15618d16f20e7ba33352f06e210f42ef59d84d74
movie
http://www.imsdb.com/scripts/Music-of-the-Heart.html
MUSIC OF THE
program alive .
 The film opens with violinist Roberta Guaspari having been deserted by her US Navy husband and feeling devastated, almost suicidal. Encouraged by her mother, she attempts to rebuild her life and a friend from student days recommends her to the head teacher of a school in the tough New York City area of East Harlem. Despite a degree in music education, she has little experience in actual music teaching, but she's taken on as a substitute violin teacher. With a combination of toughness and determination, she inspires a group of kids, and their initially skeptical parents. The program slowly develops and attracts publicity.
Ten years later, the string program is still running successfully at three schools, but suddenly the school budget is cut and Roberta is out of a job. Determined to fight the cuts, she enlists the support of former pupils, parents and teachers and plans a grand fund-raising concert, 'Fiddlefest', to raise money so that the program can continue. But with a few weeks to go and all participants furiously rehearsing, they lose the venue. Fortunately, the husband of a publicist friend is a violinist in the Guarneri Quartet, and he enlists the support of other well-known musicians, including Isaac Stern and Itzhak Perlman. They arrange for the concert to be mounted at Carnegie Hall.
Other famous musicians, including Mark O'Connor, Michael Tree, Charles Veal Jr., Arnold Steinhardt, Karen Briggs, Sandra Park, Diane Monroe, and Joshua Bell, join in the performance, which is a resounding success.
The film's end credits declare that the Opus 118 program is still running successfully. They also report that the school's funding was restored during the making of the film.
The film opens with violinist Roberta Guaspari having been deserted by her US Navy husband and feeling devastated , almost suicidal . Encouraged by her mother , she attempts to rebuild her life and a friend from student days recommends her to the head teacher of a school in the tough New York City area of East Harlem . Despite a degree in music education , she has little experience in actual music teaching , but she s taken on as a substitute violin teacher . With a combination of toughness and determination , she inspires a group of kids , and their initially skeptical parents . The program slowly develops and attracts publicity . Ten years later , the string program is still running successfully at three schools , but suddenly the school budget is cut and Roberta is out of a job . Determined to fight the cuts , she enlists the support of former pupils , parents and teachers and plans a grand fund-raising concert , Fiddlefest ' , to raise money so that the program can continue . But with a few weeks to go and all participants furiously rehearsing , they lose the venue . Fortunately , the husband of a publicist friend is a violinist in the Guarneri Quartet , and he enlists the support of other well-known musicians , including Isaac Stern and Itzhak Perlman . They arrange for the concert to be mounted at Carnegie Hall . Other famous musicians , including Mark O'Connor , Michael Tree , Charles Veal Jr. , Arnold Steinhardt , Karen Briggs , Sandra Park , Diane Monroe , and Joshua Bell , join in the performance , which is a resounding success . The film s end credits declare that the Opus 118 program is still running successfully . They also report that the school s funding was restored during the making of the film .
http://en.wikipedia.org/wiki/Music_of_the_Heart
Music of the Heart
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<b>                                    MUSIC OF THE HEART
</b>

                                       Written by

                                       Pamela Gray



<b>                                      SHOOTING DRAFT
</b>                                     January 25, 1999


<b>                
</b>
<b>               FADE IN:
</b>
<b>               CREDITS OVER PHOTOS IN AN ALBUM
</b>
               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:

<b>               INT. GUASPARI HOUSEHOLD, ROME, N. Y. - BEDROOM - DAY (1988)
</b>
<b>                                     WOMAN'S VOICE (O.S.)
</b>                         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.

<b>                                     WOMAN'S VOICE (O.S.)
</b>                         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.

<b>                                     WOMAN'S VOICE (O.S.)
</b>                         Please, Bert -- you need to get out 
                         of that bed.

               The KNOCKING continues, and she puts the pillow over the top 
               of her head.

<b>               END CREDITS
</b>
<b>               INT. GUASPARI BEDROOM - DAY
</b>
               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.

<b>                                     BOY'S VOICE (O.S.)
</b>                         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.

<b>                                     BOY #2 (O.S.)
</b>                         Mommy, Nick broke my crayon!

<b>                                     BOY #1 (O.S.)
</b>                         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.

<b>                                     WOMAN'S VOICE (O.S.)
</b>                         Hear that? Your boys need you.

<b>               EXT. GUASPARI HOUSE - DOORWAY - DAY
</b>
               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.

<b>                                     ASSUNTA
</b>                         But I have no room for this!

<b>                                     OFFICER
</b>                         I'm sorry, M'am. We have orders to 
                         deliver these.

               Assunta looks beyond the man, dismayed.

<b>               HER POV
</b>
               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.

<b>               BACK TO SCENE
</b>
               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.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ASSUNTA
</b>                         Why so many?

               Roberta disappears inside and slams the window shut.

<b>               INT. GUASPARI LIVING ROOM - DAY
</b>
               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.

<b>                                     NICK
</b>                              (calling)
                         Mommy, which box has our toys?

<b>               INT. GUASPARI HALLWAY - CONTINUOUS
</b>
               ROBERTA'S on the phone, yelling at someone. She's still in 
               the same ratty nightgown.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Ma!

<b>                                     ASSUNTA
</b>                         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.

<b>                                     ROBERTA
</b>                         If I'm so beautiful and talented, 
                         why did Charles leave me?

<b>                                     ASSUNTA
</b>                         Because Charles is a big jerk.
                              (beat)
                         Now get dressed.

               She exits, leaving Roberta to mull over her words.

<b>               INT. GUASPARI KITCHEN - DAY
</b>
               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.

<b>                                     ROBERTA
</b>                         You really think Charles is a jerk?

<b>                                     ASSUNTA
</b>                         From the day you married him.

<b>                                     ROBERTA
</b>                         Why didn't you say something?

<b>                                     ASSUNTA
</b>                         Since when do you listen to me?

               Roberta half-smiles, pours herself some coffee, then sits 
               down at the table.

<b>                                     ROBERTA
</b>                              (sighs, then)
                         What am I gonna do?

<b>                                     ASSUNTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Mama, he's gonna get tired of her -- 
                         you'll see.

               Assunta's face shows she's doubtful about this.

<b>                                     ASSUNTA
</b>                         Well in the meantime, get a job.

<b>               INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY
</b>
               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.

<b>                                     SUPERVISOR
</b>                         Just wrap. You're not Picasso.

               He exits, and Roberta quickly tries to finish her task.

<b>                                     MALE VOICE (O.S.)
</b>                         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.

<b>                                     ROBERTA
</b>                         Brian Turner?

<b>                                     BRIAN
</b>                         Hello, Roberta.

<b>                                     ROBERTA
</b>                         I thought you moved away.

<b>                                     BRIAN
</b>                         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.

<b>                                     BRIAN
</b>                         No -- that's her gift.

<b>                                     ROBERTA
</b>                              (embarrassed)
                         Oh! Sorry.

               Roberta hands him the gift she's been wrapping.

<b>                                     BRIAN
</b>                         It looks very pretty.

<b>                                     ROBERTA
</b>                         Thank you.
                              (beat)
                         I heard you had a book published. I 
                         didn't read it but...

<b>                                     BRIAN
</b>                         That's O.K. My parents didn't read 
                         it either. It looks good on their 
                         coffee table, though.

               Roberta smiles.

<b>                                     BRIAN
</b>                         So what are you doing here? I thought 
                         you'd be in Carnegie Hall by now.

               HOLD ON ROBERTA as she takes this in.

<b>               INT. COFFEE SHOP - ROME, N.Y. - DAY
</b>
               Roberta sits opposite Brian. Her lunch is untouched.

<b>                                     ROBERTA
</b>                         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.

<b>                                     BRIAN
</b>                         I'll bet you're a great teacher.

<b>                                     ROBERTA
</b>                         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...

<b>                                     BRIAN
</b>                         Your husband ran off with your best 
                         friend.

               A beat.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         God, these are cold.

<b>                                     BRIAN
</b>                         So you're just gonna wrap presents 
                         and wait for him to come back?

<b>                                     ROBERTA
</b>                         You sound like my mother.

<b>                                     BRIAN
</b>                         That's not very sexy.

<b>                                     ROBERTA
</b>                         Are you trying to be sexy or be my 
                         friend?

<b>                                     BRIAN
</b>                         A little of both.

               Roberta smiles, blushing a bit. Brian looks at her, getting 
               an idea.

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                         Great!

<b>                                     BRIAN
</b>                              (takes his last bite 
                              of sandwich)
                         If she hires you, though, you have 
                         to be willing to relocate.

<b>                                     ROBERTA
</b>                         Where is it?

<b>               EXT. SPANISH HARLEM, NEW YORK CITY - TRAVELLING SHOT - DAY
</b>
               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.

<b>                                     TAXI DRIVER
</b>                         Welcome to East Harlem.

<b>               EXT. CENTRAL PARK EAST ELEMENTARY SCHOOL (CPE 1) - EAST 
</b><b>               HARLEM - ESTABLISHING - DAY
</b>
<b>               INT. JANET WILLIAMS' OFFICE - DAY
</b>
               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.

<b>                                     JANET
</b>                              (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.

<b>                                     ROBERTA
</b>                         Well, not traditional teaching 
                         experience. I've been doing private 
                         lessons...

               Janet looks for this on the resume.

<b>                                     ROBERTA
</b>                         It's not on there... I taught my 
                         sons.

               Janet smiles politely.

<b>                                     JANET
</b>                         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.

<b>                                     JANET
</b>                         I'm very sorry.

<b>               INT. CPE 1 - HALLWAY - DAY
</b>
               Roberta stands outside Janet's office, dejectedly watching 
               the children noisily running through the hall.

<b>               INT. AREA OUTSIDE JANET WILLIAMS' OFFICE - THE NEXT DAY
</b>
               Roberta knocks on Janet's door.

<b>                                     JANET (O.S.)
</b>                         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.

<b>                                     ROBERTA
</b>                         I'm sorry to interrupt, but I wanted 
                         you to meet my sons -- Nick, Lexi...

               They enter.

<b>               INT. JANET'S OFFICE - CONTINUOUS
</b>
               Janet smiles at the boys, but clearly thinks Roberta's a 
               little off. Roberta holds her hand out to Dennis.

<b>                                     ROBERTA
</b>                         Roberta Guaspari-Demetras.

               Dennis shakes her hand, regarding her warily.

<b>                                     JANET
</b>                         This is Dennis Rausch, our music 
                         teacher and program coordinator.
                              (beat)
                         Mrs. Demetras, didn't I make things 
                         clear yesterday?

<b>                                     ROBERTA
</b>                         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.

<b>                                     DENNIS
</b>                         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.

<b>                                     LEXI
</b>                         Will you hire her now?

               Janet laughs, then gestures for them to sit.

<b>                                     JANET
</b>                         How long have you boys been playing?

<b>                                     NICK
</b>                         Since I was three.

<b>                                     LEXI
</b>                              (contemplates, then)
                         Maybe since I was three and a half.

<b>                                     JANET
</b>                         Your mom must be a good teacher.

<b>                                     NICK
</b>                              (shrugs)
                         She's O.K.

               Roberta gives Nick a look, but Janet smiles.

<b>                                     JANET
</b>                              (to Roberta)
                         If you could teach our students to 
                         play like that, I'd be thrilled, but --

<b>                                     ROBERTA
</b>                         I can. Any child can learn the violin.

<b>                                     DENNIS
</b>                         Assuming they had the discipline.

<b>                                     ROBERTA
</b>                         I'll teach them to have discipline.

<b>                                     JANET
</b>                         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.

<b>                                     ROBERTA
</b>                         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.

<b>                                     DENNIS
</b>                              (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."

<b>                                     ROBERTA
</b>                         You're underestimating them. They 
                         can play as well as any other kids.

<b>                                     DENNIS
</b>                         That I'd like to see.

<b>                                     ROBERTA
</b>                         You will.

               A beat. Janet observes the tension, then turns to Roberta.

<b>                                     JANET
</b>                              (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.

<b>                                     ROBERTA
</b>                         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.

<b>                                     DENNIS
</b>                              (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?

<b>                                     ROBERTA
</b>                         You need violins?

<b>               INT. MUSIC ROOM - DAY
</b>
               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.

<b>                                     ROBERTA
</b>                              (gently)
                         Please do not open the cases, O.K.?

               They ignore her.

<b>                                     ROBERTA
</b>                         Look, can everyone just settle down 
                         and listen to me -- please?

               ANGLE - Three girls open their cases.

<b>                                     ROBERTA
</b>                              (starting to lose it)
                         Keep them closed! Please.

               ANGLE - Two boys open their cases.

<b>                                     ROBERTA
</b>                              (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.

<b>                                     ROBERTA
</b>                         Put those down, please!

               ANGLE - A boy and a girl are having a "sword fight" with 
               their bows.

<b>                                     ROBERTA
</b>                              (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.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         What have I been saying? Put that 
                         away! Back in the case!

               Roberta takes a breath. The kids settle down a bit.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         O.K. -- that's it! You! Stand up!

               The bongo player stands.

<b>                                     ROBERTA
</b>                         You will be the first student who 
                         will NOT be in my violin class. Out!

               The child looks stunned.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Are you raising your hand because 
                         you want to be kicked out?

<b>                                     DE SEAN
</b>                         Yeah.

<b>                                     ROBERTA
</b>                         Why?

<b>                                     DE SEAN
</b>                         I don't wanna learn no stupid violin. 
                         It's for wimps.

<b>                                     ROBERTA
</b>                         Who told you that?

<b>                                     DE SEAN
</b>                         I just know.

<b>                                     ROBERTA
</b>                         What's your name?

<b>                                     BOY
</b>                         De Sean.

<b>                                     ROBERTA
</b>                         Well, De Sean -- you haven't given 
                         me a good enough reason, so you're 
                         staying.

               She looks around the room.

<b>                                     ROBERTA
</b>                         Anyone else?

               Silence.

<b>               INT. MUSIC ROOM - LATER
</b>
               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.

<b>                                     NAEEM
</b>                         Hey, I play pretty good.

               Roberta laughs.

<b>                                     ROBERTA
</b>                              (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?

<b>                                     NAEEM
</b>                         Naeem.

               Roberta writes in a notebook and we see that she's measuring 
               for violin sizes.

<b>                                     ROBERTA
</b>                              (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.

<b>               INT. BRIAN'S APARTMENT - LIVING ROOM - NIGHT
</b>
               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.

<b>                                     ROBERTA (O.S.)
</b>                         Come in.

<b>               INT. BRIAN'S APARTMENT - OFFICE - CONTINUOUS
</b>
               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.

<b>                                     ROBERTA
</b>                              (referring to champagne)
                         What's this?

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                         I don't know, Brian. I'm hanging on 
                         by a thread there. Out of fifty kids, 
                         maybe six are listening to me.

<b>                                     BRIAN
</b>                         Look at the progress. Didn't you say 
                         no one was listening to you on Monday?

               Roberta laughs.

<b>                                     ROBERTA
</b>                         I really appreciate all you've done 
                         for us. And I promise -- this weekend 
                         I'll start looking for a place.

<b>                                     BRIAN
</b>                         There's no rush.

<b>                                     ROBERTA
</b>                         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.

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                         So what made you choose migrant 
                         workers for your next book? I mean, 
                         how do you know what to write about?

<b>                                     BRIAN
</b>                              (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.

<b>                                     ROBERTA
</b>                         What are you doing?

<b>                                     BRIAN
</b>                         I've been waiting to do that since 
                         Mr. Baines' orchestra class.

<b>                                     ROBERTA
</b>                         You didn't even notice me!

<b>                                     BRIAN
</b>                         Sure I did. You used to ignore me 
                         and it drove me wild.

<b>                                     ROBERTA
</b>                         You had at least five different 
                         girlfriends.

<b>                                     BRIAN
</b>                         It didn't mean I had the one I wanted.

               He gives her a flirtatious smile, then takes out one of her 
               rollers.

<b>                                     BRIAN
</b>                         You're not a navy wife anymore...

               He moves to takes out another roller and Roberta stops him.

<b>                                     ROBERTA
</b>                         Yes I am... legally.

<b>                                     BRIAN
</b>                         And is it a navy requirement that 
                         you dress like it's the 1950's?

<b>                                     ROBERTA
</b>                         I do not!

<b>                                     BRIAN
</b>                              (goading her)
                         Who did you vote for in the last 
                         election?

<b>                                     ROBERTA
</b>                         What does that have to do with 
                         anything?

<b>                                     BRIAN
</b>                         Tell me.

<b>                                     ROBERTA
</b>                              (hesitates, then)
                         I don't know. Charles filled out my 
                         absentee ballot.

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                         That Roberta's not around anymore.

               He pulls her towards him by the belt to her robe.

<b>                                     BRIAN
</b>                         I don't believe that.

               They kiss and it heats up quickly. Roberta pulls back.

<b>                                     ROBERTA
</b>                         I shouldn't.

<b>                                     BRIAN
</b>                         Because?

<b>                                     ROBERTA
</b>                         The boys --

<b>                                     BRIAN
</b>                         They're sleeping.

<b>                                     ROBERTA
</b>                         I know, but... I'm still married.

<b>                                     BRIAN
</b>                         And what's your husband doing right 
                         now?

               A few beats, and she moves towards him.

<b>               INT. BRIAN'S BEDROOM - DAY
</b>
               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.

<b>                                     ROBERTA
</b>                         Oh shit -- the boys.

<b>                                     BRIAN (O.S.)
</b>                         They're still sleeping.

               She turns, relieved, until she sees that Brian's packing a 
               suitcase.

<b>                                     ROBERTA
</b>                         Where are you going?

<b>                                     BRIAN
</b>                         Texas.

               He dashes out. Roberta sits up, rattled by this news.

<b>               INT. BRIAN'S OFFICE - DAY
</b>
               Brian excitedly gathers papers and files scattered around 
               his electric typewriter.

<b>                                     ROBERTA (O.S.)
</b>                         What's in Texas?

               He turns to see Roberta in the doorway.

<b>                                     BRIAN
</b>                         Farm workers. I just got the call -- 
                         it came through -- my research grant! 
                         It came through! Isn't that great?

<b>                                     ROBERTA
</b>                         Today?

               He places items into a carry-on bag, packing at a rapid clip. 
               In contrast, Roberta seems to be moving in slow motion.

<b>                                     BRIAN
</b>                         I've got a few families lined up 
                         there, some in California --

<b>                                     ROBERTA
</b>                         How long will you be gone?

<b>                                     BRIAN
</b>                         Two, three months.

<b>                                     ROBERTA
</b>                         What?

<b>               INT. BRIAN'S BATHROOM - DAY
</b>
               Brian throws toiletries into a plastic bag. Roberta enters.

<b>                                     ROBERTA
</b>                         I thought... I just thought you were 
                         gonna be around. And then last night --

               He stops what he's doing and looks at her.

<b>                                     BRIAN
</b>                         Whoa. Roberta -- last night was great 
                         but did you think I was gonna marry 
                         you in the morning?

<b>                                     ROBERTA
</b>                         No! Of course not.

               We see in her face that part of her did think that.

<b>                                     ROBERTA
</b>                         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.

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                         Congratulations.

               He kisses her forehead, then exits. HOLD ON ROBERTA, looking 
               hurt and frightened.

<b>               INT. MUSIC ROOM - DAY
</b>
               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]

<b>                                     ROBERTA
</b>                         And what am I doing now?

<b>                                     NAEEM/GUADALUPE
</b>                         Rosining the bow.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Naeem?

<b>                                     NAEEM
</b>                         Tightening the horse hair.

<b>                                     ROBERTA
</b>                              (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.

<b>                                     ROBERTA
</b>                         De Sean?

<b>                                     DE SEAN
</b>                         Yeah?

<b>                                     ROBERTA
</b>                         What do we call this?

<b>                                     DE SEAN
</b>                         I don't know.

<b>                                     ROBERTA
</b>                         Why not?

<b>                                     DE SEAN
</b>                         I wasn't here.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         All right, Naeem -- tell them.

<b>                                     NAEEM
</b>                         It's called the frog.

               Some kids giggle and joke about this. Roberta points to the 
               scroll of the violin.

<b>                                     ROBERTA
</b>                         Anyone remember what this is?

               LUCY, the fidgety girl, snaps her fingers.

<b>                                     ROBERTA
</b>                         Lucy! Do you like people snapping 
                         their fingers when you're talking?

<b>                                     LUCY
</b>                         Yeah!

               The kids laugh. Roberta doesn't. She points to the scroll.

<b>                                     ROBERTA
</b>                         What is this called?

<b>                                     LUCY
</b>                         The jeri curl?

               Roberta laughs, even though she's trying to be tough.

<b>               INT. DENNIS' MUSIC CLASSROOM - DAY
</b>
               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.

<b>                                     DENNIS
</b><b>                         C-C-C-C, D-D-D-D, E-E-E-E...
</b>
               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.

<b>                                     ROBERTA
</b>                         Excuse me -- sorry to interrupt --

               The students immediately start to chatter.

<b>                                     DENNIS
</b>                         No talking!

               He looks back at Roberta, annoyed by her intrusion.

<b>                                     ROBERTA
</b>                         I'm supposed to take kids out of 
                         Miss Cooper's classroom for my ten 
                         o'clock class -- there's nobody there.

<b>                                     DENNIS
</b>                         Miss Cooper's students have phys ed 
                         on Tuesdays.

<b>                                     ROBERTA
</b>                         But you scheduled them for violin.

<b>                                     DENNIS
</b>                         You must have read the schedule wrong.

<b>                                     ROBERTA
</b>                              (trying to remain 
                              polite)
                         I don't think so.

<b>                                     DENNIS
</b>                         Well, I can't solve this problem for 
                         you right now.
                              (nods to his class)
                         I'm trying to teach.

<b>                                     ROBERTA
</b>                         So am I.

               She exits.

<b>               INT. BRIAN'S BEDROOM - NIGHT
</b>
               Lexi and Nick are in Brian's bed. Roberta's tucking in Lexi; 
               he holds a toy truck with Greek writing on it.

<b>                                     LEXI
</b>                         Can I bring a puppy for show and 
                         tell tomorrow?

<b>                                     ROBERTA
</b>                         Honey, we don't have a puppy.

<b>                                     NICK
</b>                         Daddy said we could get one when we 
                         moved back to America.

               Roberta looks at Nick, then turns back to Lexi.

<b>                                     ROBERTA
</b>                         How about your truck? I'll bet you're 
                         the only one in school with a truck 
                         from Greece.

<b>                                     NICK
</b>                         When's Daddy coming back?

               Roberta turns to Nick and tucks him in.

<b>                                     ROBERTA
</b>                         Well, he's still on his tour, so 
                         we'll just have to see but... It 
                         shouldn't be too much longer.

<b>                                     LEXI
</b>                         Is he gonna live with us and Brian?

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Good night, sweetie.

               She kisses Lexi, then reaches to turn off the lamp.

<b>                                     NICK
</b>                         No! Leave it on.

               Roberta nods, smiles at her sons, and exits.

<b>               INT. MUSIC ROOM - DAY
</b>
               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.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Lucy! Would you like to leave the 
                         class right now?

               Lucy nods, giggling. Roberta walks down the row of students.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         De Sean! James! Quiet!
                              (as she crosses to 
                              another student)
                         Does anyone know where Naeem is?

<b>                                     TANISHA
</b>                         I saw him this morning but he's not 
                         here.

<b>                                     ROBERTA
</b>                         Yes, I know he's not here -- that's 
                         why I'm asking.

               She gently pushes Guadalupe's belly. The girl stumbles back.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Can you bring over a chair?
                              (to Guadalupe)
                         It's probably better for you to sit.

               The boy brings the chair. Guadalupe sits, embarrassed.

<b>               EXT. SCHOOL YARD - DAY
</b>
               Roberta walks through a school yard filled with kids and 
               parents picking them up. She sees Naeem and crosses to him.

<b>                                     ROBERTA
</b>                         Where were you today, Naeem?

<b>                                     NAEEM
</b>                         I can't be in violin class anymore.

<b>                                     ROBERTA
</b>                         Why not?

<b>                                     NAEEM
</b>                         My mother won't let me.

<b>                                     ROBERTA
</b>                         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.

<b>                                     MRS. ADISA
</b>                         My son's got more important things 
                         to do than learn dead white men's 
                         music.

<b>                                     ROBERTA
</b>                         They're gonna learn "Twinkle Twinkle 
                         Little Star"!

<b>                                     MRS. ADISA
</b>                         How many Black classical composers 
                         can you name? How many Black classical 
                         violinists do you know?

<b>                                     ROBERTA
</b>                         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?

<b>                                     NAEEM
</b>                         Please, Mom? Can't I be in the class?

               Mrs. Adisa puts a protective arm around her son, then 
               addresses Roberta.

<b>                                     MRS. ADISA
</b>                         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.

<b>               INT. BRIAN'S LIVING ROOM - NIGHT
</b>
               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.

<b>                                     ROBERTA
</b>                         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.

<b>               INSERT - PICTURES
</b>
               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.

<b>               BACK TO ROBERTA
</b>
               She's really depressed herself now.

<b>               INT. CLASSROOM - DAY
</b>
               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.

<b>                                     ALICE
</b>                         And which ocean is this?

               Kids simultaneously yell out "ATLANTIC" and "PACIFIC."

<b>                                     ROBERTA
</b>                         Excuse me... I'm here for the violin 
                         students.

<b>                                     ALICE
</b>                              (icy)
                         You're late.

<b>                                     ROBERTA
</b>                         Just a couple of minutes -- I'm sorry.

<b>                                     ALICE
</b>                         They're having a lesson now.

<b>                                     ROBERTA
</b>                         But this is when they have violin 
                         class!

<b>                                     ALICE
</b>                         That's not my problem.

               Roberta's reluctant to argue in front of the kids; she exits.

<b>               EXT. SCHOOL YARD - DAY
</b>
               Lots of noise and chaos as kids run wild during lunch recess. 
               Janet rushes through the throngs while Roberta tries to keep 
               up.

<b>                                     ROBERTA
</b>                         I thought all the teachers agreed to 
                         this.

<b>                                     JANET
</b>                         In theory.
                              (to a student)
                         Adam! I want you in my office right 
                         after lunch, you understand?

<b>                                     ADAM
</b>                         What'd I do?

<b>                                     JANET
</b>                         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.

<b>                                     ROBERTA
</b>                         Well, can't you talk to them?

               Janet stops walking and pulls a box cutter out of her pocket.

<b>                                     JANET
</b>                         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.

<b>                                     JANET
</b>                         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.

<b>               INT. MUSIC ROOM - DAY
</b>
               The nine children hold their violins in position as Roberta 
               addresses them.

<b>                                     ROBERTA
</b>                         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.

<b>                                     DE SEAN
</b>                              (to himself)
                         You're under arrest.

               Some kids crack up and start joking and chatting.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Guadalupe! You've got the violin in 
                         the wrong hand! How did that happen?

               Embarrassed, Guadalupe corrects her position.

<b>               INT. BRIAN'S KITCHEN - NIGHT
</b>
               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.

<b>                                     ROBERTA
</b>                         Hello?

<b>                                     CHARLES (O.S.)
</b>                         Hello, Bobbi.

               Her face falls as she hears the voice. She holds onto the 
               counter to steady herself.

<b>                                     ROBERTA
</b>                         Where are you?

<b>                                     CHARLES (O.S.)
</b>                              (calm, detached)
                         I'm back in the States. I'm at my 
                         parents.

               Roberta closes the oven and gathers her courage.

<b>                                     ROBERTA
</b>                         Are you still with her?

               A beat.

<b>                                     CHARLES (O.S.)
</b>                         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:

<b>               INT. BRIAN'S BATHROOM - CONTINUOUS
</b>
               She half-closes the door, leans against the sink and starts 
               to cry.

<b>                                     ROBERTA
</b>                              (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 --

<b>                                     CHARLES (O.S.)
</b>                              (more emotive than 
                              before)
                         Bobbi -- stop, O.K.? Just stop.

               Roberta looks as if she's been slapped. A beat.

<b>                                     CHARLES (O.S.)
</b>                         I want a divorce.

<b>                                     ROBERTA
</b>                         What?

               Silence.

<b>                                     ROBERTA
</b>                         But you said... you and Lana... you 
                         said it was over.

<b>                                     CHARLES (O.S.)
</b>                         It is.
                              (beat)
                         It's over between us too, Bobbi.

               HOLD ON ROBERTA, devastated. ANGLE on NICK, watching her 
               through the door.

<b>               INT. BRIAN'S HOTEL ROOM, TEXAS - NIGHT
</b>
               Brian's on the phone with Roberta. He's in a t-shirt and 
               sweats, and his papers are scattered on the bed.

<b>                                     ROBERTA (O.S.)
</b>                         He wouldn't even talk about it! No 
                         explanations, no discussion...

<b>               INTERCUT
</b>
               Roberta in Brian's living room. She's extremely agitated and 
               her eyes are puffy from crying.

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                         I never said that.

<b>                                     BRIAN
</b>                         No? Maybe not with words.

               This embarrasses her, then pisses her off.

<b>                                     ROBERTA
</b>                         You know what? I shouldn't have called 
                         you. This was a mistake.

<b>                                     BRIAN
</b>                         No, no -- I'm sorry. Look, I know it 
                         hurts, but you're gonna get through 
                         this, Roberta -- you will.

<b>                                     ROBERTA
</b>                         I'm moving back to my Mom's.

<b>                                     BRIAN
</b>                         What? You're gonna quit teaching in 
                         the middle of the term?

<b>                                     ROBERTA
</b>                         I don't fit in there -- I'm not making 
                         any progress with the kids...

<b>                                     BRIAN
</b>                         What are you gonna tell Janet -- 
                         your husband left you and nothing 
                         else matters?

<b>                                     ROBERTA
</b>                         I don't know yet.

<b>               INT. BRIAN'S LIVING ROOM - NIGHT
</b>
               Roberta lies awake on the futon, heartbroken.

<b>               INT. BRIAN'S BEDROOM - NIGHT
</b>
               Roberta stands and watches Nick and Lexi sleep. She lies 
               down beside them and closes her eyes.

<b>               INT. SCHOOL HALLWAY - DAY
</b>
               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.

<b>                                     BOY
</b>                         My mother gave it to me.

<b>                                     JANET
</b>                         Why would she give you fifty dollars?

<b>                                     BOY
</b>                         To buy breakfast.

               Janet gives him a stern look.

<b>                                     JANET
</b>                         Do you know how hard your mother 
                         works? Do you think it's right for 
                         you steal from her?

<b>                                     BOY
</b>                         I didn't!

<b>                                     JANET
</b>                         Well let's go call her right now and 
                         ask her.

               As Janet turns to walk off, Roberta crosses to her.

<b>                                     ROBERTA
</b>                         I need to speak to you. It's 
                         important.

<b>                                     JANET
</b>                         It'll have to wait.
                              (to the boy)
                         Come on. In my office.

               Roberta watches as Janet dashes off with the boy in tow.

<b>               INT. MUSIC ROOM - DAY
</b>
               Guadalupe sits on a chair in the empty room, struggling to 
               set up her violin. Roberta enters, surprised to see her.

<b>                                     ROBERTA
</b>                         Guadalupe? What are you doing here?

<b>                                     GUADALUPE
</b>                         I can't get the stop sign.

<b>                                     ROBERTA
</b>                         Honey, your teacher's probably looking 
                         for you.

               Guadalupe sighs, then hands Roberta the violin.

<b>                                     GUADALUPE
</b>                         I can't come anymore. It's too hard.

<b>                                     ROBERTA
</b>                         The violin is hard for everyone.

<b>                                     GUADALUPE
</b>                         But everyone else is better than me. 
                         I'll always be slow.

               Roberta looks at her sadly and puts the violin in its case.

<b>                                     ROBERTA
</b>                         Did you ever hear of Itzhak Perlman?

<b>                                     GUADALUPE
</b>                         No.

<b>                                     ROBERTA
</b>                         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.

<b>                                     GUADALUPE
</b>                         And he sits down when he plays?

<b>                                     ROBERTA
</b>                         He has to.

               Guadalupe takes this in.

<b>                                     GUADALUPE
</b>                         He was your student?

               Roberta laughs.

<b>                                     ROBERTA
</b>                         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.

<b>                                     GUADALUPE
</b>                         But I can't stand strong.

<b>                                     ROBERTA
</b>                         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.

<b>                                     JANET
</b>                         You wanted to speak to me?

<b>                                     ROBERTA
</b>                         Oh. Umm -- that's O.K. It's taken 
                         care of.

               Janet looks at her curiously, then exits.

<b>               INT. EMPTY APARTMENT - EAST HARLEM - DAY
</b>
               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.

<b>                                     LANDLADY
</b>                         Is just for you and your boys?

<b>                                     ROBERTA
</b>                         Yes.

<b>                                     LANDLADY
</b>                         No husband? No boyfriend?

               A beat.

<b>                                     ROBERTA
</b>                         No.

<b>               EXT. SCHOOL YARD - LUNCH RECESS - DAY
</b>
               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.

<b>                                     LEXI
</b>                         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.

<b>                                     ROBERTA
</b>                              (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.

<b>                                     ISABEL
</b>                         Whatsa matter -- you got cooties?

<b>                                     ROBERTA
</b>                         Apparently.

<b>                                     ISABEL
</b>                         I'll take my chances.
                              (extends a hand)
                         Isabel Vasquez. Second grade.

<b>                                     ROBERTA
</b>                         Roberta Demetras. I'm the --

<b>                                     ISABEL
</b>                         Violin teacher. I know.

               She sits down beside Roberta, takes out her lunch.

<b>                                     ROBERTA
</b>                         Is it my imagination, or does everyone 
                         hate me?

<b>                                     ISABEL
</b>                         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.

<b>                                     ROBERTA
</b>                              (sotto)
                         What about Alice Crowley?

<b>                                     ISABEL
</b>                              (sotto)
                         A) she thinks the violin's a waste 
                         of time... and B) -- she's a bitch.

               Roberta laughs.

<b>                                     ROBERTA
</b>                         And then there's Dennis.

<b>                                     ISABEL
</b>                         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.

<b>                                     ROBERTA
</b>                         How come you're being nice to me?

<b>                                     ISABEL
</b>                         Ulterior motives. I want my daughter 
                         in your class next year.

               Roberta smiles.

<b>                                     ROBERTA
</b>                         If I'm here next year.

<b>                                     ISABEL
</b>                         You will be.

<b>               INT. ROBERTA'S NEW APARTMENT - LIVING ROOM - NIGHT
</b>
               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.

<b>               ROBERTA'S POV OUT THE WINDOW
</b>
               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.

<b>               BACK TO SCENE
</b>
               Nick, in his pajamas, enters and crosses to his mother. She 
               smiles at him and they both look out the window.

<b>                                     NICK
</b>                         In Greece, we could see the ocean. 
                         Remember?

<b>                                     ROBERTA
</b>                         I remember. And the fishing boats...

<b>                                     NICK
</b>                         And the octopuses.

               Roberta smiles and puts her arm around him.

<b>                                     NICK
</b>                         Is Daddy coming here soon?

               Roberta tenses up.

<b>                                     ROBERTA
</b>                         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.

<b>                                     NICK
</b>                         Can you tell the birthday story?

               Roberta looks at him, concerned that he's not responding to 
               her news.

<b>                                     ROBERTA
</b>                         Don't you want to talk about what I 
                         told you?

<b>                                     NICK
</b>                         I want to hear the birthday story.

               A beat as she contemplates whether to push or not, then:

<b>                                     ROBERTA
</b>                         It was the day of Grandpa's birthday, 
                         and I was sad because he had died a 
                         few months back.

<b>                                     NICK
</b>                         But you knew I'd be born that day.

<b>                                     ROBERTA
</b>                         So I packed a bag and got all ready --

<b>                                     NICK
</b>                         And Daddy laughed.

<b>                                     ROBERTA
</b>                         I said, "It's my father's birthday, 
                         and the baby's gonna be born today."

<b>                                     NICK
</b>                         He didn't believe you. But I was 
                         born. The same day as Grandpa.

<b>                                     ROBERTA
</b>                         It was a happy day.

<b>                                     NICK
</b>                         Was Daddy happy too?

               She looks at him, taken aback by the question.

<b>                                     ROBERTA
</b>                         Of course he was.

<b>                                     NICK
</b>                         Then why is he leaving me?

               Roberta, overcome with emotion, can barely answer.

<b>                                     ROBERTA
</b>                         He's not leaving you, Nick. He loves 
                         you and Lexi very much.

<b>                                     NICK
</b>                         Then why can't he live here?

<b>                                     ROBERTA
</b>                              (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.

<b>               INT. MUSIC ROOM - DAY
</b>
               The kids play "Twinkle Twinkle Little Star" and they sound 
               awful. Roberta looks disgusted as she leads them.

<b>                                     ROBERTA
</b>                         Slow bows! Slow bows! Don't squeeze! 
                         Stop! Everybody stop!
                              (to De Sean)
                         How much did you practice this week?

<b>                                     DE SEAN
</b>                         My asthma -- it was very bad and I 
                         had to go to the hospital.

<b>                                     ROBERTA
</b>                         Again? You told me you went to the 
                         hospital last week.

<b>                                     DE SEAN
</b>                         Oh yeah. Maybe it was last week.

               Roberta rolls her eyes, then turns to Lucy.

<b>                                     ROBERTA
</b>                         Lucy -- you sounded the worst of 
                         all. Have you practiced?

<b>                                     LUCY
</b>                         No.

<b>                                     ROBERTA
</b>                         Why not? You can't be in this class 
                         if you don't practice!

<b>                                     LUCY
</b>                         My grandma got mugged.

               A beat.

<b>                                     ROBERTA
</b>                         Oh. I'm sorry. Is she O.K.?

<b>                                     LUCY
</b>                         She died.

               Roberta stands there, sobered.

<b>                                     ROBERTA
</b>                         I'm really sorry, Lucy.
                              (tries to get her 
                              bearings)
                         Just do the best you can.

<b>               EXT. SCHOOL YARD - DAY
</b>
               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.

<b>                                     NAEEM
</b>                         Hi, Roberta.

<b>                                     ROBERTA
</b>                         Hi, Naeem. Can I talk to your mom 
                         for a minute?

               Naeem nods and moves off.

<b>                                     ROBERTA
</b>                         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.

<b>               EXT. OUTDOOR MARKET - DAY
</b>
               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.

<b>               INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT
</b>
               A brown puppy is jumping all over Nick and Lexi who laugh 
               delightedly. Roberta is putting down newspapers.

<b>                                     ROBERTA
</b>                         We all have to take turns cleaning 
                         up, O.K.?

               The boys are oblivious to her -- they're in heaven.

<b>                                     ROBERTA
</b>                              (to herself)
                         Yeah, right.

<b>               INT. MUSIC ROOM - DAY
</b>
               Roberta's SCREAMING at the kids as they play "Twinkle Twinkle 
               Little Star."

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Is this an important question, 
                         Tanisha?

               Tanisha nods.

<b>                                     TANISHA
</b>                         Do you have two of those skirts?

<b>                                     ROBERTA
</b>                         What?

<b>                                     TANISHA
</b>                         You wore a skirt just like it on 
                         Monday.

               Some of the kids crack up.

<b>                                     ROBERTA
</b>                         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.

<b>                                     MRS. ADISA
</b>                         Naeem and I were wondering if he 
                         could still be in the class.

               A beat.

<b>                                     ROBERTA
</b>                         I'd love that.
                              (to Naeem)
                         You'll have a lot of catching up to 
                         do. You think you can work that hard?

<b>                                     NAEEM
</b>                         Yeah, I can.

<b>                                     ROBERTA
</b>                         Maybe we can also arrange some private 
                         lessons at my house.

<b>                                     MRS. ADISA
</b>                         I wouldn't have the money for that.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                              (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.

<b>                                     ROBERTA
</b>                         What are you playing?

<b>                                     LUCY
</b>                         Twinkle.

<b>                                     ROBERTA
</b>                              (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.

<b>                                     ROBERTA
</b>                         Did someone teach you that?

<b>                                     LUCY
</b>                         No. I made it up.

<b>                                     ROBERTA
</b>                         That's really great, Lucy. I'm proud 
                         of you.

               Lucy beams.

<b>                                     ROBERTA
</b>                              (to class)
                         All of you -- try it.

               The class plays Lucy's jazz variation and Naeem happily joins 
               in.

<b>               INT. JANET WILLIAMS' OFFICE - DAY
</b>
               Roberta sits opposite Janet and MRS. LAMB, a white woman in 
               her 30's.

<b>                                     MRS. LAMB
</b>                         You're shouting at them. All the 
                         time.

<b>                                     ROBERTA
</b>                         Not all the time. But if they don't 
                         listen --

<b>                                     MRS. LAMB
</b>                         Didn't you tell them that they were 
                         making their parents sick?

               Janet raises her eyebrows at this.

<b>                                     ROBERTA
</b>                         That wasn't exactly what I said --

<b>                                     MRS. LAMB
</b>                         I'm raising Becky in a supportive 
                         atmosphere. I don't send her to school 
                         to be abused.

<b>                                     ROBERTA
</b>                         I'm just trying to discipline them. 
                         If they're gonna learn an instrument, 
                         they need to take it seriously --

<b>                                     JANET
</b>                         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.

<b>               INT. MUSIC ROOM - DAY
</b>
               Roberta listens to the students play "Go Tell Aunt Rhody" -- 
               badly. They finish and stare at her, afraid of her response.

<b>                                     ROBERTA
</b>                         Well, that was... that was pretty 
                         good... that wasn't too bad...

               They look at her in disbelief, then look at each other.

<b>                                     DE SEAN
</b>                         It wasn't? I thought we stunk.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Can you please try a little harder 
                         for next week?

               James nods. The kids are baffled by her politeness.

<b>                                     ROBERTA
</b>                         Good. Just do the best you can.

<b>                                     DE SEAN
</b>                         Why you acting like that?

<b>                                     ROBERTA
</b>                         Like what?

<b>                                     DE SEAN
</b>                         Nice.

<b>                                     ROBERTA
</b>                         Don't you want a nice teacher?

<b>                                     DE SEAN
</b>                         I already got nice teachers. You 
                         added some variety.

<b>                                     LUCY
</b>                         Yeah. We like you better the way you 
                         used to be.

<b>                                     ROBERTA
</b>                         Oh.
                              (to Becky)
                         What about you, Becky?

<b>                                     BECKY
</b>                         Yeah. This is even worse. You're 
                         acting weird now.

               A beat.

<b>                                     ROBERTA
</b>                         Well, then -- I take it back. You 
                         all stunk.

               The kids laugh.

<b>                                     ROBERTA
</b>                         But don't tell your parents I said 
                         so!

               The kids laugh again.

<b>               INT. KENNEDY AIRPORT - DEPARTURE GATE - DAY
</b>
               Christmas MUZAK plays in the b.g. as Roberta kisses and hugs 
               Lexi and Nick goodbye. A FLIGHT ATTENDANT stands nearby.

<b>                                     LEXI
</b>                         Can't you come with us? Please?

<b>                                     ROBERTA
</b>                         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.

<b>                                     FLIGHT ATTENDANT
</b>                         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.

<b>               INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT
</b>
               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 
<b>               WONDERFUL LIFE.
</b>
               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.

<b>                                     ROBERTA
</b>                         Who is it?

<b>                                     BRIAN (O.S.)
</b>                         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.

<b>                                     BRIAN
</b>                         I'm back.

               Roberta's thrilled and relieved to see him. She embraces 
               him, and they kiss passionately.

<b>               INT. BROWNSTONE - DAY (TIME CUT - TWO MONTHS LATER)
</b>
               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.

<b>               EXT. BROWNSTONE - EAST HARLEM - THE SAME DAY
</b>
               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.

<b>                                     ROBERTA
</b>                         O.K., enough goofing off -- back to 
                         work.

<b>                                     BRIAN
</b>                         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.

<b>                                     ASSUNTA
</b>                         I was the only person in the whole 
                         coffee shop not speaking Spanish.

               Roberta rolls her eyes. O.S. a car BACKFIRES.

<b>                                     ASSUNTA
</b>                         You hear that? Gunshots! How you 
                         gonna live here by yourself?
                              (calling)
                         Boys, come eat!

<b>                                     ROBERTA
</b>                         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.

<b>                                     ASSUNTA
</b>                         What's your name?

<b>                                     LAWRENCE
</b>                         Lawrence.

<b>                                     ASSUNTA
</b>                         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.

<b>                                     ASSUNTA
</b>                              (to Brian)
                         Why did you let her buy this house?

<b>                                     BRIAN
</b>                         Hey, your daughter does what she 
                         wants -- or haven't you noticed?

<b>                                     ASSUNTA
</b>                         I've noticed.

<b>               INT. ROBERTA'S APARTMENT - KITCHEN - DAY
</b>
               Robert washes dishes and Assunta dries. The leftovers from 
               an Italian dinner are on the counter.

<b>                                     ASSUNTA
</b>                         I still don't understand the rush.

<b>                                     ROBERTA
</b>                         Having my own place will make me 
                         feel like I'm really starting my 
                         life again.

<b>                                     ASSUNTA
</b>                         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 --

<b>                                     ROBERTA
</b>                              (snapping)
                         Mama, please. Just stop!

               Assunta backs off. Roberta feels guilty and moves to her.

<b>                                     ROBERTA
</b>                         Don't worry, O.K.? Besides, if things 
                         keep going well, I'm sure eventually 
                         Brian will move in with us.

               A few beats.

<b>                                     ASSUNTA
</b>                         How much do you know about this man?

<b>                                     ROBERTA
</b>                         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.

<b>                                     ASSUNTA
</b>                              (with an attitude)
                         And how long has he been back?

<b>                                     ROBERTA
</b>                         Two months.

<b>                                     ASSUNTA
</b>                         That's not very long. Don't make the 
                         same mistake twice, Bert. You barely 
                         knew Charles when you married him.

<b>                                     ROBERTA
</b>                              (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.

<b>                                     ASSUNTA
</b>                         Not if he's the wrong person.

               Roberta locks her jaw, not wanting to believe that she's 
               right.

<b>               INT. MUSIC ROOM - DAY
</b>
               The kids play "Allegro," Roberta leading them.

<b>                                     ROBERTA
</b>                         Get ready, now -- we're coming up to 
                         the fermata...

               They reach a certain note, then pause.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         Well, O.K. But you have to promise 
                         you'll all start together.

               She nods. They begin again -- all at different times.

<b>                                     DE SEAN
</b>                         Man. We'll never get that right.

<b>                                     ROBERTA
</b>                         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.

<b>               INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT
</b>
               Brian and Roberta finish making love on the futon. They lie 
               in each other's arms, still breathing heavily.

<b>                                     ROBERTA
</b>                         I love you.

               Brian makes a sound that's either panting or laughing.

<b>                                     ROBERTA
</b>                         Did you just laugh?

<b>                                     BRIAN
</b>                         I'm sorry. It's just...

               Roberta looks at him, offended.

<b>                                     ROBERTA
</b>                         What?

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                         Jesus, Brian. Do you still get away 
                         with that crap? It's not the Sixties 
                         anymore.

<b>                                     BRIAN
</b>                         Well, maybe if you'd actually gone 
                         through the Sixties, you'd know what 
                         I'm talking about.

<b>                                     ROBERTA
</b>                         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.

<b>                                     BRIAN
</b>                         I'm sorry. I'm being an asshole.
                              (sweetly teasing)
                         You can say you love me if you want.

<b>                                     ROBERTA
</b>                         Forget it. I changed my mind.

               He laughs and coaxes her to kiss him -- a temporary truce.

<b>               INT. BROWNSTONE - DAY
</b>
               ERNIE (70's), a rickety Black man in work boots, looks baffled 
               by a tangled mess of wires protruding from a wall. Roberta 
               approaches.

<b>                                     ROBERTA
</b>                         How's it coming, Ernie?

<b>                                     ERNIE
</b>                         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.

<b>                                     BRIAN
</b>                         You're crazy. Why did you hire him?

<b>                                     ROBERTA
</b>                         He needed a job. Besides, he's wired 
                         all of East Harlem.

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                         Why is there wallpaper on it?

<b>                                     MAN #1
</b>                         That's how it comes.

               They lean the panels against a wall. Roberta turns to Ernie.

<b>                                     ERNIE
</b>                         Yep, that's how it comes now.

               The guys quickly exit. Brian re-enters and sees the panels.

<b>                                     BRIAN
</b>                         What the hell is this?

<b>                                     ROBERTA
</b>                         Sheetrock.

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                         Look -- this house is taking every 
                         penny of my settlement. I can't afford 
                         fancy union workers!

<b>                                     BRIAN
</b>                              (throwing up his hands)
                         Fine. Do it your way.

               He stomps off. ANOTHER ANGLE - Nick watches them fight and 
               looks distressed.

<b>               EXT. SCHOOL YARD - DAY
</b>
               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.

<b>               INT. AREA OUTSIDE JANET'S OFFICE - DAY
</b>
               Nick sits outside, holding an ice pack to his bloody nose.

<b>               INT. JANET'S OFFICE - DAY
</b>
               Roberta stands opposite Janet.

<b>                                     JANET
</b>                         I'm giving him a two-day suspension -- 
                         but next time he'll be expelled.

<b>                                     ROBERTA
</b>                         There won't be a next time -- I 
                         promise.

<b>                                     JANET
</b>                         Have you noticed your son lately? 
                         He's tied up in knots and he needs 
                         help.

<b>                                     ROBERTA
</b>                         Janet, kids fight. You're making too 
                         much of this.

<b>                                     JANET
</b>                         He was choking the kid.
                              (beat)
                         Nick's in trouble, Roberta. You need 
                         to deal with it.

               Roberta takes this in, upset.

<b>               INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT
</b>
               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.

<b>                                     ROBERTA
</b>                              (to students)
                         Keep playing, guys.

               Roberta crosses to Nick and shuts off the T.V.

<b>                                     ROBERTA
</b>                         You can watch when we're done.

<b>                                     NICK
</b>                         It's my house! They don't live here -- 
                         I do!

<b>                                     ROBERTA
</b>                              (sotto)
                         Nick honey -- the kids are real 
                         nervous about the Spring concert. 
                         You could probably give them some 
                         pointers.

<b>                                     NICK
</b>                         I don't feel like it.

               He reaches for the T.V. dial and she stops him.

<b>                                     ROBERTA
</b>                         I said no.

               She crosses back to her students; Nick turns on the T.V.

<b>               EXT. CENTRAL PARK - DAY
</b>
               Brian, Nick and Lexi laugh as they play frisbee alongside a 
               DUCK POND. Roberta watches, relieved to see Nick enjoying 
               himself.

<b>                                     BRIAN
</b>                         Good catch Nick!

               Nick throws it back to Brian and it lands in the WATER.

<b>                                     BRIAN
</b>                              (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.

<b>                                     NICK
</b>                              (through laughter)
                         Don't! Don't throw me in!

<b>                                     BRIAN
</b>                         Whatsa matter? Afraid of a little 
                         water? The ducks aren't afraid! Are 
                         you a chicken or a duck?

<b>                                     NICK
</b>                         Don't! Don't throw me!

<b>                                     BRIAN
</b>                         Looks like you got yourself a chicken, 
                         Roberta!

<b>                                     NICK
</b>                         I'm not a chicken!

<b>                                     BRIAN
</b>                         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.

<b>                                     LEXI
</b>                         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.

<b>               EXT. CENTRAL PARK - A LITTLE LATER
</b>
               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.

<b>                                     ROBERTA
</b>                         You seem to be the only one who can 
                         get Nick to laugh these days.

<b>                                     BRIAN
</b>                         He misses his dad. I'm just a 
                         surrogate.

<b>                                     ROBERTA
</b>                         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.

<b>                                     BRIAN
</b>                         Whoa. Can we just slow down here a 
                         minute? It's too much like getting 
                         married.

<b>                                     ROBERTA
</b>                         What's so bad about that?

<b>                                     BRIAN
</b>                         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?

<b>                                     ROBERTA
</b>                         Well, we don't. But if two people 
                         care about each other, they take a 
                         chance.

<b>                                     BRIAN
</b>                         And look what happened to you and 
                         Charles.

<b>                                     ROBERTA
</b>                         I'm not talking about Charles. I'm 
                         talking about us.

<b>                                     BRIAN
</b>                         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.

<b>                                     ROBERTA
</b>                              (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.

<b>                                     BRIAN
</b>                         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!

<b>                                     ROBERTA
</b>                         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.

<b>                                     BRIAN
</b>                         In theory, yes.

<b>                                     ROBERTA
</b>                         In theory.

               Roberta looks very disheartened. Brian feels badly.

<b>                                     BRIAN
</b>                         Roberta, we've got something good 
                         right now -- that's the important 
                         thing. Let's just keep it that way, 
<b>                         O.K.?
</b>
               He pulls her to him, kissing her neck, but she pulls away 
               from him. ON NICK, observing with an anxious expression.

<b>               INT. ROBERTA'S APARTMENT - NIGHT
</b>
<b>                                     NICK (O.S.)
</b>                              (whining)
                         Why can't he?

               Roberta looks distressed by her talk with Brian as she and 
               the boys enter, back from the park.

<b>                                     ROBERTA
</b>                         He just can't, O.K.? Brian's at his 
                         house tonight, and we're at ours.

<b>                                     NICK
</b>                         Well then I wanna go to his house.

<b>                                     ROBERTA
</b>                         Enough, Nick. Now why don't you and 
                         your brother practice while I make 
                         dinner.

<b>                                     NICK
</b>                         I don't feel like practicing.

<b>                                     ROBERTA
</b>                         Well do it anyway.

<b>                                     NICK
</b>                         I wanna go to Brian's!

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         What the hell are you doing?

<b>                                     NICK
</b>                         The problem with you is you're mean 
                         to everybody and then they don't 
                         want to be with you!

<b>                                     ROBERTA
</b>                         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.

<b>                                     NICK
</b>                         I hate the violin!

<b>                                     ROBERTA
</b>                         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.

<b>                                     NICK
</b>                         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.

<b>                                     ROBERTA
</b>                         Nick -- you don't have to take care 
                         of me.

<b>                                     NICK
</b>                         Then who's going to?

<b>                                     ROBERTA
</b>                         I'll take care of myself -- and I'll 
                         take care of you and Lexi. I promise.

<b>                                     NICK
</b>                         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.

<b>                                     ROBERTA
</b>                         That's not true. I begged him not to 
                         leave, but he didn't listen.

<b>                                     NICK
</b>                         Why not?

               Roberta hesitates, but knows she has to tell them the truth. 
               She addresses both boys.

<b>                                     ROBERTA
</b>                         Your father met someone he liked 
                         more than Mommy, and then --

<b>                                     NICK
</b>                         Who?

               Roberta swallows, shocked to hear him ask this. She can hardly 
               answer him.

<b>                                     ROBERTA
</b>                         Lana. Remember our friends Lana and 
                         Tom?

<b>                                     NICK
</b>                         Is he gonna marry her now?

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                         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.

<b>                                     ROBERTA
</b>                              (softly, to both)
                         I promise.

<b>               INT. BROWNSTONE - DAY
</b>
               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.

<b>               BACK TO SCENE
</b>
               Roberta sighs heavily, then crosses to the painters.

<b>                                     ROBERTA
</b>                         What color is this?

<b>                                     PAINTER
</b>                         White.

<b>                                     ROBERTA
</b>                         I told you Eggshell.

<b>                                     PAINTER
</b>                         Eggshells are white.

               Brian watches this interaction as he sands a door.

<b>                                     BRIAN
</b>                         You're an idiot! I told you -- you 
                         can't be your own contractor.

<b>                                     ROBERTA
</b>                         You're right. I'm an idiot.

               She crosses to Ernie and shakes him.

<b>                                     ROBERTA
</b>                         Wake up, Ernie.

               He looks at her groggily.

<b>                                     ROBERTA
</b>                         You're fired.

               She crosses to the brick workers.

<b>                                     ROBERTA
</b>                         You're fired.

               She crosses to the painters.

<b>                                     ROBERTA
</b>                         You're fired.

               Brian smiles at her, impressed.

<b>                                     BRIAN
</b>                         That's more like it.

<b>                                     ROBERTA
</b>                         You're fired too.

               Brian laughs.

<b>                                     ROBERTA
</b>                         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?

<b>                                     BRIAN
</b>                              (hesitates, then)
                         Roberta --

               His tone and expression tell her the words are not 
               forthcoming.

<b>                                     ROBERTA
</b>                         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.

<b>               INT. SCHOOL AUDITORIUM - NIGHT
</b>
<b>               ROBERTA
</b>
               Stands in the aisle, leading the students and playing violin.

<b>               ON STAGE
</b>
               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:

<b>                                     WOMAN
</b>                         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.

<b>               THE CONCERT - TIME DISSOLVE
</b>
               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.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. CPE 1 - DAY - ESTABLISHING - TIME CUT (1998)
</b>
               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 
<b>               ONLY THE STRONG SHALL SURVIVE.
</b>
<b>               INT. CLASSROOM - DAY
</b>
               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.

<b>                                     ISABEL
</b>                         C'mon everybody, settle down -- Janet 
                         wants to talk to you.

<b>                                     JANET
</b>                         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.

<b>                                     ISABEL
</b>                         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.

<b>                                     DENNIS
</b>                         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.

<b>                                     DENNIS
</b>                         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.

<b>                                     JUSTIN
</b>                         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.

<b>                                     JANET
</b>                         That's Dorothea Van Hauften --

<b>                                     JUSTIN
</b>                         Say what? What kinda name is that?

<b>                                     ISABEL
</b>                         Justin -- sshh!

<b>                                     JANET
</b>                         -- and she's taking pictures of 
                         Roberta's classes for a magazine 
                         article about music education.

<b>                                     JUSTIN
</b>                         I wanna be in the magazine!

<b>                                     ISABEL
</b>                         First things first, Justin. Roberta's 
                         gonna explain to you about the 
                         "lottery."

               Roberta steps forward. RAMON OLIVAS (7), a small, adorable 
               Puerto Rican boy with a crew cut, watches her with adoration.

<b>                                     ROBERTA
</b>                         I used to just teach fifty kids at 
                         this school. But now I teach a hundred 
                         and fifty kids at three East Harlem 
                         schools and there's so many children 
                         who want to take violin classes that 
                         we have to have a lottery.

               VANESSA raises her hand, a white girl whose clothes and 
               accessories are always adorned with cats.

<b>                                     VANESSA
</b>                         Can I be in the class?

<b>                                     ISABEL
</b>                         Roberta's explaining that. Just 
                         listen.

<b>                                     ROBERTA
</b>                         After your parents sign your 
                         permission slips, I'm gonna put them 
                         in a sack, and I'll pick fifty names 
                         from each school.

               ANGLE - Ramon listens intently with his fingers crossed.

<b>                                     ROBERTA
</b>                         So everyone bring in your slips by 
                         Friday, and I'll come back and tell 
                         you who's in violin class.

<b>                                     ISABEL
</b>                         Remember, she's just picking names 
                         from a hat. It doesn't mean that 
                         anyone's better than anyone else.

               RAMON raises his hand.

<b>                                     RAMON
</b>                              (to Roberta)
                         I really really hope that I get in 
                         the class.

               Roberta looks at him, struck by his sweetness.

<b>                                     ROBERTA
</b>                         I hope so too.

<b>               EXT. 118TH STREET - STREET SIGN - ESTABLISHING - DAY
</b>
<b>               EXT. ROBERTA'S BROWNSTONE - DAY
</b>
               The brownstone looks a lot better than when we last saw it. 
               Graffiti's been removed, the stairs have been repaired, the 
               windows have security bars, and there are flowers blooming 
               in pots in front of the building. Roberta steps INTO FRAME, 
               walking Allegra, now a 10-year-old dog.

<b>               INT. BROWNSTONE - DAY
</b>
               The house is transformed: the first floor is one long open 
               room with oak floors, a living room in front with a beautiful 
               fireplace and a grand piano, and a country kitchen in the 
               rear, complete with pots hanging over a large butcher block.

               NICK (17) practices cello and LEXI (15) practices piano; 
               they play Haydn's "Trio #13." Now handsome young men, their 
               blonde hair has darkened to brown. Nick is huskier; Lexi has 
               a slighter build. Both are passionate, talented musicians.

               On the couch, RACHEL (12), a mature, beautiful Black girl, 
               rosins her bow.

<b>                                     RACHEL
</b>                         How come you guys don't play the 
                         violin?

<b>                                     LEXI
</b>                         Well, picture her being your teacher 
                         and your mother.

               Rachel cracks up but stifles her laughter as Roberta enters 
               from outside with Allegra.

<b>                                     ROBERTA
</b>                         Hi Rachel. Be right with you.

               As Roberta removes Allegra's leash, Rachel and Lexi share a 
               conspiratorial look. In the b.g., Nick packs up his cello.

<b>                                     ROBERTA
</b>                              (to Nick)
                         You're gonna practice upstairs?

<b>                                     NICK
</b>                         No. I'm done.

<b>                                     ROBERTA
</b>                         Already? You've barely practiced.

<b>                                     NICK
</b>                         What -- are you timing me with a 
                         stop watch? Why don't you pick on 
                         Lexi for a change?

<b>                                     LEXI
</b>                         'Cause I'm perfect.

               Nick jostles him and heads upstairs. Lexi gets up from the 
               piano.

<b>                                     LEXI
</b>                              (to Rachel)
                         Have a good lesson.

               He crosses to a sharp-looking bike parked behind the front 
               door and addresses Roberta.

<b>                                     LEXI
</b>                         I'll be back in a couple of hours.

<b>                                     ROBERTA
</b>                         Be careful.

               Lexi mouths "be careful" along with her.

<b>               EXT. RIVER EAST PARK - DUSK
</b>
               Lexi plays basketball with a group of Black and Latino guys. 
               Despite his small stature, he's a great athlete, and an 
               accepted part of the group. The game ends. He and his buddy 
               Lawrence (now 16), both all sweaty, cross to a water fountain. 
               As Lexi takes a drink --

<b>                                     MALE VOICE (O.S.)
</b>                         Can I try your bike?

               Lexi wipes his mouth and looks up at HENRY (18), a tall, 
               intimidating Black teenager who towers over him. Lawrence 
               watches tensely.

<b>                                     LEXI
</b>                         I'm gonna be leaving pretty soon.

<b>                                     HENRY
</b>                         Just wanna take it for a spin.

<b>                                     LAWRENCE
</b>                         C'mon, Henry -- he don't want to 
                         loan you his bike.

<b>                                     HENRY
</b>                         I didn't hear him say that.
                              (to Lexi)
                         Is that true? Did you say that?

               Lexi looks at him, knowing there's only one right answer.

<b>               INT. LIVING ROOM - DAY
</b>
               Roberta and Rachel play Bach's "Minuet One" together on the 
               violin. The girl has obvious talent.

<b>                                     ROBERTA
</b>                         Vibrato... don't wiggle your wrist.

               Rachel stops, frustrated.

<b>                                     RACHEL
</b>                         Dang! I can't get that right.

<b>                                     ROBERTA
</b>                         You almost have it.

<b>                                     RACHEL
</b>                         Almost isn't good enough.

<b>                                     ROBERTA
</b>                         Did I turn you into such a 
                         perfectionist?

<b>                                     RACHEL
</b>                         No. I came that way.

<b>                                     ROBERTA
</b>                              (smiles, then)
                         Just as long as you get it right for 
                         your Julliard audition.

<b>                                     RACHEL
</b>                         What?

<b>                                     ROBERTA
</b>                         I've recommended you for a gifted 
                         kids scholarship.

               Rachel looks at her in wide-eyed gratitude.

               ANGLE - Lexi enters the front door, a glum look on his face.

<b>                                     ROBERTA
</b>                         Where's the bike?

<b>               INT. HONDA/EXT. EAST HARLEM STREETS - NIGHT
</b>
               Roberta drives with Nick in the front, Lexi and Lawrence in 
               the back. They're in a dangerous looking part of East Harlem.

<b>                                     LEXI
</b>                         Mom, please. Don't do this to me!

<b>                                     NICK
</b>                         C'mon, Mom -- why don't you let me 
                         handle this?

<b>                                     ROBERTA
</b>                         Are we getting closer, Lawrence?

<b>                                     LAWRENCE
</b>                         It's the next block up.

<b>                                     LEXI
</b>                              (to Roberta)
                         You don't have to do this. I'll pay 
                         you back.

<b>                                     ROBERTA
</b>                         How? It took me six months to save 
                         up for it.

<b>                                     NICK
</b>                         I'll help him, O.K.? We'll both pay 
                         you back.

<b>                                     LEXI
</b>                         Or we'll ask Dad -- he'll help us 
                         out.

<b>                                     ROBERTA
</b>                         Yeah, right.

<b>                                     LAWRENCE
</b>                         O.K., slow down. It's the second one 
                         on the right.

               Roberta slows the car down next to a HOUSING PROJECT.

<b>               EXT. HOUSING PROJECT - NIGHT
</b>
               Not a place you'd want to go into, even in the day time.

               PULL BACK TO REVEAL this is their POV from INSIDE THE CAR. 
               The boys look frightened, but Roberta's on a mission.

<b>                                     NICK
</b>                         C'mon Mom, let's get out of here.

<b>                                     ROBERTA
</b>                         Lock the doors.

               And she exits. The boys watch as she heads for the building, 
               then Lexi shakes his head and covers his face.

<b>                                     LEXI
</b>                         I'm dead. She's gonna get me killed.

               Nick jumps out of the car and heads after her.

<b>                                     NICK
</b>                         I'm coming with you!

<b>                                     ROBERTA
</b>                         No. Get back in the car and stay 
                         with the boys.

               Nick hesitates and heads back. Roberta presses on. Lawrence 
               opens the window and calls to her.

<b>                                     LAWRENCE
</b>                         Don't take the stairs!

<b>               INT. TENEMENT BUILDING - LOBBY - NIGHT
</b>
               CLOSE ON THE ELEVATOR DOOR with a handwritten SIGN that reads 
<b>               OUT OF ORDER.
</b>
               WIDER - Roberta stands in front of the elevator, staring 
               tensely at the sign. She takes a deep breath, then heads for 
               the staircase.

<b>               INT. TENEMENT BUILDING - STAIRWELL - NIGHT
</b>
               Roberta climbs the dimly-lit stairs of a dilapidated, scary 
               building. O.S. a BABY CRIES, a couple of TV's BLARE.

<b>               INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS
</b>
               At the top of the stairs, Roberta turns down the hall, passing 
               a door riddled with bullet holes. She finds the apartment 
               and knocks. No response. She knocks again.

<b>                                     OLD WOMAN (O.S.)
</b>                         Yeah?

<b>                                     ROBERTA
</b>                         I'm a school teacher. Henry has taken 
                         my son's bicycle and I want it back.

               A beat, then the door cracks open, an OLD WOMAN visible 
               through the chain lock.

<b>                                     OLD WOMAN
</b>                         Henry's not here.

<b>                                     ROBERTA
</b>                         Well you tell Henry that if he returns 
                         the bike, I won't have to notify the 
                         police -- or his school principal. 
                         Although since I am a teacher, it 
                         would be very easy for me to do that.

               A couple of beats.

<b>                                     OLD WOMAN
</b>                         He's not home. He doesn't get home 
                         till late.

<b>                                     ROBERTA
</b>                         How late?

<b>                                     OLD WOMAN
</b>                         Not till after ten.

<b>                                     ROBERTA
</b>                         I'll be on the steps of CPE 1 at 11 
                         P.M. I'll be waiting for him.

               The door closes. Roberta exhales. Did she just do that?

<b>               EXT. CPE 1 - NIGHT
</b>
               Roberta, Nick, Lexi and Lawrence sit on the front steps of 
               the school. The street is deserted.

<b>                                     LEXI
</b>                         You're crazy. He's not gonna show.

               Roberta sits confidently.

<b>                                     NICK
</b>                         You think he actually cares that 
                         you're a teacher? You think he even 
                         goes to school?

<b>                                     LEXI
</b>                         C'mon, Mom -- let's just go.

<b>                                     ROBERTA
</b>                         It's only five after eleven.

               Nick and Lexi roll their eyes and exchange a look: she's 
               nuts. Suddenly, there's the SOUND of a bicycle. Nick, Lexi 
               and Lawrence look towards the sound, incredulous. Lexi stands.

               Henry rides up on the bike and dismounts. Lexi looks directly 
               at him as he takes the bike from him.

<b>                                     HENRY
</b>                         I was just borrowing it.

               He glances at Roberta, then walks off.

<b>               INT. CPE 1 - CLASSROOM - DAY
</b>
               Roberta stands in front of Isabel's class and calls out names, 
               handing the selected children acceptance letters. The kids 
               are charged up; "My heart is pounding!" "Please pick me!"

<b>                                     ROBERTA
</b>                         Shandra Wilson.

               A pretty Black girl with braids and tons of barrettes jumps 
               up and down, then runs up for her letter. The kids SQUEAL 
               and CHEER for each student called. Shandra hugs her best 
               friend MYESHA, a chubby Black girl who also holds a letter.

<b>                                     ROBERTA
</b>                         Justin Brady.

               JUSTIN raises his fists in triumph. ANGLE - RAMON anxiously 
               waits to see if his name will be called. JUSTIN sits down 
               next to him, waves his letter in Ramon's face, taunting him.

<b>                                     ROBERTA
</b>                         Vanessa Klein.

               Vanessa takes her letter and smiles. She puts it into her 
               cat-shaped backpack.

<b>                                     ROBERTA
</b>                         O.K. One more name...

               Ramon crosses his fingers and holds his breath.

<b>                                     ROBERTA
</b>                         Leonard Hood.

               RAMON looks crushed. JUSTIN taunts him some more. LEONARD, a 
               scrawny white boy takes his letter, scared by it. He starts 
               to cry.

<b>                                     LEONARD
</b>                         It's too hard! I don't wanna do it!

<b>                                     ISABEL
</b>                         Don't you even wanna try, Leonard?

<b>                                     LEONARD
</b>                              (through tears)
                         I don't want to!

               Isabel looks at Roberta.

<b>                                     ROBERTA
</b>                         Well, O.K. then. I'll pick someone 
                         else.
                              (she picks a name)
                         Ramon Olivas.

               Ramon's face lights up.

<b>               EXT. SCHOOL YARD - DAY
</b>
               As Roberta walks through the yard, she sees kids excitedly 
               showing acceptance letters to their moms.

               SHANDRA and MYESHA hold hands as they run to Shandra's mom, 
               BEVERLY WILSON, pushing a stroller. She looks at the letter 
               and hugs Shandra.

               ANGLE - RAMON reads his letter to his mother, CONCEPCION 
               (45), whose eyes tell you that she's lived through a lot. 
               She speaks with a Puerto Rican accent.

<b>                                     RAMON
</b>                         This is to inform you that your child, 
                         Ramon Olivas, has been chosen by 
                         lottery to be in the violin program.

<b>                                     CONCEPCION
</b>                         You happy?

               Ramon spins round and round with the letter in his hand.

<b>                                     CONCEPCION
</b>                         I think you're happy.

<b>               EXT. RIVER EAST ELEMENTARY SCHOOL - DAY
</b>
               Roberta illegally parks her old Honda, rushes out of the 
               car, grabs her book bags and three violins, pulls a parking 
               ticket from her pocket and puts it on the windshield.

<b>                                     WOMAN'S VOICE (O.S.)
</b>                              (German accent)
                         Does that really work?

               Roberta turns. It's DOROTHEA, the PHOTOGRAPHER we saw in the 
               classroom.

<b>                                     ROBERTA
</b>                         No. But I keep trying. And maybe 
                         someday the school will give me a 
                         parking space!

               She rushes towards the school and Dorothea follows her.

<b>                                     DOROTHEA
</b>                         Wait --

               She hands Roberta a thin box. Roberta puts down her violins, 
               glances inside it and forgets about being late.

<b>               INSERT
</b>
               -- Terrific black and white shots of Roberta's advanced 
               classes playing violin.

<b>                                     ROBERTA (O.S.)
</b>                         God, these are great.

<b>               BACK TO SCENE
</b>
<b>                                     DOROTHEA
</b>                         Those copies are for you.

<b>                                     ROBERTA
</b>                         Thank you. Can I... pay for you them?

<b>                                     DOROTHEA
</b>                         Don't be silly. Besides -- you'll 
                         need your money for parking tickets.

               They smile at each other.

<b>                                     DOROTHEA
</b>                         What you're doing for these children 
                         is wonderful. My husband's a violinist -- 
                         he was quite impressed when I told 
                         him about you.

<b>                                     ROBERTA
</b>                         What's his name?

<b>                                     DOROTHEA
</b>                         Arnold Steinhardt.

<b>                                     ROBERTA
</b>                         Of the Guarneri String Quartet?

               Dorothea nods, and hands Roberta a card.

<b>                                     DOROTHEA
</b>                         Stay in touch. Let us know when the 
                         kids have a concert.

               RACHEL, heading for school, calls out to Roberta.

<b>                                     RACHEL
</b>                         Don't be late for violin class! I 
                         hear the teacher's really mean.

               Roberta smiles, slips the card in her pocket, nods to Dorothea 
               and follows Rachel.

<b>               INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY
</b>
               Roberta's advanced class plays "Can-Can." Rachel's one of 
               the eight sixth-graders. Roberta plays along, crossing to 
               AMANDA, a white girl in a country-western outfit.

<b>                                     ROBERTA
</b>                         Amanda, what did I tell you about 
                         wearing cowboy boots to violin class? 
                         They're too slippery!

               She crosses to a pudgy Black/Puerto Rican boy with glasses.

<b>                                     ROBERTA
</b>                         Relax your two, Simon...

               She glances at STEPHANIE, a white girl with red hair, next 
               to KENNY, a Black boy with an earnest expression.

<b>                                     ROBERTA
</b>                         Your stop sign has to be up, Kenny! 
                         Stephanie, it doesn't look like you 
                         ever had a lesson with me!

               CARLOS (13) hurries in, a handsome Black boy in a baseball 
               jacket that says "LOS LEONES." He looks 15.

<b>                                     ROBERTA
</b>                         Where's your violin, Carlos?

<b>                                     CARLOS
</b>                         It's coming.

               He nervously looks down the hall.

<b>                                     ROBERTA
</b>                         What, is it walking here by itself?

               A Black third-grade girl rushes into the room and hands Carlos 
               his violin, then runs off. Roberta crosses to Carlos as he 
               quickly readies the violin.

<b>                                     ROBERTA
</b>                         Your buddies giving you a hard time?

<b>                                     CARLOS
</b>                         Look, it's just not cool. You wouldn't 
                         understand.

<b>                                     ROBERTA
</b>                         Hey, you want your sister to carry 
                         your violin, that's fine. But is she 
                         practicing for you too? Because 
                         lately, that's how it sounds.

<b>                                     CARLOS
</b>                         I've been busy! I've been --

<b>                                     ROBERTA
</b>                         I'm not interested! Just get here on 
                         time, and commit to this class or I 
                         don't want you in here, you 
                         understand?

               He nods sullenly.

<b>                                     ROBERTA
</b>                         You're a good violinist, Carlos -- 
                         and it's definitely not "cool" to 
                         waste your own talent.

               Carlos takes this in as Roberta crosses to another student.

<b>               EXT. RAMON'S APARTMENT - EAST HARLEM - ESTABLISHING - NIGHT
</b>
               It's upstairs from a grocery store on a busy street.

<b>               INT. RAMON'S APARTMENT - LIVING ROOM - NIGHT
</b>
               Ramon sits on the floor, upset, half-heartedly building with 
               Legos, while his parents argue in the KITCHEN. His father 
               MANUELO is a stocky, muscular man. INTERCUT between the two 
               areas. This is a modest, well-kept apartment. Off the kitchen, 
               religious candles burn on a shelf above a washing machine.

<b>                                     MANUELO
</b>                         Why didn't you show it to me?

<b>                                     CONCEPCION
</b>                         It just needed one parent's signature.

<b>                                     MANUELO
</b>                              (with some Spanish)
                         Well, I'm his parent and I don't 
                         give permission! He should be playing 
                         baseball, not the violin!

<b>                                     CONCEPCION
</b>                         It makes him happy.

               ON RAMON, looking far from happy at the moment.

<b>               EXT. RIVER EAST SCHOOL - DAY
</b>
               Rachel steps off a city bus, carrying her violin. She passes 
               two sixth-grade boys and a girl.

<b>                                     BOY #1
</b>                              (loudly)
                         Ooh, check out little Miss Violinhead.

<b>                                     GIRL
</b>                         She carry that violin with her all 
                         the time 'cause she think she special.

               Rachel turns to them.

<b>                                     RACHEL
</b>                         I am special.

               She proudly continues on, then sees Roberta walking towards 
               the school and catches up to her.

<b>                                     RACHEL
</b>                              (nonchalant)
                         So I heard from Julliard.

               Roberta stops and looks at her.

<b>                                     ROBERTA
</b>                         And?

<b>                                     RACHEL
</b>                         They said yes!

               Roberta gives her a big hug.

<b>               INT. CPE 1 - MUSIC ROOM - DAY
</b>
               ON THE BEGINNER'S CLASS, including Ramon, as they play 
               "Lightly Row." Roberta walks around, making corrections as 
               she addresses the students. She doesn't see Justin poking 
               Ramon with his bow; Ramon swats the bow away and glares at 
               his nemesis. Roberta moves some of Shandra's braids away 
               from the violin.

<b>                                     ROBERTA
</b>                         So when you take the violins home, 
                         tape your music to the wall directly 
                         in front of your nose so you can 
                         play with perfect posture. Your 
                         parents are gonna be so excited to 
                         hear you play!

<b>               INT. RAMON'S HOUSE - LIVING ROOM - NIGHT
</b>
               SCREECHING comes from Ramon's room as he practices "Lightly 
               Row." His brothers, PEDRO (18) and ERNESTO (17), cringe as 
               they try to watch T.V. Ernesto gives up and puts on his 
               Walkman; Pedro's ready to break the violin. Concepcion listens 
               patiently as she folds laundry, but even she winces.

<b>                                     PEDRO
</b>                              (yelling)
                         Ramon! How many cats you killing in 
                         there?

               INTERCUT RAMON - He plays with pride, eyes on the music taped 
               to the wall.

<b>               INT. CPE 1 - MUSIC ROOM - DAY (A FEW MONTHS LATER)
</b>
               ON RAMON, his improved playing showing that time has passed. 
               WIDER - the beginner's class plays "Lightly Row."

               JUSTIN is struggling more than the other students. Roberta 
               plays along with the class, eyeing each student.

<b>                                     ROBERTA
</b>                         More bow! To the frog! Myesha, your 
                         stop sign line should be touching. 
                         Don't let it wiggle! You're on the 
                         wrong string, Justin! And look at 
                         your feet!

               Vanessa enters the front door without her violin.

<b>                                     ROBERTA
</b>                         Where's your violin?

<b>                                     VANESSA
</b>                         I forgot.

<b>                                     ROBERTA
</b>                         Goodbye! And you may be dropped.

               Vanessa pouts and exits. Roberta moves to ROSARIO, a Puerto 
               Rican girl.

<b>                                     ROBERTA
</b>                         Look at those nails, Rosario!

               She pulls a clipper from her pocket and swiftly clips them. 
               MYESHA nervously glances at her own nails.

<b>                                     ROBERTA
</b>                         I see you over there, Myesha.

               She moves to Ramon and corrects his bowing position.

<b>                                     ROBERTA
</b>                              (to Ramon)
                         You're doing much better.

               As Roberta walks on to the next student, Justin purposely 
               knocks over Ramon's music stand.

<b>                                     RAMON
</b>                         Drop dead, Justin!

<b>                                     JUSTIN
</b>                         It was a accident!

<b>                                     RAMON
</b>                         Was not!

<b>                                     ROBERTA
</b>                         Ramon, I don't like that kind of 
                         talk. Justin, pick up his stand, 
                         now! Our spring concert is in three 
                         weeks and you might not be in it. Is 
                         that what you want?

<b>               EXT. CPE 1 - DAY
</b>
               As Roberta heads for her car, she sees Vanessa being helped 
               into a car by her FATHER, his suit wrinkled and tie loosened. 
               There's SNOW on the ground.

<b>                                     ROBERTA
</b>                         Mr. Klein? I'm gonna have to drop 
                         Vanessa from the class if she keeps 
                         forgetting her violin.

<b>                                     MR. KLEIN
</b>                              (sotto)
                         She's going back and forth between 
                         houses. My wife and I split up.

<b>                                     ROBERTA
</b>                              (softening)
                         Oh. I'm sorry.

               Roberta leans into the car window.

<b>                                     ROBERTA
</b>                         Vanessa, maybe you could write down 
                         for your Mom and Dad which days are 
                         violin days.

<b>                                     VANESSA
</b>                              (almost in tears)
                         The tape doesn't stick.

<b>                                     ROBERTA
</b>                         What?

<b>                                     VANESSA
</b>                         I taped the music to the wall at my 
                         Mom's house and then I took it to my 
                         Dad's house and it doesn't stick 
                         anymore.

               Mr. Klein's eyes tear up and he quickly wipes them.

<b>                                     ROBERTA
</b>                         Well you know what? That's an easy 
                         problem to solve.

               She looks through her book bag, takes out a piece of music 
               and gives it to her.

<b>                                     ROBERTA
</b>                         Now you have two, O.K.? One for each 
                         house.

               Vanessa nods, clutching the piece of music. Roberta and Mr. 
               Klein exchange a look. She touches his arm, then walks off.

<b>               INT. RAMON'S HOUSE - NIGHT
</b>
               Ramon, holding his bow and violin, crosses to his father 
               who's watching a baseball game on T.V.

<b>                                     RAMON
</b>                         You wanna hear my new song, Papa?

<b>                                     MANUELO
</b>                              (in Spanish)
                         Not right now.

               Ramon exits, hurt. Concepcion watches from the side, and 
               crosses to her husband.

<b>                                     CONCEPCION
</b>                         We made mistakes with Pedro and 
                         Ernesto and we can't fix them now, 
                         but Ramon -- he works so hard. The 
                         violin makes him want to be good at 
                         everything.

               He shows no response, and she exits. Manuelo ponders what 
               she said.

<b>               EXT. CPE 1 ELEMENTARY SCHOOL - DAY (MORNING)
</b>
               Roberta approaches the school on a winter morning. She smiles 
               as she sees Vanessa get out of her MOTHER'S car with her 
               violin. Roberta nears the front door and finds Isabel and 
               some teachers huddled in conversation. A few students are 
               crying.

<b>                                     ROBERTA
</b>                              (to Isabel)
                         What happened?

<b>               INT. MUSIC ROOM - DAY
</b>
               The beginners sit on the floor and rosin their bows. A few 
               chat, but it's quieter than usual, except for RAMON who is 
               "blessing" kids with his violin bow.

<b>                                     RAMON
</b>                         You go to heaven... You go to hell... 
                         You go to hell... heaven...

               Roberta enters slowly. She looks very shaken up. She takes 
               note of what Ramon is doing, and overhears Toussaint and 
               Shandra in mid-conversation.

<b>                                     TOUSSAINT
</b>                         My grandpa died and my uncle, so 
                         that makes six.

<b>                                     SHANDRA
</b>                         I know more than that. At least seven 
                         people... maybe even nine.

               Roberta gently tells Ramon to sit, and then she sits down on 
               a child-sized chair in front of them.

<b>                                     ROBERTA
</b>                              (quietly)
                         I know that you've all heard the bad 
                         news about Justin.

<b>                                     MYESHA
</b>                         I didn't hear.

<b>                                     TOUSSAINT
</b>                         There was a drive-by shooting by his 
                         house and he got shot on accident 
                         and he died.

               Myesha takes this in, looking sad.

<b>                                     ROBERTA
</b>                         Does anyone want to talk about it?

<b>                                     RAMON
</b>                              (angry)
                         I think we should just play violin.

               Roberta watches him.

<b>               INT. RAMON'S HOUSE - LIVING ROOM/KITCHEN AREA - DAY
</b>
               Concepcion cooks chicken and Pedro sets the table, whistling 
               along to Ramon's O.S. violin playing "We Shall Overcome." 
               There's a KNOCK on the door. Concepcion answers it, revealing 
               Roberta.

<b>                                     CONCEPCION
</b>                         Roberta! Come in.

               Roberta enters.

<b>                                     ROBERTA
</b>                         I came by to check on Ramon.

<b>                                     CONCEPCION
</b>                              (confused)
                         Why?

<b>                                     ROBERTA
</b>                         Didn't he tell you what happened at 
                         school?

               Concepcion shakes her head no.

<b>               INT. RAMON'S ROOM - DAY
</b>
               Ramon is still playing violin as Concepcion and Roberta enter. 
               When he sees Roberta he straightens up even more.

<b>                                     CONCEPCION
</b>                         Roberta wants to talk to you, O.K.?

               He nods. Concepcion touches his head, then exits.

<b>                                     RAMON
</b>                         Did that sound O.K.?

<b>                                     ROBERTA
</b>                         Yeah, it did.

               Ramon smiles, pleased with himself.

<b>                                     ROBERTA
</b>                         I've been thinking about Justin. 
                         Remember how mad I got the last time 
                         I saw him?

<b>                                     RAMON
</b>                         Yeah. You got very strict with him.

<b>                                     ROBERTA
</b>                         It wasn't always so easy to be nice 
                         to him, you know?

               Ramon looks away from her, upset.

<b>                                     RAMON
</b>                         You think Justin's in heaven or hell?

<b>                                     ROBERTA
</b>                         Heaven.

               Ramon runs his fingers along his bow.

<b>                                     RAMON
</b>                         I told him to drop dead.

               Roberta touches Ramon's back.

<b>                                     ROBERTA
</b>                         Justin didn't die because of what 
                         you said. I promise.

<b>                                     RAMON
</b>                         How do you know?

<b>                                     ROBERTA
</b>                         I don't think you're that powerful, 
                         do you? I mean, if you had such 
                         powers, just imagine what kind of 
                         violin player you'd be by now!

<b>                                     RAMON
</b>                         Yeah. I'd be better than you!

               They laugh together, then Ramon looks sad again.

<b>                                     ROBERTA
</b>                         It's O.K. to cry, you know.

<b>                                     RAMON
</b>                         Not for a man.

<b>                                     ROBERTA
</b>                         My boys still cry and they're big, 
                         strong young men now.
                              (beat)
                         I bet Justin's daddy cried.

               Ramon's eyes get teary. Roberta quietly leaves the room.

<b>               EXT. ROBERTA'S BROWNSTONE - ESTABLISHING - DAY (SPRING)
</b>
<b>               INT. ROBERTA'S BROWNSTONE - LIVING ROOM - DAY
</b>
               Roberta brings in the mail, looking curiously at a manila 
               envelope with a return address from the NY REVIEW OF BOOKS. 
               She opens it, looks inside, then pours out a batch of other 
               letters onto the table. They're addressed to BOX HOLDER 127. 
               She opens one, reads it, then rushes to an INTERCOM.

<b>                                     ROBERTA
</b>                         Nick, Lexi! Get down here right now!

<b>               INT. ROBERTA'S BROWNSTONE - MOMENTS LATER
</b>
<b>                                     NICK
</b>                         We were just trying to help!

               Nick and Lexi stand by the table, opposite Roberta -- with 
               the incriminating pile of letters between them.

<b>                                     ROBERTA
</b>                         This is humiliating!

<b>                                     NICK
</b>                         Mom, no one knows it's you! I mean, 
                         you don't even have to read them if 
                         you don't want to.
                              (glances at pile)
                         Although obviously, a lot of guys 
                         are interested in dating you.

<b>                                     ROBERTA
</b>                         No. A lot of guys are interested in 
                         dating you and Lexi.
                              (beat)
                         What did you say about me, anyway?

               They thought she'd never ask.

<b>                                     NICK
</b>                         "Beautiful musician, late 40's, tired 
                         of playing solo --

<b>                                     LEXI
</b>                         -- seeks a healthy, stable, attractive 
                         man who's not afraid of a duet with 
                         a strong, independent woman.

<b>                                     NICK
</b>                         My violin playing will feed your 
                         soul...

<b>                                     LEXI
</b>                         ...And my lasagna will be music to 
                         your palate."

               They beam with pride. Roberta looks at them, mortified.

<b>                                     ROBERTA
</b>                         Oh, my God.

<b>                                     LEXI
</b>                         Did you catch all the music metaphors?

<b>                                     ROBERTA
</b>                         Don't you think it's a little weird 
                         that you're trying to get your mother 
                         a date?

<b>                                     NICK
</b>                         Don't you think it's a little weird 
                         that you're not even interested in 
                         dating?

<b>                                     ROBERTA
</b>                         Boys, look. Number one -- even if I 
                         wanted to date, I don't have time. 
                         And number two -- I've got my 
                         teaching, I've got you guys -- that's 
                         all I need.

               The boys nod, disappointed, and she exits. They look at each 
               other with glum expressions.

<b>                                     LEXI
</b>                              (to Nick)
                         I really thought she'd like the music 
                         metaphors.

<b>               INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT
</b>
               Roberta lies on the couch, reading the personal ad letters. 
               She tosses one aside, then opens another.

<b>               INSERT
</b>
               The letter is designed like a newspaper with a headline that 
               reads: JOURNALISM PROFESSOR DAN PAXTON ANSWERS PERSONAL AD; 
<b>               HOPES RUN HIGH BEAUTIFUL MUSICIAN WILL CALL FOR A DATE!
</b>
<b>               BACK TO SCENE
</b>
               Roberta can't help but be charmed.

<b>               INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT
</b>
               Roberta, Nick and Lexi play Haydn's "Trio #13" together on 
               their respective instruments. We sense that this is a special 
               family ritual. They play throughout their conversation:

<b>                                     ROBERTA
</b>                         I think you're flat, Nick.

<b>                                     NICK
</b>                         I'm not flat.

<b>                                     ROBERTA
</b>                         The B sounded flat.

<b>                                     NICK
</b>                         Just play the violin, Mom. I'll take 
                         care of the cello.

               They play for a few beats.

<b>                                     LEXI
</b>                         You nervous, Mom?

<b>                                     ROBERTA
</b>                         No. I'm fine.

               The DOORBELL rings and Roberta jumps up, bolting into the 
               bathroom down the hall.

               Lexi and Nick exchange a smile, then Lexi crosses to the 
               door and opens it.

<b>               INT. DOORWAY - CONTINUOUS
</b>
               Standing in the doorway is a man in casual college professor 
               attire. He's nice-looking, but no Prince Charming. He shakes 
               Lexi's hand and smiles warmly.

<b>                                     DAN
</b>                         Hi. I'm Dan Paxton.

               Lexi shows him in.

<b>               INT. ROBERTA'S BATHROOM - CONTINUOUS
</b>
               IN THE MIRROR - Roberta takes a last look at herself, 
               wondering if he'll find her attractive. She touches her hair, 
               adjusts her dress, then takes a deep breath as she builds up 
               her courage.

<b>               INT. ROBERTA'S BROWNSTONE - LIVING ROOM - CONTINUOUS
</b>
               Roberta enters the living room where Dan is chatting with 
               Nick and Lexi. Dan sees her and is instantly smitten.

<b>                                     DAN
</b>                              (shaking her hand)
                         Wow. An honest woman.

<b>                                     ROBERTA
</b>                         Honest?

<b>                                     DAN
</b>                         Your ad. When you said you were 
                         beautiful, you were telling the truth.

               She smiles, blushing, and avoids eye contact with her sons 
               who are trying really hard not to laugh. As she and Dan start 
               to exit:

<b>                                     NICK
</b>                         Make sure you're home by midnight, 
                         young lady.

<b>               INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT
</b>
<b>               CLOSE ON CLOCK
</b>
               It reads 12:30.

               WIDER - Nick and Lexi play a video game on the TV screen. 
               O.S., there's the SOUND OF A CAR. They race to the window.

<b>                                     LEXI
</b>                         Ten bucks he tries to kiss her.

<b>                                     NICK
</b>                         That's a no-brainer. Of course he'll 
                         try. The real question is whether 
                         she'll let him.

<b>                                     LEXI
</b>                         O.K. -- ten bucks she lets him.

<b>                                     NICK
</b>                         You're on.

               They stare out the window intently.

<b>               INT. DAN'S CAR - NIGHT
</b>
               Dan pulls his car up in front of Roberta's house. Beside 
               him, Roberta holds a program from a Lincoln Center concert. 
               Roberta's tense, but Dan seems relaxed and centered in his 
               attraction to her.

<b>                                     DAN
</b>                         I had a lot of fun tonight.

<b>                                     ROBERTA
</b>                         Yeah, I did too.

<b>                                     DAN
</b>                         I have a confession -- I've never 
                         answered an ad before. I did it on a 
                         dare.

<b>                                     ROBERTA
</b>                         Well, I have a confession -- my boys 
                         placed the ad behind my back.

               They both laugh, then smile at each other. An awkward beat: 
               will he or won't he? Dan leans in to kiss her, and Roberta 
               turns away, uncertain.

<b>                                     ROBERTA
</b>                         Look, Dan -- I went along with this 
                         'cause it's been a while. Quite a 
                         while... And I had a very nice time... 
                         but I'm not sure if I'm ready to get 
                         involved with anyone right now.

               A beat. Roberta feels badly about rejecting him.

<b>                                     DAN
</b>                              (deadpan)
                         Does this mean I don't get any 
                         lasagna?

               Roberta cracks up. Dan smiles at her.

<b>               INT. ROBERTA'S BROWNSTONE - NIGHT
</b>
               Roberta enters. The boys are back to their video game, 
               covering that they've been spying on her.

<b>                                     ROBERTA
</b>                         Why are you guys still up?

<b>                                     NICK
</b>                              (all innocence)
                         Why? Is it late?

<b>                                     ROBERTA
</b>                         Good try, Nick.

<b>                                     LEXI
</b>                         So how was it?

<b>                                     ROBERTA
</b>                         Well... he's nice.

<b>                                     NICK
</b>                         "Nice"? As in "let's just be friends" 
                         nice?

<b>                                     ROBERTA
</b>                         I don't know yet. We'll see.

               Nick looks disappointed.

<b>                                     NICK
</b>                         There's still a lot more letters.

<b>                                     ROBERTA
</b>                         Good night, Nick.

               She starts heading upstairs.

<b>                                     LEXI
</b>                         Hey, Mom -- can you loan me ten 
                         dollars?

<b>               INT. CPE 1 - MUSIC ROOM - DAY
</b>
               THE BLACKBOARD reads: SPRING CONCERT IN 10 DAYS! PRACTICE 
<b>               PRACTICE PRACTICE!
</b>
               Roberta rushes in, frazzled, not noticing at first that the 
               beginners are very quiet -- and that most don't have violins.

<b>                                     ROBERTA
</b>                         Guys, I'm so sorry -- I got stuck 
                         over at CPE 2...

               She puts her stuff down, then looks at the kids.

<b>                                     ROBERTA
</b>                         What's going on? Where are all your 
                         violins?

<b>                                     RAMON
</b>                         We heard you got fired.

<b>                                     ROBERTA
</b>                         What?!

<b>               EXT. HALLWAY - DAY
</b>
               Janet and Dennis talk outside Janet's office. Roberta storms 
               over to them. Janet looks at her, alarmed.

<b>                                     ROBERTA
</b>                         Is it true?

<b>                                     JANET
</b>                         Why don't you come in my office?

<b>                                     ROBERTA
</b>                         It's true? You're firing me?

<b>                                     JANET
</b>                         It's not me, Roberta. The Board of 
                         Ed. cut the budget, the District had 
                         to comply, and as of the end of this 
                         term, the violin program has been... 
                         excessed.

               Roberta takes this in, momentarily speechless. In the b.g., 
               the beginners slip into the hall to watch.

<b>                                     ROBERTA
</b>                         Excessed.
                              (beat)
                         They specifically said that my violin 
                         program has to go.

<b>                                     JANET
</b>                         They've slashed the budget -- music 
                         and art programs got hit the worst.

<b>                                     ROBERTA
</b>                         What about Dennis' classes?

<b>                                     DENNIS
</b>                         I'm tenured, Roberta.

               Roberta looks at him, then back to Janet.

<b>                                     ROBERTA
</b>                         When was this decided?

<b>                                     JANET
</b>                         Things happened very quickly... I 
                         wanted to tell you myself --

<b>                                     ROBERTA
</b>                              (reeling)
                         I just... I can't even believe this 
                         is happening!

<b>                                     DENNIS
</b>                         Why not? You're a sub. Your position 
                         has never been permanent.

<b>                                     JANET
</b>                         Shut up, Dennis! You're not helping!
                              (softly, to Roberta)
                         Come into my office, please.

               They leave Dennis standing there, looking as if he's had his 
               face slapped.

<b>               INT. JANET WILLIAMS' OFFICE - CONTINUOUS
</b>
<b>                                     ROBERTA
</b>                         There's gotta be a way to fight this!

<b>                                     JANET
</b>                         Fight it with what? I don't have any 
                         other extra programs to give them 
                         instead.

<b>                                     ROBERTA
</b>                         Oh, I see. So after ten years, after 
                         fourteen hundred children have learned 
                         to play the violin, this is just an 
                         "extra program."

<b>                                     JANET
</b>                         You know I don't feel that way and 
                         you know damn well I've been standing 
                         by you all these years! You think I 
                         haven't noticed what you've done for 
                         these kids?

<b>                                     ROBERTA
</b>                         Then do something!

<b>                                     JANET
</b>                              (points to her phone)
                         I've been on this phone for the past 
                         three days trying to "do something" -- 
                         the District office can't even stand 
                         the sound of my voice. Believe me, 
                         there are some people around here 
                         I'd much rather get rid of. But as 
                         far as the Board's concerned, violin 
                         classes are not a priority.

               Roberta's fury starts to give way to grief. She looks terribly 
               wounded. Janet looks at her helplessly.

<b>                                     JANET
</b>                         I don't have the power here, Roberta. 
                         I'm so sorry.

               A beat, and Roberta exits.

<b>               EXT. SCHOOL YARD - DAY
</b>
               Roberta's dazed and in pain as she walks through the crowds 
               of children, oblivious to kids calling her name and waving.

<b>               INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON)
</b>
               Nick and Lexi enter the darkened house, chatting as Nick 
               wheels in the bike and Lexi bounces a basketball. They turn 
               on a light to reveal

<b>                                     ROBERTA
</b>                         sitting at the kitchen table with a 
                         glass of wine, her face ashen.

<b>                                     NICK
</b>                         What happened?

<b>               EXT. STREETS - DAY (LATE AFTERNOON)
</b>
               Roberta, Nick and Lexi walk Allegra in their neighborhood. 
               Roberta looks worn out.

<b>                                     ROBERTA
</b>                         I'm a good teacher. I've worked so 
                         hard to give these kids something to 
                         be proud of.

               Lexi moves to comfort her.

<b>                                     LEXI
</b>                         I'm so sorry, Mom. I can't believe 
                         they did this to you.

<b>                                     ROBERTA
</b>                         It's like when my father got killed. 
                         For twenty years, he followed every 
                         safety rule the factory had, and 
                         then someone else flips the wrong 
                         switch...
                              (she chokes up)
                         It's not fair. You do everything 
                         right and then...

<b>                                     NICK
</b>                         It's the wrong analogy. You couldn't 
                         do anything about Grandpa's death. 
                         It was irreversible. This isn't.

<b>                                     ROBERTA
</b>                         Tell that to the Board of Education.

<b>                                     NICK
</b>                         Let me ask you something. Why did 
                         you risk your life for a bicycle?

               Roberta and Lexi look at Nick, baffled as to the relevance 
               of the question.

<b>                                     ROBERTA
</b>                         I did not risk my life.

<b>                                     NICK
</b>                         Of course you did! That building? 
                         Threatening Henry? And for what -- 
                         two hundred dollars?

<b>                                     ROBERTA
</b>                         No. Not for that.

<b>                                     LEXI
</b>                         Then why?

<b>                                     ROBERTA
</b>                         When someone steals something that 
                         belongs to my kids, I'm not gonna 
                         sit back and let that happen!

               A beat as she realizes what she's just said. The boys look 
               at her and the three of them stop walking.

<b>                                     ROBERTA
</b>                         Guys -- you need to think about this. 
                         If I try to fight this -- with no 
                         salary coming in -- I could lose the 
                         house, screw up your college plans... 
                         It would be a lot safer to just go 
                         out tomorrow and get a job in a 
                         private school.

<b>                                     LEXI
</b>                         Yeah, but is that where you really 
                         want to be?

<b>               INT. ROBERTA'S HOUSE - LIVING ROOM - NIGHT
</b>
               Roberta frantically searches through her purse, then crosses 
               to a hall closet and quickly checks the pockets of her coats 
               and jackets.

               She feels inside a jacket pocket, then finds it: DOROTHEA'S 
<b>               BUSINESS CARD.
</b>
<b>               EXT. COLUMBIA UNIVERSITY - ESTABLISHING - DAY
</b>
<b>               INT. COLUMBIA UNIVERSITY - DEPT. OF JOURNALISM - DAY
</b>
               FOLLOW DAN PAXTON as he walks down the hall towards his office 
               and sees a strange silver object on the floor in front of 
               his office door. He picks it up.

<b>               INSERT
</b>
               -- A foil-covered plate with a note on top: DO YOU KNOW ANYONE 
<b>               AT THE NEW YORK TIMES?
</b>
<b>               BACK TO SCENE
</b>
               Dan lifts up the foil to reveal a large piece of LASAGNA.

<b>               INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT
</b>
               SEVENTY-FIVE KIDS play "We Shall Overcome" and it's incredibly 
               moving. Nick's on cello, Lexi plays piano. ROBERTA proudly 
               leads the children. At the side of the stage, we see DOROTHEA 
               photographing the concert. THE CAMERA PANS THE AUDIENCE of 
               teary-eyed parents, many of them with CAM CORDERS. We FIND 
               Ramon's family. Manuelo is riverted by his son's playing, 
               and he starts to cry. Concepcion knows this without looking. 
               She takes his hand.

               ANGLE - JANET stands along the side and her eyes start to 
               fill with tears. She tries to stay composed, then discreetly 
               exits the auditorium.

               The song ends and the audience APPLAUDS, rising from their 
               seats, including ASSUNTA (now 65), next to ISABEL and DAN. 
               Someone remains seated: a REPORTER (40's), sitting beside 
               Dan and taking notes.

               The STUDENTS bow, then point to Roberta who bows and takes 
               the stage. She gestures for people to sit. A beginner student 
               brings her flowers. Roberta kisses her, then approaches the 
               mike.

<b>                                     ROBERTA
</b>                              (to the audience)
                         The beautiful concert that you just 
                         heard could be the last concert of 
                         the East Harlem Violin Program. The 
                         Board of Education and the District 
                         Superintendent don't think that music 
                         is important for our children. But 
                         they're wrong -- and they're in for 
                         a fight.

               The parents stand and applaud. We see the REPORTER writing 
               quickly. Dorothea snaps more pictures. Roberta extends an 
               arm towards the kids, directing the applause at them. Ramon 
               gives her a thumbs up.

<b>               INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT
</b>
               ROBERTA is vacuuming the living room while Assunta dusts. 
               Extra chairs are set up in the living room in preparation 
               for a meeting. The doorbell RINGS.

<b>                                     ROBERTA
</b>                         Someone's early.

               FOLLOW ASSUNTA to the DOOR. She opens it, revealing JANET, 
               who's carrying two bags of groceries. Assunta's demeanor 
               instantly cools when she sees her. In the b.g. Roberta sees 
               Janet and turns off the vacuum cleaner.

<b>                                     JANET
</b>                         Hello, Assunta. How are you?

<b>                                     ASSUNTA
</b>                         I'd be a lot better if my daughter 
                         had a job next year.

<b>                                     ROBERTA
</b>                         Ma!

<b>                                     JANET
</b>                              (to Assunta)
                         I would too.

               Janet briskly walks into THE LIVING ROOM, puts the grocery 
               bags down on a table, and begins to take things out of them. 
               Roberta watches her, mystified.

<b>                                     JANET
</b>                              (to Roberta)
                         Sorry I'm early, but I figured we'd 
                         need time to set up.

               Roberta watches Janet for a beat, then addresses Assunta.

<b>                                     ROBERTA
</b>                         Mama, why don't you take Allegra out 
                         for a walk?

               Assunta hesitates for a beat, then gets the dog and exits. 
               Janet continues unpacking the bags as if there's nothing 
               unusual about her being there. Cheeses, crackers, bread, 
               salads, fruit, paper plates, napkins, etc. She sees Roberta's 
               confused expression.

<b>                                     JANET
</b>                         You are having a meeting here tonight, 
                         right? Parents and teachers?

<b>                                     ROBERTA
</b>                         Well, yes, but ...

<b>                                     JANET
</b>                         Take it from me. If you want to get 
                         parents to help you with something, 
                         you have to feed them.

               She holds up two wedges of cheese.

<b>                                     JANET
</b>                         You have a cutting board for these?

               Roberta crosses into the kitchen and returns with a cutting 
               board and a knife.

<b>                                     JANET
</b>                              (as she continues to 
                              unpack)
                         And if you think parents are bad, 
                         teachers are even worse, no offense. 
                         If you don't feed them, you never 
                         get anything extra out of them. That's 
                         why I got this.

               She pulls out an Entenmann's blackout cake.

<b>                                     JANET
</b>                         Entenmann's gets them every time.

               Roberta continues to stare in amazement at Janet.

<b>                                     JANET
</b>                         What? Don't tell me you expected me 
                         to bring something homemade.

<b>                                     ROBERTA
</b>                              (as she takes the 
                              cake from her)
                         Well, no... I --

<b>                                     JANET
</b>                         Good. Because take it from me -- my 
                         own family begs me to stay out of 
                         the kitchen.

<b>                                     ROBERTA
</b>                         What I didn't expect was for you to 
                         be here.

<b>                                     JANET
</b>                         Why not? We've gotta figure out a 
                         way to fight this.
                              (as she arranges 
                              crackers on a plate)
                         After ten years, Roberta, I can't 
                         imagine walking through those hallways 
                         and not hearing that off-key, 
                         screechy, scratchy, nails-on-the-
                         blackboard violin music.

               Roberta smiles. Janet holds up a baguette.

<b>                                     JANET
</b>                         What do you think? Cut it into slices 
                         now, or leave it whole?

<b>                                     ROBERTA
</b>                         Let's cut it now. It'll be less messy.

               Janet hands her the bread. A beat as the two women exchange 
               a private smile, then return to their respective tasks.

<b>               INT. ROBERTA'S BROWNSTONE - NIGHT
</b>
               There's a crowd of PARENTS assembled in Roberta's front room, 
               talking at once, yelling out ideas, including CONCEPCION, 
               BEVERLY WILSON (Shandra's mom), MR. ADAMS (Black) and MRS. 
               ADAMS (Puerto Rican), the parents of James (from Roberta's 
               first year) and Simon. DOROTHEA, JANET, ISABEL are also there; 
               ASSUNTA is keeping tabs on the refreshments.

<b>                                     ISABEL
</b>                         Don't they realize how much this 
                         program helps the kids?

<b>                                     MR. ADAMS
</b>                         Simon's our third child to study 
                         with Roberta. James is pre-med, 
                         April's valedictorian -- now that 
                         says something!

<b>                                     MR. KLEIN
</b>                         I think we should inundate the Board 
                         and the District with letters.

<b>                                     JANET
</b>                         You're wasting your time. The Board 
                         and the District are not gonna pay 
                         for this program, no matter how many 
                         letters they get.

               Disappointed grumblings.

<b>                                     ISABEL
</b>                         What if we raise the money ourselves?

<b>                                     JANET
</b>                         I can't see how they'd object to 
                         that.

               A beat as people take this in.

<b>                                     CONCEPCION
</b>                         Well once that newspaper article 
                         comes out, that should help bring in 
                         money.

<b>                                     BEVERLY
</b>                         Yeah, but what if it doesn't? For 
                         all we know, it's gonna be buried on 
                         the back page. Besides, who says 
                         anyone's gonna give a damn about our 
                         kids?

<b>                                     DOROTHEA
</b>                              (to Roberta)
                         What if you do a benefit concert? We 
                         can raise a batch of money from ticket 
                         sales, and then the concert itself 
                         could be great publicity. There's 
                         word of mouth... you could get 
                         reviewed...

<b>                                     ROBERTA
</b>                         It better be a good concert!

               Some people laugh but we see the anxiety on Roberta's face.

<b>                                     ROBERTA
</b>                         We have to offer something more than 
                         me and the kids.
                              (to Dorothea)
                         Do you think maybe your husband would 
                         perform with us?

<b>                                     DOROTHEA
</b>                              (slyly)
                         I'm sure I could persuade him with a 
                         little pillow talk. And maybe he can 
                         get another violinist too -- Itzhak 
                         Perlman, perhaps.

               This gets people's attention.

<b>                                     ROBERTA
</b>                         That would be fantastic.

<b>                                     DOROTHEA
</b>                         We could rent a place like the 92nd 
                         Street Y -- it's perfect for this. 
                         It seats about nine hundred people 
                         and if we charge between fifty and a 
                         hundred a ticket --

<b>                                     ISABEL
</b>                              (to Roberta)
                         We could probably raise enough to 
                         reinstate your program for a year.

<b>                                     JANET
</b>                         Sounds like a plan.

<b>                                     ROBERTA
</b>                              (half to herself)
                         It better be a good concert.

               The DOORBELL RINGS and Roberta crosses to get it. DAN enters, 
               holding copies of the NY POST, the DAILY NEWS, and a couple 
               of other papers. Each paper has been opened to a specific 
               page.

<b>                                     DAN
</b>                         Take your pick.

               Roberta grabs the top one -- the POST -- opened to page 5.

<b>               INSERT
</b>
               The page has a photo of Roberta at the Spring Concert, and a 
               large article headlined A VIOLIN TEACHER FIGHTS BACK.

<b>               INT. MUSIC ROOM - DAY
</b>
               Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta 
               tries futilely to get the beginners to pay attention to her.

<b>                                     ROBERTA
</b>                         Kids, listen to me -- it's really 
                         important that you don't look at the 
                         camera and you try to act as natural 
                         as possible.

               Dennis storms in.

<b>                                     DENNIS
</b>                         Who authorized this?

<b>                                     ROBERTA
</b>                         Janet.

<b>                                     DENNIS
</b>                         Well Janet's not here today and I 
                         want these people out of here.

               The kids quiet down and watch them argue. A CAMERA GUY starts 
               shooting the argument and Dennis sees him.

<b>                                     DENNIS
</b>                         Turn that off, you hear me?

<b>                                     ROBERTA
</b>                         Why are you doing this? We're not 
                         bothering anyone.

<b>                                     DENNIS
</b>                         You're disrupting school and I want 
                         them out of here -- now.

<b>                                     ROBERTA
</b>                         You still don't get it, do you? I 
                         don't care if you hate me, Dennis -- 
                         that's your business. But think about 
                         the students for once. Every time 
                         you interfere, you're not hurting me -- 
                         you're hurting them.

               She points to the kids. They're silent, waiting to see if 
               Roberta got through to him. A beat.

<b>                                     DENNIS
</b>                         Get these people out of here or I'm 
                         calling the police.

<b>                                     ROBERTA
</b>                         Go right ahead, call them. That'll 
                         look real good on the eleven o'clock 
                         news.

               A beat and he exits. Roberta takes a deep breath, then turns 
               back to the kids who are watching her, impressed.

<b>                                     RAMON
</b>                         I don't hear no sirens.

<b>               INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT
</b>
               ON THE TV is the news segment: ROBERTA speaks to an unseen 
               interviewer.

<b>                                     ROBERTA
</b>                         I'm from a blue collar family, and 
                         if it weren't for the lessons I got 
                         in public school, I never would have 
                         learned the violin.

               It CUTS TO Roberta's beginners speaking to the interviewer.

<b>                                     INTERVIEWER (O.S.)
</b>                         How does it make you feel to lose 
                         your violin program?

<b>                                     SHANDRA
</b>                         It makes us sad!

<b>                                     RAMON
</b>                         Yeah, like we're never gonna have no 
                         more violin lessons --

<b>                                     VANESSA
</b>                         And it's bad because... because we 
                         love violin class.

               WIDER - REVEAL Roberta, Lexi and Nick watching the TV.

<b>               INT. ARNOLD STEINHARDT AND DOROTHEA'S APARTMENT - NIGHT
</b>
<b>               ON TV - THE SAME NEWS SEGMENT, ANOTHER SOUND BITE
</b>
<b>                                     ROBERTA
</b>                         Yes, I've gotten offers from two 
                         private schools, but this is where I 
                         want to be.

<b>                                     DOROTHEA (O.S.)
</b>                         Arnold, these kids need help.

               WIDER - REVEAL a comfortable Upper East Side apartment and 
               DOROTHEA watching T.V. while ARNOLD practices violin. There's 
               FRAMED PHOTOGRAPHY on the walls, signed by Dorothea.

<b>                                     ARNOLD
</b>                         Didn't we send them a donation?

<b>                                     DOROTHEA
</b>                         They need something bigger. And you 
                         can't just write a check -- you have 
                         to get involved.

<b>                                     ARNOLD
</b>                         Involved how?

               The look on her face tells him it's more than he bargained 
               for.

<b>                                     ARNOLD
</b>                         Uh-oh.

<b>               INT. SERIES OF SHOTS - DAY
</b>
               1. Arnold Steinhardt speaks on the phone. His Roladex is 
               open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely 
               waits to hear if Itzhak Perlman will say yes.

               2. Parents, Roberta, Nick and Lexi hang "FIDDLEFEST CONCERT" 
               posters around their neighborhood, announcing a concert at 
               THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and 
<b>               STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM.
</b>
               3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams 
               and Carlos' mom and dad -- stuff envelopes with INVITATIONS 
               to "FIDDLEFEST" and accompanying LETTERS and TICKET ORDER 
               FORMS. Roberta and Dorothea open envelopes with filled-out 
               TICKET ORDER FORMS and CHECKS. They stack the checks in a 
               pile, address return envelopes and place FIDDLEFEST TICKETS 
               inside them.

<b>               INT. MUSIC ROOM - DAY
</b>
               Thirty-three excited kids from Roberta's different classes 
               chat, tune their violins, rosin their bows. The students 
               include Carlos, Stephanie, Amanda, Kenny, Rachel, Simon, 
               Ramon, Vanessa, and Shandra. Roberta enters the room, full 
               of energy, and addresses them as she heads to the front.

<b>                                     ROBERTA
</b>                         Listen up, everyone! Quiet down!

               The students give her their attention.

<b>                                     ROBERTA
</b>                         You are my very best beginner and 
                         advanced violin students and I've 
                         chosen you to play in Fiddlefest 
                         because I trust that you can handle 
                         the pressure. It's gonna be a lot of 
                         work -- a lot. Right now, we've sold 
                         some tickets, but I'm not gonna be 
                         back here in the fall if the audience 
                         storms out of their seats, demanding 
                         a refund!

               She nods to Rachel who starts handing out sheets of music.

<b>                                     ROBERTA
</b>                         Rachel's gonna be my lieutenant and 
                         I expect you to listen to her.

               Ramon looks through his music sheets.

<b>                                     RAMON
</b>                         Bach's "Minuet One"?

<b>                                     ROBERTA
</b>                         People are gonna be paying good money 
                         for this concert -- we're not just 
                         gonna play "Twinkle."
                              (handing out papers)
                         I'm passing out a contract that you 
                         and your parents need to sign.

               The kids read the contracts. Carlos' eyes widen.

<b>                                     CARLOS
</b>                         Every Saturday and Sunday?

<b>                                     ROBERTA
</b>                         Plus night time rehearsals during 
                         the week. There's only six weeks 
                         till the concert, so classes in school 
                         won't be enough.

               The kids look sobered by this.

<b>                                     ROBERTA
</b>                         Come to think of it, we'll probably 
                         also need to meet before school.

               Lots of grumbling: "Say what?" "No way!" "Before school?" 
               I'ma be sleepwalking!"

<b>                                     ROBERTA
</b>                         You've heard of Navy Seal Training? 
                         Well, this is gonna be Roberta String 
                         Training.

               ANOTHER ANGLE - Two young men and two young women walk in, 
               carrying violins. We realize from the scar that one is NAEEM 
               (20), now a strikingly handsome man, over six feet tall. 
               With him is DE SEAN (19), a short guy with dreadlocks, looking 
               more like a rapper than a violinist. GUADALUPE (19), walking 
               with a cane, is now a beautiful young woman, her long braid 
               pinned up. The fourth is a reserved Puerto Rican woman (20).

<b>                                     ROBERTA
</b>                         Oh my god! Naeem! De Sean!
                              (hugs them)
                         Guadalupe!

               She hugs her, then looks closely at the other woman.

<b>                                     ROBERTA
</b>                         Lucy? Is that you?

               The woman snaps her fingers and smiles. Roberta laughs and 
               embraces her, then turns to the students.

<b>                                     ROBERTA
</b>                         Kids, these are four of my very first 
                         violin students and I've asked them 
                         to play in the concert with us.
                              (to the alumni)
                         I was just telling them how hard 
                         they're gonna have to work.

<b>                                     DE SEAN
</b>                              (to class)
                         Take it from me -- this lady don't 
                         lie. Y'all are gonna work your butts 
                         off.

<b>               INT. RAMON'S HOUSE - NIGHT
</b>
               Ramon's father carefully reads the violin contract while 
               Ramon and Concepcion anxiously watch. He stops to look up a 
               word in the English-Spanish dictionary beside him. Ramon and 
               his mom are squirming. Manuelo nods as he finishes reading, 
               then SIGNS the contract. Ramon breaks into a smile, throws 
               his little arms around his Papa and kisses him.

<b>               EXT. RIVER EAST - DAY
</b>
               School's letting out; Carlos' sister exits, carrying Carlos' 
               violin. A few beats later, Carlos quickly exits, checking 
               his watch. He sees his LOS LEONES teammates standing in a 
               group, and tries to bypass them without being noticed, but 
               they spot him.

<b>                                     TEAMMATE #1
</b>                         Hey Carlos! Where ya goin'? We got a 
                         game, remember?

<b>                                     CARLOS
</b>                         Yeah, I know, but... I can't make 
                         it.

<b>                                     TEAMMATE #1
</b>                         What you talkin' about?

<b>                                     CARLOS
</b>                         I just can't make it.

<b>                                     TEAMMATE #2
</b>                         You got a date with the violin 
                         teacher?

               A beat.

<b>                                     CARLOS
</b>                         Yeah. I do.

               He dashes off, a barrage of Spanish and English curses behind 
               him, and crosses to his sister, waiting for him DOWN THE 
               STREET. He takes the violin from her and carries it himself.

<b>               INT. CPE MUSIC ROOM - DAY
</b>
               The Fiddlefest kids, including Carlos, Vanessa, Shandra, 
               Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and 
               Guadalupe practice Bach's "Minuet One," Roberta leading them 
               and giving direction. They're playing badly.

               Rachel plays as well, but walks around the room making 
               corrections. It's early morning, and the kids look half-
               asleep.

<b>                                     ROBERTA
</b>                         Frog! Frog! I need more accents on 
                         the down beat! More bow! More!

               They play a few more bars and still sound pretty bad.

<b>                                     ROBERTA
</b>                         Stop! Stop!
                              (they do so)
                         You sound horrible! Isn't anyone 
                         practicing?

<b>                                     CARLOS
</b>                         How can we practice? We're rehearsing 
                         all the time.

               Some kids laugh, including Stephanie.

<b>                                     ROBERTA
</b>                              (to Stephanie)
                         You think this is funny, Stephanie?
                              (to all of them)
                         You think the four hundred people 
                         who've bought tickets so far will 
                         think it's funny too? You think Itzhak 
                         Perlman will think it's funny that 
                         he's donating his time and you're 
                         all gonna stink?

               Vanessa yawns and Roberta sees her. Uh-oh.

<b>                                     ROBERTA
</b>                         Am I boring you, Vanessa?

<b>                                     VANESSA
</b>                         No. It's 7:30 in the morning. I'm 
                         just tired.

<b>                                     ROBERTA
</b>                         There's no time to be tired.
                              (to all, getting her 
                              violin in position)
                         Let's try it again.

<b>               INT. ARNOLD AND DOROTHEA'S APARTMENT - DAY
</b>
               Dorothea opens the door for Roberta who just charges in, 
               agitated, without even saying hello. We sense that Dorothea 
               too, is troubled by something.

<b>                                     ROBERTA
</b>                         I must have been crazy to agree to 
                         this. They're never gonna be ready. 
                         And you should hear the Bach Double! 
                         A disaster. So the good news is 
                         tickets are selling like hot cakes, 
                         but the bad news is that the kids 
                         sound like shit.

<b>                                     DOROTHEA
</b>                         There's more bad news... We've lost 
                         the Y.

               Roberta looks at her, aghast.

<b>                                     ROBERTA
</b>                         What?!

<b>                                     DOROTHEA
</b>                         They had a flood -- a water heater 
                         burst... The concert hall was damaged 
                         and they've cancelled all events.

<b>                                     ROBERTA
</b>                         Until when?

<b>                                     DOROTHEA
</b>                         "Until further notice."

<b>                                     ROBERTA
</b>                         This can't happen! We've sold tickets! 
                         We've done publicity! The concert's 
                         in three weeks!

<b>                                     DOROTHEA
</b>                         I've been on the phone all morning 
                         calling other theaters. Nothing's 
                         available.

               They both sink into the couch, completely undone by this.

<b>                                     ROBERTA
</b>                         Just keep looking.

<b>               INT. ROBERTA'S BROWNSTONE - NIGHT
</b>
               The Fiddlefest kids are crammed into Roberta's house, 
               (including De Sean, Guadalupe, Ramon, Vanessa, Shandra, 
               Carlos, Thomas, Stephanie, Amanda, Kenny, and Simon), 
               rehearsing "Orange Blossom Special." They play badly. Rachel 
               helps Roberta correct students.

<b>                                     ROBERTA
</b>                         Stop! Someone's playing the wrong 
                         notes! And you shouldn't need your 
                         music anymore! Except for the Bach 
                         Double, everything has to be memorized 
                         by next rehearsal!

               The kids look at each other, daunted.

<b>                                     ROBERTA
</b>                         And you sound like you're 
                         sleepwalking. Your heart's not even 
                         in it.

<b>                                     VANESSA
</b>                         Maybe 'cause we don't have a place 
                         for the concert.

               Roberta looks at her, and then notices the despondent looks 
               on many of the kids' faces.

<b>                                     ROBERTA
</b>                         Well, you're right. This might all 
                         be for nothing. So we can either 
                         keep on rehearsing in case we find a 
                         place -- or we can just... give up.

<b>                                     DE SEAN
</b>                         Am I hearing right? Did you use the 
                         words "give up"?
                              (to the students)
                         Let's take a vote. How many of you 
                         want to give up?

               No one raises a hand. Roberta takes this in.

<b>                                     GUADALUPE
</b>                         See? You taught us well.

<b>               INT. ROBERTA'S BROWNSTONE - KITCHEN - DAY
</b>
               It's early morning. Lexi cooks breakfast while Nick and 
               Roberta look at scribbled-on, marked-up lists.

<b>                                     ROBERTA
</b>                         What about in the Bronx?

<b>                                     NICK
</b>                         There's nothing.
                              (beat)
                         Why don't you just do it in one of 
                         the schools? It'll be a lot smaller 
                         but --

<b>                                     ROBERTA
</b>                         We won't make enough money.

<b>                                     LEXI
</b>                         What about postponing it?

<b>                                     ROBERTA
</b>                         Itzhak and Arnold are booked all 
                         summer.

               They all look depressed. Lexi places an equally depressing-
               looking stack of pancakes on the table. There's a BANGING on 
               the door, startling everyone.

<b>                                     DOROTHEA (O.S.)
</b>                         It's Dorothea.

               Nick opens the door and Dorothea rushes in, out of breath, 
               talking a mile a minute.

<b>                                     DOROTHEA
</b>                         I have good news -- really good news. 
                         Arnold got a call from his friend 
                         Wally Scheur who heard about us losing 
                         the Y and wanted to see how he could 
                         help -- and then Wally had this 
                         brilliant idea and called his friend 
                         Isaac Stern and it's all arranged! 
                         We have a new place for Fiddlefest!

<b>                                     ROBERTA
</b>                         Where?

<b>                                     DOROTHEA
</b>                         Carnegie Hall.

               Dorothea grins from ear to ear, Nick and Lexi whoop and 
               holler, and all wait for Roberta to jump up and down for joy -- 
               but she looks stricken.

<b>                                     ROBERTA
</b>                              (panicked)
                         Carnegie Hall?

<b>               INT. CARNEGIE HALL - DAY
</b>
               CLOSE ON THE CEILING OF CARNEGIE HALL, revolving slowly.

<b>               PULL BACK TO REVEAL THIS IS ROBERTA'S POV
</b>
               She stands on the empty stage, gazing at the ceiling as she 
               slowly turns around. She's holding her violin case. She looks 
               at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA 
               SEATS. Her footsteps echo as she walks towards the front of 
               the stage, then stops.

<b>               CLOSE ON ROBERTA
</b>
               We can see her imagining the audience on the night of the 
               concert. She can't believe her eyes. A beat, and she looks 
               around to make sure she's alone. She takes out her violin, 
               takes a deep breath as she looks out towards her "audience," 
               then starts to play the second violin part of the Bach Double 
               Concerto. Suddenly, there's the SOUND of a stage door opening. 
               Roberta stops.

<b>                                     MALE VOICE (O.S.)
</b>                         Incredible sound in this room, no?

               Roberta turns to see ISAAC STERN approaching her. She's 
               completely flustered.

<b>                                     ROBERTA
</b>                         Oh my god -- Isaac Stern.

<b>                                     ISAAC STERN
</b>                         You must be Roberta.

<b>                                     ROBERTA
</b>                         Thank you so much for helping us.

<b>                                     ISAAC STERN
</b>                              (looking out at the 
                              hall)
                         Would you believe in 1960, they tried 
                         to tear this place down? They wanted 
                         to replace it with a bright red 
                         skyscraper -- we called it "the red 
                         terror."

<b>                                     ROBERTA
</b>                         You're kidding.

<b>                                     ISAAC STERN
</b>                         We had to fight like hell, but with 
                         a lot of help, we saved Carnegie 
                         Hall.

               Roberta takes this in, relating it to her own struggle.

<b>                                     ISAAC STERN
</b>                         If it's all right with you, I'd like 
                         to play in your concert. Maybe bring 
                         a couple of friends...

<b>                                     ROBERTA
</b>                         Yes, of course! That would be great!

               Isaac nods, then touches her shoulder.

<b>                                     ISAAC STERN
</b>                         Don't give up.

<b>               EXT. SIDEWALK CAFE, UPPER WEST SIDE - DAY
</b>
               Roberta pours nervous energy into her cappuccino, adding 
               cinnamon, chocolate, and sugar, stirring loudly. Dan sits 
               across from her, observing.

<b>                                     ROBERTA
</b>                         I just don't see how I'm gonna do 
                         this. It's huge. It's gigantic! It's 
                         Carnegie Hall! And listen to this: 
                         now Isaac Stern wants to play with 
                         us -- Diane Monroe, Michael Tree -- 
                         there's other people calling --

<b>                                     DAN
</b>                         That's fantastic!

<b>                                     ROBERTA
</b>                         Fantastic? I'll never get the kids 
                         up to speed in time, I'll never get 
                         myself up to speed. I'm gonna be 
                         playing side by side with the world's 
                         greatest violinists.

<b>                                     DAN
</b>                         And "the world's greatest violinists" 
                         are playing side by side with you 
                         because they want to help you win 
                         this fight.

               He offers her a forkful of some decadent-looking chocolate 
               cake, but she shakes her head.

<b>                                     ROBERTA
</b>                         Yes, but... you don't understand. 
                         Maybe there's a good reason why I 
                         never made it as a violinist -- maybe 
                         I just can't cut it. I keep blaming 
                         it on not having enough early 
                         training, but if I were talented, if 
                         I had a gift --

<b>                                     DAN
</b>                         But you do have a gift. You're gonna 
                         put thirty East Harlem kids on stage 
                         at Carnegie Hall not because they're 
                         prodigies, but because you got them 
                         to stick with something that's hard 
                         as hell and to strive for excellence -- 
                         which, by the way, I certainly wasn't 
                         striving for when I was their age. 
                         Not to mention the other ten years' 
                         worth of students whose lives were 
                         changed because of you. That's your 
                         talent, Roberta.

               She takes this in, looks at him gratefully and puts her hand 
               over his. He strokes her hand.

<b>                                     ROBERTA
</b>                         I'm scared.

<b>                                     DAN
</b>                         I know.
                              (beat)
                         And by the way, I happen to think 
                         you're a pretty good violinist too.

<b>                                     ROBERTA
</b>                         You've barely heard me play.

<b>                                     DAN
</b>                         I've heard enough to know you're 
                         gonna do just fine.

               Roberta looks at him with trepidation. Dan takes another 
               forkful of his cake.

<b>                                     DAN
</b>                         Besides, no one's gonna be paying 
                         attention to your playing anyway.

               Roberta laughs. Dan smiles, glad he got her to lighten up.

<b>               EXT. CPE 1 - DAY (EARLY MORNING)
</b>
               The Fiddlefest kids (including Ramon, Shandra, Vanessa, De 
               Sean, Naeem, Guadalupe, Lucy, Simon, Stephanie, Amanda and 
               Kenny -- but RACHEL is absent) stand outside the locked school 
               gate, waiting for Roberta. Some of the kids have their violins 
               out of the cases, tuning them.

<b>                                     CARLOS
</b>                         Teacher's late. I think she should 
                         be dropped, don't you?

               Kids laugh.

<b>                                     RAMON
</b>                         Yeah. I don't think we should let 
                         her play in Fiddlefest!

               A few kids start playing "CAN-CAN." It catches on, and more 
               of them join in. PASSERSBY stop to listen, and some drop 
               change into the open cases. RAMON and a couple of other kids 
               grin at this.

               CARLOS steps in front of the kids as he plays, and begins an 
               uncanny imitation of Roberta:

<b>                                     CARLOS
</b>                         More bow! To the frog! You sound 
                         terrible! I can't believe how terrible 
                         you sound!

               The kids crack up, but a few spot ROBERTA heading quickly up 
               the street. Carlos is oblivious to this -- and no one signals 
               him that Roberta's watching.

<b>                                     CARLOS
</b>                         You're gonna make everyone in Carnegie 
                         Hall sick to their stomachs! That's 
                         right, they're gonna pay a thousand 
                         dollars a ticket and you're gonna 
                         make them throw up on their gowns 
                         and tuxedos!

               Carlos senses a presence and turns to see Roberta. A tense 
               beat as he awaits her reaction.

<b>                                     ROBERTA
</b>                              (in all seriousness)
                         If you're gonna imitate me, do it 
                         right.
                              (corrects his posture)
                         Shoulders back. Violin higher. Check 
                         your feet. There.
                              (beat)
                         G'head, Carlos. Continue.

               Carlos freezes.

<b>                                     CARLOS
</b>                         No, that's O.K. You can take it from 
                         here.

               Roberta nods, and addresses the kids as she unlocks the gate.

<b>                                     ROBERTA
</b>                         He's right, by the way. You do sound 
                         terrible, and you are gonna make 
                         everyone in Carnegie Hall sick to 
                         their stomachs.

               The kids start filing in. Rachel comes up the street and 
               catches up to Roberta.

<b>                                     RACHEL
</b>                         I need to talk to you.

               Roberta sees how distressed Rachel looks.

<b>                                     ROBERTA
</b>                              (to kids)
                         I'll be right in. Start on Minuet 
                         One.
                              (to Rachel)
                         What's wrong?

<b>                                     RACHEL
</b>                         We're moving away.

<b>                                     ROBERTA
</b>                         What? Where are you moving?

<b>                                     RACHEL
</b>                              (looking downward)
                         It's a secret... My father... he's 
                         been hurting my mom... We have to 
                         leave.

<b>                                     ROBERTA
</b>                              (gently)
                         Has he been hurting you too?

               Rachel shakes her head no, then starts to cry a little.

<b>                                     RACHEL
</b>                         I'm sorry about Julliard... and the 
                         concert.

               She hands Roberta her violin.

<b>                                     ROBERTA
</b>                         Keep it. Take it with you.

<b>                                     RACHEL
</b>                         No... I don't want to play anymore.

<b>                                     ROBERTA
</b>                         What?! You can't give up violin, 
                         Rachel -- it's a part of you. A very 
                         important part.

               Rachel looks anguished. Roberta moves closer and touches her 
               arm.

<b>                                     ROBERTA
</b>                         Please honey. Just take it.

<b>                                     RACHEL
</b>                         I don't want to.

               Roberta looks at her, pained, then hugs her. Rachel quickly 
               kisses Roberta goodbye and exits. Roberta watches her.

<b>               INT. CPE 1 - MUSIC ROOM - A LITTLE LATER
</b>
               Roberta leads De Sean, Naeem, Guadalupe, Lucy, Stephanie, 
               Thomas, Carlos, Erica and Nicholas in the Bach Double 
               Concerto. The other kids watch. Roberta's on the edge of 
               hysteria. She signals the players to stop.

<b>                                     ROBERTA
</b>                         No, no, no! Accent the up bow after 
                         the slurred notes and then it'll get 
                         you off of those slurred notes! You 
                         Double Concerto kids need to be 
                         working harder! This is the grand 
                         finale of the concert! You're each 
                         gonna be sharing a music stand with 
                         one of the world's greatest 
                         violinists!

               The kids say "the world's greatest violinists" along with 
               her -- they've obviously been hearing this a lot. Roberta 
               glares at them.

<b>                                     ROBERTA
</b>                         I think we should forget the Bach 
                         Double.
                              (to the other kids)
                         And you guys are never gonna get 
                         Minuet One. I think we should drop 
                         that too.

<b>                                     VANESSA
</b>                         No! We can do it, Roberta!

<b>                                     CARLOS
</b>                         And we'll get the Bach Double. We 
                         will.

               She stops, takes a breath.

<b>                                     NAEEM
</b>                         It's gonna be O.K., Roberta.

<b>                                     ROBERTA
</b>                              (vulnerable)
                         You think?

               All the kids nod. A few beats.

<b>                                     ROBERTA
</b><b>                         O.K...
</b>                              (not believing it)
                         It's gonna be O.K.

               She crosses to take a look at her music, and the kids exchange 
               looks that say, "Oh shit. What did we just promise?"

<b>               REHEARSAL MONTAGE - SERIES OF SHOTS - DAY
</b>
               1. Carlos practices violin against the fence around River 
               East School. In the b. g., his buddies make fun of him.

               2. Shandra practices in a school stairwell, ignoring a boy 
               who pulls one of her braids as he passes by.

               3. Stephanie practices at a bus stop, her eyes closed, then 
               looks up and realizes she's just missed her bus.

               4. Ramon practices in his living room, his father watching 
               attentively, then helping him lift the violin higher.

               5. Vanessa practices in a crowded school hallway, frustrated 
               as kids keep bumping into her.

               6. Roberta, in her nightgown, practices in front of her 
               refrigerator in the middle of the night.

<b>               INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON)
</b>
               Pandemonium. Nick and Lexi, both in tuxes, are doing several 
               tasks at once while Roberta, in a simple black velvet dress 
               and stockinged feet, tries to put on her makeup but keeps 
               poking her head out of the bathroom, giving orders. Allegra 
               BARKS outside the back door.

<b>                                     ROBERTA
</b>                         Nick -- did you feed Allegra?

<b>                                     NICK
</b>                              (fixing Lexi's tie)
                         Yes, Mom.

<b>                                     ROBERTA
</b>                         Lexi, can you make sure the charts 
                         are still in my bag?

<b>                                     LEXI
</b>                         I already checked, Mom.

<b>                                     ROBERTA (O.S.)
</b>                         Check again, please. And look for my 
                         repair kit too.

               ASSUNTA descends the staircase, dressed in a formal dress. 
               She holds a small jewelry box and heads for the bathroom.

<b>                                     ASSUNTA
</b>                         Bert, which earrings you want?

               Roberta sticks her head out and picks the earrings. Assunta 
               enters the small bathroom to work on her own makeup.

<b>                                     ROBERTA
</b>                         Nick? Get two more violins.

<b>                                     NICK
</b>                         You've already got two -- how many 
                         emergencies can there be?

               A beat.

<b>                                     ROBERTA
</b>                         Get three more. And make sure a couple 
                         of them are half-size.

               Nick rolls his eyes and runs upstairs while Lexi organizes 
               things by the door: Nick's cello, Roberta's papers, extra 
               violins. Roberta rushes out of the bathroom, adjusting the 
               earrings. She starts compulsively straightening the house.

<b>                                     ROBERTA
</b>                         Lexi -- can you call about the car 
                         again?

<b>                                     LEXI
</b>                         Mom, they're not gonna forget to 
                         send a car!

               Nick comes running down the stairs with the violins and stares 
               in disbelief at Roberta fluffing a couch pillow.

<b>                                     NICK
</b>                         What are you doing?

<b>                                     ROBERTA
</b>                         Just straightening a little.

<b>                                     NICK
</b>                         You're insane, you know that?
                              (grabs the pillow)
                         Finish getting dressed!

               He throws the pillow onto the couch. Roberta heads upstairs.

<b>               INT. CARLOS' ROOM - DAY
</b>
               IN THE MIRROR - Carlos adjusts his tuxedo. We see the 
               reflection of his baseball bat, glove and trophies in the 
               room behind him.

<b>               INT. GUADALUPE'S ROOM - DAY
</b>
               Guadalupe's mom pins up her braid, then steps back to look 
               at her daughter, radiant in a floral gown. Her mom starts to 
               cry.

<b>               INT. SHANDRA'S ROOM - DAY
</b>
               Beverly puts rhinestone-studded barrettes in Shandra's hair.

<b>               INT. RAMON'S ROOM - DAY
</b>
               ON RAMON - He's in a sharp black suit and looks very dapper. 
               WIDER - Manuelo and Concepcion stand back to admire him, 
               then Manuelo straightens Ramon's tie, brimming with pride 
               over his son.

<b>               INT. ROBERTA'S BROWNSTONE - FRONT ROOM - DAY
</b>
<b>                                     ROBERTA (O.S.)
</b><b>                         SHIT!
</b>
               Nick and Assunta look towards the stairs. Roberta comes 
               running down.

<b>                                     ROBERTA
</b>                         Can you believe this?

               She turns around, revealing a RIP on the back of the dress, 
               next to the zipper. The DOORBELL RINGS.

<b>                                     ROBERTA
</b>                         It can't be time! Is it time?

<b>                                     ASSUNTA
</b>                         I'll sew it in the car.

<b>               EXT. ROBERTA'S BROWNSTONE - DAY
</b>
               Roberta, Assunta and the boys step outside, amazed to see a 
               STRETCH LIMOUSINE double-parked in front, a CHAUFFEUR waiting.

<b>                                     LEXI
</b>                         See? I told you they'd send a car.

               Roberta's open-mouthed. She leads her entourage towards the 
               limo. THE NEIGHBORS come out of their houses to watch. Some 
               lean out windows, gawking. Ad libs... "Who's that?" "It's 
               the Violin Lady!" LAWRENCE, dressed in a tux, gives Lexi a 
               high sign.

               The chauffeur helps Roberta and Assunta into the limo while 
               Nick and Lexi start to load the instruments into the trunk.

<b>               INT. LIMOUSINE - CONTINUOUS
</b>
               Roberta sits down beside Assunta and turns around so Assunta 
               can mend the tear in her dress. Assunta partially unzips the 
               dress and starts stitching it from the inside.

<b>                                     ROBERTA
</b>                         Thank you, Mama.

<b>                                     ASSUNTA
</b>                         Don't worry about it. You rip -- I 
                         sew.

<b>                                     ROBERTA
</b>                         Not just for that.
                              (beat)
                         Thank you for getting me out of bed.

               Assunta stitches, remembering, and smiles.

<b>                                     ASSUNTA
</b>                         Don't thank me -- thank Charles.

<b>                                     ROBERTA
</b>                         Charles?!

<b>                                     ASSUNTA
</b>                         If that jerk hadn't of left you, 
                         none of this would've happened.

               Roberta contemplates this. A beat.

<b>                                     ROBERTA
</b>                         Thank you, Charles.

               Her last stitch finished, Assunta rips the needle from the 
               thread.

<b>               EXT. CARNEGIE HALL - ESTABLISHING - DUSK
</b>
<b>               INT. CARNEGIE HALL - BACK STAGE - NIGHT
</b>
               The kids and their parents are practically boiling over with 
               excitement. Last minute kisses, violin tunings, and clothing 
               adjustments take place throughout the room.

               The boys are in suits or tuxes, the girls in velvet or 
               flowered dresses, some with bows in their hair, some with 
               their hair up in buns. Roberta tries to take a head count, 
               Dorothea confers with a stage manager, Assunta fixes a boy's 
               tie, and Janet helps one girl with her hair, stopping in the 
               middle to button the back of another girl's dress.

<b>                                     ROBERTA
</b>                         Where's Vanessa? Has anyone seen 
                         Vanessa?

               Janet looks at her, concerned.

<b>                                     JANET
</b>                         I'll call her house.

               ANGLE - Roberta sees MRS. ADISA enter the room with Naeem. 
               The two women walk towards each other and embrace. As they 
               start to chat, Roberta suddenly sees someone and excuses 
               herself: BRIAN is walking towards her, wearing a tux. They 
               smile at each other, but Roberta's clearly a bit shaken to 
               see him. They're not quite sure how to greet each other -- 
               he takes her hand, and then kisses her on the cheek.

<b>                                     BRIAN
</b>                         Congratulations.

<b>                                     ROBERTA
</b>                         Thank you...

<b>                                     BRIAN
</b>                         I knew you'd get here sooner or later. 
                         I'm glad I'm here to see it.

               A beat.

<b>                                     ROBERTA
</b>                         I am too.

<b>               INT. CARNEGIE HALL - BACKSTAGE WINGS AREA - NIGHT
</b>
               Guadalupe shyly approaches Itzhak Perlman, her mother behind 
               her, silently encouraging her.

<b>                                     GUADALUPE
</b>                         Excuse me, Mr. Perlman?

               He turns around.

<b>                                     GUADALUPE
</b>                              (extends a hand)
                         I'm Guadalupe. I've wanted to meet 
                         you for a long time.

               He smiles at her and they shake hands.

<b>                                     ITZHAK PERLMAN
</b>                         A pleasure to meet you, Guadalupe.

               As Guadalupe introduces him to her mother, CARLOS approaches.

<b>                                     CARLOS
</b>                         You nervous, Mr. Perlman?

<b>                                     ITZHAK PERLMAN
</b>                         Should I be?

<b>                                     CARLOS
</b>                         Us kids are gonna be great -- I don't 
                         know about you guys. How much did 
                         you practice?

               Itzhak Perlman laughs.

<b>               INT. CARNEGIE HALL - BACK STAGE - NIGHT
</b>
               Roberta talks to Janet with a worried expression.

<b>                                     ROBERTA
</b>                         You called Vanessa's father and 
                         mother?

<b>                                     JANET
</b>                         No answer at either.

               A Carnegie Hall staff person in a suit enters.

<b>                                     STAFF PERSON
</b>                         Half hour call! It's now half hour 
                         call! So pace yourself accordingly. 
                         Don't get more than thirty minutes 
                         worth of nervous!

               The room electrifies with nerves.

<b>               VANESSA
</b>
               rushes into the room with her father. She's out of breath, 
               her stocking has a big run in it, and she's in tears.

<b>                                     VANESSA
</b>                         They stole the car!

<b>                                     MR. KLEIN
</b>                         With the violin.

<b>                                     ROBERTA
</b>                         Oh my God.
                              (calling)
                         Nick, Lexi --

<b>                                     NICK
</b>                         Done.

               The boys rush over to the extra violins and look to find the 
               right size.

<b>                                     VANESSA
</b>                              (crying)
                         And then when we were getting a taxi, 
                         I fell down.

               Roberta comforts her and Janet moves in.

<b>                                     JANET
</b>                         C'mon honey -- let's get you cleaned 
                         up.

               ANGLE - DAN enters with a bouquet of long-stemmed red roses. 
               He's in a tux and looks very handsome. He crosses to Roberta, 
               hands her the flowers, and they hug.

<b>                                     DAN
</b>                         You're glowing.

<b>                                     ROBERTA
</b>                         It's terror.

<b>               INT. CARNEGIE HALL - NIGHT
</b>
               The hall is filling to capacity as people take their seats, 
               the room buzzing with voices.

<b>               INT. CARNEGIE HALL - BACKSTAGE - NIGHT
</b>
               The CARNEGIE HALL staff person enters.

<b>                                     STAFF PERSON
</b><b>                         FIVE MINUTE CALL. WE NOW HAVE FIVE 
</b><b>                         MINUTES.
</b>
               The tension in the room shoots sky high.

<b>               INT. CARNEGIE HALL - STAGE - PODIUM - NIGHT
</b>
               Janet stands onstage and addresses the audience.

<b>                                     JANET
</b>                         When I became the principal of Central 
                         Park East Elementary, I envisioned a 
                         school where children could fulfill 
                         their highest potential, despite the 
                         challenges of poverty and racism. 
                         Ten years ago, Roberta Guaspari walked 
                         into my office because she needed a 
                         job, and because she had a vision 
                         that any child could learn the violin. 
                         We put our dreams together and created 
                         the East Harlem Violin Program which 
                         has helped more than a thousand 
                         students expand their vision of what's 
                         possible in their lives. When a 
                         program like this is cut, our 
                         children's future is compromised. I 
                         want to thank you for your support. 
                         Enjoy the concert.

<b>               INT. CARNEGIE HALL - BACKSTAGE - NIGHT
</b>
               In the b.g. we hear the audience APPLAUDING Janet. Roberta 
               holds up her hands to quiet down the anxious students.

<b>                                     ROBERTA
</b>                         Everyone -- attention please!

               They become quiet.

<b>                                     ROBERTA
</b>                         I want you all to take a second just 
                         to breathe, O.K.? Deep breath.

               The kids breathe.

<b>                                     ROBERTA
</b>                         I would like you all to play with 
                         your heart, all right? Play like I 
                         know you can play. You'll be 
                         wonderful. Watch me, don't look out 
                         in the audience -- you don't need to 
                         be afraid. It's gonna be really 
                         wonderful. So play -- play from here.

               She pats her heart.

<b>               INT. CARNEGIE HALL - BACKSTAGE CORRIDOR - NIGHT
</b>
               The kids head out towards the stage, the APPLAUSE getting 
               louder as they get closer.

<b>               INT. CARNEGIE HALL - STAGE - NIGHT
</b>
               CRANE SHOT of the children on stage, in their positions.

<b>               REVERSE SHOT - FOUR FILLED BALCONIES
</b>
<b>               BACK TO THE STAGE
</b>
               Some of the kids look awestruck by the audience; one subtly 
               waves hi to her family. Roberta walks out to APPLAUSE. She 
               bows to the audience, turns to the kids, signals them with a 
               slight nod and the BACH MINUET ONE begins. We've heard it in 
               all phases, and now it is flawless.

               PAN the STUDENTS watching her: VANESSA, wearing a corsage; 
               SIMON in his red bow tie; SHANDRA in black velvet with pearls; 
               NAEEM standing proud and tall, DE SEAN in dreadlocks and a 
               tux; RAMON playing from his heart...

<b>               INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS
</b>
               Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, 
               Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, 
               chatting and listening to the kids.

<b>               INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER
</b>
               The students finish MINUET ONE. There's an exquisite moment 
               of silence, then APPLAUSE.

<b>               INT. CARNEGIE HALL - THE STAGE - LATER
</b>
               Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL 
               with the kids. He improvises, surprising them as his violin 
               makes the sound of a TRAIN moving through a tunnel.

               RAMON smiles, awed by this -- but he remains calm and 
               professional.

<b>               INT. CARNEGIE HALL - BACK STAGE CORRIDOR - LATER
</b>
               As the guest violinists head for the stage, we hear their 
               names over a mike, mixed with APPLAUSE:

<b>                                     MALE VOICE (V.O.)
</b>                         Isaac Stern, Itzhak Perlman, Arnold 
                         Steinhardt, Diane Monroe, Michael 
                         Tree, Mark O'Connor and Karen Briggs.

<b>               INT. CARNEGIE HALL - STAGE - MOMENTS LATER
</b>
               CRANE SHOT of the six guest violinists on stage for the Grand 
               Finale, each one sharing a music stand with a student. Roberta 
               nods, and they begin THE BACH DOUBLE CONCERTO. She turns to 
               face the audience as she joins them.

               MOVE IN AND PAN the performers and students: NAAEM shares a 
               stand with ARNOLD STEINHARDT; ISAAC STERN stands and plays 
               with GUADALUPE, sitting beside him; ITZHAK PERLMAN sits and 
               plays next to CARLOS, standing beside him; MICHAEL TREE plays 
               beside DE SEAN; DIANE MONROE plays beside LUCY; KAREN BRIGGS 
               plays beside THOMAS, and MARK O'CONNOR plays beside STEPHANIE. 
               NICK plays cello; LEXI plays the piano behind them; and, 
               playing with her own solo music stand, ROBERTA.

               Their expressions are serious and passionate, broken by 
               occasional smiles lighting on faces: Isaac Stern... Lucy... 
               Carlos... Itzhak Perlman... Diane Monroe... De Sean.

               The song finishes and the APPLAUSE begins. The OTHER 
               FIDDLEFEST PLAYERS come out from back stage, RAMON in front, 
               and join the rest. More applause. The CAMERA PULLS BACK TO 
               INCLUDE the audience facing the stage, then REVERSES to show 
               the audience standing in the orchestra and balconies.

               We see the students' PARENTS; JANET, ISABEL and their 
               families; ASSUNTA, LAWRENCE and DOROTHEA; DAN; CONCEPCION, 
               MANUELO and their sons; BRIAN; and DENNIS -- even he can't 
               stop himself from applauding.

               BACK AGAIN to the stage where the students and guest 
               violinists bow... and MOVE IN CLOSER on ROBERTA in her moment 
               of triumph.

<b>               INT. CARNEGIE HALL - STAGE - PODIUM - MOMENTS LATER
</b>
               Roberta addresses the audience. Her voice is strong but softer 
               around the edges; she is a woman in a state of grace.

<b>                                     ROBERTA
</b>                         We're all here tonight because we 
                         have a bigger mission: to take the 
                         magical spirit of tonight's concert 
                         with us out into the world, and to 
                         fight for music and art to be a part 
                         of every child's education. Thank 
                         you.

               The APPLAUSE is DEAFENING, then slowly diminishes as we:

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. CPE 1 - MUSIC CLASSROOM - DAY
</b>
               Roberta addresses ten first-graders sitting in a circle on 
               the floor. She points to the horsehair on her bow.

<b>                                     ROBERTA
</b>                         And this? What's this?

<b>                                     BOY
</b>                         The frog hair?

               Roberta and the kids laugh.

<b>                                     ROBERTA
</b>                         Did you ever see a frog with hair?

               The boy smiles and shakes his head.

<b>                                     A FEW KIDS
</b>                         It's horsehair!

<b>                                     ROBERTA
</b>                         That's right.
                              (to the boy)
                         But you're right, there is a frog. 
                         Can you show me where it is?

               One girl raises her hand with urgency.

<b>                                     GIRL
</b>                         Ooh! I know!

<b>                                     ROBERTA
</b>                         Sssh -- let him answer.

               The boy points to the frog of the bow and Roberta smiles. 
               And as she continues her lesson, her voice recedes and we:

<b>                                                                  FADE OUT:
</b>
<b>                                         THE END
</b>
<b>               CRAWL:
</b>
               Roberta Guaspari lives in East Harlem with her daughter Sofia, 
               whom she adopted from El Salvador. Nick is a professional 
               cellist in a graduate music program, and Alexi has been 
               accepted to medical school.

               Roberta teaches violin to approximately 150 students a year 
               in three East Harlem elementary schools. The East Harlem 
               Violin Program, however, is still not funded by the New York 
               City Board of Education.

               The money raised from Fiddlefest supported Roberta's violin 
               program for three years. Roberta and Opus 118 continue their 
               fundraising efforts to keep the program alive.
</pre><br>
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What is the name of Roberta's program?
What is the name of Roberta s program ?
The Opus 118 (string program).
The Opus 118 ( string program ) .
Opus 118
Opus 118