"MUSIC OF THE HEART" (aka Fifty Violins) an original screenplay by Pamela Gray SHOOTING DRAFT January 25, 1999 FADE IN: CREDITS OVER PHOTOS IN AN ALBUM The photos include a sepia-tone portrait of an Italian immigrant family... a b&w snapshot of ROBERTA, a nine-year- old girl playing violin in front of a refrigerator (1950)... ...Roberta and her dashing Italian father, hand-carving a wooden music stand... a b&w snapshot of Roberta in a communion dress... Roberta at 15, playing violin in front of the same refrigerator, eyes on the music stand... ...a color photo of two cute blonde little boys building a sandcastle on a beach... a color photo of a groom in a white naval uniform and his pretty bride, (Roberta at 25), her hand over his as they cut their wedding cake with a sword... ...a color photo of Roberta and her husband Greek dancing with another couple at an outdoor taverna. Roberta's husband and the other man's sexy wife are exchanging a slight smile... HOLD ON THIS LAST PHOTO as we now see the ALBUM open on the floor of a bedroom, as if it's been tossed. We are: INT. GUASPARI HOUSEHOLD, ROME, N. Y. - BEDROOM - DAY (1988) WOMAN'S VOICE (O.S.) Wake up, Roberta! We hear the sound of KNOCKING as the CAMERA PANS a small, darkened guest room. A few streaks of daylight filter through Venetian blinds. WOMAN'S VOICE (O.S.) Come on, Bert -- get out of bed! The CAMERA finds a WOMAN lying face down on a twin bed, thick wavy hair sprawled across her shoulders. WOMAN'S VOICE (O.S.) Please, Bert -- you need to get out of that bed. The KNOCKING continues, and she puts the pillow over the top of her head. END CREDITS INT. GUASPARI BEDROOM - DAY The WOMAN -- ROBERTA GUASPARI-DEMETRAS (38) -- retrieves the photo album from the floor, looks at a photo and removes it. She's a beautiful woman with large, expressive eyes, but right now she looks like hell. She stares at the photo -- it's the two couples dancing. A quick glimpse of hurt on her face, then her jaw tightens and she rips the picture in half. There's muffled talking outside the door, and then two young boys' voices. BOY'S VOICE (O.S.) Can you come out now, Mommy? Please? She puts the half with her and her husband on the dresser, then tears the woman off the other half and rips her into pieces. BOY #2 (O.S.) Mommy, Nick broke my crayon! BOY #1 (O.S.) Well, Lexi hit me and he almost broke... he almost broke my ear! O.S. arguing "I DID NOT!" "YES YOU DID!" "LIAR!" etc. As if that one action siphoned all her energy, Roberta returns to bed, gets into fetal position, and stares at a point beyond the wall, ignoring the O.S. voices. WOMAN'S VOICE (O.S.) Hear that? Your boys need you. EXT. GUASPARI HOUSE - DOORWAY - DAY ASSUNTA GUASPARI (58), Roberta's slender, tired Italian- American mother, stands in the doorway of a well-tended working-class home, addressing a young NAVAL OFFICER who holds a lengthy delivery inventory. It's a gray day with ominous storm clouds. Late 70's CARS are parked on the street. ASSUNTA But I have no room for this! OFFICER I'm sorry, M'am. We have orders to deliver these. Assunta looks beyond the man, dismayed. HER POV Large wooden CRATES cover her front lawn, and TWO MOVERS plant down another. They hurry back to the TRUCK, grabbing the next crate too quickly this time. It slips from their hands, CRASHES to the ground and splinters open. Several VIOLIN CASES spill out. The crate looks like it holds a whole lot more. BACK TO SCENE Instantly a second-story window is flung open, and Roberta sticks her head out, a hundred times more energized than we've seen her so far. ROBERTA Watch it, you idiots! Be careful with those! The men scramble to pick them up. Assunta looks at all the violins, then up at Roberta. ASSUNTA Why so many? Roberta disappears inside and slams the window shut. INT. GUASPARI LIVING ROOM - DAY The living room is filled with boxes shipped from Greece, labelled by the U.S. NAVY. And on the floor, in the middle of the boxes, are FIFTY VIOLIN CASES of various sizes, also with Greek and U.S. NAVY labels. NICK (7) and LEXI (5) climb over the boxes as if they were giant blocks. NICK (calling) Mommy, which box has our toys? INT. GUASPARI HALLWAY - CONTINUOUS ROBERTA'S on the phone, yelling at someone. She's still in the same ratty nightgown. ROBERTA Look, I know he's there, so quit lying to me!... Then check under Lana Holden -- Mrs. Lana Holden... Fine. Just tell Lieutenant Demetras that his wife called and -- ASSUNTA grabs the phone from her hand and hangs it up. ROBERTA Ma! ASSUNTA No. I want you to listen to me. You can't keep doing this to yourself -- or to the boys. They need their mother now. You're a beautiful, talented woman and you have your whole life ahead of you. ROBERTA If I'm so beautiful and talented, why did Charles leave me? ASSUNTA Because Charles is a big jerk. (beat) Now get dressed. She exits, leaving Roberta to mull over her words. INT. GUASPARI KITCHEN - DAY Coffee is brewing and homemade cinnamon rolls are cooling on a rack. We recognize the kitchen from the home movie footage. As Assunta clears the boys' breakfast dishes from the table, Roberta enters. She's dressed, but hasn't put on makeup or done much with her hair. It's a start. ROBERTA You really think Charles is a jerk? ASSUNTA From the day you married him. ROBERTA Why didn't you say something? ASSUNTA Since when do you listen to me? Roberta half-smiles, pours herself some coffee, then sits down at the table. ROBERTA (sighs, then) What am I gonna do? ASSUNTA First, you eat breakfast. Second, you go out and get a job -- any job. Your boys, god-bless-em, are good eaters -- but I can't afford it. ROBERTA Mama, he's gonna get tired of her -- you'll see. Assunta's face shows she's doubtful about this. ASSUNTA Well in the meantime, get a job. INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY Roberta is behind the counter, meticulously wrapping a present with ribbons, bows and stickers. At one point she even unties a ribbon and redoes it because it's not perfect. She looks pretty, but she's dressed conservatively, like a navy housewife. There's only one other clerk wrapping gifts and a long line of impatient customers. A male SUPERVISOR appears behind Roberta. SUPERVISOR Just wrap. You're not Picasso. He exits, and Roberta quickly tries to finish her task. MALE VOICE (O.S.) Picasso would probably put the bows on the back of the box. Roberta looks up to find BRIAN TURNER (40), a handsome, sexy guy with longish hair and a beat-up leather jacket. ROBERTA Brian Turner? BRIAN Hello, Roberta. ROBERTA I thought you moved away. BRIAN I did. I'm in town for my Mom's birthday. He holds out his hand. Roberta misunderstands the gesture and tries to shake his hand. BRIAN No -- that's her gift. ROBERTA (embarrassed) Oh! Sorry. Roberta hands him the gift she's been wrapping. BRIAN It looks very pretty. ROBERTA Thank you. (beat) I heard you had a book published. I didn't read it but... BRIAN That's O.K. My parents didn't read it either. It looks good on their coffee table, though. Roberta smiles. BRIAN So what are you doing here? I thought you'd be in Carnegie Hall by now. HOLD ON ROBERTA as she takes this in. INT. COFFEE SHOP - ROME, N.Y. - DAY Roberta sits opposite Brian. Her lunch is untouched. ROBERTA My college professors said it was too late -- I hadn't had enough training to be a concert violinist. So I got a teaching degree instead. BRIAN I'll bet you're a great teacher. ROBERTA I think I am. It's just that... (sighs) See, every time I'd get started somewhere, Charles would be transferred... then I had my kids and took time off to raise them... and then when I decided to teach again, no one would hire me 'cause you can't count on a navy wife to stick around. I finally decided I'd start my own program -- Charles gave me the money and I bought fifty violins from this little Greek shop -- got started at a private school and then... BRIAN Your husband ran off with your best friend. A beat. ROBERTA She wasn't my "best" friend. She was a friend. (beat) Charles is the last person you'd think would cheat on me -- he never broke a rule... (a few beats) I wake up one night -- it's like one in the morning -- and he's not in bed. I go outside and our neighbor -- this old Greek guy -- is sitting out there, smoking a cigar, so I ask if he's seen my husband. "He's taking a walk with the other officer's wife," he says. "He takes a walk every night with the other officer's wife." A beat as she gets lost in the memory. She takes a bite of a french fry. ROBERTA God, these are cold. BRIAN So you're just gonna wrap presents and wait for him to come back? ROBERTA You sound like my mother. BRIAN That's not very sexy. ROBERTA Are you trying to be sexy or be my friend? BRIAN A little of both. Roberta smiles, blushing a bit. Brian looks at her, getting an idea. BRIAN You know, I know this really cool lady who runs this elementary school -- I wrote a piece on her. It's a public school, but it's alternative -- she might be able to create some kind of gig for you. Let me give her a call. ROBERTA Great! BRIAN (takes his last bite of sandwich) If she hires you, though, you have to be willing to relocate. ROBERTA Where is it? EXT. SPANISH HARLEM, NEW YORK CITY - TRAVELLING SHOT - DAY A SALSA SONG PLAYS OVER as we see stores with Spanish names and signs; Black and Latino elementary school children walking home from school; some burned-out buildings; Black and Latino teens playing basketball on a cement court; Spanish graffiti on walls; elderly women buying fruit at a produce stand. PULL BACK TO REVEAL this is the POV of Roberta from the back seat of a cab. The SALSA SONG plays on the cab's radio. Roberta looks scared shitless. Suddenly, two YOUNG MEN flash down the middle of the street, dart IN FRONT of the cab and the driver SLAMS on the brakes, jerking Roberta forward. TAXI DRIVER Welcome to East Harlem. EXT. CENTRAL PARK EAST ELEMENTARY SCHOOL (CPE 1) - EAST HARLEM - ESTABLISHING - DAY INT. JANET WILLIAMS' OFFICE - DAY JANET WILLIAMS, a Black woman (40's) with a kind face, sits behind her desk and looks at Roberta's resume. A sign on her desk indicates that she's the DIRECTOR. Also on the desk is a FRAMED PICTURE of Janet, her husband, daughter (14), and son (12). Roberta sits nervously in the chair opposite her. JANET (looking at resume) Aside from half a term in a private school -- in Greece -- and a year teaching chorus in Hawaii -- ten years ago -- it doesn't look like you've had any other teaching experience. ROBERTA Well, not traditional teaching experience. I've been doing private lessons... Janet looks for this on the resume. ROBERTA It's not on there... I taught my sons. Janet smiles politely. JANET I'd like to help you, Mrs. Demetras. Brian spoke highly of you and I told him I'd consider starting a violin class... But without the proper qualifications, and without any experience in an inner city school... Roberta nods, defeated. JANET I'm very sorry. INT. CPE 1 - HALLWAY - DAY Roberta stands outside Janet's office, dejectedly watching the children noisily running through the hall. INT. AREA OUTSIDE JANET WILLIAMS' OFFICE - THE NEXT DAY Roberta knocks on Janet's door. JANET (O.S.) Yes? As Roberta opens the door, we see that Nick and Lexi are with her. All three have violins. INSIDE, Janet's in conversation with DENNIS RAUSCH (38), an uptight man with a tie that doesn't match his suit jacket. He's showing Janet a large scheduling chart. ROBERTA I'm sorry to interrupt, but I wanted you to meet my sons -- Nick, Lexi... They enter. INT. JANET'S OFFICE - CONTINUOUS Janet smiles at the boys, but clearly thinks Roberta's a little off. Roberta holds her hand out to Dennis. ROBERTA Roberta Guaspari-Demetras. Dennis shakes her hand, regarding her warily. JANET This is Dennis Rausch, our music teacher and program coordinator. (beat) Mrs. Demetras, didn't I make things clear yesterday? ROBERTA If I could just show you something -- it'll only take a minute. Before Janet can answer, Roberta and the kids quickly take out their violins and get into position. Janet and Dennis exchange a look. DENNIS Are we having a talent show? I should have brought my tap shoes. Roberta ignores the jab, then nods to the boys. The three of them begin an incredibly impressive violin trio, playing an ETUDE in three-part harmony. For the first measures, Janet's still annoyed by the intrusion, but she's quickly won over. Dennis watches impassively. Roberta and the boys finish their piece; Janet applauds and Dennis joins in to be polite. The three take bows. A beat. LEXI Will you hire her now? Janet laughs, then gestures for them to sit. JANET How long have you boys been playing? NICK Since I was three. LEXI (contemplates, then) Maybe since I was three and a half. JANET Your mom must be a good teacher. NICK (shrugs) She's O.K. Roberta gives Nick a look, but Janet smiles. JANET (to Roberta) If you could teach our students to play like that, I'd be thrilled, but -- ROBERTA I can. Any child can learn the violin. DENNIS Assuming they had the discipline. ROBERTA I'll teach them to have discipline. JANET A lot of our parents are struggling to feed their kids and pay the rent -- they don't have time to help them learn violin. ROBERTA They don't have to. If they can help, great -- but these kids will be committed. They'll practice on their own, they'll help each other in the classroom -- Dennis laughs. Roberta looks at him, a bit miffed. DENNIS (with an edge) I think I know these students, Miss Demetras. Their attention span doesn't go past do-re-mi. Maybe on a good day, I can get them to "fa." ROBERTA You're underestimating them. They can play as well as any other kids. DENNIS That I'd like to see. ROBERTA You will. A beat. Janet observes the tension, then turns to Roberta. JANET (to Roberta) For now I'll put you down as a sub, but I have to warn you -- even if it works out, the Board may not let me create a permanent position for you. ROBERTA That's O.K. I'll worry about that later. (with a grateful look) Thank you. We see relief -- and fear -- in Roberta's face. DENNIS (to Janet) Well, I've already planned out the whole term, and I can tell you right now, there's no room for this! Besides, where you gonna find money for violins? ROBERTA You need violins? INT. MUSIC ROOM - DAY In a noisy music room with bad acoustics, Roberta tries to take control of fifty kids, third through fifth-graders, who are in a state of manic excitement over the FIFTY VIOLIN CASES on the floor. ROBERTA (gently) Please do not open the cases, O.K.? They ignore her. ROBERTA Look, can everyone just settle down and listen to me -- please? ANGLE - Three girls open their cases. ROBERTA (starting to lose it) Keep them closed! Please. ANGLE - Two boys open their cases. ROBERTA (to the boys) Did you hear what I just said? ANGLE - Three kids are using the violin cases as pretend machine guns -- and shooting each other. ROBERTA Put those down, please! ANGLE - A boy and a girl are having a "sword fight" with their bows. ROBERTA (to the fencers) Don't do that! Put the bows back in the cases -- right now! There's the SOUND of violin strings being plucked. ROBERTA Who's plucking? Roberta wheels around to find a girl plucking her violin like a banjo, and doing a little dance. This is LUCY, a skinny Puerto Rican girl in perpetual motion. ROBERTA What have I been saying? Put that away! Back in the case! Roberta takes a breath. The kids settle down a bit. ROBERTA O.K. Thank you. That's much better. (takes another breath) I'll be dividing you into five classes, but for today -- ANGLE - A boy plays "bongos" on his violin case. ROBERTA O.K. -- that's it! You! Stand up! The bongo player stands. ROBERTA You will be the first student who will NOT be in my violin class. Out! The child looks stunned. ROBERTA I said OUT! With a sheepish expression, he exits. The room is finally quiet -- and Roberta's amazed that something worked. She puffs up a little bit, enjoying the feeling of control. ROBERTA Who else would like to be kicked out of my class? The students stare at her, afraid of her now. DE SEAN, a small but tough Black boy, raises his hand. ROBERTA Are you raising your hand because you want to be kicked out? DE SEAN Yeah. ROBERTA Why? DE SEAN I don't wanna learn no stupid violin. It's for wimps. ROBERTA Who told you that? DE SEAN I just know. ROBERTA What's your name? BOY De Sean. ROBERTA Well, De Sean -- you haven't given me a good enough reason, so you're staying. She looks around the room. ROBERTA Anyone else? Silence. INT. MUSIC ROOM - LATER In front of the class, Roberta helps NAEEM, a graceful Black boy, hold the violin. He has a serious expression and a scar on his left cheek. Roberta controls the bow and fingerboard, but it appears that the boy is playing music. He smiles. NAEEM Hey, I play pretty good. Roberta laughs. ROBERTA (to Naeem) See how easy it is? (to the class) Maybe in the spring, we could have a big concert for your families and for the whole school. (to the boy) What's your name? NAEEM Naeem. Roberta writes in a notebook and we see that she's measuring for violin sizes. ROBERTA (to class) If you listen to me and do exactly what I say, you're gonna sound beautiful at the concert and you're gonna be so proud of yourselves. (to Naeem) Good, Naeem. Your hand's staying soft. (to the class) But if you don't listen to me, you'll sound so bad that your own parents will feel sick when they hear you. They might even throw up. ON THE KIDS, not used to a teacher speaking like that. INT. BRIAN'S APARTMENT - LIVING ROOM - NIGHT A funky apartment on the Upper West Side. Nick and Lexi are both asleep in sleeping bags on top of a futon on the floor, their suitcases nearby. Brian tiptoes past them, carrying two glasses of champagne. He knocks on his office door. ROBERTA (O.S.) Come in. INT. BRIAN'S APARTMENT - OFFICE - CONTINUOUS Roberta's in a bathrobe and nightgown, some rollers in her hair. She's tidying up her suitcase, etc., next to an old couch that's been made up as a bed. Leftist political books line a shelf above Brian's desk, including copies of his own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN TURNER. His desk is covered with files and books pertaining to MIGRANT WORKERS. Brian enters. ROBERTA (referring to champagne) What's this? BRIAN It's a toast. (giving her a glass, holding his up) To Roberta, who's made it through her first week. They clink glasses and drink. ROBERTA I don't know, Brian. I'm hanging on by a thread there. Out of fifty kids, maybe six are listening to me. BRIAN Look at the progress. Didn't you say no one was listening to you on Monday? Roberta laughs. ROBERTA I really appreciate all you've done for us. And I promise -- this weekend I'll start looking for a place. BRIAN There's no rush. ROBERTA No, we've put you out enough. You're supposed to be writing, not babysitting for us. (crosses to his desk, flips through his Vietnam book) I've started your book. It's very powerful. BRIAN Thank you. Brian comes up behind her and starts to kiss her neck. Roberta's scared -- so she keeps talking, as if it's not really happening. ROBERTA So what made you choose migrant workers for your next book? I mean, how do you know what to write about? BRIAN (kissing her neck) I follow my gut, pay attention to what I'm being drawn to... Roberta's aroused, in spite of herself. She turns around and faces him. ROBERTA What are you doing? BRIAN I've been waiting to do that since Mr. Baines' orchestra class. ROBERTA You didn't even notice me! BRIAN Sure I did. You used to ignore me and it drove me wild. ROBERTA You had at least five different girlfriends. BRIAN It didn't mean I had the one I wanted. He gives her a flirtatious smile, then takes out one of her rollers. BRIAN You're not a navy wife anymore... He moves to takes out another roller and Roberta stops him. ROBERTA Yes I am... legally. BRIAN And is it a navy requirement that you dress like it's the 1950's? ROBERTA I do not! BRIAN (goading her) Who did you vote for in the last election? ROBERTA What does that have to do with anything? BRIAN Tell me. ROBERTA (hesitates, then) I don't know. Charles filled out my absentee ballot. BRIAN Oh my God -- it's even worse than I thought! (touching her hair) Is this the same Roberta who got the orchestra to strike until they gave us new uniforms? She laughs wistfully, then looks a little sad. ROBERTA That Roberta's not around anymore. He pulls her towards him by the belt to her robe. BRIAN I don't believe that. They kiss and it heats up quickly. Roberta pulls back. ROBERTA I shouldn't. BRIAN Because? ROBERTA The boys -- BRIAN They're sleeping. ROBERTA I know, but... I'm still married. BRIAN And what's your husband doing right now? A few beats, and she moves towards him. INT. BRIAN'S BEDROOM - DAY Sun streams into the room as Roberta awakens in Brian's bed, a look of afterglow on her face. She suddenly remembers where she is, and quickly looks at the clock. ROBERTA Oh shit -- the boys. BRIAN (O.S.) They're still sleeping. She turns, relieved, until she sees that Brian's packing a suitcase. ROBERTA Where are you going? BRIAN Texas. He dashes out. Roberta sits up, rattled by this news. INT. BRIAN'S OFFICE - DAY Brian excitedly gathers papers and files scattered around his electric typewriter. ROBERTA (O.S.) What's in Texas? He turns to see Roberta in the doorway. BRIAN Farm workers. I just got the call -- it came through -- my research grant! It came through! Isn't that great? ROBERTA Today? He places items into a carry-on bag, packing at a rapid clip. In contrast, Roberta seems to be moving in slow motion. BRIAN I've got a few families lined up there, some in California -- ROBERTA How long will you be gone? BRIAN Two, three months. ROBERTA What? INT. BRIAN'S BATHROOM - DAY Brian throws toiletries into a plastic bag. Roberta enters. ROBERTA I thought... I just thought you were gonna be around. And then last night -- He stops what he's doing and looks at her. BRIAN Whoa. Roberta -- last night was great but did you think I was gonna marry you in the morning? ROBERTA No! Of course not. We see in her face that part of her did think that. ROBERTA It's just that... we just got here and we're barely... I don't even know where to buy groceries. Brian softens as he sees how vulnerable she is. He takes her in his arms. BRIAN You're gonna be fine. You have a job, a place to stay, your kids have a school to go to -- and there's a D'Agostino's around the corner. She attempts a smile. ROBERTA Congratulations. He kisses her forehead, then exits. HOLD ON ROBERTA, looking hurt and frightened. INT. MUSIC ROOM - DAY Roberta rosins her bow, standing in front of ten kids -- third through fifth-grade -- who sit on the floor next to their violin cases. The kids are Black and Latino, with a couple of white faces. They're all talking and ignoring Roberta except for NAEEM and GUADALUPE, a petite Mexican girl with a long dark braid. [NOTE: We'll see other violin students from time to time, but this is the class we'll follow for Roberta's first year] ROBERTA And what am I doing now? NAEEM/GUADALUPE Rosining the bow. ROBERTA Good. And what am I doing when I turn this little screw? (raising her voice) Everyone stop talking. Right now! The kids quiet down. Only Naeem raises his hand. ROBERTA Naeem? NAEEM Tightening the horse hair. ROBERTA (touches the heel of the bow) And what do we call this? Again, only Naeem raises his hand. Roberta sees him but turns to DE SEAN, who's talking to his neighbor. ROBERTA De Sean? DE SEAN Yeah? ROBERTA What do we call this? DE SEAN I don't know. ROBERTA Why not? DE SEAN I wasn't here. ROBERTA Yes you were but you weren't paying attention! Do you want people to think you're stupid? This makes De Sean blush -- and it pisses him off. ROBERTA All right, Naeem -- tell them. NAEEM It's called the frog. Some kids giggle and joke about this. Roberta points to the scroll of the violin. ROBERTA Anyone remember what this is? LUCY, the fidgety girl, snaps her fingers. ROBERTA Lucy! Do you like people snapping their fingers when you're talking? LUCY Yeah! The kids laugh. Roberta doesn't. She points to the scroll. ROBERTA What is this called? LUCY The jeri curl? Roberta laughs, even though she's trying to be tough. INT. DENNIS' MUSIC CLASSROOM - DAY Dennis's twenty students play recorder in rows of attached theatre-style seats. Dennis sits at his desk, a METRONOME ticking, and apathetically leads them in scales, using a red pen as a baton. He keeps one eye on a stack of quizzes that he's marking, stopping to circle mistakes with the pen. DENNIS C-C-C-C, D-D-D-D, E-E-E-E... ANGLE - Roberta stands in the hallway at the open door, dismayed by Dennis' uninspired teaching. She enters and crosses to Dennis, speaking quietly to him. ROBERTA Excuse me -- sorry to interrupt -- The students immediately start to chatter. DENNIS No talking! He looks back at Roberta, annoyed by her intrusion. ROBERTA I'm supposed to take kids out of Miss Cooper's classroom for my ten o'clock class -- there's nobody there. DENNIS Miss Cooper's students have phys ed on Tuesdays. ROBERTA But you scheduled them for violin. DENNIS You must have read the schedule wrong. ROBERTA (trying to remain polite) I don't think so. DENNIS Well, I can't solve this problem for you right now. (nods to his class) I'm trying to teach. ROBERTA So am I. She exits. INT. BRIAN'S BEDROOM - NIGHT Lexi and Nick are in Brian's bed. Roberta's tucking in Lexi; he holds a toy truck with Greek writing on it. LEXI Can I bring a puppy for show and tell tomorrow? ROBERTA Honey, we don't have a puppy. NICK Daddy said we could get one when we moved back to America. Roberta looks at Nick, then turns back to Lexi. ROBERTA How about your truck? I'll bet you're the only one in school with a truck from Greece. NICK When's Daddy coming back? Roberta turns to Nick and tucks him in. ROBERTA Well, he's still on his tour, so we'll just have to see but... It shouldn't be too much longer. LEXI Is he gonna live with us and Brian? ROBERTA No, honey. We're just staying at Brian's house for a little while. She turns back to Nick who looks worried. She kisses him. ROBERTA Good night, sweetie. She kisses Lexi, then reaches to turn off the lamp. NICK No! Leave it on. Roberta nods, smiles at her sons, and exits. INT. MUSIC ROOM - DAY Nine children stand, violins under their right arms, bows hanging down from their right hands, and try to position their feet as Roberta addresses them. ROBERTA Now take the right foot and put it on a tile. Good. Now with the other foot take a tiny step forward and put it on a line. Try to make a box with your feet -- She walks over to BENJAMIN, a white boy with glasses, and corrects his feet. She sees Lucy dancing in place. ROBERTA Lucy! Would you like to leave the class right now? Lucy nods, giggling. Roberta walks down the row of students. ROBERTA You should feel very strong -- so strong and balanced that if I wanted to knock you over I couldn't. She crosses to TANISHA, a sweet-natured Black girl with her hair in tiny braids, and gently pushes her belly. ROBERTA You see? If you're standing strong, I can't even push you. Roberta turns to De Sean, who's talking to JAMES, a pudgy Black/Puerto Rican boy. ROBERTA De Sean! James! Quiet! (as she crosses to another student) Does anyone know where Naeem is? TANISHA I saw him this morning but he's not here. ROBERTA Yes, I know he's not here -- that's why I'm asking. She gently pushes Guadalupe's belly. The girl stumbles back. ROBERTA See how I pushed you? It means your feet aren't centered. Guadalupe tries to correct her feet. Roberta bends down to help and sees that the little girl wears LEG BRACES under her pants. Roberta stands and gestures to one of the boys. ROBERTA Can you bring over a chair? (to Guadalupe) It's probably better for you to sit. The boy brings the chair. Guadalupe sits, embarrassed. EXT. SCHOOL YARD - DAY Roberta walks through a school yard filled with kids and parents picking them up. She sees Naeem and crosses to him. ROBERTA Where were you today, Naeem? NAEEM I can't be in violin class anymore. ROBERTA Why not? NAEEM My mother won't let me. ROBERTA What? NAEEM'S MOTHER, MRS. ADISA, steps INTO FRAME. She's an attractive Black woman in a dress and head scarf made of African fabric. MRS. ADISA My son's got more important things to do than learn dead white men's music. ROBERTA They're gonna learn "Twinkle Twinkle Little Star"! MRS. ADISA How many Black classical composers can you name? How many Black classical violinists do you know? ROBERTA That doesn't mean it's the way it should be. Naeem's learning to play music -- and that makes him feel good about himself. Why should it matter who wrote it? NAEEM Please, Mom? Can't I be in the class? Mrs. Adisa puts a protective arm around her son, then addresses Roberta. MRS. ADISA Look. I've seen this before. You white women come up here and think you can rescue our poor inner city children who never asked to be rescued in the first place. No thank you. She walks off with Naeem. He glances back at Roberta, then turns away quickly. Roberta watches after them. INT. BRIAN'S LIVING ROOM - NIGHT Roberta attempts to read Brian's book, To Hell and Back: Interviews with Vietnam Vets, but she's distracted. She glances at her purse, then back to the book. She puts the book down and dials the phone. ROBERTA Brian Turner's room, please. While she waits, she looks at Brian's picture on the book jacket. There's no answer and she hangs up. She starts to straighten the already clean room, then gets her purse, takes out her wallet, and opens it to the plastic covered pictures. INSERT - PICTURES Charles in uniform; a studio shot of the boys when they were 3 and 1; the whole family posed on the terrace of their home in Greece, a view of the ocean behind them. BACK TO ROBERTA She's really depressed herself now. INT. CLASSROOM - DAY ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her fifth-graders a globe. She doesn't turn as Roberta enters and crosses to her. In the b.g. we see ROBERTA'S STUDENTS waiting in THE HALL. ALICE And which ocean is this? Kids simultaneously yell out "ATLANTIC" and "PACIFIC." ROBERTA Excuse me... I'm here for the violin students. ALICE (icy) You're late. ROBERTA Just a couple of minutes -- I'm sorry. ALICE They're having a lesson now. ROBERTA But this is when they have violin class! ALICE That's not my problem. Roberta's reluctant to argue in front of the kids; she exits. EXT. SCHOOL YARD - DAY Lots of noise and chaos as kids run wild during lunch recess. Janet rushes through the throngs while Roberta tries to keep up. ROBERTA I thought all the teachers agreed to this. JANET In theory. (to a student) Adam! I want you in my office right after lunch, you understand? ADAM What'd I do? JANET Think about it! (to Roberta) Whenever you pull kids out, it's a disruption, plus it's extra work for the teacher 'cause they have to fill the kids in on what they missed. Some teachers resent it. ROBERTA Well, can't you talk to them? Janet stops walking and pulls a box cutter out of her pocket. JANET I took this off a second-grader this morning. I'll help you Roberta -- but I can't hold your hand here. Janet starts to walk away, then turns. JANET A word of advice? When you're picking up your students, go to Alice's classroom first. Roberta stands there as Janet walks on ahead. INT. MUSIC ROOM - DAY The nine children hold their violins in position as Roberta addresses them. ROBERTA So pretend you're driving a car and I'm the policeman and I say STOP! Thumb up, fingers straight up, flat palm. Now you be policemen, but turn your hand and make it say stop to yourself. ON THE CHILDREN, attempting this. She walks around and helps. DE SEAN (to himself) You're under arrest. Some kids crack up and start joking and chatting. ROBERTA Knock it off, De Sean! (to all) If you kids can't take this seriously, I don't want you here. I'm teaching you a difficult instrument because I respect you and have faith that you can learn it. But none of that matters if you don't have respect for yourself. Some of the children think about what she's saying. A couple, uncomfortable with the intensity, hold back giggles. ROBERTA Now turn your wrist so it's flat against the fingerboard, and that's how you'll set up your hand... Roberta sees Guadalupe struggling. ROBERTA Guadalupe! You've got the violin in the wrong hand! How did that happen? Embarrassed, Guadalupe corrects her position. INT. BRIAN'S KITCHEN - NIGHT At the small kitchen table, Nick does homework and Lexi puts stickers in a sticker book. Roberta's cooking dinner; she grabs a potholder and checks on a bubbling lasagna in the oven. The PHONE RINGS and she answers it. ROBERTA Hello? CHARLES (O.S.) Hello, Bobbi. Her face falls as she hears the voice. She holds onto the counter to steady herself. ROBERTA Where are you? CHARLES (O.S.) (calm, detached) I'm back in the States. I'm at my parents. Roberta closes the oven and gathers her courage. ROBERTA Are you still with her? A beat. CHARLES (O.S.) No. We watch Roberta's body collapse into a sense of overwhelming relief. FOLLOW HER as she steps into THE HALLWAY, then stretches the phone into: INT. BRIAN'S BATHROOM - CONTINUOUS She half-closes the door, leans against the sink and starts to cry. ROBERTA (through tears) We've missed you so much, Charles. The boys... they can't wait for you to come home... I know we'll have a lot to work out and it won't be easy right away, but we're gonna get through this, you know? We're a family and we belong together and -- CHARLES (O.S.) (more emotive than before) Bobbi -- stop, O.K.? Just stop. Roberta looks as if she's been slapped. A beat. CHARLES (O.S.) I want a divorce. ROBERTA What? Silence. ROBERTA But you said... you and Lana... you said it was over. CHARLES (O.S.) It is. (beat) It's over between us too, Bobbi. HOLD ON ROBERTA, devastated. ANGLE on NICK, watching her through the door. INT. BRIAN'S HOTEL ROOM, TEXAS - NIGHT Brian's on the phone with Roberta. He's in a t-shirt and sweats, and his papers are scattered on the bed. ROBERTA (O.S.) He wouldn't even talk about it! No explanations, no discussion... INTERCUT Roberta in Brian's living room. She's extremely agitated and her eyes are puffy from crying. BRIAN I can't believe you were still holding out hope. The guy hasn't called you or the kids in three months -- I thought you'd moved on. ROBERTA I never said that. BRIAN No? Maybe not with words. This embarrasses her, then pisses her off. ROBERTA You know what? I shouldn't have called you. This was a mistake. BRIAN No, no -- I'm sorry. Look, I know it hurts, but you're gonna get through this, Roberta -- you will. ROBERTA I'm moving back to my Mom's. BRIAN What? You're gonna quit teaching in the middle of the term? ROBERTA I don't fit in there -- I'm not making any progress with the kids... BRIAN What are you gonna tell Janet -- your husband left you and nothing else matters? ROBERTA I don't know yet. INT. BRIAN'S LIVING ROOM - NIGHT Roberta lies awake on the futon, heartbroken. INT. BRIAN'S BEDROOM - NIGHT Roberta stands and watches Nick and Lexi sleep. She lies down beside them and closes her eyes. INT. SCHOOL HALLWAY - DAY Roberta walks through crowds of kids towards Janet who's in the middle of confronting a boy student. Janet holds a FIFTY- DOLLAR BILL. Roberta hangs back and waits for a chance to speak. BOY My mother gave it to me. JANET Why would she give you fifty dollars? BOY To buy breakfast. Janet gives him a stern look. JANET Do you know how hard your mother works? Do you think it's right for you steal from her? BOY I didn't! JANET Well let's go call her right now and ask her. As Janet turns to walk off, Roberta crosses to her. ROBERTA I need to speak to you. It's important. JANET It'll have to wait. (to the boy) Come on. In my office. Roberta watches as Janet dashes off with the boy in tow. INT. MUSIC ROOM - DAY Guadalupe sits on a chair in the empty room, struggling to set up her violin. Roberta enters, surprised to see her. ROBERTA Guadalupe? What are you doing here? GUADALUPE I can't get the stop sign. ROBERTA Honey, your teacher's probably looking for you. Guadalupe sighs, then hands Roberta the violin. GUADALUPE I can't come anymore. It's too hard. ROBERTA The violin is hard for everyone. GUADALUPE But everyone else is better than me. I'll always be slow. Roberta looks at her sadly and puts the violin in its case. ROBERTA Did you ever hear of Itzhak Perlman? GUADALUPE No. ROBERTA He's one of the greatest violinists in the world, and he has problems with his legs too. He walks with two canes -- but he still makes the most beautiful music. GUADALUPE And he sits down when he plays? ROBERTA He has to. Guadalupe takes this in. GUADALUPE He was your student? Roberta laughs. ROBERTA No. But if he was, I'd tell him the same thing I'm telling you. You shouldn't quit something just because it's hard. GUADALUPE But I can't stand strong. ROBERTA Standing strong doesn't only mean using your legs. You can stand strong on the inside too. (beat) Know what I mean? Guadalupe nods. Roberta holds out the violin case. Guadalupe lunges forward and hugs her around the waist. Roberta awkwardly accepts the hug, startled and touched by it, and strokes the girl's hair. Guadalupe lets go, takes the violin and exits. HOLD ON ROBERTA as she absorbs what just happened. JANET pokes her head into the room. JANET You wanted to speak to me? ROBERTA Oh. Umm -- that's O.K. It's taken care of. Janet looks at her curiously, then exits. INT. EMPTY APARTMENT - EAST HARLEM - DAY Roberta walks around an empty, rundown apartment, her expression somber. Crayon markings on the walls, cigarette burns on the floors, a filthy bathroom and kitchen. An older Puerto Rican woman stands back as Roberta inspects the place. Roberta wipes grease off one of the windows. LANDLADY Is just for you and your boys? ROBERTA Yes. LANDLADY No husband? No boyfriend? A beat. ROBERTA No. EXT. SCHOOL YARD - LUNCH RECESS - DAY Roberta enters the yard from inside the school. It's filled with kids playing, including Nick and Lexi. She waves to them and Lexi runs up to her, carrying a piece of artwork. LEXI Look what I made you, Mommy! He gives her a tempera PAINTING of a man's face, the background decorated with glued-on macaroni. It says DADDY. ROBERTA (covering her discomfort) That is so beautiful! He runs off. Roberta exhales, sits down alone on a bench and takes out her lunch. She smiles at ALICE CROWLEY and another TEACHER but they cross to another bench. ISABEL VASQUEZ (25) approaches, a lively Puerto Rican woman with a strong New York accent. ISABEL Whatsa matter -- you got cooties? ROBERTA Apparently. ISABEL I'll take my chances. (extends a hand) Isabel Vasquez. Second grade. ROBERTA Roberta Demetras. I'm the -- ISABEL Violin teacher. I know. She sits down beside Roberta, takes out her lunch. ROBERTA Is it my imagination, or does everyone hate me? ISABEL It's hard to fit in when you're doing a special program. People figure you're not gonna be here very long, so why make the effort? (beat) It may take a while for folks to warm up, but nobody hates you. ROBERTA (sotto) What about Alice Crowley? ISABEL (sotto) A) she thinks the violin's a waste of time... and B) -- she's a bitch. Roberta laughs. ROBERTA And then there's Dennis. ISABEL The Music Man. You've had the bodacity to threaten his private little empire -- not to mention the fact that you messed up his sacred scheduling chart. ROBERTA How come you're being nice to me? ISABEL Ulterior motives. I want my daughter in your class next year. Roberta smiles. ROBERTA If I'm here next year. ISABEL You will be. INT. ROBERTA'S NEW APARTMENT - LIVING ROOM - NIGHT LEXI'S PAINTING is on the wall, along with a crayon drawing of himself, Roberta, and Nick in front of a house. ANGLE - ROBERTA looks out the window. She's gotten some used furniture, cleaned the place, and it's less depressing. ROBERTA'S POV OUT THE WINDOW On the street below, three prostitutes stand at the corner. Two men sit on a stoop, smoking a joint, and in a parked car, three men seem to be making a drug deal. One of the buildings on the street is burned out, missing a front door. BACK TO SCENE Nick, in his pajamas, enters and crosses to his mother. She smiles at him and they both look out the window. NICK In Greece, we could see the ocean. Remember? ROBERTA I remember. And the fishing boats... NICK And the octopuses. Roberta smiles and puts her arm around him. NICK Is Daddy coming here soon? Roberta tenses up. ROBERTA Well, that's something I've been wanting to talk to you about. Daddy's not gonna live with us anymore. You and Lexi will have special times when you stay with him, like at Christmas. A beat. NICK Can you tell the birthday story? Roberta looks at him, concerned that he's not responding to her news. ROBERTA Don't you want to talk about what I told you? NICK I want to hear the birthday story. A beat as she contemplates whether to push or not, then: ROBERTA It was the day of Grandpa's birthday, and I was sad because he had died a few months back. NICK But you knew I'd be born that day. ROBERTA So I packed a bag and got all ready -- NICK And Daddy laughed. ROBERTA I said, "It's my father's birthday, and the baby's gonna be born today." NICK He didn't believe you. But I was born. The same day as Grandpa. ROBERTA It was a happy day. NICK Was Daddy happy too? She looks at him, taken aback by the question. ROBERTA Of course he was. NICK Then why is he leaving me? Roberta, overcome with emotion, can barely answer. ROBERTA He's not leaving you, Nick. He loves you and Lexi very much. NICK Then why can't he live here? ROBERTA (struggling) It's very hard to explain... Sometimes things happen between grown-ups... and they just can't be together. The CAMERA moves behind them as they continue to look out the window, and we see Nick move away from his mother. INT. MUSIC ROOM - DAY The kids play "Twinkle Twinkle Little Star" and they sound awful. Roberta looks disgusted as she leads them. ROBERTA Slow bows! Slow bows! Don't squeeze! Stop! Everybody stop! (to De Sean) How much did you practice this week? DE SEAN My asthma -- it was very bad and I had to go to the hospital. ROBERTA Again? You told me you went to the hospital last week. DE SEAN Oh yeah. Maybe it was last week. Roberta rolls her eyes, then turns to Lucy. ROBERTA Lucy -- you sounded the worst of all. Have you practiced? LUCY No. ROBERTA Why not? You can't be in this class if you don't practice! LUCY My grandma got mugged. A beat. ROBERTA Oh. I'm sorry. Is she O.K.? LUCY She died. Roberta stands there, sobered. ROBERTA I'm really sorry, Lucy. (tries to get her bearings) Just do the best you can. EXT. SCHOOL YARD - DAY A group of kids stand together with their violins and chat. Roberta exits the building and they greet her. She waves back, but she's clearly still upset by her interaction with Lucy. She sees Naeem and his mother and approaches them. NAEEM Hi, Roberta. ROBERTA Hi, Naeem. Can I talk to your mom for a minute? Naeem nods and moves off. ROBERTA Look, I didn't come up here to rescue anybody. I'm a single mother and I needed a job. And I know you think you're protecting your son, but you're not. I mean, what if Arthur Ashe's mother had stopped him from playing tennis because it's a "white man's game"? (beat) The important thing is that when Naeem plays music, his whole face lights up. You should see him. Mrs. Adisa takes this in. Roberta exits. Mrs. Adisa looks for Naeem and sees him watching the violin students, longing to be among them. She watches her son with compassion. EXT. OUTDOOR MARKET - DAY Roberta and the boys shop in a colorful outdoor produce market in their neighborhood. The boys suddenly rush over to A MAN sitting on the ground with mixed-breed PUPPIES in a cardboard box. The boys pet them excitedly. Roberta watches her sons; they're happier than she's seen them in ages. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT A brown puppy is jumping all over Nick and Lexi who laugh delightedly. Roberta is putting down newspapers. ROBERTA We all have to take turns cleaning up, O.K.? The boys are oblivious to her -- they're in heaven. ROBERTA (to herself) Yeah, right. INT. MUSIC ROOM - DAY Roberta's SCREAMING at the kids as they play "Twinkle Twinkle Little Star." ROBERTA First finger on the E! Three -- two -- one -- open! (to a white girl with pigtails) Wrong string, Becky! We've done this fourteen times! And look at your nails! You're supposed to cut them for violin class! O.K, everybody stop! It sounds horrible! I can't believe how bad it sounds! They stop playing. Tanisha raises her hand. ROBERTA Is this an important question, Tanisha? Tanisha nods. TANISHA Do you have two of those skirts? ROBERTA What? TANISHA You wore a skirt just like it on Monday. Some of the kids crack up. ROBERTA You know, Tanisha -- I don't think that's such an important question. (to class) O.K. Let's try -- The door opens and Naeem enters with Mrs. Adisa. Roberta crosses to them. MRS. ADISA Naeem and I were wondering if he could still be in the class. A beat. ROBERTA I'd love that. (to Naeem) You'll have a lot of catching up to do. You think you can work that hard? NAEEM Yeah, I can. ROBERTA Maybe we can also arrange some private lessons at my house. MRS. ADISA I wouldn't have the money for that. ROBERTA That's O.K. (to Naeem) Why don't you go grab one of my spare violins? Naeem happily runs to the extra violins at the front of the room; Mrs. Adisa nods to Roberta with a look of gratitude, then exits. Roberta crosses back to the front of the room. ROBERTA (to class) Let's try it again. They begin again, and we see Naeem take out a violin and join in. As they play, Roberta's ears perk up at something she's hearing. She crosses to Lucy. ROBERTA What are you playing? LUCY Twinkle. ROBERTA (to class) Everyone stop! (to Lucy) Let me hear. Lucy hesitates, thinking she's in trouble. She plays a jazz variation of the song. Roberta smiles. ROBERTA Did someone teach you that? LUCY No. I made it up. ROBERTA That's really great, Lucy. I'm proud of you. Lucy beams. ROBERTA (to class) All of you -- try it. The class plays Lucy's jazz variation and Naeem happily joins in. INT. JANET WILLIAMS' OFFICE - DAY Roberta sits opposite Janet and MRS. LAMB, a white woman in her 30's. MRS. LAMB You're shouting at them. All the time. ROBERTA Not all the time. But if they don't listen -- MRS. LAMB Didn't you tell them that they were making their parents sick? Janet raises her eyebrows at this. ROBERTA That wasn't exactly what I said -- MRS. LAMB I'm raising Becky in a supportive atmosphere. I don't send her to school to be abused. ROBERTA I'm just trying to discipline them. If they're gonna learn an instrument, they need to take it seriously -- JANET I think what Mrs. Lamb is trying to say, Roberta, is that you're a little too harsh. I'm sure you might be able to soften some of your comments to the children? She gives Roberta a long hard look. Roberta nods. INT. MUSIC ROOM - DAY Roberta listens to the students play "Go Tell Aunt Rhody" -- badly. They finish and stare at her, afraid of her response. ROBERTA Well, that was... that was pretty good... that wasn't too bad... They look at her in disbelief, then look at each other. DE SEAN It wasn't? I thought we stunk. ROBERTA I wouldn't put it that way... You all just need to practice a bit more. (to James) James, have you practiced this week? The boy nervously shakes his head no. ROBERTA Can you please try a little harder for next week? James nods. The kids are baffled by her politeness. ROBERTA Good. Just do the best you can. DE SEAN Why you acting like that? ROBERTA Like what? DE SEAN Nice. ROBERTA Don't you want a nice teacher? DE SEAN I already got nice teachers. You added some variety. LUCY Yeah. We like you better the way you used to be. ROBERTA Oh. (to Becky) What about you, Becky? BECKY Yeah. This is even worse. You're acting weird now. A beat. ROBERTA Well, then -- I take it back. You all stunk. The kids laugh. ROBERTA But don't tell your parents I said so! The kids laugh again. INT. KENNEDY AIRPORT - DEPARTURE GATE - DAY Christmas MUZAK plays in the b.g. as Roberta kisses and hugs Lexi and Nick goodbye. A FLIGHT ATTENDANT stands nearby. LEXI Can't you come with us? Please? ROBERTA Honey, I told you. This is Daddy's special time with you. Lexi looks upset; Nick is stoic. Roberta hugs them one last time. The FLIGHT ATTENDANT steps forward. FLIGHT ATTENDANT I'll take good care of them. The FLIGHT ATTENDANT escorts them into the jet way. Roberta holds back tears as they get further away from her. At the last moment, Lexi turns and waves; Nick does not. Roberta waves, tears starting to fall, and the boys disappear from sight. She observes all the families travelling together, and feels like the loneliest person in the airport. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Roberta enters her apartment, back from the airport, and double-locks the door behind her. You can see on her face that she's dreading the emptiness. She crosses to a small Christmas tree, obviously decorated by her and the boys, and plugs in the tiny blinking lights. It's not exactly Rockefeller Center. She turns on the T.V., playing IT'S A WONDERFUL LIFE. She crosses to the kitchen, then returns with a carton of eggnog, a glass, and a bottle of rum. She sits down on the couch, pours herself some eggnog, adds rum, adds more rum, goes back into the kitchen, returns with nutmeg, sprinkles some on top, then drinks. She sighs, glancing miserably at the tree and the T.V. Pathetic. She couldn't look any less festive if she tried. There's a KNOCK on the DOOR. Roberta gets up and warily approaches the door. ROBERTA Who is it? BRIAN (O.S.) Santa Claus. She looks through the peephole, then quickly unlocks the door and opens it, revealing BRIAN, giving her a big smile. He looks sexy as hell (even with a silly lit-up Santa Claus pin on his leather jacket), and he holds a long-stemmed red rose in one hand, and a Christmas present in the other. BRIAN I'm back. Roberta's thrilled and relieved to see him. She embraces him, and they kiss passionately. INT. BROWNSTONE - DAY (TIME CUT - TWO MONTHS LATER) CLOSE ON plaster walls being knocked down with sledgehammers. REVEAL Brian, Roberta, and a couple of workmen knocking down the walls in an old brownstone. EXT. BROWNSTONE - EAST HARLEM - THE SAME DAY A mild winter day. Roberta, covered with plaster dust and overheated from working, leans against a car and drinks a beer. The three-story brick building has some graffiti on it and is badly in need of a paint job; there are a few broken windows, and the front stairs need repairing. WORKMEN file in and out. We can see from the STREET SIGNS that we're on 118th STREET, a few houses off FIRST AVENUE. Brian (also dust-covered), Nick and Lexi toss around a football. LAWRENCE (6), a Black boy who lives next door, joins them. Brian crosses to Roberta, sweaty and out of breath. He takes a swig of her beer. ROBERTA O.K., enough goofing off -- back to work. BRIAN You trying to kill me? She laughs and they kiss. ASSUNTA comes up the street with a bag of take-out food. She casts a dubious glance at the lovers. ASSUNTA I was the only person in the whole coffee shop not speaking Spanish. Roberta rolls her eyes. O.S. a car BACKFIRES. ASSUNTA You hear that? Gunshots! How you gonna live here by yourself? (calling) Boys, come eat! ROBERTA I work in this neighborhood, Mama. I want to live here. The boys approach and Assunta hands them sandwiches. Lawrence hangs back. Assunta calls to him. ASSUNTA What's your name? LAWRENCE Lawrence. ASSUNTA You hungry, Lawrence? Lawrence nods and she hands him a sandwich. Roberta smiles at her mother's gesture. The kids move off to Lawrence's front steps and Assunta gives Roberta and Brian sandwiches. ASSUNTA (to Brian) Why did you let her buy this house? BRIAN Hey, your daughter does what she wants -- or haven't you noticed? ASSUNTA I've noticed. INT. ROBERTA'S APARTMENT - KITCHEN - DAY Robert washes dishes and Assunta dries. The leftovers from an Italian dinner are on the counter. ASSUNTA I still don't understand the rush. ROBERTA Having my own place will make me feel like I'm really starting my life again. ASSUNTA But if you invested your divorce settlement, you could buy something nice someday. It's bad enough that you've been renting in this neighborhood, but to lock yourself into a mortgage -- ROBERTA (snapping) Mama, please. Just stop! Assunta backs off. Roberta feels guilty and moves to her. ROBERTA Don't worry, O.K.? Besides, if things keep going well, I'm sure eventually Brian will move in with us. A few beats. ASSUNTA How much do you know about this man? ROBERTA Brian's a good person, he's helped me a lot, he's great with the boys -- since he got back to town, it's been really sweet. ASSUNTA (with an attitude) And how long has he been back? ROBERTA Two months. ASSUNTA That's not very long. Don't make the same mistake twice, Bert. You barely knew Charles when you married him. ROBERTA (defensive) I don't get it -- you're ragging on me about buying the house -- I would think you'd want Brian to live with me. ASSUNTA Not if he's the wrong person. Roberta locks her jaw, not wanting to believe that she's right. INT. MUSIC ROOM - DAY The kids play "Allegro," Roberta leading them. ROBERTA Get ready, now -- we're coming up to the fermata... They reach a certain note, then pause. ROBERTA Hold... Hold... Don't anybody move. Now at the Spring Concert, the audience is gonna be dying for that next note -- but we'll make them wait. As a matter of fact, I think I'll go grab a cup of coffee. She starts for the door and the kids moan and groan: "Come on, Roberta!" "Roberta, get back here!" She smiles. ROBERTA Well, O.K. But you have to promise you'll all start together. She nods. They begin again -- all at different times. DE SEAN Man. We'll never get that right. ROBERTA That's not a very nice thing to say about your classmates. (to class) How many people think they can get it right by the concert? All the kids raise their hands. De Sean looks around, embarrassed, then raises his too. Roberta smiles. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Brian and Roberta finish making love on the futon. They lie in each other's arms, still breathing heavily. ROBERTA I love you. Brian makes a sound that's either panting or laughing. ROBERTA Did you just laugh? BRIAN I'm sorry. It's just... Roberta looks at him, offended. ROBERTA What? BRIAN Why do people feel like the minute something's going great, they gotta name it? (beat) Once you name something, you snuff the life out of it. She disentangles from him. ROBERTA Jesus, Brian. Do you still get away with that crap? It's not the Sixties anymore. BRIAN Well, maybe if you'd actually gone through the Sixties, you'd know what I'm talking about. ROBERTA Fine! We won't name it, we won't talk about it, we'll act like we have no feelings for each other whatsoever! She angrily turns on her side with her back to him. Brian regrets hurting her and moves to her, kissing her shoulder. BRIAN I'm sorry. I'm being an asshole. (sweetly teasing) You can say you love me if you want. ROBERTA Forget it. I changed my mind. He laughs and coaxes her to kiss him -- a temporary truce. INT. BROWNSTONE - DAY ERNIE (70's), a rickety Black man in work boots, looks baffled by a tangled mess of wires protruding from a wall. Roberta approaches. ROBERTA How's it coming, Ernie? ERNIE Well, if I could just remember what I did here yesterday, I'd be moving a whole lot faster. (beat) You look real pretty today, honey. Brian overhears, rolls his eyes and pulls her aside. BRIAN You're crazy. Why did you hire him? ROBERTA He needed a job. Besides, he's wired all of East Harlem. BRIAN When? Fifty years ago? Brian sighs and walks off into another room. Two MEN carry in large panels of sheetrock with old WALLPAPER on it. ROBERTA Why is there wallpaper on it? MAN #1 That's how it comes. They lean the panels against a wall. Roberta turns to Ernie. ERNIE Yep, that's how it comes now. The guys quickly exit. Brian re-enters and sees the panels. BRIAN What the hell is this? ROBERTA Sheetrock. BRIAN You've gotta be kidding. Those ex- cons you hired ripped this off -- and you too! Roberta feels stupid but doesn't want to show it. ROBERTA Look -- this house is taking every penny of my settlement. I can't afford fancy union workers! BRIAN (throwing up his hands) Fine. Do it your way. He stomps off. ANOTHER ANGLE - Nick watches them fight and looks distressed. EXT. SCHOOL YARD - DAY Lots of screaming and commotion as the kids crowd around a fight in progress. As we move through the crowd we see that NICK's in a fight with another boy; Nick's nose is bleeding and he has the boy in a headlock. TWO TEACHERS run over to break it up. INT. AREA OUTSIDE JANET'S OFFICE - DAY Nick sits outside, holding an ice pack to his bloody nose. INT. JANET'S OFFICE - DAY Roberta stands opposite Janet. JANET I'm giving him a two-day suspension -- but next time he'll be expelled. ROBERTA There won't be a next time -- I promise. JANET Have you noticed your son lately? He's tied up in knots and he needs help. ROBERTA Janet, kids fight. You're making too much of this. JANET He was choking the kid. (beat) Nick's in trouble, Roberta. You need to deal with it. Roberta takes this in, upset. INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT Roberta plays "Go Tell Aunt Rhody" with Guadalupe, De Sean, Naeem, Benjamin, and two kids from the other classes. Lexi plays along with them. Nick enters from the kitchen, eating a cookie, ignoring the students. He turns on the T.V. ROBERTA (to students) Keep playing, guys. Roberta crosses to Nick and shuts off the T.V. ROBERTA You can watch when we're done. NICK It's my house! They don't live here -- I do! ROBERTA (sotto) Nick honey -- the kids are real nervous about the Spring concert. You could probably give them some pointers. NICK I don't feel like it. He reaches for the T.V. dial and she stops him. ROBERTA I said no. She crosses back to her students; Nick turns on the T.V. EXT. CENTRAL PARK - DAY Brian, Nick and Lexi laugh as they play frisbee alongside a DUCK POND. Roberta watches, relieved to see Nick enjoying himself. BRIAN Good catch Nick! Nick throws it back to Brian and it lands in the WATER. BRIAN (mock sternly) Uh-oh. You know what that means? He stalks towards Nick menacingly, picks him up and pretends he's going to throw him into the water. Nick laughs hysterically. NICK (through laughter) Don't! Don't throw me in! BRIAN Whatsa matter? Afraid of a little water? The ducks aren't afraid! Are you a chicken or a duck? NICK Don't! Don't throw me! BRIAN Looks like you got yourself a chicken, Roberta! NICK I'm not a chicken! BRIAN Well then you must be a duck! He pretends again to throw Nick in, then puts him down. Lexi holds out his arms to Brian. LEXI Throw me in the water, Brian! Do it to me! Brian swoops him up and Lexi starts laughing. Roberta laughs along, happy to see the affection between Brian and her sons. EXT. CENTRAL PARK - A LITTLE LATER Brian and Roberta speak as they stroll; the boys run ahead of them, dragging sticks along the pavement. In the b.g. we see HARLEM STREETS bordering the park. ROBERTA You seem to be the only one who can get Nick to laugh these days. BRIAN He misses his dad. I'm just a surrogate. ROBERTA No -- I think Nick really likes you. (taking his arm) You know... we're all hoping you'll move into the new house with us. BRIAN Whoa. Can we just slow down here a minute? It's too much like getting married. ROBERTA What's so bad about that? BRIAN That kind of commitment just isn't realistic. I mean, how can we know that you and I will even be able to stand each other in five years? ROBERTA Well, we don't. But if two people care about each other, they take a chance. BRIAN And look what happened to you and Charles. ROBERTA I'm not talking about Charles. I'm talking about us. BRIAN Look, Roberta. Marriage is based on a belief that one person can completely meet another person's needs. I just don't buy that. This is making her nervous. She looks at him, afraid of what he might be saying. ROBERTA (carefully) What are you saying? If there's some need you have that I don't meet, you'd go and get it "met" by someone else? He heaves a sigh of frustration, not wanting to answer the question. BRIAN I'm saying that it's the 80's and it's a fantasy to think of marriage lasting these days. One out of two marriages ends in divorce! ROBERTA You didn't answer my question. (beat) If I don't meet all your needs, and we're in a committed relationship -- forget marriage for a minute; I'm just talking about a relationship -- would you go to someone else? A beat. BRIAN In theory, yes. ROBERTA In theory. Roberta looks very disheartened. Brian feels badly. BRIAN Roberta, we've got something good right now -- that's the important thing. Let's just keep it that way, O.K.? He pulls her to him, kissing her neck, but she pulls away from him. ON NICK, observing with an anxious expression. INT. ROBERTA'S APARTMENT - NIGHT NICK (O.S.) (whining) Why can't he? Roberta looks distressed by her talk with Brian as she and the boys enter, back from the park. ROBERTA He just can't, O.K.? Brian's at his house tonight, and we're at ours. NICK Well then I wanna go to his house. ROBERTA Enough, Nick. Now why don't you and your brother practice while I make dinner. NICK I don't feel like practicing. ROBERTA Well do it anyway. NICK I wanna go to Brian's! ROBERTA Stop whining, and get your violin. Nick stomps off to get his violin. Lexi follows. Roberta puts down her bag and takes off her coat. While Lexi sets up his violin, Nick opens his violin case, takes out the violin and angrily starts playing, loudly and roughly. ROBERTA What the hell are you doing? NICK The problem with you is you're mean to everybody and then they don't want to be with you! ROBERTA I've heard just about enough from you, young man. Now set your violin up properly and start practicing. Nick THROWS the violin against the floor. Roberta's speechless. NICK I hate the violin! ROBERTA You pick that violin up right now and don't you ever ever -- Nick picks up the violin and THROWS the violin down even harder, then YELLS at Roberta before she can even respond. NICK It's all your fault! You made Daddy leave and you're gonna make Brian leave too! You're gonna be all alone and I'll have to take care of you! Roberta is stunned. The anger drains out of her as she suddenly sees what this is all about. ROBERTA Nick -- you don't have to take care of me. NICK Then who's going to? ROBERTA I'll take care of myself -- and I'll take care of you and Lexi. I promise. NICK You didn't try hard enough. You made Daddy leave us. This hits her in the solar plexus. Her hurt and vulnerability start to pour out. ROBERTA That's not true. I begged him not to leave, but he didn't listen. NICK Why not? Roberta hesitates, but knows she has to tell them the truth. She addresses both boys. ROBERTA Your father met someone he liked more than Mommy, and then -- NICK Who? Roberta swallows, shocked to hear him ask this. She can hardly answer him. ROBERTA Lana. Remember our friends Lana and Tom? NICK Is he gonna marry her now? ROBERTA No, but he's not coming back... to me. Nick and Lexi look very upset, not only from hearing the finality in her words, but from seeing their mother's pain. Roberta moves closer to them. ROBERTA I'll take care of you, Nick. You too, Lexi. I promise. I'm not going anywhere. We're still a family. Nick starts crying. Roberta takes him in her arms. Lexi starts to cry and Roberta holds him too. ROBERTA (softly, to both) I promise. INT. BROWNSTONE - DAY Ernie's radio plays a BLUES SONG. The BRICK WORKERS radio plays SPANISH MUSIC, and the PAINTERS' radio plays a RAP SONG. Roberta stands in the middle, about to lose her mind. HER POV - Ernie sits on a stool facing his wiring. He's fast asleep. ANOTHER ANGLE - The brick workers build a crooked fireplace. BACK TO SCENE Roberta sighs heavily, then crosses to the painters. ROBERTA What color is this? PAINTER White. ROBERTA I told you Eggshell. PAINTER Eggshells are white. Brian watches this interaction as he sands a door. BRIAN You're an idiot! I told you -- you can't be your own contractor. ROBERTA You're right. I'm an idiot. She crosses to Ernie and shakes him. ROBERTA Wake up, Ernie. He looks at her groggily. ROBERTA You're fired. She crosses to the brick workers. ROBERTA You're fired. She crosses to the painters. ROBERTA You're fired. Brian smiles at her, impressed. BRIAN That's more like it. ROBERTA You're fired too. Brian laughs. ROBERTA No, Brian. I mean it. I need to be with a man who can make a commitment to me. I need that, and my sons need that. (beat) So can you? BRIAN (hesitates, then) Roberta -- His tone and expression tell her the words are not forthcoming. ROBERTA Get out. He looks at her, shocked by her toughness, but knows he can't give her what she wants. He exits. Roberta stands in the middle of the room, a determined look on her face. INT. SCHOOL AUDITORIUM - NIGHT ROBERTA Stands in the aisle, leading the students and playing violin. ON STAGE The fifty fifth-grade students play the "Twinkle" variations. Their playing is impeccable and they look terrific. As the CAMERA PANS the audience, we recognize: MRS. ADISA, tears in her eyes as she watches Naeem; MRS. LAMB and her husband, watching Becky in amazement; ISABEL and her daughter sitting with ASSUNTA, NICK and LEXI; JANET, impressed as hell; and DENNIS, seething with jealousy. As the kids start the jazz variation of "Twinkle," a WOMAN elbows her husband: WOMAN That's the one Lucy wrote! The CAMERA returns to the children and captures their own pride in their playing, including LUCY, who smiles as she hears her song played by fifty. THE CONCERT - TIME DISSOLVE The students are now playing "Allegro," and they reach the fermata. They hold their positions in silence and the audience watches in anticipation. Roberta cues them and they play the next note in perfect unison. An involuntary smile lights on DE SEAN's face. They finish the song, the audience applauds, and Roberta turns to face them. She lights up when she sees how thrilled Janet looks, and Janet in turn raises her hands higher as she applauds Roberta. DISSOLVE TO: EXT. CPE 1 - DAY - ESTABLISHING - TIME CUT (1998) The side of the building now has an impressive mural: an urban landscape with three super heroes -- Puerto Rican, Black, and white -- rising up out of the street. It reads ONLY THE STRONG SHALL SURVIVE. INT. CLASSROOM - DAY Roberta stands in front of a classroom of twenty cute first- graders -- mostly Black and Latino, a few white -- sitting on the floor, chatting excitedly. Even though Roberta's ten years older, she seems more youthful; her wavy hair is loose over her shoulders, her clothing's casual and artistic. Beside her is Janet, her hair flecked with gray, and Dennis, who looks pretty much the same. The classroom teacher is ISABEL, a little older, a little tougher. ISABEL C'mon everybody, settle down -- Janet wants to talk to you. JANET Today's a very special day because we're starting the tenth year of the East Harlem Violin Program. This is a wonderful opportunity for you, so I want you to talk to your parents about whether you'd like to try this. ISABEL My daughter took violin with Roberta when she was your age, and now she's in high school and she still talks about how much she loved it. DENNIS Janet and I started this program because we knew how much you kids could benefit from it. CUTAWAY to Roberta and Janet exchanging glances over Dennis taking credit for the program. DENNIS You should know, however, that the violin is a difficult instrument. JUSTIN, a Black boy with attitude, raises his hand. He always wears a puffy red, yellow and green crocheted beret. Isabel nods to him. JUSTIN Who's that lady in the back? ANGLE - DOROTHEA (Doro-taya) VAN HAUFTEN (40's), an elegant, beautiful woman, smartly dressed, takes photographs from the back of the room. JANET That's Dorothea Van Hauften -- JUSTIN Say what? What kinda name is that? ISABEL Justin -- sshh! JANET -- and she's taking pictures of Roberta's classes for a magazine article about music education. JUSTIN I wanna be in the magazine! ISABEL First things first, Justin. Roberta's gonna explain to you about the "lottery." Roberta steps forward. RAMON OLIVAS (7), a small, adorable Pue