her. it was as if he could walk like a normal person. His legs did n't swing, his arms did n't spaz away. He was n't a freak any more, for she made him forget his affliction. No more cerebral palsy! From now on `` CP'' stood for. cerebral person. He was a cerebral person.</dialogue>
    <scene_description>Pause . Marcus and Vi exchange looks .</scene_description>
    <character>AMY</character>
    <dialogue>I thought it was really good, Marcus. Really moving and emotional.</dialogue>
    <character>ELLI</character>
    <dialogue>Yeah, I thought it was really emotional, too.</dialogue>
    <character>AMY</character>
    <dialogue>And I mean, really good word choices. It kind of reminded me a little of Faulkner, but East Coast and disabled.</dialogue>
    <character>LUCY</character>
    <dialogue>Or Flannery O'Connor. She had multiple sclerosis.</dialogue>
    <character>JOYCE</character>
    <dialogue>And Borges. He was blind.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>ETHAN</character>
    <dialogue>Updike has psoriasis.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>CATHERINE</character>
    <dialogue>Um. Maybe I'm wrong, but, um, I'm afraid I found the whole thing to be a little trite. Its earnestness is, well. it's a little embarrassing. And those adjectives, they're a little flatfooted. And redundant. I'm sorry, but. Anyway, what do I know? Do n't even listen to what I say. I mean.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MR SCOTT</character>
    <dialogue>Anyone else?</dialogue>
    <scene_description>No response .</scene_description>
    <character>MR SCOTT</character>
    <dialogue>Catherine is right. The story's a piece of shit. You express nothing but banalities and, formally speaking, are unable to construct a single compelling sentence. You ride on a wave of clichés so worn, in fact, it actually approaches a level of grotesquerie. Ad your subtitle, ` the rawness of truth' is that supposed to be a joke of some sort? Or are you just being pretentious?</dialogue>
    <parenthetical>( beat ; then checking his class book . )</parenthetical>
    <dialogue>OK. Who's next?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAMPUS COURTYARD - DAY</stage_direction>
    <scene_description>Marcus , upset , rushes outside , Vi in pursuit , desperately trying to console .</scene_description>
    <character>VI</character>
    <dialogue>Marcus, wait up!</dialogue>
    <scene_description>Marcus stops .</scene_description>
    <character>MARCUS</character>
    <dialogue>What do you want?</dialogue>
    <character>VI</character>
    <dialogue>Do n't be so upset. It's OK.</dialogue>
    <character>MARCUS</character>
    <dialogue>What the fuck are you talking about? What's OK?</dialogue>
    <character>VI</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>You know he hated my story also.</dialogue>
    <character>MARCUS</character>
    <dialogue>Your story was terrible!</dialogue>
    <scene_description>He moves on , she keeps up with him .</scene_description>
    <character>VI</character>
    <dialogue>Marcus. You'll write something better next time!</dialogue>
    <character>MARCUS</character>
    <dialogue>Patronizing fuck! If you had just been honest with me in the first place I would n't have read it. I knew it was shit. But - idiot! - I believed you!</dialogue>
    <character>VI</character>
    <dialogue>That's not fair! I was honest! Just because I was n't sucking up like that bitch Catherine.</dialogue>
    <character>MARCUS</character>
    <dialogue>Well, I sure did n't hear you voice your opinion in there when it mattered.</dialogue>
    <character>VI</character>
    <dialogue>I admit it - I was scared! I was shocked, in fact, by what he said. And he's so. convincing. I'm sorry if I let you down, but really, I still say he's just one opinion. I do n't even like his books that much. They're all so aggressively confrontational. I do n't care if he's won the Pulitzer Prize.</dialogue>
    <scene_description>Catherine and Mr Scott walk by together in the distance .</scene_description>
    <character>MARCUS</character>
    <dialogue>You just want to fuck him. Like Catherine and every other white cunt on campus.</dialogue>
    <scene_description>He leaves her .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VI AND MELINDA'S DORM ROOM - NIGHT</stage_direction>
    <scene_description>Melinda lies on her bed with some homework , watching Vi .</scene_description>
    <character>VI</character>
    <parenthetical>( O.S . )</parenthetical>
    <parenthetical>( on phone . )</parenthetical>
    <dialogue>. But Marcus! You ca n't just unilaterally decide to end things. This is a relationship we're talking about! A friendship! You do n't just. Fuck you!</dialogue>
    <scene_description>She hangs up and enters her bedroom , in tears .</scene_description>
    <character>VI</character>
    <parenthetical>( cont 'd . )</parenthetical>
    <dialogue>Fuck him! Fuck him! Fuck him.</dialogue>
    <character>MELINDA</character>
    <dialogue>Vi? Are you OK?</dialogue>
    <character>VI</character>
    <dialogue>Yes. I'm OK. I'm totally OK.</dialogue>
    <scene_description>Melinda rises , puts a hand on her shoulder .</scene_description>
    <character>MELINDA</character>
    <dialogue>You did the right thing.</dialogue>
    <character>VI</character>
    <dialogue>I know that. Fucking cripple. Why do I waste my time with undergrads? They're all so. juvenile! Uch! I just thought Marcus would be different. I mean he's got CP!</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MELINDA</character>
    <dialogue>What are you gon na do now?</dialogue>
    <character>VI</character>
    <dialogue>I dunno. go to a bar. get laid. whatever. Do n't worry about me. I'll be fine.</dialogue>
    <scene_description>She starts changing into a new outfit .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BAR - NIGHT</stage_direction>
    <scene_description>Students hang around outside . Vi goes inside .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BAR - NIGHT</stage_direction>
    <scene_description>Vi walks up to the bar .</scene_description>
    <character>VI</character>
    <dialogue>Can I have a beer?</dialogue>
    <scene_description>After getting her beer , Vi turns around and suddenly notices Mr Scott , who is sitting alone . She goes over to him .</scene_description>
    <character>VI</character>
    <parenthetical>( cont 'd . )</parenthetical>
    <dialogue>Hi.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Hello, Vi.</dialogue>
    <character>VI</character>
    <dialogue>What are you doing here?</dialogue>
    <character>MR SCOTT</character>
    <dialogue>What are you doing here?</dialogue>
    <character>VI</character>
    <dialogue>I'm sorry. I did n't mean, I just did n't expect to run into you here, that's all.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Well, now you have.</dialogue>
    <scene_description>Vi laughs , sort of , ten blushes .</scene_description>
    <character>VI</character>
    <dialogue>Yeah, um, then. are you alone?</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Uh huh.</dialogue>
    <character>VI</character>
    <dialogue>Can I join you?</dialogue>
    <scene_description>Mr Scott gestures for her to sit down with him .</scene_description>
    <character>VI</character>
    <parenthetical>( cont 'd . )</parenthetical>
    <dialogue>Gee, thanks. Well, um. I just wanted to say that I'm really happy with the class and, um. I know you must here this all the time, but I'm also a great admirer of your work. A Sunday Lynching, especially. really, um spoke to me. God, I hope I'm not embarrassing you.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>You're not.</dialogue>
    <character>VI</character>
    <dialogue>Good.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>'Cause I. um. I really agreed with everything you had to say last week about how bad my story was.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>That's good.</dialogue>
    <character>VI</character>
    <dialogue>And I also agreed with what you said today about Marcus's story. It is a piece of shit.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MR SCOTT</character>
    <dialogue>You have beautiful skin.</dialogue>
    <character>VI</character>
    <dialogue>Thank you.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>So Catherine seems like she might become a really good writer.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Maybe. She's OK.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>VI</character>
    <dialogue>Are n't you going out with Catherine?</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I'm sorry. It's none of my business. I did n't mean.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>I'm not ` going out' with Catherine.</dialogue>
    <character>VI</character>
    <dialogue>Oh.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Do you think I have a potential as a writer?</dialogue>
    <character>MR SCOTT</character>
    <dialogue>No.</dialogue>
    <character>VI</character>
    <dialogue>Thank you for being honest.</dialogue>
    <scene_description>Mr Scott leans over and touches her hand .</scene_description>
    <character>VI</character>
    <dialogue>I have so much respect for you.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STREET - NIGHT</stage_direction>
    <scene_description>Mr Scott and Vi walk together in silence .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MR SCOTT'S APARTMENT - NIGHT</stage_direction>
    <scene_description>Vi and Mr Scott enter . He turns around and looks at her . Pause .</scene_description>
    <character>VI</character>
    <dialogue>Can I just freshen up for a second?</dialogue>
    <scene_description>He indicates the direction of the bathroom .</scene_description>
    <character>MR SCOTT</character>
    <dialogue>It's over there.</dialogue>
    <character>VI</character>
    <dialogue>Thanks.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MR SCOTT'S BATHROOM - NIGHT</stage_direction>
    <scene_description>Vi enters , locks the door behind her . She looks at herself in the mirror , then notices a snapshot of Catherine : she is naked , legs open wide . Other erotic photographs lie beneath Catherine 's .</scene_description>
    <character>VI</character>
    <parenthetical>( to herself , almost chanting . )</parenthetical>
    <dialogue>Do n't be a racist. Do n't be a racist. Do n't be a racist.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MR SCOTT'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Vi emerges from the bathroom to find Mr Scott lounging on the bed .</scene_description>
    <character>VI</character>
    <dialogue>It's a really nice place you have. Is the rent high?</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Take off your top.</dialogue>
    <scene_description>She obliges .</scene_description>
    <character>MR SCOTT</character>
    <dialogue>Now. take off the rest.</dialogue>
    <scene_description>She does , and he looks hard at her . Finally he rises .</scene_description>
    <character>MR SCOTT</character>
    <dialogue>Turn around.</dialogue>
    <scene_description>She does .</scene_description>
    <character>MR SCOTT</character>
    <dialogue>Bend over.</dialogue>
    <scene_description>He starts making love to her , from behind .</scene_description>
    <character>MR SCOTT</character>
    <parenthetical>( cont 'd . )</parenthetical>
    <parenthetical>( whispers . )</parenthetical>
    <dialogue>Say, ` nigger, fuck me.'</dialogue>
    <character>VI</character>
    <dialogue>Oh, bu. uh. I ca n't say that.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Say, Ni.</dialogue>
    <character>VI</character>
    <dialogue>Ni.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>gger.</dialogue>
    <character>VI</character>
    <dialogue>gger.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Say, ` Nigger.'</dialogue>
    <character>VI</character>
    <dialogue>Nigger.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>` Fuck me hard!'</dialogue>
    <character>VI</character>
    <dialogue>Fuck me hard!</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Say, ` Nigger, fuck me hard!'</dialogue>
    <character>VI</character>
    <dialogue>Nigger, fuck me hard!</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Again!</dialogue>
    <character>VI</character>
    <dialogue>Nigger, fuck me hard!</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Again!</dialogue>
    <character>VI</character>
    <dialogue>NIGGER, FUCK ME HARD!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MARCUS'S DORMITORY - NIGHT</stage_direction>
    <scene_description>Lights are out .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARCUS'S DORM ROOM - NIGHT</stage_direction>
    <scene_description>Marcus looks in the mirror , ponders his reflection .</scene_description>
    <character>MARCUS</character>
    <dialogue>Freak.</dialogue>
    <scene_description>There is a soft knock at the door . He turns away from the mirror and opens it . Vi is there , teary - eyed , disheveled .</scene_description>
    <character>VI</character>
    <dialogue>Can I come in?</dialogue>
    <scene_description>They embrace .</scene_description>
    <character>MARCUS</character>
    <dialogue>You're all. sweaty!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MR SCOTTS CLASSROOM - DAY</stage_direction>
    <scene_description>Vi finishes reading her story to the class .</scene_description>
    <character>VI</character>
    <dialogue>. So John flipped her around and slammed her against the wall. Jane braced herself : she thought about her mother. She thought about Peter. She thought about God. and rape.'' Say, ` Fuck me, nigger. Fuck me hard.''' John's flesh abraded her soft skin. There would be marks. She acquiesced, and said what he asked her to say, and did what he asked her to do. She had entered college with hope, with dignity, but she would graduate as a whore.'</dialogue>
    <scene_description>Silence .</scene_description>
    <character>AMY</character>
    <dialogue>Why do people have to be so ugly. write about such ugly characters? It's perverted. I know you all think I'm being prisssy, but I do n't care. I was brought up in a certain way. And this is. mean - spirited!</dialogue>
    <scene_description>Pause .</scene_description>
    <character>JOYCE</character>
    <dialogue>Yeah, well, it did seem a little affected. Like by using taboo language you were trying to shock us about the hollowness of your characters.</dialogue>
    <character>ETHAN</character>
    <dialogue>I think it was a little bit racist.</dialogue>
    <character>ELLI</character>
    <dialogue>It was completely racist, and beyond that I felt deeply offended as a woman. As if a woman can only operate from experiences of objectification.</dialogue>
    <character>SUE</character>
    <dialogue>Totally phallocentric.</dialogue>
    <character>ELLI</character>
    <dialogue>And so weirdly misogynistic. I mean, why does Jane go through with this? Is she stupid?</dialogue>
    <character>ETHAN</character>
    <dialogue>Hey, But was n't this a rape? Or. did I miss something? Because I - I'm confused. Because if this was a rape, then why would she be a whore?</dialogue>
    <character>CATHERINE</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>It was confessional, yet dishonest. Jane pretends to be horrified by the sexuality that she in fact fetishizes. She subsumes herself to the myth of black male potency, but then does n't follow through. She thinks she ` respects Afro - Americans,' she thinks they're ` cool,' ` exotic,' what a notch he'd make in her belt, but, of course, it all comes down to mandingo cliché, and he calls her on it. In classic racist tradition she demonizes, then runs for cover. But then, how could she behave otherwise? She's just a spoiled suburban white girl with a Benneton rainbow complex. It's just my opinion, and what do I know. but I think it's a callow piece of writing.</dialogue>
    <character>MR SCOTT</character>
    <dialogue>Callow and coy. Jane wants more, but is n't honest enough to admit it. In the end, she returns to the safety of her crippled.</dialogue>
    <parenthetical>( translation : sexually impotent . )</parenthetical>
    <dialogue>boyfriend.</dialogue>
    <character>MARCUS</character>
    <dialogue>This is bullshit! Her story was the truth!</dialogue>
    <character>JOYCE</character>
    <dialogue>Right.</dialogue>
    <character>SUE</character>
    <dialogue>It's unbelievable!</dialogue>
    <character>ELLI</character>
    <dialogue>It's clichéd!</dialogue>
    <character>AMY</character>
    <dialogue>It's disgusting!</dialogue>
    <character>VI</character>
    <dialogue>But it happened!</dialogue>
    <scene_description>Silence .</scene_description>
    <character>MR SCOTT</character>
    <dialogue>I do n't know about ` what happened,' Vi, because once you start writing, it all becomes fiction. Still, it certainly is an improvement over your last story : There is now at least a beginning, a middle, and an end.</dialogue>
    <scene_description>TITLE CARD : ` NONFICTION '</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOBY'S BEDROOM - NIGHT</stage_direction>
    <scene_description>A Lower East Side tenement apartment . A dogma '95 poster hangs above the bed . Toby , down and out and in his thirties , leafs through his high - school yearbook . He reads an inscription : ` Toby , I just know you 're going to become a movie star ! Please do n't forget me when you make it to the top ! I will always love you - Pam ' . He picks up his phone and dials .</scene_description>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Hello?</dialogue>
    <character>TOBY</character>
    <dialogue>Hello, is this Pam?</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Who is this?</dialogue>
    <character>TOBY</character>
    <dialogue>Toby Oxman.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Toby -? Oh, hi! How are you?</dialogue>
    <character>TOBY</character>
    <dialogue>Oh, fine. How are you?</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Great!</dialogue>
    <character>TOBY</character>
    <dialogue>Great!</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>So what's going on?</dialogue>
    <character>TOBY</character>
    <dialogue>That's what I was gon na ask you.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>But. you called.</dialogue>
    <character>TOBY</character>
    <dialogue>Oh, yeah, well. um. I was just calling because, well, I was wondering if you still remembered me, which I guess you do.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Yeah.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>TOBY</character>
    <dialogue>So. Look at where we are : the year 2000! Can you believe it? I mean, did you ever think we would actually make it?</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Um, well, yeah.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>So are you still acting?</dialogue>
    <character>TOBY</character>
    <dialogue>Oh, no, not any more. No, um, I kind of came to terms with myself, I realized I had done what I had to do. And it was time to move on.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Oh. So what did you do after you gave up on acting?</dialogue>
    <character>TOBY</character>
    <dialogue>Well, I went to law school, if you can believe that.</dialogue>
    <scene_description>Mike , Toby 's roommate and cameraman , enters looking for a towel , then goes to take a shower .</scene_description>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>I believe it.</dialogue>
    <character>TOBY</character>
    <dialogue>Yeah, well, it was really all kind of a joke - and a rip - off, so, uh. so I dropped out.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Oh, that's too bad.</dialogue>
    <character>TOBY</character>
    <dialogue>Yeah, well, then it got me writing, so that was a good thing.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Anything I might know about?</dialogue>
    <character>TOBY</character>
    <dialogue>Well, um, I kind of let things go on this novel I'd been really into - I mean, the whole publishing industry is totally corrupt. I mean, really, it's finished.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>That's too bad.</dialogue>
    <character>TOBY</character>
    <dialogue>I worked over at a homeless shelter for a while, drove a cab to pay the rent, but, I mean, that was like - I mean, I have some dignity.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>That's good. So then what do you do now?</dialogue>
    <character>TOBY</character>
    <dialogue>I'm a documentary filmmaker.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Oh? Anything I might have seen?</dialogue>
    <character>TOBY</character>
    <dialogue>N - not yet. I'm hoping to get a grant for this one project on teenagers. Geez, remember when we were teenagers?</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Yeah. You did n't wan na take me to the prom.</dialogue>
    <character>TOBY</character>
    <dialogue>Oh, I do n't remember that.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>I do.</dialogue>
    <character>TOBY</character>
    <dialogue>Well, but it was so long ago. We were so different back then.</dialogue>
    <scene_description>No response .</scene_description>
    <character>TOBY</character>
    <parenthetical>( CONT 'D . )</parenthetical>
    <dialogue>Uh, well, anyway, so I'm looking for subjects for this documentary on teenage life in suburbia. Kind of an exploration of the mental psyche of its mythology. I wrote to Derrida to see if he'd like to do the narration. But everything's still kind of in development at this point.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Hunh.</dialogue>
    <character>TOBY</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>I work in a shoe store right now. But it's cool. I'm not ashamed. I mean, really, I have a much stronger sense of self now. And, uh, anyways, it's really very temporary.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>That's good.</dialogue>
    <character>TOBY</character>
    <dialogue>Yeah. um. so anyway, tell me. What about you? I'd heard through the grapevine you were producing movies.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Yeah. But not any more.</dialogue>
    <character>TOBY</character>
    <dialogue>Oh. Tired of ` life in the fast lane'?</dialogue>
    <scene_description>No response .</scene_description>
    <character>TOBY</character>
    <parenthetical>( CONT 'D . )</parenthetical>
    <dialogue>Yeah. So you're um. you're married?</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Yeah.</dialogue>
    <character>TOBY</character>
    <dialogue>Huh. Kids?</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Yeah.</dialogue>
    <character>TOBY</character>
    <dialogue>How many?</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Three.</dialogue>
    <character>TOBY</character>
    <dialogue>Great. How old are they?</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Eight, six, and four.</dialogue>
    <character>TOBY</character>
    <dialogue>Wow, that really is great. In a few years, who knows, maybe they'll want to be in my documentary!</dialogue>
    <scene_description>Pause .</scene_description>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Listen, Toby, I ca n't really talk right now. Do you mind if I call you back?</dialogue>
    <character>TOBY</character>
    <dialogue>Yeah, sure.</dialogue>
    <character>PAM</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>OK. Bye.</dialogue>
    <character>TOBY</character>
    <parenthetical>( to himself , after pause . )</parenthetical>
    <dialogue>Maybe she has caller ID.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FAIRFIELD HIGH SCHOOL - DAY</stage_direction>
    <scene_description>It is bright and shiny .</scene_description>
    <character>MR. DEMARCO</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Do you have any hobbies?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MR. DEMARCO'S OFFICE - DAY</stage_direction>
    <scene_description>Scooby , seventeen , and Mr DeMarco , the guidance counselor , sit opposite each other .</scene_description>
    <character>SCOOBY</character>
    <dialogue>No, not really.</dialogue>
    <character>MR. DEMARCO</character>
    <dialogue>Any books you like to read for fun?</dialogue>
    <character>SCOOBY</character>
    <dialogue>No.</dialogue>
    <character>MR. DEMARCO</character>
    <dialogue>None at all? How about those ` underground' comics?</dialogue>
    <character>SCOOBY</character>
    <dialogue>I hate reading.</dialogue>
    <character>MR. DEMARCO</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>All right, Scooby, let's not beat around the bush. With your attitude, you're not going to get in anywhere.</dialogue>
    <character>SCOOBY</character>
    <dialogue>OK.</dialogue>
    <character>MR. DEMARCO</character>
    <dialogue>` OK.' So you just do n't care.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Let me ask you, not as your guidance counselor, but. as a friend : what do you want to do with your life? I mean, what kind of long - term goals can you possibly have?</dialogue>
    <character>SCOOBY</character>
    <dialogue>I dunno.</dialogue>
    <character>MR. DEMARCO</character>
    <dialogue>C'mon. Talk to me. Tell me what you're thinking.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Well, I mean. I wan na be on TV. Maybe have a talk show or something. Like Conan. Or early Letterman.</dialogue>
    <character>MR. DEMARCO</character>
    <dialogue>Ah - hah. And how is it you hope to achieve this goal?</dialogue>
    <character>SCOOBY</character>
    <dialogue>I dunno. See if I have any connections.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTON HOME – EVENING</stage_direction>
    <scene_description>The sprinkler system is still on .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DINING ROOM – EVENING</stage_direction>
    <scene_description>The family is sitting waiting at the table : FERN , Scooby 's attractive mother ; MARTY , his bullish father ; BRADY , sixteen , his handsome jock brother ; and MIKEY , ten his smart youngest brother . CONSUELO , the maid , brings some bread to the table .</scene_description>
    <character>FERN</character>
    <dialogue>Did you knock on his door?</dialogue>
    <character>MICKEY</character>
    <dialogue>Yes, but he just shouted at me and used the f - word.</dialogue>
    <character>MARTY</character>
    <dialogue>Scooby! Dinner!</dialogue>
    <scene_description>No response . Pause .</scene_description>
    <character>MICKEY</character>
    <dialogue>Would anyone be interested in being hypnotized after dinner?</dialogue>
    <character>FERN/MARTY/BRADY</character>
    <dialogue>No.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>FERN</character>
    <dialogue>Let's just start.</dialogue>
    <scene_description>They eat .</scene_description>
    <character>MARTY</character>
    <dialogue>I do n't know what's wrong with that kid.</dialogue>
    <character>BRADY</character>
    <dialogue>Maybe he's gay.</dialogue>
    <character>MARTY</character>
    <dialogue>Do n't ever say that.</dialogue>
    <character>BRADY</character>
    <dialogue>What if he is?</dialogue>
    <character>MARTY</character>
    <dialogue>He is n't.</dialogue>
    <character>FERN</character>
    <dialogue>Marty, ignore him.</dialogue>
    <character>BRADY</character>
    <dialogue>He's vegetarian, does n't do sports.</dialogue>
    <character>MARTY</character>
    <dialogue>Brady!</dialogue>
    <scene_description>Pause .</scene_description>
    <character>FERN</character>
    <dialogue>And even if he is.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MIKEY</character>
    <dialogue>Gay people are people too, you know. You're just being prejudiced.</dialogue>
    <character>BRADY</character>
    <dialogue>I do n't care is he's gay. I'm cool. I mean, it's not like I have to share his room or anything.</dialogue>
    <character>MARTY</character>
    <dialogue>I just want to know what the hell he's doing in his room that's so interesting he does n't come down for dinner.</dialogue>
    <character>MIKEY</character>
    <dialogue>Maybe he's building a bomb. just like -!</dialogue>
    <character>FERN</character>
    <dialogue>Do n't even joke about that!</dialogue>
    <character>MIKEY</character>
    <dialogue>I'm serious! What happens if he blows up the school?</dialogue>
    <scene_description>A tense pause , followed by a distant crushing sound .</scene_description>
    <character>SCOOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Fuck!</dialogue>
    <character>MARTY</character>
    <dialogue>I'm going in there.</dialogue>
    <scene_description>Scooby appears .</scene_description>
    <character>SCOOBY</character>
    <dialogue>Was anyone in my room today?</dialogue>
    <character>FERN</character>
    <dialogue>Is everything OK?</dialogue>
    <character>SCOOBY</character>
    <dialogue>My CD case like totally collapsed. I'm gon na have to recatalogue all weekend.</dialogue>
    <parenthetical>( sitting down . )</parenthetical>
    <dialogue>Hey. Can you pass the salad over.</dialogue>
    <character>MARTY</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Steak's really good tonight.</dialogue>
    <character>SCOOBY</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Good.</dialogue>
    <character>FERN</character>
    <dialogue>Got a lot of homework?</dialogue>
    <character>SCOOBY</character>
    <dialogue>I dunno.</dialogue>
    <character>MARTY</character>
    <dialogue>Whaddya mean you do n't know? You either got a lot or you do n't. What's not to know?</dialogue>
    <character>FERN</character>
    <dialogue>Marty.</dialogue>
    <character>MARTY</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>You started filling out your college applications yet?</dialogue>
    <character>SCOOBY</character>
    <dialogue>I'm not going to college.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>FERN</character>
    <dialogue>What are you going to do?</dialogue>
    <character>SCOOBY</character>
    <dialogue>I dunno.</dialogue>
    <character>MARTY</character>
    <dialogue>What DO you know?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Dad, I'm trying to figure things out right now, OK? It's like, really hard, and I'm just listening to some old Elton John and.</dialogue>
    <scene_description>Brady mouths : ` Gay ! '</scene_description>
    <character>MARTY</character>
    <dialogue>Out! Leave the table!</dialogue>
    <character>BRADY</character>
    <dialogue>What?</dialogue>
    <character>MARTY</character>
    <dialogue>You heard me : leave the table!</dialogue>
    <character>BRADY</character>
    <parenthetical>( rising . )</parenthetical>
    <dialogue>Man, I am out of here! This family is so fucked!</dialogue>
    <scene_description>Brady leaves .</scene_description>
    <character>MIKEY</character>
    <dialogue>Mom, it's not fair if Brady can say the f - word and I ca n't.</dialogue>
    <character>MARTY</character>
    <dialogue>Yeah, well, Mikey, listen up. Cause here's a lesson : life's not fair.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINSTON HOME - DAY</stage_direction>
    <scene_description>A red sports car drives up front . Esposito , Brady 's buddy , drops off Brady and Cheryl , Brady 's cheerleader girlfriend . A cleaning woman walks along the sidewalk on her way to the bus stop .</scene_description>
    <character>BRADY</character>
    <dialogue>I'll talk to you later, man!</dialogue>
    <character>ESPOSITO</character>
    <dialogue>Yo, dude!</dialogue>
    <character>CHERYL</character>
    <dialogue>Thanks, Esposito!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TV ROOM – DAY</stage_direction>
    <scene_description>Brady , still in his football outfit , tracks in some dirt . Cheryl follows him to his room , giggling . Mikey sits on the sofa while Consuelo continues her housework .</scene_description>
    <character>MIKEY</character>
    <dialogue>Consuelo?</dialogue>
    <character>CONSUELO</character>
    <dialogue>Yes, Mikey?</dialogue>
    <character>MIKEY</character>
    <dialogue>Do you have any brothers or sisters?</dialogue>
    <character>CONSUELO</character>
    <dialogue>Yes.</dialogue>
    <character>MIKEY</character>
    <dialogue>Really? How many?</dialogue>
    <character>CONSUELO</character>
    <dialogue>Four brothers and five sisters.</dialogue>
    <character>MIKEY</character>
    <dialogue>Wow.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue />
    <scene_description>Why did your parents have so many children ? I mean , if they were poor , would n't it be better to have just one or two ?</scene_description>
    <character>CONSUELO</character>
    <dialogue>It was God's will.</dialogue>
    <character>MIKEY</character>
    <dialogue>But do you really believe in God? And heaven, hell and angels and all kind of stuff?</dialogue>
    <character>CONSUELO</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>No.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DINING ROOM – EVENING</stage_direction>
    <scene_description>The Livingstons are eating dinner .</scene_description>
    <character>MARTY</character>
    <dialogue>So? How was school today?</dialogue>
    <character>SCOOBY</character>
    <dialogue>The same.</dialogue>
    <character>MARTY</character>
    <dialogue>The same. Same as what?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Just the same.</dialogue>
    <scene_description>A tense pause .</scene_description>
    <character>BRADY</character>
    <dialogue>We're studying the Holocaust in Social Studies.</dialogue>
    <character>MARTY</character>
    <dialogue>Oh, yeah?</dialogue>
    <character>SCOOBY</character>
    <dialogue>We did the same thing last year also.</dialogue>
    <character>FERN</character>
    <dialogue>How was the class?</dialogue>
    <character>BRADY</character>
    <dialogue>Well, I'm supposed to watch Schindler's List for homework. The movie's like almost four hours. And then I'm supposed to write a report on survivors.</dialogue>
    <parenthetical>( to Marty . )</parenthetical>
    <dialogue>You know any survivors, Dad?</dialogue>
    <character>MARTY</character>
    <dialogue>Hmmm. Do I know any. personally?</dialogue>
    <character>FERN</character>
    <dialogue>Well, technically your Zeda is a survivor.</dialogue>
    <character>BRADY</character>
    <dialogue>He was in a concentration camp?</dialogue>
    <character>FERN</character>
    <dialogue>Well, no. But he had to escape the Nazis.</dialogue>
    <character>BRADY</character>
    <dialogue>But I thought he came over to America before the war.</dialogue>
    <character>FERN</character>
    <dialogue>Well, he did. With his family. But his cousins, they had to stay and they were all killed. And if he'd stayed, he would have been killed. So in my book he's a survivor.</dialogue>
    <character>BRADY</character>
    <dialogue>Even though it was only his cousins that were killed?</dialogue>
    <character>FERN</character>
    <dialogue>But that could've happened to him. Or to me, if I'd been alive. Or you.</dialogue>
    <character>MIKEY</character>
    <dialogue>Or me?</dialogue>
    <character>SCOOBY</character>
    <dialogue>You mean, then, we're all survivors?</dialogue>
    <character>FERN</character>
    <dialogue>Well. yes. If it had n't been for Hitler, he would n't have had to leave Europe. We would have been. European.</dialogue>
    <character>SCOOBY</character>
    <dialogue>But then, in a sense, since you would never have met Dad if your family had stayed in Europe. if it were n't for Hitler, none of us would have been born.</dialogue>
    <scene_description>A long pause .</scene_description>
    <character>MARTY</character>
    <dialogue>Get the hell outta here!</dialogue>
    <character>SCOOBY</character>
    <parenthetical>( rising . )</parenthetical>
    <dialogue>Man, it's just, like, conversation.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRINCIPAL'S OFFICE</stage_direction>
    <scene_description>Toby sits across from Mr Kirk .</scene_description>
    <character>MR KIRK</character>
    <dialogue>Tell me : you make a living at this?</dialogue>
    <character>TOBY</character>
    <dialogue>Well, sir. uh. I'm actually not doing this for the money. When you make a documentary, you do it for many reasons, but money is certainly not one of them.</dialogue>
    <character>MR KIRK</character>
    <dialogue>I do n't get it.</dialogue>
    <character>TOBY</character>
    <dialogue>Well, sir, a lot has happened to the landscape of the suburban high school since I was a student, and I feel it would be a valuable, perhaps even enlightening endeavor, to chronicle the changes, to get intimate with the realities kids and parents face in American schools today.</dialogue>
    <character>MR KIRK</character>
    <dialogue>Yeah, well, whatever. I'll let you know if there's interest.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY - DAY</stage_direction>
    <scene_description>Toby pauses by the receptionist before leaving .</scene_description>
    <character>TOBY</character>
    <dialogue>Excuse me, where's the bathroom?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LAVATORY – DAY</stage_direction>
    <scene_description>Toby rushes to the urinal . Scooby is sitting in a corner , smoking a joint , observing him . Toby smells the pot , turns and smiles at him .</scene_description>
    <character>SCOOBY</character>
    <dialogue>You a pervert?</dialogue>
    <character>TOBY</character>
    <dialogue>No. Actually, I'm a documentary filmmaker?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Oh. You mean, like, Blair Witch Project?</dialogue>
    <character>TOBY</character>
    <dialogue>Well, no. I'm doing one on high school students, in fact.</dialogue>
    <character>SCOOBY</character>
    <dialogue>What for?</dialogue>
    <character>TOBY</character>
    <dialogue>Well. it's kind of a sociological study in the aftermath of Columbine.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Is this to like get into Sundance?</dialogue>
    <character>TOBY</character>
    <dialogue>Yeah, well, it's possible they would be interested in it.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Doubt it.</dialogue>
    <character>TOBY</character>
    <dialogue>Actually, there is some interest from the Sundance Channel.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Whoopee.</dialogue>
    <character>TOBY</character>
    <dialogue>HBO and MTV have also shown some interest.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>SCOOBY</character>
    <dialogue>So you have connections.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTON HOME – NIGHT</stage_direction>
    <scene_description>The lights are on .</scene_description>
    <character>TOBY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>You see, we're trying to do a film on suburban lifestyles.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LIVINGSTON HOME – NIGHT</stage_direction>
    <scene_description>Toby sits in the living room surrounded by the Livingston family . Marty fingers a card that reads : TOBY OXMAN , DOCUMENTARIAN . His address and phone number are printed below .</scene_description>
    <character>TOBY</character>
    <dialogue>kind of An American Family for the new millennium.</dialogue>
    <character>FERN</character>
    <dialogue>I thought this was about kids getting into college.</dialogue>
    <character>TOBY</character>
    <dialogue>Oh, it is. I mean --</dialogue>
    <character>MARTY</character>
    <dialogue>Which is it? You got ta keep your focus straight.</dialogue>
    <character>TOBY</character>
    <dialogue>You're absolutely right. The focus is on the college admissions process today.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MARTY</character>
    <dialogue>And you want Scooby to be the focus of all this?</dialogue>
    <character>TOBY</character>
    <dialogue>Scooby and a few other students of different socioeconomic backgrounds.</dialogue>
    <character>MARTY</character>
    <dialogue>Oh, well, I do n't have them yet, but --</dialogue>
    <character>MARTY</character>
    <dialogue>Either Scooby is the focus, or forget it.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Yeah, I thought I was the focus.</dialogue>
    <character>MIKEY</character>
    <dialogue>I wan na be the focus.</dialogue>
    <scene_description>Brady slaps him .</scene_description>
    <character>FERN</character>
    <dialogue>Toby, we need this to be a positive experience.</dialogue>
    <character>TOBY</character>
    <dialogue>Well, I suppose I could reconceive.</dialogue>
    <character>MARTY</character>
    <dialogue>Reconceive.</dialogue>
    <character>TOBY</character>
    <dialogue>'Cause Scooby does have a quality that I've been looking for, a quality that is emblematic of American today. It's part disillusionment, part hope.</dialogue>
    <scene_description>Consuelo comes in with tea and Twinkies .</scene_description>
    <character>MIKEY</character>
    <dialogue>Twinkeys!</dialogue>
    <character>FERN</character>
    <dialogue>Boys, take napkins. Napkins.</dialogue>
    <character>MARTY</character>
    <dialogue>Not to be crass, but what do we get out of this?</dialogue>
    <character>FERN</character>
    <parenthetical>( laughs . )</parenthetical>
    <dialogue>Do n't worry, he does n't mean money.</dialogue>
    <character>TOBY</character>
    <dialogue>Oh, I know, I know that. Well, sharing your story, your ups and downs, and so forth, can I hope, be an illuminating experience.</dialogue>
    <character>MARTY</character>
    <dialogue>Yeah. How do we know we wo n't be exploited?</dialogue>
    <character>FERN</character>
    <dialogue>No, it's true.</dialogue>
    <character>TOBY</character>
    <dialogue>Mr Livingston, I fully understand and I share your concerns. You fell vulnerable. And I know that this is a very difficult question, but what it comes down to is : can you make a leap of faith in me, in the same way that I have to make a leap of faith in you?</dialogue>
    <scene_description>ON VIDEO : INT . LOCKER ROOM -- DAY Big Esposito , in football attire , surrounded by Brady and other athletes , talks to Toby . Kids whip towels at each other in the background .</scene_description>
    <character>ESPOSITO</character>
    <dialogue>This is a great school. I do n't care what anybody says. I mean, it's not perfect, but like the people are really cool, like the teachers and kids. they really care and all. And I know that they make fun of New Jersey all the time, but I do n't care.'Cause they're just snobs.'Cause Jersey is where America's at!</dialogue>
    <scene_description>ON VIDEO : INT . EMPTY SCHOOL HALLWAY -- DAY</scene_description>
    <character>TOBY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Walking down these hallways just like the ones I once walked down as a teenager, I could n't help thinking back to a time when every day I woke up depressed, suicidal, consumed by despair. Had things changed? Was the competition to get into the most prestigious schools still a requisite rite of passage? Beneath these masks of courtesy and friendliness I knew that there were darker forces at work. and I knew that Scooby was the key to revealing the truth.</dialogue>
    <scene_description>VARIOUS SHOTS OF SCOOBY . looking pensive .</scene_description>
    <character>TOBY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Scooby, Scooby, Scooby. What are you thinking? College, SATs, your parents, your brothers, your friends. How is it you deal with all this stress?</dialogue>
    <scene_description>ON VIDEO : INT . CLASSROOM -- DAY A school psychologist sits at her desk .</scene_description>
    <character>ELIZABETH ST. CLAIR</character>
    <dialogue>The pressure to get into the college of your choice is incredible. You know, they did a study recently of the youth in Bosnia during the bombing, and they found that the stress the young people experienced there was less than what American high - school students go through when applying to college.</dialogue>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Is that right?</dialogue>
    <character>ELIZABETH ST. CLAIR</character>
    <dialogue>Yes.</dialogue>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Oh, my God.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EDITING ROOM – NIGHT</stage_direction>
    <scene_description>Toby and his editor examine the footage on an AVID .</scene_description>
    <character>TOBY</character>
    <dialogue>So whaddya think?</dialogue>
    <character>EDITOR</character>
    <dialogue>Well, I'm not really sure what you're trying to say. It's funny, I suppose. But it seems glib and facile to just make fun of how idiotic these people are.</dialogue>
    <character>TOBY</character>
    <dialogue>I'm not making fun. I'm showing it as it really is.</dialogue>
    <character>EDITOR</character>
    <dialogue>You're showing how superior you are to your subject.</dialogue>
    <character>TOBY</character>
    <dialogue>No, but I like my subject. I like these people.</dialogue>
    <character>EDITOR</character>
    <dialogue>No, you do n't.</dialogue>
    <character>TOBY</character>
    <dialogue>Yes, I do. I love them!</dialogue>
    <scene_description>Pause .</scene_description>
    <character>EDITOR</character>
    <dialogue>The camerawork's nice.</dialogue>
    <character>TOBY</character>
    <dialogue>Thanks. I'll tell Mike.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Well, it's still just a beginning. I know I can. dig deeper.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTON HOME – DAY</stage_direction>
    <scene_description>It is bright and sunny .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVINGSTON HOME – DAY</stage_direction>
    <scene_description>Fern is in the kitchen talking on the phone . She has a list of names and notes in front of her . Consuelo dusts in the background . Toby and Mike stand nearby with a video camera , recording everything .</scene_description>
    <character>FERN</character>
    <dialogue>but Marj -- may I call you Marj? -- what it really boils down to is. what does it mean to be a Jew? Exactly. Tzedakah. Charity. And the new wing at Beth Israel is. Well, actually, last year you gave $ 500. But this year $ 1,000 would not only be a mitzvah, it would bring you to a new level. Yes, of course. Your gift would also give you a Chagall menorah and two tickets to the dinner dance this spring. Because it's true : Israel needs us now. If not now, when? Well, that's wonderful. I'll speak to you next week. You too! Take care!</dialogue>
    <scene_description>She hangs up just as Scooby walks inside , fresh from school .</scene_description>
    <character>FERN</character>
    <dialogue>Hi, Scooby! How was school today?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Fine.</dialogue>
    <character>FERN</character>
    <dialogue>Ready for tomorrow?</dialogue>
    <character>SCOOBY</character>
    <dialogue>What's tomorrow?</dialogue>
    <character>FERN</character>
    <dialogue>The SATs, knucklehead.</dialogue>
    <character>SCOOBY</character>
    <dialogue>I'm not taking them.</dialogue>
    <scene_description>He walks off . ON VIDEO : INT . DINNER ROOM -- EVENING The family is eating dinner . There is a tense silence , finally broken by Mikey .</scene_description>
    <character>MIKEY</character>
    <dialogue>Mom?</dialogue>
    <character>FERN</character>
    <dialogue>Yes, Mikey?</dialogue>
    <character>MIKEY</character>
    <dialogue>I was looking through Scooby's SATs practice books this afternoon and I took one of the practice tests. Guess what score I got?</dialogue>
    <character>FERN</character>
    <dialogue>What?</dialogue>
    <character>MIKEY</character>
    <dialogue>550 verbal, 520 math. And I'm only in fifth grade!</dialogue>
    <scene_description>Everyone turns to glare at him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CHILDREN'S BATHROOM – NIGHT</stage_direction>
    <scene_description>Scooby is brushing his teeth when Marty enters .</scene_description>
    <character>MARTY</character>
    <dialogue>Scooby?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Yeah?</dialogue>
    <character>MARTY</character>
    <dialogue>We have to talk.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>SCOOBY</character>
    <dialogue>Whaddya wan na talk about?</dialogue>
    <character>MARTY</character>
    <dialogue>Do n't screw around with me. You know what I'm talking about.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>You're taking those SATs. You're taking those SATs or your CD collection is history. You're taking those SATs and you're going to college. You're taking those SATs if I have to strap your ass to a chair, but buddy your taking them.</dialogue>
    <scene_description>Pause . SCOOBY OK .</scene_description>
    <character>MARTY</character>
    <parenthetical>( under his breath as he starts walking away . )</parenthetical>
    <dialogue>Tired of this shit.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SCHOOL GYM - DAY</stage_direction>
    <scene_description>Toby and Mike shoot footage of the students as they take their SATs . Scooby is filling out his SAT in such a way that he creates a pattern of filled blanks that spells : FUCK THIS SHIT .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTON HOME – DAY</stage_direction>
    <scene_description>Toby and Mike are interviewing Brady and Cheryl in the driveway . Off to the side , Mikey tries hypnotizing a cat .</scene_description>
    <character>TOBY</character>
    <dialogue>So are you surprised that Scooby took the SATs after all?</dialogue>
    <character>BRADY</character>
    <dialogue>Not really. He's kind of a wuss.</dialogue>
    <character>TOBY</character>
    <dialogue>OK. How about you, Cheryl? Were you surprised?</dialogue>
    <character>CHERYL</character>
    <dialogue>I dunno. Whatever.</dialogue>
    <character>TOBY</character>
    <dialogue>Hmm.</dialogue>
    <character>BRADY</character>
    <dialogue>Hey, how come you drive such a shitty car?</dialogue>
    <character>CHERYL</character>
    <dialogue>Yeah.</dialogue>
    <character>TOBY</character>
    <parenthetical>( joins their laughter . )</parenthetical>
    <dialogue>I do n't know. That's interesting, though. A cool car. Is that something that's real important to you, Brady?</dialogue>
    <character>BRADY</character>
    <dialogue>Yeah.</dialogue>
    <character>CHERYL</character>
    <dialogue>Uh duh.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SCOOBY'S BEDROOM – DAY</stage_direction>
    <scene_description>Scooby handles a gun his friend Stanley has given him .</scene_description>
    <character>SCOOBY</character>
    <dialogue>Pretty cool, Stanley.</dialogue>
    <character>STANLEY</character>
    <dialogue>Thanks.</dialogue>
    <character>SCOOBY</character>
    <dialogue>How'd you get it?</dialogue>
    <character>STANLEY</character>
    <dialogue>It's my Dad's He hides it under some old TV Guides in his closet.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Gee, your Dad's smart.</dialogue>
    <character>STANLEY</character>
    <dialogue>I know.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Is it loaded?</dialogue>
    <character>STANLEY</character>
    <dialogue>No, I do n't think so.</dialogue>
    <scene_description>Scooby points it at his head .</scene_description>
    <character>STANLEY</character>
    <dialogue>Scooby, do n't! Be careful!</dialogue>
    <character>SCOOBY</character>
    <dialogue>I'm not an idiot, man. I watch TV.</dialogue>
    <character>STANLEY</character>
    <dialogue>I Know. I'm sorry. I'm just. a little nervous, I do n't know why.</dialogue>
    <character>SCOOBY</character>
    <dialogue>You should be.</dialogue>
    <scene_description>Scooby points it at Stanley , gets a terrified reaction , then tosses the gun aside .</scene_description>
    <character>SCOOBY</character>
    <dialogue>Here. You can keep it.</dialogue>
    <scene_description>He lies down . Pause .</scene_description>
    <character>STANLEY</character>
    <dialogue>Scooby?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Yeah?</dialogue>
    <character>STANLEY</character>
    <dialogue>You know. I like you.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Yeah. I know.</dialogue>
    <character>STANLEY</character>
    <dialogue>I mean.</dialogue>
    <character>STANLEY</character>
    <dialogue>I know. Everyone knows.</dialogue>
    <character>STANLEY</character>
    <dialogue>Oh.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Do you think that you'd let me. um.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>SCOOBY</character>
    <dialogue>OK. If you feel like it. Just give me a second.</dialogue>
    <scene_description>He pulls a bag of mushrooms out from beneath his night table , takes some and offers to Stanley .</scene_description>
    <character>SCOOBY</character>
    <dialogue>You want some?</dialogue>
    <character>STANLEY</character>
    <dialogue>No, thanks.</dialogue>
    <scene_description>Scooby flicks on a CD , then lies down . DREAM SEQUENCE -- EXT. . LIVINGSTON HOME -- DAY While Stanley goes down on Scooby , the camera pans away from Scooby to reveal Marty and Fern being burned at the stake in the front yarn , writhing and screaming in agony .</scene_description>
    <character>MARTY</character>
    <dialogue>I'm so sorry! I should never have made you take the SATs!</dialogue>
    <scene_description>The camera then pans to reveal Conan O'Brien approaching .</scene_description>
    <character>CONAN</character>
    <dialogue>Hey, Scooby! How's it going?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Conan O'Brien? Whoa! What are you doing here?</dialogue>
    <character>CONAN</character>
    <dialogue>I'm looking for a last - minute guest for my show. Any suggestions?</dialogue>
    <character>SCOOBY</character>
    <dialogue>I'll be your guest!</dialogue>
    <character>CONAN</character>
    <dialogue>Really? Well, all right! Let's take a look at the television and see how we look.</dialogue>
    <scene_description>The camera pans to reveal a TV standing on the lawn .</scene_description>
    <character>SCOOBY</character>
    <dialogue>Cool!</dialogue>
    <scene_description>Conan turns on the TV and we move inside it to see Conan and Scooby sharing some talk - show patter and repartee .</scene_description>
    <character>CONAN</character>
    <dialogue>Welcome to the show, Scooby.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Thank you.</dialogue>
    <character>CONAN</character>
    <dialogue>Nice to have you here.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Great to be here.</dialogue>
    <character>CONAN</character>
    <dialogue>And thank you for dressing up for us. This is very classy. Tell us. What kind of professional plans do you have? What's in your future?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Well, I was thinking. I might work for you.</dialogue>
    <character>CONAN</character>
    <dialogue>Ahh. tell me. What do you want to do for me? What's your idea?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Be your sidekick, you know, and maybe eventually become a TV talk - show host.</dialogue>
    <character>CONAN</character>
    <dialogue>TV talk - show host, OK. You were at sidekick eight seconds ago, then TV talk - show host. You'll be a Latin dictator in a bout a minute.</dialogue>
    <scene_description>Audience laughter .</scene_description>
    <character>CONAN</character>
    <dialogue>Let's see what they think of the first idea. I'm curious what the audience thinks. Folks, what do you think : should Scooby be my new sidekick?</dialogue>
    <scene_description>Audience cheers .</scene_description>
    <character>CONAN</character>
    <dialogue>Scooby, new sidekick, everybody!</dialogue>
    <scene_description>Bigger round of applause . RETURN TO REALITY : INT . CHILDREN 'S BATHROOM -- NIGHT Scooby has spaced out while flossing . There is a knock at the door .</scene_description>
    <character>SCOOBY</character>
    <dialogue>Yeah?</dialogue>
    <scene_description>Brady enters .</scene_description>
    <character>BRADY</character>
    <dialogue>Hey.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Hey. What's up?</dialogue>
    <character>BRADY</character>
    <dialogue>There's something I need to talk about with you.</dialogue>
    <character>SCOOBY</character>
    <dialogue>What?</dialogue>
    <character>BRADY</character>
    <dialogue>There are some rumors.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Like what?</dialogue>
    <character>BRADY</character>
    <dialogue>You know. Stanley.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Oh.</dialogue>
    <character>BRADY</character>
    <dialogue>And like, do n't take this the wrong way. I mean, I'm cool. but. you know. I've got a good reputation at school and, well. I really do n't want it ruined.</dialogue>
    <scene_description>He is visibly upset . Pause .</scene_description>
    <character>SCOOBY</character>
    <dialogue>No prob. I'm cool.</dialogue>
    <character>BRADY</character>
    <dialogue>Thanks, Scoob.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HIGH-SCHOOL PLAYING FIELD – DAY</stage_direction>
    <scene_description>A football scrimmage is in progress . A play ends , and the Coach comes on to the field , barking :</scene_description>
    <character>COACH</character>
    <dialogue>Esposito, What the fuck do you think you're doing? You're tackling like a bitch on my football team, son! You got ta bend your ass over and hit somebody! You understand me?</dialogue>
    <character>ESPOSITO</character>
    <dialogue>Yes, sir!</dialogue>
    <character>COACH</character>
    <dialogue>You understand me?</dialogue>
    <character>ESPOSITO</character>
    <dialogue>Yes, sir!</dialogue>
    <character>COACH</character>
    <dialogue>Then do it! Livingston! That's the way to hit that hole, son!</dialogue>
    <scene_description>Brady waves a Cheryl in the stands .</scene_description>
    <character>COACH</character>
    <dialogue>We're gon na become a football team today, guys! Let's move the ball! Move! Move! Move! I wan na see you hit those holes! Defense, fill those goddam gaps! Let's go, guys! Let's do it!</dialogue>
    <scene_description>On the next play Brady runs to catch a pass , but is moved down by Esposito shouting , ` KILL HIM ! ' Cheryl jumps up , alarmed . O.S. cheerleaders finish their ` Go Bucks ! ' cheer , but Brady does n't rise .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL ICU – EVENING</stage_direction>
    <scene_description>Brady lies unconscious in bed , hooked up to machines . Marty , Fern , Scooby , and Cheryl stand around him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVINGSTON HOME – NIGHT</stage_direction>
    <scene_description>Mikey sits at the kitchen table with Consuelo . He is eating ice cream .</scene_description>
    <character>MIKEY</character>
    <dialogue>When I'm in high school I'm not going to play any football. I'm just going to concentrate on class rank.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>What did you do in high school?</dialogue>
    <character>CONSUELO</character>
    <dialogue>I did not go to high school.</dialogue>
    <character>MIKEY</character>
    <dialogue>Were n't there high schools in El Salvador?</dialogue>
    <character>CONSUELO</character>
    <dialogue>We had to work. My family was poor.</dialogue>
    <character>MIKEY</character>
    <dialogue>Must've been hard being poor.</dialogue>
    <character>CONSUELO</character>
    <dialogue>I'm still poor.</dialogue>
    <character>MIKEY</character>
    <dialogue>Hmmm.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>But, Consuelo, even though your poor, do n't you have any hobbies or interests or anything?</dialogue>
    <character>CONSUELO</character>
    <dialogue>No, Mikey.</dialogue>
    <character>MIKEY</character>
    <dialogue>But like, what do you like to do when you're not working?</dialogue>
    <character>CONSUELO</character>
    <dialogue>I'm always working.</dialogue>
    <character>MIKEY</character>
    <dialogue>But when you're not. Like now. What do you like to do?</dialogue>
    <character>CONSUELO</character>
    <dialogue>This is work.</dialogue>
    <character>MIKEY</character>
    <dialogue>But it's not like real work. This is just babysitting.</dialogue>
    <scene_description>Consuelo stares hard at him in silence .</scene_description>
    <character>MIKEY</character>
    <dialogue>You know, your job's really not so bad, if you think about it. You should smile more often.</dialogue>
    <scene_description>ON VIDEO : DOCUMENTARY FOOTAGE OF : -LRB- 1 -RRB- Driving - along - the - neighborhood shots ; a lam post ; a sign ; a floating straw wrapper .</scene_description>
    <character>TOBY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>When the sky is clear and the sun is warm, you're reminded of how beautiful things can be : a lamp post, a sign, a straw wrapper blowing in the wind... But when that dark cloud appears, you realize how fragile the balance of life is.</dialogue>
    <scene_description>-LRB- 2 -RRB- The neurologist Dr Barry Jordan discussing Brady 's condition :</scene_description>
    <character>DR JORDAN</character>
    <dialogue>When Brady first arrived at the hospital he was unresponsive to verbal stimuli. Wee performed a CT scan which demonstrated a large subdural hemotoma with mass effect. Since the removal of the subdural he's been in coma.</dialogue>
    <scene_description>-LRB- 3 -RRB- A psychologist discussing the effect of the Brady crisis on his family :</scene_description>
    <character>DR GOODMAN</character>
    <dialogue>When I first met the Livingstons it was in the first twenty four hours of Brady coming in after his tragic football accident and they were acting in a fairly typical way...</dialogue>
    <scene_description>-LRB- 4 -RRB- The Livingstons consulting with Dr Goodman in a hospital waiting room :</scene_description>
    <character>MARTY</character>
    <dialogue>We're not the ones who need the help. My son needs help.</dialogue>
    <character>DR GOODMAN</character>
    <dialogue>And you -</dialogue>
    <character>MARTY</character>
    <dialogue>My son's in there! He ca n't even feed himself, he ca n't eat -- I do n't even know if he's going to be a vegetable or not, for Chrissake!</dialogue>
    <scene_description>The picture freezes and then zooms into a close up on Scooby .</scene_description>
    <character>TOBY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>But what about Scooby? How would this effect him? What meaning is to be found in this?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EDITING ROOM – DAY</stage_direction>
    <scene_description>Toby and his editor finish watching this latest footage .</scene_description>
    <character>EDITOR</character>
    <dialogue>This is definitely better.</dialogue>
    <character>TOBY</character>
    <dialogue>You think so? You do n't think that this might not be a little dry?</dialogue>
    <character>EDITOR</character>
    <dialogue>This is entertainment you're making, Toby. This story about a kid in the suburbs and the state of the college admissions process has, with this Brady crisis, evolved into something much richer and more provocative.</dialogue>
    <character>TOBY</character>
    <dialogue>Yes, I know... But still, it should be somewhat entertaining.</dialogue>
    <character>EDITOR</character>
    <dialogue>I mean, without this footage, without this rigorous documentation, it would feel like exploitation.</dialogue>
    <character>TOBY</character>
    <dialogue>No, no, no. No exploitation. This is serious... But do n't you find it a little funny too, at the same time?</dialogue>
    <character>EDITOR</character>
    <dialogue>You've got a family tragedy on your hands. Will you tell me what's funny about that? About a kid in a coma?</dialogue>
    <character>TOBY</character>
    <dialogue>Nothing, I guess...</dialogue>
    <character>EDITOR</character>
    <dialogue>I mean, why are you making this documentary if you ca n't treat your subject with appropriate gravity?</dialogue>
    <character>TOBY</character>
    <dialogue>OK, you're right, you're right....</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>You know, we need to screen what we've got... invite some regular people, just some random off - the - street types... and see what real people think of this.</dialogue>
    <character>EDITOR</character>
    <dialogue>I dunno, Toby. We really have a long way to go. You still need a lot more footage, and it's probably a little premature to start screening...</dialogue>
    <character>TOBY</character>
    <dialogue>OK, then we can invite serious intellectual types.</dialogue>
    <character>EDITOR</character>
    <dialogue>We're not ready.</dialogue>
    <character>TOBY</character>
    <dialogue>Hip alternative types who will understand the process better...</dialogue>
    <character>EDITOR</character>
    <dialogue>We're not ready!</dialogue>
    <character>TOBY</character>
    <dialogue>Well, I need to see this with an audience!</dialogue>
    <character>EDITOR</character>
    <dialogue>What's an audience going to tell you?</dialogue>
    <character>TOBY</character>
    <dialogue>I do n't know. Maybe they'll like it.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LIVINGSTON HOME – NIGHT</stage_direction>
    <scene_description>Mikey opens the refrigerator , takes out a bottle of grape juice , pours a cup for himself , then accidentally spills it all on the floor .</scene_description>
    <character>MIKEY</character>
    <dialogue>Consuelo! I spilled some grape juice on the floor!... Consuelo?!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT RECREATION ROOM – NIGHT</stage_direction>
    <scene_description>Mikey goes downstairs , finds her alone in her bedroom . She appears to be upset .</scene_description>
    <character>MIKEY</character>
    <dialogue>Consuelo?</dialogue>
    <scene_description>No response .</scene_description>
    <character>MIKEY</character>
    <dialogue>Consuelo. Are you crying?</dialogue>
    <character>CONSUELO</character>
    <dialogue>No.</dialogue>
    <character>MIKEY</character>
    <dialogue>Yes, you are. I can tell. What's the matter?</dialogue>
    <character>CONSUELO</character>
    <dialogue>Mi Jesus... mi jesus...</dialogue>
    <character>MIKEY</character>
    <dialogue>Speak English.</dialogue>
    <character>CONSUELO</character>
    <dialogue>Mi Jesus esta muerto!</dialogue>
    <character>MIKEY</character>
    <dialogue>Consuelo, I'm sorry, but you know if you do n't speak English I ca n't understand you.</dialogue>
    <character>CONSUELO</character>
    <dialogue>My Jesus...</dialogue>
    <character>MIKEY</character>
    <dialogue>Who is Jesus?</dialogue>
    <character>CONSUELO</character>
    <dialogue>My baby.</dialogue>
    <character>MIKEY</character>
    <dialogue>You have a bay?</dialogue>
    <character>CONSUELO</character>
    <dialogue>My grandchild - baby.</dialogue>
    <character>MIKEY</character>
    <dialogue>Gee, I did n't even know you had any children. But why are you so upset about Jesus?</dialogue>
    <character>CONSUELO</character>
    <dialogue>He's dead.</dialogue>
    <character>MIKEY</character>
    <dialogue>Oh. How did it happen?</dialogue>
    <character>CONSUELO</character>
    <dialogue>He was executed. He was on Death Row and then he was executed.</dialogue>
    <character>MIKEY</character>
    <dialogue>How did they execute him?</dialogue>
    <character>CONSUELO</character>
    <dialogue>Poison gas.</dialogue>
    <character>MIKEY</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Maybe it's for the best... I mean, if he was guilty of doing something wrong... People who are bad should be killed. Do n't you think so?</dialogue>
    <character>CONSUELO</character>
    <dialogue>Jesus was not bad.</dialogue>
    <character>MIKEY</character>
    <dialogue>Maybe he was and you just did n't know it.</dialogue>
    <character>CONSUELO</character>
    <dialogue>He was n't.</dialogue>
    <character>MIKEY</character>
    <dialogue>But still, you ca n't be sure.</dialogue>
    <character>CONSUELO</character>
    <dialogue>I am sure.</dialogue>
    <character>MIKEY</character>
    <dialogue>But really, you never know.</dialogue>
    <character>CONSUELO</character>
    <dialogue>I know!</dialogue>
    <character>MIKEY</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Why was he on Death Row?</dialogue>
    <character>CONSUELO</character>
    <dialogue>For rape and murder.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MIKEY</character>
    <dialogue>Consuelo, what is rape exactly?</dialogue>
    <character>CONSUELO</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>It is when you love someone, and they do n't love you. And then you do something about it.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MIKEY</character>
    <dialogue>Sometimes I feel like my parents do n't love me.</dialogue>
    <character>CONSUELO</character>
    <dialogue>Well then, when you get older you can do something about it.</dialogue>
    <scene_description>A long pause .</scene_description>
    <character>MIKEY</character>
    <dialogue>Consuelo? I spilled some grape juice upstairs. Do you think you could clean up the floor now?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BRADY'S BEDROOM – EVENING</stage_direction>
    <scene_description>Marty and Mikey sit by the comatose Brady , who lies now in his own bed .</scene_description>
    <character>MIKEY</character>
    <dialogue>Dad?... Do you think that Brady will ever get better?</dialogue>
    <character>MARTY</character>
    <dialogue>One in a million recover.</dialogue>
    <character>MIKEY</character>
    <dialogue>Maybe he's that one in a million!</dialogue>
    <character>MARTY</character>
    <dialogue>Mikey, there's optimism, and then there's stupidity. It's a very fine line.</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MIKEY</character>
    <dialogue>I do n't think there's any hope, either. I was just trying to make you feel better.</dialogue>
    <character>MARTY</character>
    <dialogue>Thanks.</dialogue>
    <character>MIKEY</character>
    <dialogue>You're welcome.</dialogue>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Dad?... Would you let me try hypnotizing you now?</dialogue>
    <character>MARTY</character>
    <dialogue>Yeah. Sure Go ahead. Hypnotize me.</dialogue>
    <character>MIKEY</character>
    <dialogue>OK. Stay there. I'll be right back.</dialogue>
    <scene_description>Mikey hurries off to fetch his hypnotizing apparatus . Marty sits and waits .</scene_description>
    <character>MIKEY</character>
    <dialogue>Just a sec!... Be right there!</dialogue>
    <scene_description>Mikey returns , sets himself up across from Marty and takes out a shiny object .</scene_description>
    <character>MIKEY</character>
    <dialogue>Dad, can you turn around a bit, please?</dialogue>
    <scene_description>Marty obliges .</scene_description>
    <character>MIKEY</character>
    <dialogue>Thanks. All right. Now you must look at this shiny object and concentrate. Relax your legs. Relax your arms. Relax your shoulders. Now keep your eyes on the shiny object... Your eyelids are getting heavy... heavier... You're getting sleepy... sleepier... Now let your eyes close shut... and you are asleep.</dialogue>
    <scene_description>Marty 's head drops .</scene_description>
    <character>MIKEY</character>
    <dialogue>Now you are completely under my power. I am the only voice you can hear, the only voice you will listen to. Now. When you wake up you will be in a good mood. You wo n't worry so much about Brady. And I will be your favorite from now on. If Brady dies, you can be sad for a little bit, but I will still be the most important person in your life. You will never be mean to me, and always give me whatever I want. Also, you should fire Consuelo. She's lazy. Now when I snap my fingers, you will remember nothing, but you will do everything I have asked. One. Two. Three.</dialogue>
    <scene_description>Mikey snaps his fingers and Marty wakes up .</scene_description>
    <character>MARTY</character>
    <dialogue>Hey, Mikey. You wan na get some ice cream?</dialogue>
    <character>MIKEY</character>
    <dialogue>OK!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTON HOME – DAY</stage_direction>
    <scene_description>A couple of maids are walking by with white babies in strollers . ON VIDEO : INT . SCOOBY 'S BEDROOM -- DAY</scene_description>
    <character>SCOOBY</character>
    <dialogue>So like, yeah... I caved in. I mean, I had to. My parents, they're like... still really depressed about Brady. So I wrote the bullshit essay. Filled out the applications, did the interviews... Y' know, I figure I can always drop out.</dialogue>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>So where'd you get in?</dialogue>
    <character>SCOOBY</character>
    <dialogue>Prnceton.</dialogue>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>But what did you get on your SATs?</dialogue>
    <character>SCOOBY</character>
    <dialogue>200 verbal/710 math. Kinda weird, I know. But I think they thought it was, like, good - weird.</dialogue>
    <scene_description>ON VIDEO : INT . LIVING ROOM -- EVENING Marty and Fern sit on the sofa .</scene_description>
    <character>MARTY</character>
    <dialogue>We used pull.</dialogue>
    <character>FERN</character>
    <dialogue>You know, you have to. Sometimes you just have to, Toby.</dialogue>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>But what kind of pull did you have?</dialogue>
    <character>MARTY</character>
    <dialogue>I have a cousin. Very big giver to the alumni fund.</dialogue>
    <character>FERN</character>
    <dialogue>It's all about who you know.</dialogue>
    <character>MARTY</character>
    <dialogue>Look, we're not suckers. Everyone else is out there doing the same thing.</dialogue>
    <character>FERN</character>
    <dialogue>He's right.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTON HOME – DAY</stage_direction>
    <scene_description>Scooby watches Toby and Mike as they try fixing their jammed camera .</scene_description>
    <character>MIKE</character>
    <dialogue>Damn, Toby... This thing wo n't open again.</dialogue>
    <character>TOBY</character>
    <dialogue>Let me try it, let me try it.</dialogue>
    <parenthetical>( takes camera from Mike . )</parenthetical>
    <dialogue>It's um... The button is just stuck.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Hey, um, Toby? I was wondering... Is the documentary almost finished?</dialogue>
    <character>TOBY</character>
    <dialogue>Uh, yeah, we're getting there.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Can I see what you have so far?</dialogue>
    <character>TOBY</character>
    <dialogue>Sure... um... yeah, as soon as I have a screening I'll let you know.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Thanks man.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LIVINGSTON HOME – DAY</stage_direction>
    <scene_description>Mikey and Consuelo are playing cards .</scene_description>
    <character>MIKEY</character>
    <dialogue>Gin! I win! Let's play again!</dialogue>
    <scene_description>He starts dealing another round when Marty suddenly appears , back from work .</scene_description>
    <character>MARTY</character>
    <dialogue>Hey, Mikey!</dialogue>
    <character>MIKEY</character>
    <dialogue>Hi, Dad!</dialogue>
    <character>MARTY</character>
    <dialogue>Come here, give me a hug!</dialogue>
    <character>MIKEY</character>
    <dialogue>Gee, you're home early!</dialogue>
    <character>MARTY</character>
    <dialogue>Yeah, uh, listen. Why do n't you go upstairs and keep your Mom and Brady company for a bit? I need to speak alone with Consuelo for a moment.</dialogue>
    <character>MIKEY</character>
    <dialogue>Sure, Dad.</dialogue>
    <scene_description>He runs up the stairs , pretends to disappear , but stays to observe .</scene_description>
    <character>MARTY</character>
    <dialogue />
    <scene_description>Consuelo . Mrs. Livingston and I have discussed this , and we 've come to the conclusion that we are not very happy with your work lately , so we 're going to let you go .</scene_description>
    <character>CONSUELO</character>
    <dialogue>I - I do n't understand.</dialogue>
    <character>MARTY</character>
    <dialogue>We've been happy with you in the past, but now we think maybe it's time for a change... uh... I know you've had trouble at home and maybe, you know, some of that is reflected I your work...</dialogue>
    <character>CONSUELO</character>
    <dialogue>But, Mr Livingston, I work very hard for you and your family!</dialogue>
    <character>MARTY</character>
    <dialogue>I understand, I understand that, and I'm sorry it had to end this way.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTON HOME – DAY</stage_direction>
    <scene_description>Consuelo exits the house and trudges towards the bus stop , carrying all her belongings . Other cleaning women are waiting for the bus as well .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SCOOBY'S BEDROOM – DAY</stage_direction>
    <scene_description>Scooby is looking at the address on Toby 's ` documentarian ' calling card . He picks up the phone and dials .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHOE STORE – DAY</stage_direction>
    <scene_description>Dave , the store manager , leaves a costumer for a moment to pick up the phone .</scene_description>
    <character>DAVE</character>
    <dialogue>Florsheim. Can I help you?</dialogue>
    <character>SCOOBY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Hi. I... uh. I'm trying to reach Toby Oxman?</dialogue>
    <character>DAVE</character>
    <dialogue>Sorry, he's off today.</dialogue>
    <scene_description>BACK TO SCOOBY ... on the phone .</scene_description>
    <character>SCOOBY</character>
    <dialogue>OK... um... Thanks.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HIGHWAY – DAY</stage_direction>
    <scene_description>Scooby drives his Mom 's shiny new SUV to New York .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. A RUN-DOWN TENEMENT NEIGHBORHOOD – DAY</stage_direction>
    <scene_description>Scooby pulls into a spot .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOBY'S APARTMENT BUILDING – DAY</stage_direction>
    <scene_description>Scooby climbs a stairwell , rings a bell . Mike opens the door .</scene_description>
    <character>SCOOBY</character>
    <dialogue>Hey, uh, Mike. Is Toby here?</dialogue>
    <character>MIKE</character>
    <dialogue>Uh, no, he's not.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Oh. Do you have any idea where he might be?</dialogue>
    <character>MIKE</character>
    <dialogue>I think he's at a test screening.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TOBY'S APARTMENT BUILDING – DAY</stage_direction>
    <scene_description>Scooby hurries outside only to find his car stolen .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUBWAY – DAY</stage_direction>
    <scene_description>Scooby rides a train .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SCREENING-ROOM FACILITY – DAY</stage_direction>
    <scene_description>Scooby sees a sign that reads : ` American Scooby : test screening . ' He goes into the screening room . SCOOBY 'S POV ... of the documentary being screened . ON VIDEO : EXT. . LIVINGSTON HOME BACKYARD -- DAY Marty talks to Toby poolside as he prepares a barbecue .</scene_description>
    <character>MARTY</character>
    <dialogue>I think Scooby's like a lot of kids. He just hit a... a speed bump. Now he's gon na find his way, his path is gon na be cleared, and I think he's gon na continue his education at a good college. And everybody else is gon na be happy.</dialogue>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>But Mr Livingston, are n't you a bit fearful that Scooby will be confronted with hollow values and systemic conformism?</dialogue>
    <scene_description>Pause .</scene_description>
    <character>MARTY</character>
    <dialogue>I do n't know why this is so hard for you to comprehend. I had a terrific time in college. I've got a terrific job, a comfortable salary, terrific wife, three terrific kids... and every year I give to the alumni fund. Now why are you trying to make college out to be a bad thing, a negative experience? You were unhappy? Well, to bad! Get over it! Stop trying to impose your misery on others by going around saying, ` Life is bad, life is horrible.' Life is tough on you? Well, boo hoo!</dialogue>
    <scene_description>ANGLE ON THE AUDIENCE . laughing . ON VIDEO : EXT. . LIVINGSTON HOME - DAY Scooby talks to Toby in the Backyard , Marty seen in the distant background .</scene_description>
    <character>SCOOBY</character>
    <dialogue>Well, yeah, my Dad is kind of a goofball. I just have to pretend to go along with his ideas.'Cause he really does n't get it : like I could be the next Oprah, for all he knows, but he's never even seen the show.</dialogue>
    <scene_description>ANGLE ON SCOOBY . watching himself on screen ON VIDEO : NEW ANGLE ON SCOOBY . as he continues talking to Toby .</scene_description>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>What is most important to you?</dialogue>
    <character>SCOOBY</character>
    <dialogue>I dunno. I'd like to be good at something. It does n't have to be TV. I mean, it could be movies. Anything. I'd be willing to direct.</dialogue>
    <scene_description>The audience laughs .</scene_description>
    <character>SCOOBY</character>
    <dialogue>But I'd like to be, you know. famous. Not necessarily a superstar, just famous. Be recognized. Get fan Mail. Things.</dialogue>
    <scene_description>ON VIDEO : TIGHTER ON SCOOBY . still talking to Toby .</scene_description>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Uh, Scooby, now I understand how you want to be a TV talk - show host and all, like Conan O'Brien, but did you know even he went to college?</dialogue>
    <character>SCOOBY</character>
    <dialogue>He did?</dialogue>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Yeah. He went to Harward.</dialogue>
    <character>SCOOBY</character>
    <parenthetical>( beat . )</parenthetical>
    <dialogue>Oh.</dialogue>
    <scene_description>ANGLE ON SCOOBY . watching the film and listening to the audience . The laughter is out of control . He is devastated .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVINGSTON HOME - NIGHT</stage_direction>
    <scene_description>Marty and Fern are in bed watching the news . Mikey appears in the doorway .</scene_description>
    <character>MIKEY</character>
    <dialogue>Mom? Dad? Can I sleep with you? I'm scared.</dialogue>
    <scene_description>They flick off the TV .</scene_description>
    <character>MARTY</character>
    <dialogue>Sure!</dialogue>
    <character>FERN</character>
    <dialogue>Of course, honey. Come in bed with us. Come on.</dialogue>
    <scene_description>Mikey gets in bed with them .</scene_description>
    <character>MARTY</character>
    <dialogue>Snug as a bug in a rug. Yeah, here you go, pal. All righty. You're monster - proofed!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTONE HOME - NIGHT</stage_direction>
    <scene_description>Consuelo approaches the house stealthily . ANGLE ON FINGERS . opening the back of the house ; stuffing towels under bedroom doors ; turning on the kitchen stove 's gas ; switching on the main gas valve in the boiler room .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTON HOME - NIGHT</stage_direction>
    <scene_description>Consuelo flees . A very long pause . FADE TO BLACK .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREET NEAR LIVINGSTON HOME - EARLY MORNING</stage_direction>
    <scene_description>Scooby gets off the bus with a few cleaning women . He walks homewards .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LIVINGSTONE HOME -DAY</stage_direction>
    <scene_description>Scooby sees reporters , policemen , firemen , ambulances , gas company vehicles , and neighbors surrounding his house . Toby and Mike suddenly appear with their camera trained on him . ON VIDEO</scene_description>
    <character>TOBY</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Oh, my God, Scooby! I'm so sorry. I'm so, so sorry.</dialogue>
    <character>SCOOBY</character>
    <dialogue>Do n't be. Your movie's a hit.</dialogue>
    <scene_description>-LSB- THE END -RSB-</scene_description>
  </scene>
</script>

Summary: The film consists of two stories that are unrelated and have different actors, titled "Fiction" and "Non-Fiction". College and high school serve as the backdrop for these two stories about dysfunction and personal turmoil. Fiction. Vi (Selma Blair) is a graduate student dating an undergrad, Marcus, who has cerebral palsy, though he observes that she no longer seems passionate about their relationship. They are in a creative writing class taught by a famed African-American author, Mr. Scott (Robert Wisdom). Marcus has written an amateurish story about the effect of Vi's love on his medical condition, and she encourages him to share it in the class's workshop. While other students give it tepid praise, Mr. Scott and his favorite student, Catherine, harshly dismiss it as mediocre trash. Upset, Marcus angrily blames Vi for not warning him against sharing the story, and breaks up with her, accusing her of being secretly attracted to Mr. Scott. A hurt and heartbroken Vi goes out to a bar and encounters Mr. Scott. She thanks him for being honest about Marcus's story, praises his writing, and asks if he thinks she will make a great writer; he tells her that he does not. After she flirts with him clumsily, they return to his residence, where she discovers photos of Catherine, naked and in various poses, which triggers an unwanted racist reaction in Vi. Though she becomes uncomfortable, she reluctantly has anal sex with Mr. Scott, an act which is censored by a large red square. During the act, he makes her call him an ethnic slur. Afterwards, Vi returns to Marcus in tears and reconciles with him. Later, back in the class workshop, Vi shares a fictionalized version of her encounter with Mr. Scott. The other students are appalled by the story's content, and Catherine calmly eviscerates the piece, claiming that "Vi" is an arrogant, narcissistic fetishist and racist. When Marcus and Vi defend the piece as being a real experience, an unimpressed Mr. Scott informs them that when she starts writing about an experience, it becomes fiction, and that the story is nevertheless an improvement over her other works because there "is now at least a beginning, a middle, and an end." Non-Fiction. Toby Oxman (Paul Giamatti) is a struggling would-be filmmaker attempting to make his first documentary. Though he originally intends to make a film about the experiences of teenagers post-Columbine on a wide scale, he is eventually forced to limit his scope to one dysfunctional, upper-middle-class suburban New Jersey family and their teenage son Scooby (Mark Webber). His father, the strict and unsympathetic Marty (John Goodman), is frustrated with Scooby's lazy attitude and unwillingness to attend college, while his football player brother Brady worries that Scooby is secretly gay and his obnoxious youngest brother Mikey is obliviously self-obsessed. Scooby's only vague ambition is to be famous, and have a talk show on television like his idol Conan O'Brien, who appears to him in a dream sequence as Scooby allows a lovestruck friend to perform oral sex on him. Scooby intentionally flunks his exams, but to his surprise, he finds that he has been accepted to Princeton University, which Marty privately reveals was because of a large donation from a family member. Meanwhile, Mikey torments the family's overworked, underpaid, and exhausted housekeeper, Consuelo, exercising his privileged and sheltered upbringing to badger her with questions that emphasize the discrepancy between their lifestyles. She reveals that she is still poor, has no time for any personal activities due to the constant demands from the family, and that her beloved grandson has been executed after being arrested for rape and murder. The self-centered Mikey only continues ordering her around. Later, Brady suffers a serious accident during football practice and falls into a deep coma. Mikey takes advantage of Marty's vulnerability over Brady's condition to perform hypnotism on him, during which he commands himself to be Marty's new favorite son and orders Marty fire Consuelo for petty reasons. Miraculously, the hypnosis works perfectly. Marty fires Consuelo despite her tearful pleading, much to Mikey's smug enjoyment. After the documentary is finished and Toby refuses to let him see the completed footage, Scooby secretly attends a late-night screening, where he witnesses the audience laughing uproariously at his dim-witted portrayal. Realizing that he will never be famous, Scooby is left devastated. While he is away, a vengeful Consuelo sneaks back into the house and murders the rest of the Livingstons by poisoning the house with carbon monoxide. Scooby returns home the next morning to find emergency services wheeling his deceased family into an ambulance. Toby, back with a camera crew, runs up to Scooby to tearfully apologize for what's transpired, but an emotionless and jaded Scooby coldly tells him to not be sorry, because "the movie's a hit." Autobiography. The original version of the film featured a third story entitled "Autobiography", concerning, among other things, a closeted football player (James Van Der Beek). The main character has an explicit sex scene with a male partner (Steven Rosen); the entire story was cut from the final version.