Laboratory: Start measuring at PICTURE
START MARK – 10:00:00:00
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10:00:00:00 FADE IN WIDE SHOT OF NEW YORK SKYLINE THROUGH CHAIN LINK
FENCE TITLE: “Showtime Presents” DISSOLVE TO: |
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10:00:05:17 EXT RIKERS ISLAND – DAY WIDE SHOT OF SKY THROUGH CHAIN LINK FENCE AND
RAZOR WIRE TITLE: “In
Association with France 2” DISSOLVE TO: |
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10:00:10:00 AMERICAN FLAG
OVER RAZOR WIRE IN FOREGROUND TITLE: “A Film By Victor Buhler” DISSOLVE TO: |
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10:00:14:00 WIDE SHOT OF
PRISON YARD THROUGH CHAIN LINK FENCE AND RAZOR WIRE OFFICER WILLIAMS (VO) Get up. It’s Monday morning. Time for school, get up. |
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10:00:17:xx INT RIKERS DORM MFS OF OFFICER –
CAMERA PANS LEFT WITH OFFICER TO INCLUDE INMATES IN BEDS OFFICER WILLIAMS Get up. Go, get up, everybody. |
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10:00:22:xx MFS OF INMATE
RISING WITH OTHER INMATES IN BG TITLE: “Music
Chocolate Genius Inc.” |
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10:00:27:xx WS OF INMATE LEFT
IN BED, INMATE RIGHT DRESSING |
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10:00:29:19 MCS OF INMATE
APPLYING DEODORANT |
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10:00:31:xx MFS OF INMATE
MAKING BED AS INMATE CONTINUES TO APPLY DEODERANT TITLE: “Editor Meg Reticker Additional
Editor John Tintori” |
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10:00:34:xx FS OF INMATE
LYING IN BED |
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10:00:35:xx CAMERA PANS LEFT
WITH OFFICER WILLIAMS IN MCS |
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10:00:37:xx CAMERA PANS LEFT TO INMATE PUTTING ON SHIRT IN
MS. CAMERA THEN PANS RIGHT WITH HIM AS HE MAKES BED. OFFICER
WILLIAMS (OFF/S) Get
up. I think you’d better… TITLE: “A Co-Production CINETEVE Fabienne
Servan-Schreiber Producer
Phillippe Barbenes” |
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10:00:44:xx WS OF INMATES IN DORM THROUGH WINDOW TITLE: “Co-Producer
Althea Wasow” |
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10:00:49:xx WS INMATES IN BATHROOM |
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10:00:50:xx CAMERA TILTS DOWN WITH INMATE’S HANDS AS HE
WASHES HIS SHOES TITLE: “Producers Victor Buhler Bonnie Strauss Jean-Michel Dissard” |
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10:00:54:xx MCS OF INMATE BRUSHING TEETH PARTLY IN FRAME
RIGHT. CAMERA DOLLIES BACK TO INCLUDE OTHER INMATES. |
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10:01:00:xx MFS OF INMATE IN FG BRUSHING TEETH, INMATE IN BG
SHOWERING |
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10:01:03:xx WS OF INMATES DRESSING TITLE: “Director
& Cinematographer Victor Buhler” |
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10:01:06:xx MCS OF INMATE LOOKING RIGHT |
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10:01:10:xx WS OF INMATES EXITING DORM DISSOLVE TO: |
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10:01:12:xx MS OF INMATES WALKING RIGHT IN FRAME LEFT.
CAPTION FRAME RIGHT READS: The jails on Rikers
Island in New York City house fourteen thousand inmates. CAPTION FADES OUT AS NEW AS WS OF INMATES APPEARS
IN FRAME RIGHT. IN FRAME LEFT, WS FADES OUT AND CAPTION FADES IN. CAPTION
READS: Two thousand of these inmates are eighteen years
old or younger. CAPTION IN SCREEN LEFT FADES OUT AS MS OF GUARD
FADES IN. IN FRAME RIGHT CAPTION READS:
CAPTION IN SCREEN RIGHT FADES OUT AS MCS OF
INMATE FADES IN. IN FRAME LEFT, CAPTION READS: They must attend Island Academy, an official city
high school. |
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10:01:42:21 MT #3 FADES IN OVER VARIOUS COLORED IMAGES OF
INMATES: RIKERS HIGH INMATE This
is where Niggers get smoked at, the “tunnel of love.” [N.B.
“smoked at” is slang for beaten up] TITLE FADES OUT. DISSOLVE TO: |
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10:01:49:xx CAMERA PANS LEFT WITH INMATES CONGREGATING IN
HALLWAY MS.
GRANT(OFF/S) Good
morning, everyone. |
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10:01:55:xx MCS OF INMATE YAWNING |
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10:01:57:01 MS OF MS. GRANT, CAPTION FADES IN OVER BG: Ms. Grant Assistant Principal MS. GRANT How
are you today? INMATE
(OFF/S) Fine,
and you? MS.
GRANT Good,
good. I am so happy to see everyone. |
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10:02:03:xx MCS OF OFFICER HOPSON WITH ARMS FOLDED IN FG,
FEMALE OFFICER IN BG MS.
GRANT(OFF/S) Our
main focus here at Island Academy EMTC… |
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10:02:07:xx CS OF HISPANIC INMATE IN FG WITH OTHER INMATES
LEFT AND RIGHT MS.
GRANT(CONT) …is to
ensure… |
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10:02:09:xx WS OF INMATES OF VARIOUS RACIAL BACKGROUNDS MS. GRANT(CONT) …that
you all reach your potential. Our focus… |
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10:02:12:xx MCS OF MS. GRANT IN FG, ADMINISTRATOR IN BG MS. GRANT(CONT) …is on
getting you to pass the GED, or even to improve… |
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10:02:18:xx WS OF INMATES IN LINE FOOLING AROUND WITH ONE
ANOTHER MS.
GRANT(CONT) …your
reading levels maybe one grade above. All right? |
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10:02:22:xx MCS OF OFFICER HOPSON, CAPTION FADES IN OVER BG: Correction Officer Hopson OFFICER
HOPSON Hey,
stop horsin’ around over there. [N.B.
“horsing” means playing or fooling around] MS.
GRANT Okay? It’s going to take you… |
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10:02:25:xx WS OF INMATES LINED UP IN FRAME LEFT, MS. GRANT
IN FRAME RIGHT ADDRESSING THEM MS. GRANT(CONT) …to
make sure that we won’t have any… |
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10:02:30:xx WS OF SEVERAL AFR. AMER. INMATES AND BEARDED
HISPANIC INMATE STANDING IN LINE. CAMERA THEN PANS LEFT TO CS OF INMATE WITH
AFRO (HAIR) MS. GRANT …kind of disciplinary problems. You already know that there are
consequences when you deviate from the norm, okay? |
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10:02:39:xx WS OF INMATES LINED UP IN FRAME LEFT, MS. GRANT
IN FRAME RIGHT ADDRESSING THEM MS. GRANT Mr. Hopson? |
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10:02:40:xx CAMERA PANS RIGHT TO OFFICER HOPSON. OFFICERS
PASS IN BG. HOPSON
(OFF/S) Yes,
ma’am. You guys are looking fresh with
those sneakers. |
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10:02:45:xx CAMERA PANS LEFT IN WS OVER THE SHOES OF VARIOUS
INMATES HOPSON
You’re
looking good. Your behavior better correspond to the sneakers. |
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10:02:51:03 MCS OF HOPSON. OFFICER
HOPSON That’s
all I have to say. |
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10:02:52:10 WS THROUGH GLASS WITH INMATES IN BG FRAME INMATE ENTERS FROM OFFSCREEN FRAME LEFT AND
APPROACHES MR. RODRIGUEZ. MR.
RODRIGUEZ Okay,
now the question is this. What’s wrong
with this? SANTIAGO What? MR.
RODRIGUEZ What’s
wrong with the creature? |
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10:02:58:xx WS OF RODRIGUEZ IN BLUE AND THREE INMATES SEATED
AT TABLE. SANTIAGO His
face is disfigured. He’s not what you would call a regular human being. He’s
what you would call… |
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10:03:04:xx CS OF SANTIAGO READING SANTIAGO (OFF/S) (CONT) …a
monster to us. He was like a monster. |
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10:03:08:xx WS OF RODRIGUEZ IN BLUE AND THREE INMATES SEATED
AT TABLE. RODRIGUEZ So the
inventor that created him, right?-- takes a look at him… |
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10:03:10:xx CS OF INMATES HAND TURNING THROUGH PICTURE BOOK. RODRIGUEZ …calls
him this horrible monster and runs off. |
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10:03:14:xx CS OF AFR. AMER. INMATE WORKING WITH PENCIL RODRIGUEZ Is it
rightfully so to be judged… |
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10:03:15:19 MCS OF RODRIGUEZ IN FRAME LEFT, ONE INMATE
STANDING AND ONE INMATE SITTING IN FRAME RIGHT. STANDING INMATE LEAVES FRAME,
AND CAPTION FADES IN OVER BG: Mr. Rodriguez Skills Teacher RODRIGUEZ (CONT) …by
the way you look? And how important is that? SANTIAGO No,
it’s not right, man. To me it’s not
right. You know why? RODRIGUEZ Uh,
huh. SANTIAGO
‘Cause
you shouldn’t judge nobody… ‘cause you shouldn’t judge a book by its cover.
You see what I’m sayin’? |
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10:03:30:xx MCS OF MR. RODRIGUEZ IN FRAME LEFT; CAMERA PANS
TO CENTER HIM IN THE FRAME RODRIGUEZ Aren’t
you guys judged by the way you look? SANTIAGO
(OFF/S) Yeah,
even my race. RODRIGUEZ This
whole hip hop culture, you know, the way you wear your… |
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10:03:38:xx CS OVER INMATE’S SHOULDER AS HE WORKS. RODRIGUEZ (OFF/S) (CONT) …pants,
the headbands and stuff. You pass by an old lady… |
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10:03:41:xx MCS OF MR. RODRIGUEZ RODRIGUEZ (CONT) …she
clutches her purse. |
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10:03:44:00 MCS OF INMATE SEATED AT TABLE IN FRAME RIGHT.
INMATE FLIPS THROUGH PAMPHLET. RODRIGUEZ
(OFF/S) That’s
exactly how they felt about Frankenstein. |
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10:03:46:xx MCS OF STUDENT READING BOOK AT TABLE. CAMERA PANS
LEFT TO PLACE MR. RODRIGUEZ IN FRAME LEFT AND INMATE WORKING IN FRAME RIGHT. RODRIGUEZ One
look at him and people ran from him. People hid from him. Now, what does he
do with that type of behavior? SANTIAGO Turns
it into anger. RODRIGUEZ That’s
right. Transforms it into anger and
everything in his path gets destroyed. |
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10:04:07:xx CS OF SANTIAGO BANGING HANDS ON DESK. SANTIAGO Listen,
yo. I said… yo, you might… |
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10:04:11:xx MFS OF SANTIAGO SITTING AND RAPPING. CAPTION BOTTOM LEFT: WILLIAM SANTIAGO, 18 Santiago (CONT) …not
expect the heat ‘til the gat fires and shortens up your life expectancy, so
you don’t wanna step to see otherwise your brains
be in your throat where your neck should be. Set spit like a vector beam, so
invade my space I’ll push you hard where your rectum… [gat =
machine gun, set spit = rap] |
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10:04:24:xx CS OF INMATE RESTING HEAD ON FIST, NODDING TO
SANTIAGO’S BEAT. SANTIAGO (OFF/S)(CONT) …be.
Lexus Jeep, with the windows… |
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10:04:26:xx MCS OF SANTIAGO FROM SIDE IN FG, FRAME RIGHT WITH
OTHERS IN BG. SANTIAGO (OFF/S)(CONT) …crazy
tinted, and the pockets stay fat like a baby’s in it… |
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10:04:29:11 MCS OF SANTIAGO RAPPING SANTIAGO (CONT) …sizzlin’ through the land, drizzlin’
through your glands. Put holes in your palms, now you’re whistlin’
through their hands. HE CONTINUES, FRAME LEFT FADES TO BLACK, AND CAPTION FADES OVER BG: William Santiago robbed a woman with a cigarette
lighter shaped like a gun. He has three months left to serve and a six-month
sentence. DISSOLVE TO: |
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10:04:43:xx MCS OF SANTIAGO IN FRAME RIGHT, MCS MS. ORTIZ IN
FRAME LEFT. CAPTION FADES IN OVER BG: Ms. Ortiz Language Arts/GED Teacher AFTER SEVERAL FRAMES, SANTIAGO STANDS UP, LEAVING
ONLY HIS TORSO IN FRAME NEXT TO MS. ORTIZ. MS ORTIZ Okay,
I’m gonna stop a minute. Tell me about that that you wrote. You have
down there, “I now know how to control my impulsive behavior.” What do you
know about impulsive behavior? SANTIAGO You
keep doin’…you keep doin’
the same thing over and over. You - you - you know a train’s comin’, right? ORTIZ Okay SANTIAGO And
you keep stickin’ your head out, that’s impulsive. ORTIZ All
right. What else is impulsive? SANTIAGO Impulsive’s like… ORTIZ For
example, if I’m giving a lesson and all of a sudden there’s a word that
triggers you, now you’re not thinking about my lesson anymore. SANTIAGO I’m
takin’ it off the subject… ORTIZ That
one little word, what’d you do with it? SANTIAGO I - I
- I blow it up and then… ORTIZ You’re
making it into a rap. SANTIAGO Yeah. ORTIZ Okay? And what happens when you do that? What
happens to your attention to the lesson? SANTIAGO Oh,
man. I think I just dropped… ORTIZ What
happens to your attention to the lesson?
No, no, no. Wait, wait, wait,
wait, wait, wait, wait. SANTIAGO I just
dropped somethin’. ORTIZ Okay,
this might be what we’re talking about.
What’d you drop? |
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10:06:01:xx MFS OF SANTIAGO STANDING IN BG, MS. ORTIZ SITTING
IN FG. SANTIAGO Oh,
damn. ORTIZ So my
point…Mr. Santiago? SANTIAGO THEN SITS. SANTIAGO Damn,
I dropped my… ORTIZ Santiago? SANTIAGO Yeah. ORTIZ My
point. Impulisive
behavior, Impulsive is, for example… SANTIAGO Impulsive,
impulsive. ORTIZ If all
of a sudden I just want to do what I want to do without any concern or regard
for who’s around me. I was just talkin’ to
you. What’d you do just now that was
impulsive? SANTIAGO I
started lookin’ for my pen. ORTIZ Mr.
Santiago, the pen became… |
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10:06:29:15 MCS OF SANTIAGO. MS. ORTIZ APPEARS IN AND OUT OF
BOTTOM LEFT CORNER OF FRAME. ORTIZ (CONT) …more
important to you right now. SANTIAGO Because
it’s not my pen, it’s somebody else’s pen. ORTIZ I see,
I see. SANTIAGO They’re
going to beat me up. ORTIZ No. How can this impulsiveness still hold you
back? SANTIAGO ‘Cause
it could stop me from gettin’ a job, stop me from
learning it could stop me from doin’ things that
would help me not be able to exist in life.
It will slow me down, it have me stagnate behind others, which I would
not want to do. What I want to do is keep that impulsive behavior behind. I
would put the positive energy in front of that impulsive behavior. We can
solve that energy and use it as positive force that I have to turn into my
foreshadow. ORTIZ Wonderful. |
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10:07:11:xx WS OF INMATES IN HALL IN FRAME RIGHT, OFFICERS
FAR IN BG, FRAME LEFT. INMATES FILE TOWARDS CAMERA. |
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10:07:15:xx WS OF SIGN ON DOOR READING: INMATE DINING ROOMS AN INMATE PASSES IN FG. |
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10:07:17:xx MFS OF TWO OFFICERS STANDING FRAME RIGHT NEXT TO
KITCHEN WINDOW. |
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10:07:20:xx CS OF OFFICER’S TORSO AND HANDS AS HE REMOVES
TRAY OF FOOD FROM WINDOW AND HANDS IT TO AN INMATE OFFSCREEN |
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10:07:23:xx IN MESS HALL, CAMERA DOLLIES LEFT AS INMATE
TOSSES MILK FROM CRATE TO INMATES SEATED AT TABLE EATING IN FG. OFFICERS
WATCH FROM BG. INMATE No. Gimme my milk. |
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10:07:28:xx WS OF INMATES EATING IN MESS HALL. INMATE Personally,
I think the roaches eat better than us. |
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10:07:33:xx CS OF INMATES HAND IN FG FRAME RIGHT, MCS OF
ANOTHER IMATE IN FRAME LEFT. SEATED AT TABLE. JOSEPH That
is dog food. That shit is straight
nasty, it’s slop. |
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10:07:36:xx WS OF FOOD TRAY WITH VARIOUS ITEMS BEING PASSED
FROM ONE INMATE TO ANOTHER. CAMERA PANS LEFT WITH IT OVER THE SHOULDERS OF A
SEATED INMATE AS HE TAKES IT AND DUMPS FOOD ONTO HIS OWN TRAY. |
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10:07:41:xx WS OF INMATES LINED UP AND FILING BY TO DEPOSIT
TRAYS IN BG AND A LARGE EMPTY TABLE IN FG. |
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10:07:44:xx CS OF TRASH BIN AS INMATES PASS BY AND DUMP
UNEATEN FOOD. |
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10:07:52:xx MCS OF ANDRE IN FRAME LEFT AND ANOTHER INMATE IN
FRAME RIGHT. CAMERA ZOOMS OUT TO A MCS OF THE OTHER IN FRAME RIGHT. CAPTION
FADES IN OVER BG: Andre Blandon, 18 ANDRE When I
first came here I thought it would be like TV. How ‘Oz’ is and all that. I was scared to go in the shower. But um, I
told this kid that. I had my ass kicked for sayin’
that, but… [N.B. ‘Oz’ is a famous American drama series
about prison] |
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10:08:06:xx CS OF ANDRE’S HAND AND PENCIL ERASING SKETCHES ON
WHITE PAPER. ANDRE There
are some people that are nondescripts. |
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10:08:09:xx CS OF ANDRE IN FG FRAME RIGHT AND COMPUTER
MONITORS IN BG. ANDRE
(CONT) …of
which I was one and the people that run the house and all that. And,
basically, what the nondescripts do is wash clothes, but I wasn’t with it. So
I got my ass kicked a couple of times in the bathroom. I had some new sneakers on and all that… |
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10:08:25:xx CS OF ANDRE’S HAND AND PENCIL SKETCHING ON WHITE
BACKGROUND. ANDRE (CONT) …and
they got taken away from me. I got beaten up in a bathroom… |
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10:08:28:xx CS OF ANDRE IN FG FRAME RIGHT AND COMPUTER
MONITORS IN BG. ANDRE (CONT) …for
mad long by eight kids, I got knocked out. They took my sneakers while I was
unconscious… |
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10:08:35:xx CS OF INMATE LISTENING TO ANDRE’S STORY. ANDRE (OFF/S)(CONT) There
was this kid Beetlejuice in there.
They were beatin’ this kid up every day… |
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10:08:38:xx MS OF ANDRE R WITH INMATE PARTLY IN FRAME L. ANDRE
(CONT) … smackin’ him and all that, punchin’
him in the face, makin’ him do the medication.
Medication’s like a dance that they make you do. You gotta
say, medication, medication, don’t
hurt, blood don’t hurt me. Go like this, and like dance, isn’t that funny?
They tried to do it to me, I wasn’t with it, so I got my ass kicked again.
Basically I was just gettin’ my ass kicked every
day |
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10:09:01:xx CS OF ANDRE’S HAND AS HE DRAWS WITH PENCIL ON
WHITE PAPER. |
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10:09:04:xx MCS FROM LOW ANGLE WITH ANDRE IN FRAME RIGHT AND
HISPANIC INMATE’S ELBOW IN FRAME LEFT. CAMERA ZOOMS INTO CS OF ANDRE’S FACE
AND FRAME LEFT FADES TO BLACK. CAPTION FADES IN OVER BLACK BG: Andre Blandon set a car on fire as part of an
insurance scam. He was convicted of arson and has eight months left to serve
of a year-long sentence. DISSOLVE TO: |
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77
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10:09:16:xx CS OF ANDRE’S DRAWINGS. CAMERA PANS RIGHT OVER
VARIOUS FIGURES. I have
this little construction in my brain called “André’s world ...if I’m in the
dorm… DISSOLVE TO: |
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10:09:24:xx CAMERA PANS RIGHT OVER A NEW SERIES OF ANDRE’S
DRAWINGS. ANDRE (OFF/S)(CONT) …and
people are pissin’ me off I just lay
down, close my eyes and I go into this world that I could explore. I could do
anything I want, and that is crazy |
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10:09:34:xx CS OF ANDRE. ANDRE I can
fly and all that. Run at top speeds.
And it’s like a city, so there’s a whole, big thing. There’s all buildings
and stuff around. |
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10:09:43:xx CS OF ANDRE’S HANDS AS HE FIDDLES WITH A PIECE OF
STRING. ANDRE And
this guy’s tryin’ to convince me that I’m crazy.
He’s tellin’ me “You have to take your medicine
every day.” |
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81
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10:09:48:xx CS OF ANDRE WITH WHITE BG. ANDRE “Don’t
stop takin’ that - don’t stop takin’ that Zoloft.” I was like “I only take it
when I feel like I need it.” |
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10:09:53:xx MCS OF MS. DEREKSON LISTENING TO ANDRE. CAPTION
FADES OVER BG: Ms. Dereksen Social Worker ANDRE
(OFF/S) I was explainin’ to him the things I was explaining to you
before. And was like. MS.
DEREKSON Yeah. |
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83
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10:09:58:xx CS OF ANDRE. ANDRE He
said, “You need to - you need to see some help for that. You need to talk to
a counselor.” I am talkin’
to a counselor. But there’s nothin’ goin’ on, I’m not crazy, I’m a normal kid. I’m just
different than everybody else. |
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10:10:11:xx CS OF MS. DEREKSON LISTENING TO ANDRE. ANDRE
(OFF/S) ‘Cause
when I talk to this guy it’s like… |
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10:10:13:xx CS OF ANDRE WITH WHITE BG. ANDRE
(CONT) …I’m
not André Blandon, I’m an inmate, just like… MS.
DEREKSON (OFF/S) Yeah. ANDRE I’m
just a guy with tan on that you could just say whatever you want to. He asked everybody these questions. [N.B.
‘tan’ refers to the color of his uniform] MS.
DEREKSON (OFF/S) Sure. ANDRE Do you
feel like killing yourself? Do you feel like doing that? What’s wrong with
you? Or you need to take that. Okay, boom. Fill out the paper and send me
on my merry little way. But he’s not
actually takin’ time to listen to me. MS.
DEREKSON (OFF/S) Sure. ANDRE He’s readin’ up on my background. And he’s like, you’re
crazy. Get the hell out of here. MS.
DEREKSON (OFF/S) Because
you were at St. Vincent’s then and you did make a self-destructive gesture or
something at some point, right? ANDRE A
couple, a few. Yes. MS.
DEREKSON (OFF/S) Okay. |
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10:10:54:xx WS OF OFFICER HOPSON LEADING INMATE DOWN HALL. |
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87
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10:10:57:xx WS OF OFFICER HOPSON WORKING HIS WAY THROUGH HALL
AND CROWD OF INMATES. CAMERA PANS AND DOLLIES WITH HIM AS HE GOES, PATTING
INMATES ON THE BACKS. HOPSON Yo! HOPSON
(VO) You have to exhibit a certain love for
these kids, because if you don’t they can read you… |
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10:11:14:xx INMATES SHIRT FILLS FRAME, THEN MOVES OUT,
REVEALING A WS OF INMATES HEADING OFF TO CLASS. CAMERA PANS RIGHT TO REVEAL
HOPSON STANDING IN THE SIDE OF THE HALL OBSERVING THEM IN A MCS. HOPSON
(VO) …they sense when you are not for real. We
try to convey that and yet be tough at the same time. |
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89
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10:11:22:xx MCS OF OFFICER HOPSON DISCUSSING HIS ROLE AT
RIKERS. CAPTION FADES IN OVER BG: Officer Hopson 32 Years at Rikers HOPSON You
take a kid off the streets and bring him into the system, he’s bringin’ his skills and the ability to commit crime… CAMERA GRADUALLY ZOOMS IN TO CS OF HOPSON. HOPSON
(CONT) …and
sell drugs into this penal system. |
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90
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10:11:34:xx WS THROUGH WINDOWS OF INMATES PASSING THROUGH
HALL. HOPSON
(VO) The social skills for being successful… |
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91
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10:11:37:xx MCS OF FEMALE AFR. AMER OFFICER DOING PAPERWORK. HOPSON (VO) (CONT) …in life they were not prepared for. |
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92
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10:11:40:xx CS OF OFFICER HOPSON. I’ve
also witnessed kids comin’ here that couldn’t read,
couldn’t even tell time. |
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93
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10:11:46:xx MCS OF INMATE THROUGH WINDOW.. HOPSON
(VO) But the school do attempt to help train
them… |
|
94
|
10:11:49:xx CS OF OFFICER HOPSON. HOPSON
(CONT) …so
they won’t return back into a system that’s so destructive and enslaving. |
|
95
|
10:11:57:xx WS OF INMATES FILING THOUGH PRISON BARS UNDER
WATCH OF FEMALE AFR. AMER. OFFICER FEMALE
GUARD Keep
the noise down, fellas, keep the noise down. |
|
96
|
10:12:02:xx WS OF INMATES WALKING DOWN WHITE HALL. CAMERA
DOLLIES IN WITH INMATES AS THEY ENTER DORM ROOM. |
|
97
|
10:12:16:xx WS OF TWO AFR. AMER. INMATES MOCK FIGHTING. |
|
98
|
10:12:19:xx MCS OF INMATE HOLDING HEAD AND RUBBING FACE. |
|
99
|
10:12:23:xx WS OF SEVERAL INMATES WALKING AWAY IN BG WHILE A
HISPANIC INMATE FACING CAMERA IN FG MAKES A CRUDE GESTURE WITH HIS MIDDLE
FINGER. |
|
100
|
10:12:26:xx WS OF SEVERAL INMATES SLEEPING IN DORM BEDS.
CAMERA PANS RIGHT TO SHOW THE OPPOSITE ROW OF BEDS AND ONE INMATE ON HIS BACK
TALKING TO ANOTHER. |
|
101
|
10:12:32:xx MCS OF AFR. AMER. INMATE FROM SIDE TALKING TO
ANOTHER INMATE IN FG WHO IS CHANGING HIS SHIRT. |
|
102
|
10:12:36:xx MCS OFANDRE ON FLOOR BEING MOCK PUNCHED BY
ANOTHER INMATE. ANDRE Oh!! Asshole! |
|
103
|
10:12:47:xx WS OF THE TWO INMATES. CAMERA PANS RIGHT WITH
ANDRE AS HE WALKS AWAY. ANDRE All
right you got it, you got it, okay. I’m cool, man, I’m cool. Happens every day. I’m cool. |
|
104
|
10:13:10:xx WS OF INMATES SITTING IN CIRCLE IN DORM, TALKING. JOSEPH Food
is money in jail, period, it’s straight money ‘cause… |
|
105
|
10:13:15:xx CS OF JOSEPH WITH BLUE DO RAG. CAPTION FADES IN
OVER BG: Joseph Sprolling JOSEPH …what
comes along with food is power, but like… |
|
106
|
10:13:17:xx CS OF AFR. AMER. INMATE WITH BLACK DOO RAG
(Gabriel Whyte) AND FACIAL HAIR. JOSEPH (CONT) …we
got the most food… |
|
107
|
10:13:20:xx WS OF THREE INMATES. TWO SIT ON A BED IN FRAME
LEFT AND ANOTHER LIES ON A BED WITHOUT A SHIRT IN FRAME RIGHT. THE SHIRTLESS
INMATE HANDS FOOD ITEMS FROM A BLUE
BIN TO THE INMATE IN FG OF FRAME LEFT. THE CAMERA ZOOMS IN TO THE BIN
FROM WHICH THE SHIRTLESS INMATE IS REMOVING THE FOOD. JOSEPH
(OFF/S) We go
to the commissary on Tuesday. So if
you don’t go Tuesday you owe me five packs of cookies, next Tuesday you owe
me ten. |
|
108
|
10:13:28:xx CS OF SPROLLING TALKING. JOSEPH If you
don’t pay then, nigger’s gonna beat you up. |
|
109
|
10:13:31:xx CS OF INMATE IN FRAME RIGHT. CAPTION FADES IN
OVER BG AS HE SPEAKS: Gabriel Whyte GABRIEL They
know the consequences that come with jugglin’ food. JOSEPH
(OFF/S) Yup. GABRIEL There’s
consequences. |
|
110
|
10:13:38:xx MCS OF SANTIAGO AS HE TALKS ON PHONE. INMATE
COMBS HIS HAIR IN BG FRAME LEFT, AND ANOTHER PASSES IN BG FRAME RIGHT. JOSEPH If
they wanna use the phone they aks
us, you know what I’m sayin’? Me and a coupla other dudes… |
|
111
|
10:13:41:xx WS OF WHYTE (FRAME RIGHT) AND SPROLLING (FRAME
LEFT). JOSEPH (CONT) …we’re
on the phone for like two, three hours the whole day. GABRIEL
While
other people only could use the phone for six minutes. |
|
112
|
10:13:47:xx MFS OF WHITE OFFICER STANDING IN DOORWAY AS WHYTE
SPEAKS. GABRIEL
(OFF/S) That’s
where we at, but C.O.s are on top of
everything. I ain’t used to… |
|
113
|
10:13:50:xx CS OF WHYTE SPEAKING. GABRIEL (CONT) …I ain’t used to people tellin’ me
what to do. You gotta live with it. GUARD
#1 (OFF/S) On
your beds… |
|
114
|
10:13:54:xx WS OF SEVERAL OFFICERS WALKING TOWARD CAMERA DOWN
HALL. CAMERA DOLLIES BACK WITH THEM. GUARD
#1 (CONT) On
your beds… |
|
115
|
10:13:59:xx WS OF SEVERAL INMATES AND AN OFFICER PASSING IN
FRAME LEFT WITH THE DORM ROOM IN BG. GUARD
#2 It’s a
search. On your rack , on your rack. GUARD
#1 Put
your green shirt, blue shirt. GUARD
#3 Put
the game away. CHIEF
GUARD (OFF/S) Let’s
go, fellas, do-rags off. |
|
116
|
10:14:03:xx MCS OF CHIEF GUARD ADDRESSING INMATES IN DORM
ROOM. CHIEF
GUARD Have a
seat facing your bed. Face the window
in your section. |
|
117
|
10:14:07:xx WS OF DORM. CAMERA DOLLIES FORWARD AND BRIEFLY
FOLLOWS AN OFFICER WALKING UP THE AISLE BETWEEN BEDS. GUARD
#1 Completely
dressed. Have a seat on your bed facin’ the window. |
|
118
|
10:14:12:xx WS OF INMATES SEATED ON BEDS. GUARD
#1(OFF/S) Do-rags
off. |
|
119
|
10:14:16:xx WS OF OFFICER AND SEVERAL INMATES PROCEEDING
FORWARD. INMATES HAVE HANDS PLACED ON THEIR HEADS, AND OFFICER MOTIONS FOR
THEM TO WALK TOWARDS THE CAMERA. CHIEF
GUARD This
section right here, stand up. |
|
120
|
10:14:25:xx WS OF SEVERAL OFFICERS IN FRAME RIGHT AS THEY PAT
DOWN THE INMATES LINED UP IN DORM ROOM.
CAMERA DOLLIES FORWARD TO A CS OF ONE AFR. AMER. OFFICER PATTING DOWN
AN INMATE. CHIEF
GUARD One
line, hands on your head facin’ me. Step in the
line. |
|
121
|
10:14:32:xx OFFICER CONTINUES TO PAT DOWN INMATE THEN STANDS
UP AND DIRECTS THE INMATE AWAY FROM THE CAMERA. CHIEF
GUARD (OFF/S) Brown,
when you’re done with them just run these guys out. |
|
122
|
10:14:35:xx WS OF OFFICERS IN FRAME LEFT AND INMATES IN FRAME
RIGHT AS THEY PROCEED FORWARD WITH ARMS UP AFTER BEING INSPECTED. GUARD
#1 All
right, take it to the dayroom. Close them elbows. Straight to the… |
|
123
|
10:14:40:xx WS OF GUARDS R AS INMATES HEAD INTO BG. GUARD
#1 (CONT) …dayroom. |
|
124
|
10:14:41:xx WS THROUGH IRON GRATE. CAMERA PANS LEFT TO A
DOORWAY WHERE AN INMATE ENTERS. |
|
125
|
10:14:46:xx MCS OF INMATE WITH HANDS ON HEAD. BEHIND HIM, AN
OFFICER INSPECTS THE INMATES BACK. GUARD
#4 Turn
around and face the dayroom. Tuck your
elbows in THE
OFFICER MOTIONS FOR ANOTHER INMATE TO STAND BEHIND THE FIRST. |
|
126
|
10:14:53:xx WS OF INMATES PROCEEDING THROUGH A DOOR WITH
HANDS UP. CHIEF
GUARD You
two in the back, let’s go, let’s go. |
|
127
|
10:14:58:xx WS OF INMATES FROM BEHIND AS THEY PROCEED TOWARD
A LARGE GROUP OF THEIR COMRADES IN BG. |
|
128
|
10:15:01:xx CS OF HISPANIC INMATE WITH HANDS ON HEAD BEING
INSPECTED FROM BEHIND BY AFR. AMER. OFFICER IN BG. CAMERA TILTS DOWN AS THE
OFFICER BEGINS TO INSPECT THE CONTENTS OF THE INMATE’S BACK POCKET. CHIEF
GUARD (OFF/S) Two
gentlemen in the front, stand up. |
|
129
|
10:15:07:xx MCS OF THE OFFICER AS HE INSPECTS THE CONTENTS OF
THE HISPANIC INMATE’S POCKET. CAMERA TILTS UP AND PANS LEFT AS THE OFFICER
HANDS THE ITEMS TO THE INMATE. CHIEF
GUARD (OFF/S) Turn
around, face Broadway, keep your hands on your head. |
|
130
|
10:15:11:xx CS OF INMATE’S LEGS FROM BEHIND AS THEY ARE
PATTED DOWN BY OFFICER. CAMERA PANS LEFT AND TILTS UP. |
|
131
|
10:15:13:xx MCS OF HISPANIC INMATE WITH HANDS ON HEAD AS HE
IS PATTED DOWN BY OFFICER FROM BEHIND IN BG. |
|
132
|
10:15:16:xx WS OF INMATES HOLDING MATRESSES AS THEY WAIT FOR
INSPECTION. |
|
133
|
10:15:19:xx WS OF VARIOUS ITEMS ON TABLE BEING INSPECTED BY
OFFICERS. |
|
134
|
10:15:23:xx WS OF AFR. AMER. OFFICER INSPECTING CONTENTS OF
AN INMATES LOCKER IN FRAME LEFT AS THE INMATE LOOKS ON FROM FRAME RIGHT. |
|
135
|
10:15:27:xx WS OF INMATE’S PAPER ITEMS AS THEY ARE REMOVED
FROM LOCKER AND STACKED ON BED. CAMERA TILTS UP TO REVEAL A MFS OF THE
OFFICER TOSSING THE ITEMS ON BED. |
|
136
|
10:15:32:xx MFS OF OFFICER SHAKING MAGAZINE. OFFICER IS IN
FRAME LEFT, AND INMATE HOLDS HIS MATTRESS. |
|
137
|
10:15:35:xx CS OF INMATE’S HEAD IN FG FRAME LEFT AND MFS OF
OFFICER OVER INMATE’S SHOULDER IN BG AS HE INSPECTS THE INMATE’S POSSESSIONS. |
|
138
|
10:15:40:xx MCS OF INMATE FROM SIDE WITH DORM IN BG. CHIEF
GUARD There’s
a broom in the back. |
|
139
|
10:15:42:xx CS OF INMATE’S HEAD IN FG FRAME LEFT AND MFS OF
OFFICER OVER INMATE’S SHOULDER IN BG AS HE INSPECTS THE INMATE’S POSSESIONS. |
|
140
|
10:15:44:xx WS OF OFFICER IN BLACK JACKET INSPECTING A SOCK
IN FRAME LEFT. TWO INMATES IN FRAME RIGHT, LOOK ON. |
|
141
|
10:15:48:xx CS OF INMATE IN FRAME RIGHT AS HE WATCHES OFFICER
(OFFSCREEN). |
|
142
|
10:15:51:xx WS OF OFFICERS AND INMATES AS INSPECTION PROCESS
CONTINUES. |
|
143
|
10:15:55:xx WS OF INSPECTION PROCESS THROUGH METAL GRATE.
CAMERA PANS RIGHT AS OFFICER IN BG INSPECTS SHEETS/TOWELS. |
|
144
|
10:16:01:xx WS OF INMATES. |
|
145
|
10:16:05:xx WS OF DORM AND INMATES. |
|
146
|
10:16:07:xx CS OF INMATE (SHAWN JOHNSON) THROUGH IRON GRATE.
CAMERA PANS BACK AND FORTH AS IT FOLLOWS ANDRE. |
|
147
|
10:16:14:xx CS OF AN INMATE’S FOREHEAD IN FG FRAME LEFT AND
ANOTHER INMATE IN FRAME RIGHT. |
|
148
|
10:16:16:xx WS OF OFFICERS. OFFICER IN WHITE STANDS IN FG.
INMATES IN BG LEFT. OFFICER TURNS AND FILES THROUGH DOORWAY. CHIEF
GUARD Let’s
go. |
|
149
|
10:16:20:xx WS OF INMATES PASSING BY THROUGH METAL GRATE. |
|
150
|
10:16:23:xx WS OF INMATES WALKING TOWARDS CAMERA AND PASSING
IN FRAME LEFT. |
|
151
|
10:16:26:18 WS OF DORM AS INMATES MILL ABOUT. |
|
152
|
10:16:29:xx MCS OF INMATE SEATED SIDEWAYS FRAME RIGHT. HE
STANDS. CAMERA TILTS UP. TORRES Search
you. Shit, it’s crazy. Real crazy, dude. |
|
153
|
10:16:36:xx WS OF TABLE WITH INMATE’S THINGS ON IT. THE
CAMERA TILTS UP TO REVEAL ANDRE’S FACE. ANDRE This is all my shit and it’s all messed up but I
don’t care. |
|
154
|
10:16:40:xx MCS OF INMATE ANGRILY PICKING UP WHITE T-SHIRTS
TO PUT AWAY AFTER INSPECTION. INMATE
(Indian accent) Took
everything. They took my sneakers,
took my food. INMATE
#2 Took
my clean underclothes. INMATE Took
my underwear. My Keds. |
|
155
|
10:16:48:xx MFS OF INMATE HOLDING WHITE T-SHIRTS AS HE POINTS
TO PHOTOGRAPHS AND BOOKS INMATE The
didn’t take my bitches. They didn’t violate my bitches. SANTIAGO They
didn’t violate my bitches. THE CAMERA ZOOMS IN TO A CS SHOT OF THE PICTURES
ON THE BED. |
|
156
|
10:16:55:xx CS OF ANDRE’S HANDS FROM OVER HIS SHOULDER AS HE
PUTS THE PICTURES INTO A PHOTO ALBUM. |
|
157
|
10:17:01:xx MFS OF ANDRE SITTING ON BED IN FRAME LEFT AS HE
PUTS PHOTOS IN PHOTO ALBUM. |
|
158
|
10:17:04:xx LOCKER DOOR IN FG AND CS OF ANDRE’S FACE IN BG AS
HE REARRANGES HIS THINGS. |
|
159
|
10:17:05:xx MCS OF SANTIAGO RAPPING. ANOTHER INMATE STANDS IN
BG FRAME LEFT. SANTIAGO Yo. I was locked up, gone for a little bit, a
little four months here… |
|
160
|
10:17:10:xx CS OF INMATE WITH WHITE DO RAG. CAMERA GRADUALLY
ZOOMS OUT. SANTIAGO
(CONT) …see I
did a little bid. I been doin’ this since I was a little kid. |
|
161
|
10:17:13:xx MCS OF INMATE SWEEPING/MOPPING WHILE OTHER
INMATES LOOK ON FROM BG. SANTIAGO
(OFF/S) (CONT) …since
I had a little heart in my little rib.
|
|
162
|
10:17:16:xx MCS PROFILE OF INMATE CARRYING PILLOWS. CAMERA
PANS LEFT AS HE WALKS. SANTIAGO Growin’
up in the PJs lookin’ at
sneakers in the Eastway [PJs = projects, low income housing Eastway is a catalogue for sneakers] |
|
163
|
10:17:18:xx MFS OF AN INMATE WIPING UP TABLE WITH VARIOUS
OBJECTS SCATTERED ABOUT ON IT. SANTIAGO (CONT) …saying
“When can I get them ma… |
|
164
|
10:17:20:xx MCS OF SANTIAGO RAPPING. TWO INMATES STAND IN BG;
. SANTIAGO (CONT) …No
party for my b-day. Lookin’ at girls in… [b-day
= birthday] |
|
165
|
10:17:23:xx CS OF SANTIAGO’S PAPER. INMATE LOOKS ON. SANTIAGO (OFF/S)(CONT) …Enyce, when can I hit ‘em… [Enyce = clothing brand] |
|
166
|
10:17:25:xx MCS OF INMATE PICKING UP CLOTHES THROWN ON HIS
BED DURING INSPECTION AND THROWING THEM DOWN AGAIN AS THE CAMERA TILTS DOWN
TO A WS OF THE BED. SANTIAGO
(CONT) My
life is a replay Trying to get into this world each day, how can I get mine. |
|
167
|
10:17:29:xx WS OF INMATES BED AS INMATE IN BG PUTS HIS FOAM
MATTRESS ON IT. SANTIAGO
(CONT) I gotta take it easy, hopin’ that
I get… |
|
168
|
10:17:31:xx WS OF INMATES PUTTING SHEETS ON MATTRESS. SANTIAGO
(CONT) …a
little leeway as long as I’m livin’ mine…. |
|
169
|
10:17:33:xx CS OF INMATE IN BG BEHIND LOCKERS WAVING HAND TO
SANTIAGO’S RAP. SANTIAGO (CONT) No
hope from this world. father with a fast assed… |
|
170
|
10:17:35:xx CS OF SANTIAGO RAPPING. INMATES STAND IN BG. SANTIAGO (CONT) …daughter
no hope for his girl. |
|
171
|
10:17:38:xx MCS OF INMATE’S HANDS AS HE FOLDS SOCKS. CAMERA
THEN TILTS UP TO A PROFILE CS OF INMATES FACE. SANTIAGO
(CONT) Everybody
lives and everybody gotta die, everybody walks but
everybody gotta… |
|
172
|
10:17:42:xx WS OF INMATES STANDING AROUND SANTIAGO AS HE RAPS. SANTIAGO …fly. Everybody’s real but everybody gotta
cry. You could tell the truth but everybody gotta
lie, you know? FADE TO BLACK |
|
173
|
10:17:50:xx BLACK. DISSOLVE TO: |
|
174
|
10:17:50:xx WS ROOM WITH A FS OF SANTIAGO SITTING IN THE
UPPER RIGHT CORNER OF A ROOM. MCCULLAH
SITS LOWER FRAME LEFT. MCCULLAH
I know
you’ve gotten a little caught up in here a couple of times. But the things is
if you’re planning to do something on the outside, you gotta
start doing it in here. |
|
175
|
10:17:58:xx MCS OF SANTIAGO.
SANTIAGO When I
get back out in the world. I wanna go back to high school and get my diploma. MCCULLAH
(OFF/S) How
old are you? SANTIAGO Eighteen. MCCULLAH Are
you Special Ed? |
|
176
|
10:18:06:xx MCS OF COUNSELOR. CAPTION BOTTOM RIGHT Ms. McCullah Release Planner SANTIAGO
(OFF/S) For
behavior. Not for learning disability. MCCULLAH Right,
right. You might be able to go back, but it’s going be hard because if you
don’t have any credits and you’re eighteen, even if you went back you’re not gonna graduate ‘til you’re twenty-two. |
|
177
|
10:18:19:xx MCS OF SANTIAGO. SANTIAGO Oh, so
I gotta get some type of education before I’m
twenty-one some type of experience. I’m not trying to be a bum. MCCULLAH You
said you’re not… |
|
178
|
10:18:29:xx MCS OF COUNSELOR FRAME LEFT. MCCULLAH …focused
when you’re in here, but what’s to say SANTIAGO In
here it’s different. |
|
179
|
10:18:36:xx MCS OF SANTIAGO. SANTIAGO In here, I get distracted. MCCULLAH
(OFF/S) The
focus needs to happen… |
|
180
|
10:18:42:xx WS WITH SANTIAGO SITTING IN FRAME R. AND MCCULLAH
LEFT. MCCULLAH (CONT) …regardless
of where you are. There can’t be an excuse as to why you’re not focusing in
here, and that you’re gonna focus out there. |
|
181
|
10:18:49:xx MCS OF COUNSELOR LEFT. SANTIAGO
(OFF/S) So I
might as well take the GED, right? MCCULLAH Yeah. SANTIAGO You gotta study for that. |
|
182
|
10:18:56:xx WS ROOM WITH SANTIAGO RIGHT AN MCCULLAH LEFT.. SANTIAGO I have
a reason to get off the Island now. ‘Cause all the time I was stayin’ on the Island not doin’
nothin’. |
|
183
|
10:19:02:xx MCS OF SANTIAGO. SANTIAGO Just tryin’ to live life. I’m tired of this - I’ve been like
too long. Since twelve to this age, only time I’ve been out in the world
longest was like - like four months, just four months, all the time I’ve been
locked up, locked up, locked up, since twelve all the way up. |
|
184
|
10:19:22:xx MCS OF MCCULLAH MCCULLAH Right. SANTIAGO
(OFF/S) Now
I’m in this facility. And the next step from here… |
|
185
|
10:19:26:xx CS OF SANTIAGO. SANTIAGO …is
that. MCCULLAH Right. SANTIAGO I’m
not tryin’ to get up there. I’m done with this. I’m tired of it. Every
time getting locked up, every time, every time. I’m tired of it. |
|
186
|
10:19:29:xx WS OF SANTIAGO AND OFFICER WALKING DOWN HALL.
CAMERA PANS RIGHT WITH THEM AS THEY WALK PAST. CAPTION FADES OVER BG: DISSOLVE TO: |
|
187
|
10:19:52:xx BLACK. DISSOLVE TO: |
|
188
|
10:19:54:xx WS OF EXTERIOR NEIGHBORHOOD STREET. FS OF
SANTIAGO (IN STREET CLOTHES) WALKING ALONG SIDEWALK IN FG; CAMERA DOLLIES
RIGHT WITH HIM. CARS OCCASIONALLY OBSCURE THE LOWER HALF OF THE FRAME AS THEY
PASS INTO THE FG AND OUT AGAIN. AS SANTIAGO APPROACHES A FRIEND, THE CAMERA
STOPS, AND THE OTHER BOY COMES FORWARD OUT OF HIS FRONT YARD TO GREET
SANTIAGO. THE CAMERA THEN PANS RIGHT
AS IT DOLLIES, PLACING SANTIAGO IN A FRONTAL MCS AS HE WALKS OUT OF THE
FRAME. |
|
189
|
10:20:05:xx WS OF NEIGHBORHOOD STREET; SANTIAGO AND COMRADES
WALK AWAY FROM THE CAMERA AND DOWN THE STREET TOWARD INTERSECTION. CAPTION: Santiago in his neighborhood one month later. |
|
190
|
10:20:14:xx MCS OF SEVERAL AFR. AMER. YOUTHS IN STREET
CLOTHES. IN FRAME RIGHT, A PROFILE OF SANTIAGO WITH BASEBALL CAP BACKWARDS
AND LIGHTLY PLACED ATOP HIS HEAD IS VISIBLE. IN BG, A MFS OF ANOTHER YOUTH
WEARING A RED BASKETBALL JERSEY WATCHES SANTIAGO. IN FRAME LEFT, ANOTHER AFR.
AMER. YOUTH WITHOUT SHIRT CHATS WITH SANTIAGO. SHIRTLESS
BOY You
was up in Island? YOUTH IN BG LIGHTS CIGARETTE, AND CAPTION FADES
IN OVER BG:
SANTIAGO Yeah,
I was in Rikers. I was in the six building. SHIRTLESS
BOY Six
building, what section? C? SANTIAGO I was
seven main. SHIRTLESS
BOY Seven
main. |
|
191
|
10:20:24:xx CS OF SHIRTLESS AFR. AMER. YOUTH WITH GREEN HAT. SANTIAGO
Seven
main, eleven main. When you… |
|
192
|
01:20:26:xx MCS OF SANTIAGO IN RIGHT CENTER FRAME, DRINKING
LIQUOR. IN BG, SEVERAL OTHER YOUTHS WATCH. SANTIAGO (CONT) …came
out? SHIRTLESS
BOY I’m
seventeen… |
|
193
|
10:20:28:xx MCS OF SHIRTLESS YOUTH IN FG, TALKING TO
SANTIAGO, AND OTHER YOUTH WITH BASKETBALL IN BG. CAMERA SLOWLY ZOOMS IN TO CS
OF SHIRTLESS YOUTH. SHIRTLESS BOY (CONT) …now.
I came out when I was like fifteen. |
|
194
|
10:20:31:xx WS OF SANTIAGO AND SHIRTLESS YOUTH AS THEY HUG
ONE ANOTHER. SANTIAGO But
you home, man. SHIRTLESS
BOY Yeah,
yeah, you too. SANTIAGO Stay
home, man. Stay home. Do it for the
family, you know? SHIRTLESS
BOY Keep
the feet on the ground… concrete. SANTIAGO That’s
right. |
|
195
|
10:20:39:xx MFS OF YOUNG AFR. AMER. GIRL WATCHING SANTIAGO’S
INTERACTIONS. CAMERA GRADUALLY ZOOMS OUT TO WS OF ENTIRE SCENE, WHICH
INCLUDES SANTIAGO AND FELLOW COMRADES. |
|
196
|
10:20:48:xx WS OF HALL WITH LARGE AFR. AMER. WOMAN STANDING
IN DOORWAY, RIGHT. AS SHE ENTERS HALL, TANYA EMERGES FROM THE ROOM BEHIND
HER. CAMERA PANS LEFT AND TILTS DOWN TO REVEAL A BLACK PLASTIC BAG WHICH
LARGE WOMAN HAS JUST HANDED TO SANTIAGO.
HE OPENS THE BAG, WHICH CONTAINS A CARDBOARD BOX LABELED “TEST.”
INSIDE, SANTIAGO FINDS A HOME PREGNANCY TEST, SANTIAGO LOOKS AT THE TEST, AND
HOLDS IT UP, REVEALING TANYA’S PREGNANCY. SANTIAGO This
is the pregnancy test. Two lines means she’s pregnant, one line means she’s
not. |
|
197
|
10:21:10:xx CS OF SANTIAGO LOOKING AT PREGNANCY TEST. SANTIAGO Two
lines, man. |
|
198
|
10:21:13:xx CS OF LARGE WOMAN. CAPTION FADES IN OVER BG: Tanya Brown Santiago’s girlfriend CAMERA ZOOMS OUT TO MCS OF SANTIAGO RAPPING.
TANYA RETURNS TO ROOM, OFFSCREEN, AND VARIOUS FAMILY MEMBERS PASS IN HER
PLACE. SANTIAGO
(RAPPING) Yo. Comin’
through. I ain’t
goin to bend shit …my girl right here is one month
pregnant, and I don’t know what’s goin’ on. I might
be crazy, I might have a girl or a boy or a baby. I gotta
know how I gotta get the real lard. I gotta get right and try to get a real job. Support my
kids for the fun of it. I gotta do it for them, and just for the love of it. And I
don’t know about doin’ like a see-through, comin’ through the block…knowin’
as… [lard
= money, doin’ like a see—through = disappearing] |
|
199
|
10:21:37:xx CS OF TANYA IN FRAME LEFT, IN BG BEHIND DOOR JAM.
CAMERA ZOOMS OUT TO REVEAL PROFILE SHOT OF HER. SANTIAGO
(CONT) I need
you. They love me and I love you |
|
200
|
10:21:49:xx CS OF SANTIAGO LYING ON COUCH. SANTIAGO Having
a baby, man, another one. WOMAN
(OFF/S) Gotta
pay the bills. Gotta get a job, man (Gotta, i.e., “must”) TANYA
(OFF/S) Yep. DISSOLVE TO: |
|
201
|
10:21:47:xx BLACK. DISSOLVE TO: |
|
202
|
10:21:48:xx FS OF AFR. AMER. WOMAN APPROACHING CAMERA WITH
INMATES FOLLOWING BEHIND. |
|
203
|
10:21:54:xx WS OF INMATES MILLING ABOUT IN HALL |
|
204
|
10:22:00:xx WS OF TABLE IN LIBRARY. AFR. AMER. INMATE SITS IN
FG FRAME LEFT. IN BG FRAME RIGHT, AN AFR. AMER. TEACHER/COUNSELOR TALKS TO
HIM. TEACHER So how
did you get the confidence to share materials |
|
205
|
10:22:03:xx CS OF AFR. AMER. INMATE IN BG FRAME LEFT. CAPTION FADES IN OVER BG:
TEACHER
(CONT) …that
you knew other students in this school would be reading? |
|
206
|
10:22:07:xx WS OF TABLE IN LIBRARY. SHAWN SITS LEFT. IN BG
FRAME RIGHT, AN AFR. AMER. TEACHER/COUNSELOR LISTENS TO HIM. SHAWN Oh,
that’s simple. Miss Ortiz |
|
207
|
10:22:09:xx CS OF AFR. AMER. WOMAN LISTENING TO SHAWN.
ANOTHER WOMAN IS VISIBLE IN BG. |
|
208
|
10:22:13;xx CS OF SHAWN IN FRAME LEFT READING. IN BG FRAME
RIGHT, ANOTHER INMATE’S FACE IS VISIBLE. SHAWN I
don’t like to talk about myself, but I’ll try. I am a man who hates deception of the human
soul with great contemption. That is because I am
fond of people who are forward and don’t twist their words to hit points on
someone’s scoreboard. [contemption = a word Shawn made up to mean ‘contempt’] |
|
209
|
10:22:26:xx CS OF THE DOCUMENT SHAWN IS RECITING (ENTITLED “I
AM”) SHAWN I was
always like this, and will never change, ‘cause I’m a man who knows he’s
going long-range. |
|
210
|
10:22:31:xx WS OF AFR. AMER. FEMALE IN BG FRAME LEFT, MS.
ORTIZ IN CENTER, AND INMATE’S FOREHEAD IN FG. SHAWN
(OFF/S) I am
who I want… |
|
211
|
10:22:33:xx CS OF ANDRE. SHAWN (OFF/S)(CONT) …to
be, trust me and let me see… |
|
212
|
10:22:34:xx CS OF INMATE. SHAWN
(OFF/S)(CONT) …that
there is… |
|
213
|
10:22:36:xx CS OF SHAWN’S POEM. SHAWN (CONT) …infinite
greatness inside of me. |
|
214
|
10:22:37:xx CS OF SHAWN LOOKING UP FROM HIS POEM. FRAME RIGHT
FADES TO BLACK. CAPTION FADES IN OVER BG: Shawn Johnson was convicted of armed robbery. He
has four months left to serve of an eight-month sentence. DISSOLVE TO: |
|
215
|
10:22:41:xx BLACK SCREEN. DISSOLVE TO: |
|
216
|
10:22:54:xx CS OF SHAWN. MCCULLAH (OFF/S) So
what have you been thinking, Shawn, about what you want to do when you get
out of here? SHAWN I’m
thinking about that college stuff, but it’s gonna
be pretty hard, ‘cause I wanna be a philosopher. MCCULLAH (OFF/S) ‘Cause
what? SHAWN It’s gonna be pretty hard ‘cause I wanna
be a philosopher. MCCULLAH (OFF/S) You
want to be a philosopher? SHAWN Yeah. And usually if I don’t know if I’m gonna make it then I don’t try at all. That’s the type… |
|
217
|
10:23:15:xx MCS OF MCCULLAH. CAPTION FADES IN OVER BG: Ms. McCullah Release Planner SHAWN (OFF/S)(CONT) …of
person I am. |
|
218
|
10:23:19:xx CS OF SHAWN. MCCULLAH (OFF/S) Well,
why do you want to go to college? SHAWN I want
you to tell me first. MCCULLAH (OFF/S) Well,
I’d like to see why you came up with it yourself because I didn’t talk to you
about college and you said you wanted to go to college. Why did you say you
want to go to college? |
|
219
|
10:23:34:xx MCS OF MS. MCCULLAH. SHAWN (OFF/S) I want
better knowledge, I mean to understand things more. |
|
220
|
10:23:38:xx CS OF SHAWN. MCCULLAH (OFF/S) And
what would that do for you in your life?
SHAWN Hopefully, make me a better person. MCCULLAH And
maybe give you more options? SHAWN Maybe. |
|
221
|
10:23:39:xx MCS OF MS. MCCULLAH SHAWN (OFF/S) I just
wanna be a bum… |
|
222
|
10:23:50:xx MCS OF SHAWN SLUMPING BACK INTO HIS SEAT. SHAWN (CONT) …just
let time fly… Keep all my knowledge inside, don’t tell nobody nothin’. What’s wrong with that? MCCULLAH (OFF/S) I
didn’t say there is anything wrong with that. SHAWN But
what’s wrong with that, though? What’s
wrong with… MCCULLAH (OFF/S) There’s
a saying that says, “Sometimes you’ll choose the negative you know over the
positive you don’t know” |
|
223
|
10:24:13:xx MCS OF MS. MCCULLAH. MCCULLAH …versus
going and doing something like college which is completely foreign, and even
though they know it might help them. It’s scary because they’ve never done
anything like that. And instead of trying to deal with the fear of that; it’s
just easier to go back to what you know. |
|
224
|
10:24:20:xx MCS OF SHAWN WITH ARMS SPREAD OUT. CAMERA ZOOMS
IN TO CS OF SHAWN’S FACE. |
|
225
|
10:24:28:xx MCS OF OFFICER HOPSON FROM BEHIND AS HE GUIDES
INMATES ON THEIR VARIOUS WAYS. HOPSON I gotta talk to you. TALL
INMATE About
what? HOPSON About
your black eye. TALL
INMATE What? SHORT INMATE Oh, he
got a black eye. |
|
226
|
10:24:40:xx WS OF METAL DETECTOR AS INMATES PASS THROUGH. |
|
227
|
10:24:43:xx CAMERA SLOWLY PANS LEFT AS INMATES PASS. |
|
228
|
10:24:47:xx MCS OF LEV, WITH SLING. CAMERA PANS RIGHT WITH
HIM UNTIL HE HALTS. CAMERA TILTS DOWN TO A CS OF HIS SLING, THEN BEGINS TO
TILT UP AGAIN. MAN (OFF/S) That
happened today? LEV Yesterday.
And my ligaments are still torn. HOPSON Dude,
what happened? |
|
229
|
10:24:52:xx WS OF HOPSON AND LEV. HOPSON PASSES INTO FG. LEV I was
in the bathroom and they jumped me. HOPSON Why? LEV I
don’t know. For nothing. I’m getting
picked on the whole time. I’m getting sick and tired of this I’m gettin’
jumped. HOPSON Yeah. HAMILTON
(OFF/S) I’m
sorry to hear about… |
|
230
|
10:25:02:xx CAMERA DOLLIES FORWARD WITH LEV, STOPS TO PAN
LEFT AS THE INMATE TURNS LEFT AND PASSES THROUGH THE METAL DETECTOR. HAMILTON (CONT) …that. Hope you feel better. LEV Thanks
a lot. |
|
231
|
10:25:11:xx MS OF RODRIGUEZ. CAMERA ZOOMS IN TO A MCS OF
RODRIGUEZ. RODRIGUEZ He was
in the bathroom getting jumped. Don’t come to jail. You want to be a tough
guy, you come here and this is where you know if you’re a tough guy or not. |
|
232
|
10:25:18:xx WS OF LEV AND HOPSON. HOPSON I gotta see the infraction, read it, see all the
particulars. You have to… LEV Watch
my back. HOPSON Yeah. |
|
233
|
10:25:28:xx WS OF DORM. INMATES CHASE ONE ANOTHER. |
|
234
|
10:25:35:xx WS OF INMATES LYING ON DORM BEDS AND READING
MAGAZINES. |
|
235
|
10:25:37:xx WS OF DORM. INMATES PLAY CHESS IN FG. |
|
236
|
10:25:40:xx WS OF SHAWN ON BED AND ANOTHER FELLOW INMATE
SITTING NEARBY. |
|
237
|
10:25:42:xx MCS OF SHAWN READING. |
|
238
|
10:25:44:xx WS OF PATH BETWEEN BEDS IN DORM.. |
|
239
|
10:25:48:xx CS OF TWO INMATES LIGHTING CIGARETTES. |
|
240
|
10:25:50:xx WS OF THREE INMATES SEATED WITH BACKS AGAINST A
WALL AS THEY SMOKE. |
|
241
|
10:25:56:xx CS OF INMATE WITH BLACK DO RAG AS HE GAZES DOWN
AT CIGARETTE. |
|
242
|
10:25:59:xx CS OF CIGARETTE CHANGING HANDS |
|
243
|
10:26:02:xx WS OF CIGARETTE BEING PASSED. SEVERAL INMATES
VISIBLE IN BG. |
|
391
|
10:26:05:xx WS OF TWO INMATES TALKING. STEVEN Shit,
that’s wack. |
|
392
|
10:26:08:xx CS OF STEVEN’S HANDS AS HE REMOVES PAPERS FROM
HIS LOCKER AND PLACES THEM IN A FOLDER. STEVEN People
like wow. You ain’t
have no reason to be out there… |
|
393
|
10:26:10:xx MCS OF STEVEN PLACING THINGS IN THE FOLDER.
CAPTION FADES IN OVER BG: Steven Torres STEVEN
(CONT) …doin’ what you was doin’. Listen, man, you don’t even know, man… |
|
394
|
10:26:16:xx MCS OF INMATE LYING ON BED. |
|
395
|
10:26:18:xx MCS OF STEVEN. STEVEN Live
on welfare. Fucking bullshit check gonna do? I got
sisters, you know what I mean? My mom gotta feed ‘em. She can’t take
care of all of us on one check. so I do what I do. Go out there, do what I do best. |
|
401
|
10:26:37:xx CAMERA PANS LEFT OVER WS OF PRISON YARD AND
SUNSET/RISE THROUGH CRACKED GLASS WINDOW. |
|
402
|
10:26:43:xx WS OF NEW YORK SKYLINE THROUGH CRACKED GLASS
WINDOW. DISSOLVE TO: |
|
403
|
10:26:47:xx BLACK SCREEN. DISSOLVE TO: |
|
404
|
10:26:49:xx CAMERA DOLLIES FORWARD FROM BEHIND SANTIAGO IN A
MFS AS HE WALKS DOWN A SIDEWALK. |
|
405
|
10:26:56:xx PROFILE MFS OF SANTIAGO WALKING DOWN SIDEWALK.
CAMERA PANS RIGHT AS HE CONTINUES, AND AFTER HE PASSES THE CAMERA, IT ZOOMS
IN TO AN MCS OF HIS BACK. HE CONTINUES OFF SCREEN. |
|
406
|
10:27:02:xx WS OF RESTAURANT. SANTIAGO WALKS INTO FRAME,
THROUGH THE DOOR, AND OFF SCREEN. SANTIAGO Wanted
to know if I can… |
|
407
|
10:27:06:xx MCS OF SANTIAGO’S BACK IN FG AND ANOTHER AFR.
AMER. MAN BEHIND RESTAURANT COUNTER IN BG. SANTIAGO (CONT) …get
an application for a job? CLERK Yeah,
hold on. SANTIAGO REQUESTS JOB APPLICATION AND THE CLERK
LEAVES FRAME. |
||
|
408
|
10:27:14:xx CAMERA PANS LEFT IN AN MCS OF THE CLERK AS HE
RETURNS. CLERK Just
fill it out and bring it back. SANTIAGO Okay. CLERK Or you
can fill it out right here. SANTIAGO
I can
fill it out right here? CAMERA
TILTS DOWN TO MS OF THEM ON THE COUNTER. SANTIAGO All
right. CLERK Got a
pen? SANTIAGO Thank
you. CLERK Not a
problem. |
||
|
409
|
10:27:25:xx FS OF SANTIAGO SITTING AT TABLE AS HE FILLS OUT
APPLICATION. |
||
|
410
|
10:27:30:xx CS OF SANTIAGO’S APPLICATION AS HE FILLS IT OUT. |
||
|
411
|
10:27:36:xx MCS OF SANTIAGO’S FACE AS HE FILLS OUT
APPLICATION. |
||
|
412
|
10:27:40:xx CS OF SANTIAGO’S APPLICATION. CAMERA TILTS DOWN
ACROSS DOCUMENT. DOCUMENT READS: Education History Grammar School High School College |
||
|
413
|
10:27:45:xx FS OF SANTIAGO IN FRAME RIGHT AS HE FILLS OUT THE
APPLICATION. |
||
|
414
|
10:27:47:xx CAMERA ZOOMS IN AS SANTIAGO APPROACHES THE CLERK.
SANTIAGO HANDS OVER HIS APPLICATION, AND THE TWO SHAKE HANDS. SANTIAGO Thank
you. CLERK Filled
out the back & front, right? SANTIAGO Yes. CLERK All
right, we’ll give you a call. |
||
|
415
|
10:27:53:xx BLACK SCREEN. DISSOLVE TO: |
|
|
|
416
|
10:27:54;xx WS OF RIKERS PRISON YARD. CAMERA SLOWLY ZOOMS IN
TOWARD OPEN DOOR. |
|
|
|
417
|
10:27:57:xx WS OF HALLWAY. MAN STANDS IN FRAME RIGHT AGAINST
WALL, AND DOORS IN BG OPEN AS SEVERAL INMATES APPROACH. |
|
|
|
418
|
10:28:07:xx CS OF GED CERTIFICATES. AUERBACH Andre
Blandon here? Is he here? He’s coming today, isn’t he? CAMERA TILTS UP TO MCS OF THE BACK OF THE
AUERBACH’S HEAD IN FG FRAME RIGHT AND THE INMATES LINED UP IN BG FRAME LEFT. |
|
|
|
419
|
10:28:16:xx MCS OF HOPSON. HOPSON Okay,
close that door. Yo.
Miss Grant. |
|
|
|
420
|
10:28:20:xx WS OF INMATES STANDING IN LINE. CAMERA PANS RIGHT
ACROSS THE LINE. GRANT
(OFF/S) We
have wonderful news, if you’ll just take time out to listen. AUERBACH
(OFF/S) Yes… |
|
|
|
421
|
10:28:20:xx MS OF AUERBACH WITH THE CERTIFICATES. AUERBACH
(CONT) …the
GED diplomas came in. André, you wanna listen to
this news. CAPTION
FADES IN OVER BG AS CAMERA ZOOMS IN: Mr. Auerbach GED Teacher CAMERA DOLLIES AND PANS LEFT, THEN ZOOMS IN TO
ANDRE WHO COMES FORWARD AUERBACH The
GED diplomas came in, congratulation is due to André Blandon. Here’s your diploma, a General Equivalency
Diploma, congratulations. ANDRE GETS BACK IN LINE. ANOTHER INMATE COMES
FORWARD TO RECEIVE HIS. AUERBACH And
Gregory Nigro, congratulations. You did very well. You can go to college
with those scores, excellent scores. CAMERA THEN ZOOMS OUT; AUERBACH STANDS IN MCS
FRAME RIGHT, AND THE INMATES STAND IN LINE, FRAME LEFT. |
|
|
|
422
|
10:28:42:xx CS OF ANDRE AND GREG. CAMERA ZOOMS OUT TO WS WITH
THE TWO IN MCS. ANDRE I can
imagine how excited you are. Yo, my parents are gonna fuckin’ flip, son GREG My
father’s gonna get it in the mail and go ‘yeah’ |
|
|
|
423
|
10:28:52:xx WS OF THREE INMATE’S FEET AS THEY WALK; CAMERA
PANS LEFT WITH THEM AND THEN TILTS UP AND DOLLIES FORWARD BEHIND ANDRE
ANDGREG. CAMERA TILTS DOWN AND PANS LEFT AS ANDRE SHAKES SOMEONE’S HAND. |
|
|
|
424
|
10:29:01:xx WS OF CLASSROOM. |
|
|
|
425
|
10:29:04:xx WS OF CLASSROOM. PITT WRITES ON CHALKBOARD IN
FRAME RIGHT, AND INMATES TAKE NOTES FROM DESKS IN FRAME LEFT. |
|
|
|
426
|
10:29:08:xx CS OF THE MATH FORMULAS DRAWN BY THE TEACHER ON
THE BLACKBOARD. HE CONTINUES TO WRITE. PITT Because
A-squared plus B-squared equal C-squared. |
|
|
|
427
|
10:29:15:xx WS OF A PAINTING BEING WORKED ON BY AN INMATE.
CAMERA GRADUALLY PANS LEFT AND TILTS UP TO CS OF INMATE’S FACE. ART
TEACHER The
brush is fast, Tyrrell. Blot it and get a little
more white. |
|
|
|
428
|
10:29:21:xx WS OF TABLE AT WHICH SEVERAL INMATES ARE DOING
ART PROJECTS. ART
TEACHER A
little more white. and a little more black with that medium grey. TEACHER
(OFF/S) Can’t
do his… |
|
|
|
429
|
10:29:28:xx MCS OF AFR. AMER. WOMAN IN PINK STANDING OUTSIDE
OF A CLASSROOM. SHE POINTS IN AT SOME STUDENTS AS SHE SPEAKS. TEACHER
(CONT) …work.
Always agitating others who are doing their work. |
|
|
|
430
|
10:29:32:xx MCS OF OFFICER LEANING AGAINST WALL. TEACHER And I
can’t have that disruption in my class. |
|
|
|
431
|
10:29:34:xx WS OF WOMAN IN PINK LEANING AGAINST CLASSROOM
DOOR AND AN INMATE POINTING IN TO CLASSROOM FROM FRAME LEFT. INMATE I
don’t be agitating nobody in this class. |
|
|
|
432
|
10:29:37:xx MCS OF OFFICER SPEAKING TO WOMAN IN PINK. FEMALE
OFFICER Go in
there sit down. Do not get up out of this classroom. |
|
|
|
433
|
10:29:40:xx MFS OF WOMAN IN PINK STANDING IN CLASSROOM AND
CLOSING THE DOOR. |
|
|
|
434
|
10:29:42:xx WS OF CLASSROOM. HAMILTON Let’s
take a look at what a trap is designed to do. |
|
|
|
435
|
10:29:45:xx MCS OF HAMILTON.
HE SLOWLY BACKS UP, REVEALING AN INMATE IN BG. HAMILTON A trap
is designed to bait-slash-lure someone or something into either death… |
|
|
|
436
|
10:29:51:xx WS OF INMATES. HAMILTON
(CONT) …or
into captivity unaware. |
|
|
|
437
|
10:29:54:xx CS OF MS. ORTIZ SPEAKING. CAMERA TILTS DOWN AND
PANS LEFT TO A MS OF THE DOCUMENT SHE HOLDS. ORTIZ Don’t
tell me it’s because of animosity between the heart and the head. Just get
along and do your job so that the human soul won’t be robbed |
|
|
|
438
|
10:30:02:xx MCS OF SHAWN ORTIZ
(CONT) …of
self discovery, don’t be shy, do ask why. This is beautiful. |
|
|
|
439
|
10:30:08:xx MCS OF ANDRE ON TELEPHONE IN FRAME LEFT. OFFICER
WATCHES FROM DESK IN BG. OPERATOR
(VO) (FILTERED) Go ahead. ANDRE Hello? ANDRE’S
MOM (VO) (FILTERED) Yes? ANDRE What’s
up, Mom? ANDRE’S
MOM (VO)(FILTERED) Hey.
Hey, boy! ANDRE What’s
going on? ANDRE’S
MOM (VO)(FILTERED) I’m all right. I’m on hold ‘cause I was trying to get to
the dentist. This is boo-boo. Hold on. Let me see. ANDRE’S
MOM (VO)(FILTERED) You there? ANDRE Yeah. ANDRE’S
MOM (VO)(FILTERED) Yeah, they hung up. How you been? ANDRE Chillin’, chillin’. ANDRE’S
MOM (VO)(FILTERED) That’s cool. ANDRE I only
got a few minutes, but I wanted to know if you guys want to come down on
Thursday. ANDRE’S
MOM (VO)(FILTERED) Oh… ANDRE A
through L visit. ANDRE’S
MOM (VO)(FILTERED) I don’t know, we supposed to go look at an
apartment. ANDRE Oh. ANDRE’S
MOM (VO)(FILTERED) Boo-boo’s asking for us to come down
Thursday. What’s going on Thursday? ANDRE Nothing,
I just wanted to see you guys. ANDRE’S
MOM (VO)(FILTERED) Oh, okay.
Hold on, here’s Dad. ANDRE All
right. ANDRE’S
DAD (VO) (FILTERED) Yo, what’s up, man? ANDRE What
up? ANDRE’S
DAD (VO) (FILTERED) You all right? ANDRE Yeah,
I’m chillin’. ANDRE’S
DAD (VO) (FILTERED) Yeah.
Let me ask you a question. A lot of things have happened in your
life, right? ANDRE Yeah. ANDRE’S
DAD (VO) (FILTERED) You said you seen some things so that you gotta turn around, right? ANDRE What
do you mean? ANDRE’S
DAD (VO) (FILTERED) You said, you changed your life
around. You told them that you
should’ve listened to your mother and father before, right? ANDRE Yeah. ANDRE’S
DAD (VO) (FILTERED) Don’t get mad, don’t get upset, ain’t nobody tried to let you know your dumb-ass brother Dawon decided he wanted to do the same shit you doing ANDRE What’s
that? ANDRE’S
DAD (VO) (FILTERED) Well, you did, should I say. Ran away from home. ANDRE Wow. ANDRE’S
DAD (VO) (FILTERED) Yeah, and then he went to ACS, tell them
he didn’t wanna come back home. That’s why I got so
many problems. And you know why he did
that? ANDRE Why is
that? ANDRE’S
DAD (VO) (FILTERED) ‘Cause he got a little bullshit job. And I
was gonna take his checks and put ‘em in the bank and he thought that I was gonna take his checks away from him. ANDRE That’s
crazy ANDRE’S
DAD (VO) (FILTERED) You know what I’m saying? It’s stupid shit, man. I don’t get it.
Y’all boys don’t understand, man, I be tryin’ to
look out for y’all. and y’all still
think I’m tryin’ to hurt you. But I ain’t tryin’ to play that so
you get into anything like that, that’s why I didn’t wanna
tell you. It’s been a long time, stop
not fuckin’ listenin’. Cos’ I’m not trying to hear you right now I’m on the
phone. Don’t be upset, but your brother’s a dickhead. That’s nor no… |
|
|
|
440
|
10:32:15:xx OVER THE SHOULDER CS OF THE TELEPHONE AND ANDRE’S
HEAD AS HE TALKS . ANDRE’S
DAD (VO) (FILTERED) (CONT) …here nor there. I wanna talk
about you real quick. Your daddy is so proud of everything that you’re doin’. I don’t
want you to think I missed a minute or a heartbeat. Patrice is there, too.
She’s lettin’ you know she loves you. She wants you outta
there, too, man. She’s crazy mad
‘cause this nigger’s in there right now, you know what I mean? ANDRE Yeah. |
|
|
|
441
|
10:32:36:xx WS OF ANDRE IN FRAME LEFT CAMERA ZOOMS OUT AS ANDRE HANGS UP, TURNS
HIS BACK, AND WALKS AWAY INTO BG. PHONE REMAINS IN FG. ANDRE Damn
short-ass phone calls! |
|
|
|
442
|
10:32:47:xx FS OF ANDRE AS HE WALKS TOWARD CAMERA; AT THE
SAME TIME, THE CAMERA DOLLIES FORWARD AND HE EXITS LEFT. |
|
|
|
443
|
10:32:49:xx FS OF ANDRE SITTING ON BED, ORGANIZING PAPERWORK,
AND FILLING OUT WORK. |
|
|
|
444
|
10:33:02:xx CS OF ANDRE. |
|
|
|
445
|
10:33:05:xx MFS OF ANDRE SITTING ON BED AS HE WORKS. ANOTHER
INMATE COMES AND SITS DOWN ON HIS BED IN FG FRAME RIGHT. JAMAR You
sure? I’ll let you be ANDRE My
little brother ran away from home. |
|
|
|
446
|
10:33:14:xx CS OF ANDRE’S HANDS AS HE WRITES ON THE PAPER IN
HIS LAP. ANDRE I know
my father was doin’ some idiot shit, cause when I
was working my father did the same thing to me. But… |
|
|
|
447
|
10:33:20:xx MCS OF INMATE’S BACK AS ANDRE SITS L. ANDRE …he
wanted to take my brother’s checks and put them in a bank, but that wasn’t
his motive, ‘cause he did the shit to me before. He was takin’
my checks, and I forgot what he was doin’ with the
shit. But he was doin’ some crazy shit with it. JAMAR Pretty
sure he wasn’t putting them in the bank. ANDRE Yeah,
exactly. |
|
|
|
448
|
10:33:38:xx CS OF ANDRE’S HANDS AND WORK AS HE WRITES. ANDRE Callin’
my brother a dickhead and shit. That made me mad, but I don’t wanna… |
|
|
|
449
|
10:33:41:xx WS OF DORM. ANDRE (CONT) ...say
anything. It just made me mad ‘cause that tells me that’s how it felt, that’s
how he felt when he kicked me out, when I kept runnin’
away. He makes it seem like all fuckin’ peaches and
cream, oh, you just ran away from home, artist, or, you know what I’m saying,
you just got up and left. But he knew
why I left. MS OF
ANDRE L & INMATE R. CAMERA EVENTUALLY DOLLIES LEFT TO PLACE THE TWO
EQUALLY IN FRAME; ANDRE SITS IN FRAME LEFT AND THE OTHER IN FRAME RIGHT. |
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450
|
10:34:06:xx PROFILE CS OF ANDRE. JAMAR
(OFF/S) That’s
torture. |
|
|
|
451
|
10:34:09:xx WS OF THE EXTERIOR OF A MULTILEVEL RIKERS
BUILDING AT NIGHT. DISSOLVE TO: |
|
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|
452
|
10:34:13:xx CAMERA PANS RIGHT OVER SKYLINE AT DUSK. DISSOLVE TO: |
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453
|
10:34:24:xx BLACK SCREEN. DISSOLVE TO: |
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454
|
10:34:26:xx SHOT OF RODRIGUEZ’S DOOR: ‘For success, attitude
is as important as ability’ RODRIGUEZ
(O.S.) Now,
one thing that I wanna kind of get you to think
about as well… |
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|
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244
|
10:34:33:xx SHOT OF RODRIGUEZ RODRIGUEZ
(CONT) …is
choices. If you can turn back the
clock… Note
that a caption appears in the lower left third of the frame.) Mr.
Rodriguez Skills Teacher RODRIGUEZ
(CONT) …if you
can go back to a particular date, particular time. When would it be and why? |
||
|
245
|
10:34:49:xx MCS SHOT OF INMATE LISTENING (STEVEN TORRES) |
||
|
246
|
10:34:51:xx JOSEPH February
12, 1997 Note
that a caption appears in the lower left third of the frame.) Joseph Sprolling RODRIGUEZ
(OFF/S) That’s
a long time ago, Sprolling. Why is that? JOSEPH Because
that’s when I first started gettin’ into all this
trouble. Went to DFY for like four years and a hallf…then
bounced from like group home to group home…foster care, then back to the
group home. Then the last group home I was at last year in August…was in
Middleton that I just signed out, I left…came back to the City and got locked
up in October. [DFY =
Juvenile Detention] |
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|
247
|
10:35:26:xx RODRIGUEZ He
knew that that was the moment that his life changed. Four years of DFY and
then he graduated to Rikers…now he’s gettin’ ready to leave, |
||
|
248
|
10:35:34:xx WS OF THREE INMATES SITTING AT THE TABLE MS.
ORTIZ STANDS IN BG. RODRIGUEZ (CONT) …we gotta make sure that transition’s important, because
you’re gonna…let me tell you something. |
||
|
249
|
10:35:40:xx MCS OF RODRIGUEZ. RODRIGUEZ After
being in this environment so long, you get accustomed to it. |
||
|
250
|
10:35:45:xx CS OF SPROLLING. RODRIGUEZ
(OFF/S) You
begin to kind of feel your way around. Then you get on the team, you’re doin’ this and runnin’ the
phones. Then all of a sudden it starts to get comfortable in here. |
||
|
251
|
10:35:54:xx MCS OF RODRIGUEZ. RODRIGUEZ Then
you leave and cars are zooming, trains are zooming, things happen. And then all of a sudden you’re like… INMATE You’re
yourself. RODRIGUEZ Okay. So date, time? |
||
|
252
|
01:56.57:16 CS OF SHAWN. STEVEN
(OFF/S) October
2000. I was comin’
home from… |
||
|
253
|
10:36:09:xx MCS OF STEVEN.
CAPTION FADES IN OVER BG: Steven Torres STEVEN (CONT) …Children’s
Village, the group home upstate in Dobbs Ferry. I got discharged, my moms got
me outta there to be evaluated to regular
school. I was playin’
basketball, and then all of a sudden I just stopped goin’
to school and just started sellin’ drugs and just
started doing a whole bunch of things that was unnecessary. |
||
|
254
|
10:36:33:xx MCS OF RODRIGUEZ. RODRIGUEZ So,
the choices. What would you do
differently if you could turn back the clock to October of 2000? |
||
|
255
|
10:36:38:xx MCS OF TORRES. STEVEN I
would have stayed in school, talkin’ to the girls. RODRIGUEZ
(OFF/S) That
would’ve been safer, right? STEVEN Yeah. RODRIGUEZ
(OFF/S) Okay,
Andre. |
||
|
256
|
10:36:46:xx MCS OF SHAWN. ANDRE August
of 1990, when I first turned five, ‘cause that’s when that’s when I got into
preschool or whatever. |
||
|
257
|
10:36:53:xx MCS OF RODRIGUEZ. ANDRE (OFF/S)(CONT) I
started messin’ up, as a matter of fact, since I
was young |
||
|
258
|
10:36:57:xx MCS OF ANDRE. ANDRE
(CONT) …cause
I was a bad kid when I was little. But I started turning good when I got
older, but I just want to start everything all over again. RODRIGUEZ
(OFF/S) What
would you do? ANDRE Take
the right path. RODRIGUEZ What
would you change? I mean being in
kindergarten, being five years old, is not really much that you can really
do. RODRIGUEZ
(CONT) Do you
think that you would change? |
||
|
259
|
10:37:13:xx WS OF A GROUP OF STUDENTS SEATED AT A TABLE. MR.
RODRIGUEZ STANDS OVER THEM. ANDRE No, I
knew what I was doin’. CAMERA SLOWLY ZOOMS IN. |
||
|
260
|
10:37:17:xx MCS OF ANDRE. ANDRE I was
a bad kid. RODRIGUEZ Shawn,
what you got? What was your day? |
||
|
261
|
10:37:20:xx WS OF STUDENTS SEATED AT TABLE. SHAWN If I
go back right now, go back to the past, to a certain date, like a year from
now, I wouldn’t do everything |
||
|
262
|
10:37:31:xx MCS OF SHAWN. SHAWN ‘Cause
everything wouldn’t fit in the same order, because RODRIGUEZ So
you’re saying, things have happened to bring you to this point where you are
to think about what you’re gonna do from here on
in. SHAWN Exactly. So I’m saying right now is the perfect
moment, so... RODRIGUEZ Okay. |
||
|
263
|
10:37:44:xx MS OF ANDRE AND ANOTHER INMATE. SHAWN Which
point in time would you go back to? RODRIGUEZ
(OFF/S) What
point in… |
||
|
264
|
10:37:47:xx MCS OF SHAWN. ANOTHER INMATE IS VISIBLE IN BG
FRAME LEFT. RODRIGUEZ
(CONT) …in
time would I go back? SHAWN Got
him in the hot seat. |
||
|
265
|
10:37:51:xx MCS OF RODRIGUEZ. RODRIGUEZ August
third of ninety-nine. SHAWN Why? RODRIGUEZ My
father was killed. I miss my dad. Yeah,
so. SHAWN
(OFF/S) You’d
change everything? RODRIGUEZ I
would definitely change that, man.
Yeah. SHAWN It’s
destiny, man. RODRIGUEZ Yeah. |
||
|
266
|
10:38:16:xx MCS OF SHAWN. INMATES SIT BESIDE HIM ON EITHER
SIDE. SHAWN Everything
happens for a reason. RODRIGUEZ I
guess so. But that’s the day. That’s
the day I would change. |
||
|
267
|
10:38:24:xx MR. RODRIGUEZ WIPES EYES WITH CLOTH. RODRIGUEZ But
like you said, Shawn, everything happens for a reason. So it’s made me
stronger, it’s made me a better dad, and you know, I learned to put violence
down after that. I could easily resort to violence and got revenge. But I laid it down and walked away from it. |
||
|
268
|
10:38:53:xx CS OF TORRES. RODRIGUEZ
(OFF/S) But I
live with my choices… |
||
|
269
|
10:38:56:xx MCS OF SPROLLING. RODRIGUEZ (OFF/S)(CONT) …and
you guys gotta live with your choices. |
||
|
270
|
10:38:59:xx MCS OF ANDRE. RODRIGUEZ And
I’m hoping that you make some good ones now because… |
||
|
271
|
10:39:02:xx WS OF THREE INMATES SEATED AT TABLE WITH
RODRIGUEZ IN BG. RODRIGUEZ
(CONT) … life
is rough out there. |
||
|
272
|
10:39:04:xx WS OF THE EXTERIOR OF A BRICK BUILDING. THE SIGN
READS “NEW YORK CITY DEPARTMENT OF PROBATION.” |
||
|
273
|
10:39:08:xx WS OF ENTRANCE TO DEPT. OF PROBATION. PROFILE FS
OF SANTIAGO WALKING IN DOOR. |
||
|
274
|
10:39:11:xx MFS OF SANTIAGO WITH ARMS OUT AS AN OFFICER SCANS
HIM WITH A METAL DETECTOR. CAMERA TILTS DOWN AS THE OFFICER SCANS SANTIAGO’S
LEGS. |
||
|
275
|
10:39:15:xx WS OF RECEPTION AREA. SANTIAGO FILLS OUT FORM IN
FRAME LEFT, AND THE RECEPTIONIST WATCHES FROM HER CHAIR ACROSS THE COUNTER.
CAMERA DOLLIES FORWARD AND PANS SLIGHTLY RIGHT FOR AN OVER THE SHOULDER MCS
OF SANTIAGO FILLING OUT THE FORM. |
||
|
276
|
10:39:24:xx MFS OF SANTIAGO SITTING IN WAITING ROOM. |
||
|
277
|
10:39:31:xx MCS OF SANTIAGO WITH HEAD IN HANDS, LOOKING AT
THE FLOOR. PROBATION
OFFICER (VO) Okay, Home Depot. Did you follow up with that? |
||
|
278
|
10:39:35:xx WS OF SANTIAGO AND PROBATION OFFICER IN OFFICE.
SANTIAGO SITS IN FRONT OF THE DESK. SANTIAGO Yeah,
I went down there. PROBATION
OFFICER In
person? SANTIAGO Went
down there. Filled out a application
and all that. They gave me a number, I kept callin’,
kept callin’, and the guy kept… had an answering
machine. So I went to Costco’s… |
||
|
279
|
10:39:44:xx MCS OF THE PROBATION OFFICER. SANTIAGO
(CONT) …cause
a guy live in my neighborhood, he’s a manager… |
||
|
280
|
10:39:47:xx WS OF SANTIAGO AND PROBATION OFFICER IN OFFICE.
SANTIAGO SITS IN FRONT OF THE DESK, FRAME LEFT, AND THE WOMAN (P.O.) SITS AT
THE DESK. SANTIAGO (CONT) …of
Costco’s. So he told me to come down there, fill out the application he would
give me a job when I come down there. So I went down there. He’s on vacation
right now, I’m waitin’ for him to come back. CAMERA ZOOMS IN TO MCS OF SANTIAGO AS HE TALKS. PROBATION
OFFICER So
you’re not takin’ any drugs or anything like that? SANTIAGO
(OFF/S) No. PROBATION
OFFICER Any
alcohol? CAMERA PANS RIGHT TO MCS OF OFFICER SANTIAGO No. PROBATION
OFFICER You’re
clean. CAPTION
FADES IN OVER BG: Probation Officer Anderson SANTIAGO I’m in
drug counseling because I was in jail… |
||
|
281
|
10:40:02:xx OVER THE SHOULDER MCS OF ANDERSON WITH SANTIAGO
FACING CAMERA. SANTIAGO (CONT) …I was
smokin’ weed in Rikers
Island, and so I came home… PROBATION
OFFICER How
you smoke weed at Rikers Island? SANTIAGO They
got weed in Rikers Island. PROBATION
OFFICER They
do? Who got the weed? SANTIAGO The
people in there. PROBATION
OFFICER Where’d
they get it from? SANTIAGO I
don’t know, I guess from OTs or the older guys in
there. |
||
|
282
|
10:40:18:xx MCS OF ANDERSON. PROBATION
OFFICER ‘Cause
you know marijuana’s illegal, so you in jail and locked up. How you gettin’ weed in jail? CAMERA PANS LEFT TO MCS OF SANTIAGO AS HE
RESPONDS TO ONE OF HER QUESTIONS. SANTIAGO People
just passed it to me. PROBATION
OFFICER (OFF/S) We’re gonna do a drug test today. All right?
You ready? |
||
|
283
|
10:40:29:xx OVER THE SHOULDER MCS OF ANDERSON WITH SANTIAGO
FACING CAMERA FROM ACROSS THE DESK. PROBATION
OFFICER And
you know how this works, right? You
test positive… |
||
|
284
|
10:40:33:xx MCS OF SANTIAGO. PROBATION
OFFICER (OFF/S) …for
any illegal drug, you automatically get referred to a program |
||
|
285
|
10:40:37:xx OVER THE SHOULDER MCS OF ANDERSON WITH SANTIAGO
FACING CAMERA. SANTIAGO All
right. PROBATION
OFFICER All
right, let’s go. ANDERSON
AND SANTIAGO STAND UP AND EXIT FRAME LEFT. |
||
|
286
|
10:40:43:xx WS OF SANTIAGO IN FG, AN AFR. AMER. YOUTH AND
ANDERSON IN BG PROBATION
OFFICER ‘Cause
sometime, you know, people - drug of choice ain’t
always what comes out. They lace your stuff sometime, right? CAMERA DOLLIES FORWARD AND PANS RIGHT QUICKLY TO
A MCS OF ANDERSON. SANTIAGO What? PROBATION
OFFICER You
didn’t know that? SANTIAGO I
don’t smoke, so I wouldn’t know that. THE CAMERA
ZOOMS OUT PROBATION
OFFICER You
don’t smoke anymore. SANTIAGO I
don’t smoke anymore, I don’t smoke. SANTIAGO
AND THE YOUTH OPEN A DOOR AND ENTER THE ROOM. PROBATION
OFFICER Okay,
well let’s see, go ahead. We gonna find out. |
||
|
287
|
10:40:59:xx CS OF A CUP OF URINE. MALE
OFFICIAL (OFF/S) And
sign right here, and date it. |
||
|
288
|
10:41:03:xx CS OF SANTIAGO’S DRUG TESTING FORM AND HAND.
CAMERA ZOOMS OUT TO A MCS OF SANTIAGO IN FRAME LEFT. MALE OFFICIAL (OFF/S) Today’s
the twenty-second. SANTIAGO That’s
it? MALE
OFFICIAL Yeah. And you can wait in the front for the
results. |
||
|
289
|
10:41:09:xx MCS OF SANTIAGO. HE LEAVES THE ROOM, AND THE
OTHER YOUTH SHUTS THE DOOR BEHIND SANTIAGO AS HE GOES. |
||
|
290
|
10:41:15:xx CS OF SANTIAGO AS HE WAITS. |
||
|
291
|
10:41:18:xx CAMERA DOLLIES FORWARD BEHIND ANDERSON AS SHE
WALKS DOWN A HALL AND MEETS SANTIAGO. PROBATION
OFFICER Listen. SANTIAGO Yeah. PROBATION
OFFICER This
here is no good. SANTIAGO How is
it no good. PROBATION
OFFICER It’s
positive. SANTIAGO For
what? PROBATION
OFFICER For
what? Don’t act surprised, you know
what it’s positive for. SANTiAGO For
trees? [trees
= slang for marijuana] PROBATION
OFFICER For
marijuana. |
||
|
|
10:41:38:xx WS OF SANTIAGO AND ANDERSON AS THEY WALK INTO BG.
CAMERA DOLLIES FORWARD AND FOLLOWS THEM. PROBATION
OFFICER But
like I said, if you put your hand on a stack of Bibles and swear to it, only
the person who knows the truth is the man up there and you. SANTIAGO I
swear… PROBATION
OFFICER And we
go by the test results. Okay? DISSOLVE TO: |
||
|
292
|
10:41:51:xx BLACK SCREEN. DISSOLVE TO: |
||
|
293
|
10:41:53:xx MCS OF SANTIAGO AT HIS HOME. HE RUBS HIS FACE,
AND THEN PROCEEDS TOWARDS THE CAMERA; CAMERA DOLLIES BACK SLIGHTLY TO ALLOW
SANTIAGO TO PASS IN FRAME LEFT. SANTIAGO Tanya,
I have to talk to… |
||
|
294
|
10:41:58:xx CAMERA DOLLIES FORWARD FROM BEHIND SANTIAGO AND
STOPS WHEN SANTIAGO AND HIS GIRLFRIEND ARE IN FRAME. SANTIAGO (CONT) …about
some serious shit. I went to my probation, my urine was dirty. I gotta start changin’ up my shit
now. HE STANDS
IN FRAME RIGHT, AND SHE IN FRAME LEFT. CAMERA ZOOMS IN TO MCS OF EACH AS
SANTIAGO SPEAKS. SANTIAGO I got
these program I’m goin’ - accordin’
to the guy, Shane, and get into this program, start Tuesday, go through this
program. I ain’t smokin’
weed no more, I’m just goin’ to do what I gotta do. Get into
school… |
||
|
295
|
10:42:23:xx PROFILE MCS OF SANTIAGO’S GIRLFRIEND IN FRAME
LEFT. CAPTION FADES IN OVER BG: Tanya Brown Santiago’s girlfriend SANTIAGO
(OFF/S)(CONT) …get
into a job program or somethin’. So I need your
help with that, all right? |
||
|
296
|
10:42:28:xx CS OF SANTIAGO IN FRAME RIGHT. SANTIAGO It’s
time to man up. |
||
|
297
|
10:42:31:xx MFS OF TANYA. SANTIAGO
(OFF/S) You
all right? TANYA I’m
just laughin’ at you, you know why I’m laughin’ at you? SANTIAGO
(OFF/S) Why? TANYA How
many times I told you, don’t smoke weed? How many times I told you to get a
job? SANTIAGO
(OFF/S) A lot. TANYA How
many times I told you to go back to school? SANTIAGO
(OFF/S) A lot. TANYA I
always said it was gonna catch up to you. SANTIAGO
(OFF/S) Yeah,
it’s a wakeup call and I’m gonna do what I gotta do. |
||
|
298
|
10:42:51:xx PROFILE CS OF SANTIAGO. SANTIAGO Cause
shit’s limited right now. TANYA
(OFF/S) You’re
very limited. DISSOLVE TO: |
||
|
299
|
10:42:56:xx BLACK SCREEN. DISSOLVE TO: |
||
|
300
|
10:42:59:xx WS OF INMATES AND THEIR FAMILY MEMBERS STANDING BEFORE
THE GRADUATION CEREMONY. CAMERA SLOWLY DOLLIES DOWN THE AISLE. |
||
|
301
|
10:43:03:xx WS OF AUDIENCE STANDING IN FRAME LEFT AND INMATES
PROCEEDING UP AISLE IN FRAME RIGHT. |
||
|
302
|
10:43:05:xx WS OF INMATES FILING PAST CAMERA IN FRAME LEFT. |
||
|
303
|
10:43:10:xx FS OF AN INMATE PLAYING A DRUM SET IN FRAME
CENTER RIGHT. IN BG FRAME LEFT. |
||
|
304
|
10:43:13:xx INMATES CONTINUE TO FILE PAST CAMERA. INMATES
WATCH FROM FRAME LEFT, AND THE CAMERA DOLLIES BACK WITH THE GRADUATES AS THEY
COME. |
||
|
305
|
10:43:22:xx MCS OF ADULT MALE IN DRESS SHIRT AND TIE PLAYING
TROMBONE. IN BG FRAME LEFT, AN OLD MAN PLAYS THE SAXOPHONE; THE CAMERA BEGINS
TO DOLLY LEFT AND TOWARDS HIM. |
||
|
306
|
10:43:28:xx WS OF THE GRADUATES STANDING. |
||
|
307
|
10:43:37:xx WS OF STAGE; THE SAXOPHONE MAN SITS IN BG FRAME
LEFT, AND MS. GRANT STANDS BEHIND A PODIUM. CAMERA ZOOMS IN TO PLACE HER IN
FULL CENTER FRAME. GRANT Distinguished
guests, parents, Department of Corrections… |
||
|
308
|
10:43:43:xx MCS OF OFFICER HOPSON. GRANT
(CONT) …staff… |
||
|
309
|
10;43:44:xx WS OF AUDIENCE IN BG AND GRADUATES IN FG. GRANT (OFF/S)(CONT) …students,
most importantly graduates. |
||
|
310
|
10:43:46:xx WS OF TWO RELATIVES OF A GRADUATE LISTENING TO
THE PRESENTATION. |
||
|
311
|
10:43:48:xx WS OF SEVERAL GRADUATES. GRANT
(CONT) …it is
with great pride that I… |
||
|
312
|
10:43:51:xx MCS OF SHAWN LISTENING TO PRESENTATION. GRANT (OFF/S)(CONT) …welcome
each and every one of you today. |
||
|
313
|
10:43:54:xx MCS OF ANDRE LISTENING TO PRESENTATION. GRANT
(OFF/S)(CONT) And
I’m going to ask Mr. Rodriguez… |
||
|
314
|
10:43:57:xx PROFILE CS OF SOMEONE’S RELATIVE (AFR. AMER.
FEMALE) LISTENING TO PRESENTATION. GRANT (OFF/S)(CONT) …to
introduce our Valedictorian for… |
||
|
315
|
10:44:00:xx MCS OF MS. GRANT GIVING PRESENTATION. GRANT (CONT) …Class
of 2003-2004. SHE THEN HANDS THE MICROPHONE OFF TO RODRIGUEZ,
AND THE CAMERA PANS LEFT WITH THE MIKE AND CENTERS IN ON RODRIGUEZ. |
||
|
316
|
10:44:05:xx WS OF THE CROWD CLAPPING. |
||
|
317
|
10:44:08:xx MCS OF RODRIGUEZ SPEAKING INTO MICROPHONE ON
STAGE. CAMERA ZOOMS IN TO A CLOSER MCS OF RODRIGUEZ. RODRIGUEZ This
young man I’m about to introduce has made the best of his choices while he’s
been here. A lot of guys, you know,
this is not school, we don’t do anything. We don’t care. I’m doing time. I’m
in jail. It’s not a real school. You’re not a real teacher. You get all of
it. This young man I’m about to introduce took advantage of it. |
||
|
318
|
10:44:26:xx WS OF SEVERAL GRADUATES; PROFILE MCS OF SHAWN
SITTING IN FRAME RIGHT. RODRIGUEZ
(OFF/S) He’s
gotten his GED, written poetry, participated in everything that’s been put before
him. |
||
|
319
|
10:44:32:xx MCS OF RODRIGUEZ AS HE CONTINUES HIS SPEECH. RODRIGUEZ He’s
not allowing time to do him. He’s gonna do it, he’s
gonna take care of what he’s gotta
do. And he has. And I’m gonna bring him up. Shawn
Johnson, you want to come up? |
||
|
320
|
10:44:40:xx MCS OF SHAWN DROOPING HEAD IN RESPONSE TO ONE OF
RODRIGUEZ’S COMMENTS. HE STANDS UP AS THE CAMERA TILTS UP WITH HIM RODRIGUEZ (OFF/S) He’s
our valedictorian. CAMERA DOLLIES BACK AS SHAWN HEADS TOWARD THE
STAGE. |
||
|
321
|
10:44:45:xx MCS OF SHAWN FROM BEHIND AS HE WALKS TOWARD STAGE
AND TAKES THE MICROPHONE FROM MR. RODRIGUEZ. |
||
|
322
|
10:44:48:xx WS OF GRADUATES CLAPPING IN FG. |
||
|
501. |
10:44:52:xx MCS OF SHAWN. SHAWN Our
time here on Rikers Island has not always been
pleasant. However, we must understand that we are all here for a reason. |
||
|
502. |
10:44:59:xx MCS OF GRADUATES IN FG WITH AUDIENCE IN BG. SHAWN
(OFF/S) I
believe that school is a place where great… |
||
|
503. |
10:45:02:xx WS OF AUDIENCE. SHAWN (OFF/S)(CONT) …progress
and advancement toward the future can happen… |
||
|
504. |
10:45:06:xx WS OF AUDIENCE WITH GIRL IN RED IN FG. SHAWN (OFF/S) (CONT) …if we
put violence and crimes behind us. |
||
|
505. |
10:45:10:xx CS OF SHAWN. SHAWN I look
at Island Academy as a real school. We have both dedicated teachers… |
||
|
506. |
10:45:16:xx MS OF ORTIZ WITH OTHER TEACHERS IN BG. SHAWN (OFF/S)(CONT) …and
annoying teachers. |
||
|
507. |
10:45:19:xx CS OF SHAWN. SHAWN We
have both intellectual students and the intellectually challenged. |
||
|
508. |
10:45:24:xx WS OF GRADUATES WITH AUDIENCE IN BG. |
||
|
509. |
10:45:26:xx MCS OF SHAWN. SHAWN But
that doesn’t stop the rise of determination that we all have underneath our
cover. |
||
|
510. |
10:45:32:xx MS OF INMATE WITH FAMILY IN BG. SHAWN
(OFF/S) Do not
let procrastination be the thief of your time. |
||
|
511. |
10:45:35:xx MS OF SHAWN. SHAWN We
must give distance to the drugs and the knives to the violence and the ties
that we have to them we must break. From this day on our dreams we shall make
real, defined, great, and everlasting. |
||
|
512. |
10:45:50:xx WS OF AUDIENCE. SHAWN
(OFF/S) May
the Lord bless you all. I appreciate
your time and patience. |
||
|
513. |
10:45:55:xx MS OF SHAWN L & PRINCIPAL R. SHAWN Have a
beautiful, wonderful, productive future. HE HANDS HER THE MICROPHONE. CAMERA DOLLIES BACK
WITH SHAWN. CAMERA PANS R WITH HIM. |
||
|
514. |
10:46:07:xx HIGH WS OF AUDIENCE APPLAUDING. CAMERA DOLLIES BACK. Fade to Black |
||
|
515. |
10:46:10:xx Fade up from Black. CAMERA PANS L & R WITH SANTIAGO IN A HALLWAY. SANTIAGO That’s
the first thing I’m gonna do. I’m gonna get in
a program. I wanna get a job, and I’m gonna work. Complete this probation, and be serious,
man. Just wear suits every day. I don’t care what nobody saying about me.
Wear suits every day, every day. And
just keep doin’ that. and stay focused, stay away
from the weed, just keep drinkin’ water and just
stay healthy. DISSOLVE TO: |
||
|
516. |
10:46:34:xx CAMERA DOLLIES IN ON SANTIAGO. SANTIAGO So all
this next week, by next week. I should be in that program, yeah, I should be
in that program. I should be lookin’ for a job
while I’m in that program. I should be
on the internet lookin’ up for that university
thing. DISSOLVE TO: |
||
|
517. |
10:46:50:xx MS OF SANTIAGO. SANTIAGO I know
I’m gonna do it ‘cause I got it in my mind I’m gonna do it. And I gonna be
surprised, watch. DISSOLVE TO: |
||
|
518. |
10:46:55:xx SANTIAGO ENTERS R IN A MCS. SANTIAGO I’m gonna have a baby soon, so I gotta
just, you know DISSOLVE TO: |
||
|
519. |
10:47:00:xx CAMERA PANS R WITH SANTIAGO IN A MCS. CAMERA PANS R WITH SANTIAGO. SANTIAGO
(CONT) …I gotta do it, man, take care of business. |
||
|
520. |
10:47:13:xx SANTIAGO WALKS INTO A FREEZE FRAME L. TITLE APPEARS R. Santiago
did not find a steady job. Thirteen
months after his release the Department of Probation sent him back to Rikers Island. FADE TO BLACK. |
||
|
521. |
10:47:25:xx FADE IN: WS OF INMATES PLAYING AROUND, TEASING SHAWN. PITO My
little Nigger put it in, B. OTHER
INMATE Yo,
S-dot, since you’re goin’ home, give me that phone
call. I haven’t got it, man. I ain’t got nothing. CAPTION APPEARS: Shawn’s last day CAMERA TILTS UP AS THEY BRING SHAWN TO HIS FEET.
CAMERA PANS L WITH SHAWN & A FRIEND. PITO No
that PIN number goin’ to me. Tell me what it is. |
||
|
522. |
10:47:41:xx FS OF GUARD SEATED. |
||
|
523. |
10:47:43:xx CAMERA PANS R WITH SHAWN AS HE FACES FRIENDS
R. SHAWN PUTS ON HIS SHIRT. |
||
|
524. |
10:47:55:xx MCS OF ANDRE L & SHAWN R. ANDRE WALKS R TO
EXIT. CAMERA DOLLIES IN ON SHAWN TO INCLUDE ANDRE AS HE HUGS SHAWN. ANDRE I’m gonna miss you, son. SHAWN I know
you’re not even gonna write. ANDRE Say
what? SHAWN You’re
not gonna write me. ANDRE All
right, fine. SHAWN I know
you’re not gonna write me. |
||
|
525. |
10:48:05:xx MFS OF SHAWN & ANDRE WITH OTHERS R. CAMERA PANS L WITH SHAWN. CAMERA DOLLIES IN WITH SHAWN AS HE
APPROACHES FEMALE GUARD IN BG. |
||
|
526. |
10:48:24:xx LS OF SHAWN & FEMALE GUARD. CAMERA DOLLIES IN
AS HE WALKS ON INTO THE BG. |
||
|
527. |
10:48:28:xx MS OF MALE GUARD & SHAWN AS CAMERA DOLLIES R
WITH THEM. GUARD You gotta go down in the receiving room. SHAWN Okay. GUARD Intake. And that’s where we’re gonna
discharge you. |
||
|
528. |
10:48:37:xx MFS OF SHAWN AS GUARD OPENS A DOOR. |
||
|
529. |
10:48:39:xx MCS OF SHAWN AS GUARD OPENS A DOOR FOR HIM.
CAMERA DOLLIES IN WITH SHAWN AS HE ENTERS A ROOM. |
||
|
530. |
10:48:48:xx MFS OF SHAWN THROUGH A DOOR AS HE DRESSES. |
||
|
531. |
10:48:52:xx MFS OF OFFICER MORENO FACING SHAWN R AS OTHERS
STAND IN BG. MORENO How
long they put you here? SHAWN Eight
months. MORENO Eight
months in jail for robbery? That’s not
enough time. You understand that? You know that, right? SHAWN Yeah. MORENO It’s
not enough time. |
||
|
532. |
10:49:01:xx MCS OF SHAWN. MORENO (OFF/S) So
what you gonna do when you get outta
here? Rob again? ‘Cause you gonna come back here… |
||
|
533. |
10:49:04:xx MS OF MORENO L & SHAWN R. MORENO (CONT) …you
know that, right? Yes you are, yes you are. SHAWN No. MORENO Yes
you are. Statistics say that you will
come back here. |
||
|
534. |
10:49:10:xx CS OF SHAWN. MORENO (OFF/S) I’ve
seen you come, I seen you go, and I know you’ll be back. And if you don’t
remember this you should when you’re walking down the street, next time
there’s somebody you think is so easy to rob, you know, you just say… |
||
|
535. |
10:49:19:xx MCS OF MORENO. MORENO (CONT) “That
officer said I’m gonna come back here. And this is gonna be the day it happens.” SHAWN -Trust
me… |
||
|
536. |
10:49:23:xx CS OF SHAWN. SHAWN (CONT) …I
won’t. MORENO
(OFF/S) Why
would I trust you if you can’t trust yourself? SHAWN I
won’t. MORENO
(OFF/S) Do you
trust yourself? |
||
|
537. |
10:49:27:xx MCS OF MORENO. MORENO I
don’t have to trust you. I’ll know that when you come back, I’ll be the one
to fingerprint you take your picture and put you through the system again.
Okay. You understand that? SHAWN(OFF/S) Remember
that day. MORENO Huh? SHAWN Remember
that day. |
||
|
538. |
10:49:38:xx MCS OF SHAWN. SHAWN Remember
that day, ‘cause I’m not comin’ back. MORENO Remember
what day. |
||
|
539. |
10:49:41:xx MCS OF MORENO. MORENO I
don’t have to remember anything. You have to remember this. You’re the one
who does the foolish stuff out in the streets, not me. |
||
|
540. |
10:49:49:xx MS OF SHAWN AS CAMERA TILTS UP TO A MS. MORENO
(OFF/S) You
understand? SHAWN I’ve
already told you so. MORENO
(OFF/S) Put
your hands down there. Pick your head
up… |
||
|
541. |
10:49:58:xx CS OF MORENO. MORENO
(CONT) …and
try to be a eighteen-year-old young man that doesn’t wanna
come back into our jail system. SHAWN
(OFF/S) I’m
seventeen. MORENO What? |
||
|
542. |
10:50:04:xx MCS OF SHAWN. SHAWN I’m
seventeen. MORENO Seventeen. |
||
|
543. |
10:50:08:xx CS OF MORENO MORENO Okay. |
||
|
544. |
10:50:09:xx MCS OF SHAWN. |
||
|
545. |
10:50:11:xx MS OF AN OFFICER FINGERPRINTING AN INMATE. CAMERA
DOLLIES IN AS HE PRESSES THE FINGERS. |
||
|
546. |
10:50:16:xx CAMERA DOLLIES IN WITH SHAWN & GUARD AS THEY
COME TO A DOOR R. SHAWN ENTERS AS THE
GUARD CLOSES THE DOOR. |
||
|
547. |
10:50:24:xx MS OF SHAWN SEATED L. |
||
|
548. |
10:50:29:xx MS OF A MAN LOOKING THROUGH MESH. |
||
|
549. |
10:50:32:xx CAMERA PANS L WITH A MAN IN A T-SHIRT. |
||
|
550. |
10:50:35:xx WS OF YOUNG MEN IN A ROOM. |
||
|
551. |
10:50:38:xx MS OF CLERK SEATED AT A PODIUM IN BG. CLERK Johnson,
Shawn. Close the door behind you. Stand behind the red line. SHAWN ENTERS R. CAMERA DOLLIES BACK WITH SHAWN.
CAMERA DOLLIES AROUND L ON SHAWN. CLERK Date
of birth. |
||
|
552. |
10:50:55:xx MS OF CLERK OVER SHAWN’S SHOULDER. SHAWN Four,
sixteen, eighty-seven. CLERK Where
were you born? SHAWN April
sixth. CLERK Where
were you born? SHAWN Oh,
Jamaica. |
||
|
553. |
10:51:01:xx MS OF SHAWN. BARS ENTERS L. |
||
|
554. |
10:51:04:xx FS OF GUARD IN BG NEAR OPEN DOOR WITH SHAWN R.
SHAWN WALKS THROUGH THE DOOR IN BG. |
||
|
555. |
10:51:12:xx EXT. JAIL – DAY - CAMERA DOLLIES IN ON SHAWN AS
HE STEPS R. |
||
|
556. |
10:51:17:xx MS OF SHAWN SEATED IN A BUS. CAMERA DOLLIES IN ON
SHAWN. |
||
|
557. |
10:51:26:xx SHAWN’S MOVING POV OF STREET OUTSIDE. |
||
|
558. |
10:51:32:xx MS OF SHAWN SEATED. CAMERA DOLLIES IN ON HIS HAND
RAPPING ON THE SEAT. |
||
|
559. |
10:51:39:xx CS OF SHAWN. |
||
|
560. |
10:51:45:xx EXT. STREET/PARK – DAY - CAMERA DOLLIES IN WITH
SHAWN AS HE CARRIES HIS BELONGINGS IN A PLASTIC BAG. CAMERA DOLLIES AROUND L ON SHAWN. CAMERA
DOLLIES L WITH SHAWN. CAMERA PANS L TO SHAWN’S SISTER IN A LS. SISTER Oh my
God HE ENTERS
R & RUNS TO HER. CAMERA DOLLIES IN ON THEM. CAPTION
FRAME BOTTOM RIGHT Shannikay Johnson Shawn’s
sister SHAWN What’s
up with you, babe? SISTER Oh my
God! SHAWN What’s
up with you, babe? SISTER Oh
God! I can’t believe… to see you out
here. |
||
|
561. |
10:52:36:xx CAMERA DOLLIES AROUND L ON SHAWN & SISTERS IN
A MCS. SISTER She
doesn’t wanna come.
You see, she’s hiding. SHAWN Let me
get my bag. |
||
|
562. |
10:52:43:xx FS OF SHAWN PICKING UP HIS BAG. CAMERA PANS L WITH HIM TO INCLUDE SISTER.
CAMERA DOLLIES BACK WITH THEM. SHAWN Did a
lot of reading. SISTER Wow,
that’s a lot of books SHAWN Yeah,
all you can do in there… |
||
|
563. |
10:52:57:xx SHAWN & SISTER WALK TOWARD BG. SHAWN (CONT) …is
read. SISTER You
see her? SHAWN Yeah. SISTER Run to
Mommy and give her a hug. |
||
|
564. |
10:53:03:xx FS OF SHAWN’S MOM AS SHAWN RUNS TO HER. SHAWN’S SISTER ENTERS R. SHAWN Mommy.
Mommy. Mommy. SHAWN’S
MOM It’s gonna be okay now. FREEZE FRAME. |
||
|
565. |
10:53:26:xx CAMERA PANS R AS TITLE APPEARS R. NARRATIVE TITLE: Shawn
is living with his mom and sisters. He has not enrolled in college. FADE TO BLACK. |
||
|
566. |
10:53:36:xx FADE IN: INT. DORM – DAY – MFS OF ANDRE & FRIEND. THEY
EMBRACE. KC He
does not wanna go! ANDRE Get up
outta there, baby. TITLE APPEARS: Andre’s 19th birthday. CAMERA DOLLIES BACK WITH ANDRE. CAMERA DOLLIES IN
AS HE EMBRACES A MAN R. CAMERA DOLLIES
IN WITH ANDRE. KC I
should beat you up again. STEVEN Don’t
forget to send me that tattoo, boy. CAMERA
DOLLIES AROUND R TO ANOTHER INMATE. ANDRE Ah, I won’t be able to do it. STEVEN Stay
up, you hear me? ANDRE Peace,
man. |
||
|
567. |
10:53:56:xx MS OF ANDRE WITH INMATES. INMATE Be safe, OT [OT = old-timer, adult] |
||
|
568. |
10:54:02:xx MS OF GUARD PARTLY IN FRAME L. WITH ANDRE PARTLY
IN FRAME R. FEMALE GUARD Your
name? ANDRE Blandon, Andre. FEMALE GUARD Date
of birth? ANDRE 8-5-85. |
||
|
569. |
10:54:06:xx CAMERA DOLLIES BACK WITH ANDRE AS GUARD, IN BG,
CLOSES THE DOOR. |
||
|
570. |
10:54:18:xx WS OF ADULT INMATES. |
||
|
571. |
10:54:23:xx FS OF ANDRE & FEMALE GUARD. |
||
|
572. |
10:54:25:xx WS OF INMATES LEGS. CAMERA TILTS UP ON THE ADULT
INMATES. |
||
|
573. |
10:54:30:xx MS OF ANDRE. |
||
|
574. |
10:54:33:xx MS OF ANDRE AS CAMERA DOLLIES L WITH HIM. |
||
|
575. |
10:54:38:xx MFS OF ANDRE WITH GUARD L AS CAMERA DOLLIES R
WITH THEM. |
||
|
576. |
10:54:43:xx MCS OF GUARD. GUARD (ADULT JAIL) You
just turned 19? ADULT INMATE Yeah. He goin’ up with
the big boys… |
||
|
577. |
10:54:47:xx MS OF ANDRE R WITH TRUSTEE L. ADULT INMATE …now,
baby. |
||
|
578. |
10:54:51:xx MFS OF GUARD. GUARD You’re
sure you turn 19, right? You don’t
want this mistake. |
||
|
579. |
10:54:54:xx MFS OF ANDRE R DRESSING IN ADULT INMATE OVERALLS. NMATE (OFF/S) Now
you’re gonna get up to the big boys and it’s some
new shit. GUARD Know
where you gotta go, right? |
||
|
580. |
10:55:01:xx MCS OF GUARD. GUARD Gotta
go up to 6 pen. Officer will take you downstairs to GUARD (CONT) …where
you goin’, East Mod? ANDRE Yeah. |
||
|
581. |
10:55:08:xx MS OF ANDRE R FACING GUARD L. ANDRE EXITS L. |
||
|
582. |
10:55:10:xx MS OF GUARD - CAMERA DOLLIES BACK AS HE OPENS THE
DOOR FOR ANDRE. GUARD #2 You’re
taking him down there, right? FEMALE GUARD Yeah. FEMALE GUARD ENTERS R TO EXIT THROUGH BG WITH
ANDRE. GUARD #2 All
right, very good. |
||
|
583. |
10:55:16:xx FS OF DOOR OPENING. FEMALE GUARD STEPS INTO A FS. FEMALE GUARD One
transfer from 5 Main. ANDRE ENTERS L.
ANDRE EXITS R. |
||
|
584. |
10:55:28:xx CAMERA DOLLIES IN WITH ANDRE AS HE ENTERS ADULT
DORM. INMATES SIT OR STAND L OR
R. CAMERA DOLLIES AROUND R WITH
ANDRE. CAMERA DOLLIES IN WITH ANDRE.
CAMERA DOLLIES AROUND R WITH ANDRE AS HE PLACES HIS CLOTHES ON HIS BUNK.
CAMERA TILTS DOWN AS ANDRE PLACES HIS BELONGINGS INTO A LOCKER. |
||
|
585. |
10:56:12:xx MCS OF ANDRE.
|
||
|
586. |
10:56:15:xx MS OF ANDRE MAKING HIS BUNK. |
||
|
587. |
10:56:21:xx MFS OF SEATED ADULT INMATE. |
||
|
588. |
10:56:25:xx WS OF DORM. ANDRE STANDS BY HIS BUNK. |
||
|
589. |
10:56:28:xx MS OF INMATE LYING IN HIS BUNK. |
||
|
590. |
10:56:31:xx ANDRE ATTACHES HIS ID BADGE TO HIS LOCKER AS
CAMERA DOLLIES IN ON IT. |
||
|
591. |
10:56:36:xx FS OF ANDRE SEATED ON HIS BUNK. |
||
|
592. |
10:56:39:xx FS OF INMATE DOING PUSH-UPS AS A MAN WALKS R. |
||
|
593. |
10:56:42:xx MCS OF ANDRE. CAMERA TILTS DOWN TO HIS
COMPOSITION BOOK. |
||
|
594. |
10:56:57:xx MFS OF ANDRE WRITING, SEATED ON HIS BUNK. FREEZE FRAME. |
||
|
595. |
10:57:01:xx MFS OF ANDRE. CAMERA PANS R TO TITLE. NARRATIVE TITLE: After his release Andre moved back home with his
family but soon ran away. He was
eventually caught stealing and sent back to jail. FADE TO BLACK. |
||
|
596. |
10:57:15:xx BLACK SCREEN. TITLE FADES IN OVER BG: There are 130,000 teenagers behind bars in the
United States. TITLE FADES IN OVER BG: Eight out of ten will be re-arrested within a
year of their release. TITLE FADES OUT. |
||
|
597. |
10:57:29:xx TITLE: RIKERS HIGH With the participation of Planete Centre
National De La Cinématographe Producers:
Rikers High LLC Cineteve In Association with: France 2
Yves Janneau Anne Roucan Associate Producer: Serge Catoire Production Manager (France): Marlène Vanthuyne ©2005 Rikers High LLC A Presentation of Showtime, A Viacom Company. LFOA: 10:57:43:24 |
||