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Transcript of The Armenian
The Armenian
By
Shyam Popat
BLACK AND WHITE PHOTO
ABRAHAM and SEBASTIAN, both 20s and Armenian, standing on a
FILM SET. In front of them, two chairs. Abraham’s hand on
Sebastian’s shoulder, the other on the chair infront of him,
’EXEC PRODUCER’ plastered on it in white. He smiles warmly.
Sebastian mimics Abraham’s hand on his own chair, ’EXEC
PRODUCER’. His other hand in his pocket.
CU. THEIR HANDS - B/W PHOTO
They both wear GOLD RINGS. A SINGLE OBSIDIAN STONE inlaid in
each. Abraham’s is jet black, Sebastian’s a silver-grey.
INT. BATHROOM - NURSING HOME - DAY
Abraham, 70s, takes off his slippers and steps lazily onto a
SET OF SCALES. He’s wearing his black stone ring. He yawns.
He looks down. The pointer jitters slightly. But it doesn’t
move - barely above ZERO.
He steps off, annoyed. He steps back on. It still doesn’t
work.
He bends down with a grunt of effort and picks them up,
looks at them, shakes them, puts them down. He stands on
them again.
Still nothing.
INT. BEDROOM - CONTINUOUS
The room is clean, but artificially so, like a hospital
ward. A one-pot STOVE and a SINK make a kitchen of a corner.
The shower turns on.
INT. BATHROOM - CONTINUOUS
Abraham takes his ring off, and puts next to the soap on the
wet sink. He steps into the shower as the ring slowly slides
around in the scummy moisture.
2.
INT. FUNERAL PARLOUR - DAY
JUDE, eighteen, a muted but determined young woman, plays
with Sebastian’s gray stone ring between her fingers. She
puts it on one finger, stops halfway, and does the same on
every finger along her right hand, then switches to the
left.
Over this, a BAPTIST PRIEST reads from a prepared eulogy
CU. JUDE’S FEET - LATER
A black lace pattern winds its way up Jude’s tights. Her
heels tap against the hardwood and step along until they
reach ADA, a grieving woman in her seventies - Jude’s
grandmother.
INT. FUNERAL PARLOUR - CONTINUOUS
Ada flips the pages of an ALBUM, a single black and white
photo of Sebastian lovingly placed on each page. She stops
at one: Young Sebastian in profile, smiling.
She touches a hand to her face, tears welling. Jude puts a
caring hand on her back.
JUDE
He was so handsome, hey?
Ada forces a smile and turns the page.
It’s the photo of Sebastian and Abraham on the film set.
Ada turns the page again. Jude spots the photo, and stops
her from skipping it. She examines it closely.
She points to Abraham.
JUDE
Who’s that?
ADA
That... I’m not sure.
Jude looks around, searching the crowd. Ada flips the page,
to a picture of her and Sebastian laughing.
She cries bitterly. Jude holds her close and shuts the
album.
3.
LATER
The hall is empty. The Priest speaks in soft tones about
very little to whoever will listen. They stand next to a
table with half-empty trays of traditional Armenian
finger-food. He takes a few pieces of food on a tissue as he
talks.
Ada says her goodbyes to some leaving stragglers. Jude
excuses herself quietly and makes a bee-line to the album.
She searches until she finds the photo. She looks it over,
curious. The two rings jump out at her.
After a beat, she carefully takes it out of the page, and
looks at it, trying hard to make out who this man next to
her grandfather is.
She turns it over.
On the back, soft, faded pencil reads: SEBASTIAN AND
ABRAHAM, 1965.
She shares a look with Ada. Ada looks away.
INT. BEDROOM - NURSING HOME - DAY
A KNOCK at the door.
The SHOWER is still running. No answer.
A FIRMER KNOCK. Nothing.
A female CARE WORKER, forties, pokes her head in. She hears
the shower, and comes inside, bringing a TROLLEY full of
bedding and toiletries. She changes the bedsheets.
The shower stops and Abraham, dripping wet, steps out of the
bathroom, a towel over his shoulder.
He JUMPS back inside when he sees her.
INT. BATHROOM - CONTINUOUS
He BANGS the door shut. Intercut between Bedroom and
Bathroom.
ABRAHAM
What’s wrong with you people? Do
you understand privacy?
4.
CARE WORKER
I’m almost finished.
ABRAHAM
Yeah, well, I’m almost dead -
there’s a difference between
something being and not being a
thing.
CARE WORKER
There, done. You can come out now.
ABRAHAM
Oh, well, that’s very gracious of
you.
She mutters to herself and drags the trolley out of the
door. As she leaves...
CARE WORKER
Will we be seeing you at lunch
today, Abraham?
ABRAHAM
Sure, sure, so I can eat more of
your bag boiled, dehydrated
micro-crystal bangers and mash --
CARE WORKER
I want to see you outside your room
today, or you can change your own
dirty sheets from now on.
She waits for a response, but none comes. She gives up and
leaves.
He waits to hear her go and heads back into his bedroom.
He BANGS his foot hard on the scales, and jumps in pain,
holding his leg as he hops along.
EXT. NURSING HOME - DAY
Jude parks her car at the side of the road, a sat-nav
plugged to the windscreen.
SAT-NAV
You have reached your destination.
She readies herself for what’s ahead. She takes the sat-nav
and turns it off. It stays on.
5.
SAT-NAV
You have -- You have reached your
destination.
She chucks it on the back seat and turns off the car. She
gets out, opens the rear door and picks up a bag full of
tupperware and groceries.
SAT-NAV
Turn around when possible.
INT. NURSING HOME RECEPTION - MOMENTS LATER
It’s lunchtime. Some OAPs sit together, eating at a table,
while others watch TV, trays on their laps. It’s not a
school cafeteria, but it’s lively.
Jude walks in. She beams a smile at the seated Care Worker,
who gives her a look before going back to data entry.
After a beat...
JUDE
Hi, I was hoping you could help me.
CARE WORKER
Yes?
JUDE
I’m here to visit someone. My
granddad’s --
CARE WORKER
What’s your granddad’s name, duck?
JUDE
No, it’s not my granddad. It’s just
his friend.
CARE WORKER
Name?
JUDE
Abraham.
She raises an eyebrow, but continues.
CARE WORKER
Purpose of visit?
6.
JUDE
I brought a couple of things.
Jude raises her bags. The Care Worker laughs. She stops
herself before she laughs too much.
CARE WORKER
You’re just so sweet, aren’t you,
duck? He doesn’t get many visitors.
He’ll... like that you came.
JUDE
No family?
The Care Worker shrugs.
JUDE
There must be someone. I mean,
someone who put him -- brought him
here.
CARE WORKER
He came on his own. I suppose if
you’ve got the money... Room’s 14,
down and on the right.
JUDE
Thanks.
She ambles past and towards Abraham’s room. She stops,
remembering, and turns back, taking a tub out of her bag.
She drops it on the Care Worker’s desk with a smile.
JUDE
That’s for you.
CARE WORKER
Ooh, what is it?
The Care Worker scrambles to open it.
JUDE
Armenian food. Pickled sheep’s
cheese. It’s really good.
She stops opening it. She puts it on the side.
CARE WORKER
That’s -- I’ll share it around.
Jude smiles and heads off. The Care Worker opens a corner
and takes a whiff. She stiffens her nose, and puts it far
away.
7.
INT. HALLWAY/INT. BEDROOM - MOMENTS LATER
Jude walks to number 14. She KNOCKS.
Inside, Abraham ignores it and heads to the kettle on the
stove.
She knocks again. He stops in his tracks as the kettle
begins to boil, his eyes on the door.
JUDE
Hello?
Jude steps back, unsure, almost ready to leave. She stops
herself from knocking again, and instead presses her ear
lightly against the door. She can hear a kettle boiling.
JUDE
Sorry to bother you, but can I come
in?
ABRAHAM
No!
Jude is taken back. But she presses on.
JUDE
I have some news about my
granddad... I think you knew him.
Sebastian Aslanyan.
Hearing the name, he stops pouring his tea.
Outside, she stands in silence.
Beat.
The door creaks open, ever so slightly. It’s chain-locked.
Abraham peeks out.
JUDE
I’m Sebastian’s granddaughter. He
-- unfortunately, he passed --
ABRAHAM
Kicked the bucket, has he?
She reels. He looks down at the bags in her hands.
ABRAHAM
What’s that?
8.
JUDE
Uh, a little food. I was going to
make us some harissa. Maybe some
kiufta. If there’s time.
He shuts the door.
Inside, he stands at the door. He puts a quivering hand to
his mouth. She stands outside, wavering.
After a beat, he unlocks it and opens it wide.
She enters.
INT. PARTY - FLASHBACK
1964.
Young Abraham walks into a bustling, classy party, waiters
with empty champagne glasses rushing past. He’s dressed to
impress, and eager to find someone. He spots him...
Young Sebastian laughs with RONNIE, a yuppie banker. Abraham
rushes over, and pulls him arm ever so lightly.
SEBASTIAN
Abraham! Look, meet Ronnie. Ronnie,
this is my man from Armenia, the
one I told you about. He’s a
genius, I’m telling you.
ABRAHAM
Hello, how d’you do. Seb?
He pulls harder. Sebastian excuses himself with a "just be a
second" smile.
SEBASTIAN
How long’ve you been here?
ABRAHAM
Just now. Have you already spoken
to, uh, your man, the one --
SEBASTIAN
Goldsmith?
ABRAHAM
You know, the fella. The banker --
the investor.
9.
SEBASTIAN
I’m... working up to it.
ABRAHAM
Is he here?
Sebastian takes two glasses from a passing waiter, smiling
broadly as he does. He passes one to Abraham.
SEBASTIAN
Relax.
He spots someone over Abraham’s shoulder.
ABRAHAM
You work on your pitch? How are we
going to do this?
SEBASTIAN
Yeah, yeah. Look, I’ll be back in
one second, just one second.
He brushes past and greets Young Ada, twenties. She smiles
and brushes her hair as he meets her.
GOLDSMITH (V/O)
I’m going to be honest with you, I
don’t like it.
INT. GOLDSMITH’S OFFICE - LATER
The party is beginning to fade. Abraham sits stiff opposite
GOLDSMITH, a banker in his forties, tie loose, collar
undone.
GOLDSMITH
Look -- I don’t not like it.
ABRAHAM
What was it in particular --
Sebastian enters, a near-empty drink in his hand. He tries
to be subtle, but ends up stumbling in.
SEBASTIAN
You get started without me?
He shakes Goldsmith’s hand and smiles warmly, and pats
Abraham on the shoulder. Abraham waves it off, annoyed --
his mood is lost on Sebastian.
10.
GOLDSMITH
I was just telling your friend that
I, uh, I’ve got some reservations.
On a couple of points.
SEBASTIAN
OK. Well, we want this to be a
two-way street, so, help me help
you. What kind of things were you
thinking?
GOLDSMITH
For one -- where’s the love story?
ABRAHAM
Well, this isn’t --
SEBASTIAN
This current draft doesn’t have a
love story. It’s more a family kind
of story. There’s action. Plenty of
action -- coming out of the sides.
GOLDSMITH
But it’s got to -- look, I like the
story, it’s good. Blood, death, you
know, murder, it’s a good story.
But where’s the love angle? You’ve
got to bring in the women, I’m not
telling you anything you don’t
already know. You’re making a movie
here.
SEBASTIAN
Sure, I completely agree, but --
ABRAHAM
That’s not the film we want to
make. This is a movie about
families torn apart, state mandated
murder. Real life. It’s important
to --
SEBASTIAN
That’s not to say we’re entirely
unwilling to find a fix.
Abraham throws Sebastian a glance - what?
11.
INT. BANKERS’ PARTY - LATER
Goldsmith, Sebastian and Abraham say their goodbyes.
Sebastian walks away, and Abraham quickly follows.
ABRAHAM
Two-way street.
SEBASTIA
We made a deal. That’s something,
right?
Beat.
ABRAHAM
You know how writers are like
women?
SEBASTIAN
(unwilling)
How?
ABRAHAM
Cause they always get fucked.
INT. ABRAHAM’S BATHROOM - AFTERNOON
Abraham’s ring slips into the sink.
ABRAHAM (O/S)
What’s wrong with you people?
Vegetarian.
INT. BEDROOM - CONTINUOUS
At the stove, a vegetable stew boils away. Jude, washing her
hands at the sink, notices and rushes to turn it down.
Abraham sits in a cosy sofa flicking through channels.
ABRAHAM
Why’s everyone a bloody vegetarian
these days. I’ll show you
vegetarian.
She wipes her hands down on a cloth.
JUDE
What’ve you got against
vegetarians?
He laughs, as though it’s obvious.
12.
ABRAHAM
How’s Ada? Is she still around?
JUDE
She’s... still around.
ABRAHAM
Good. Good... Vegetarians...
JUDE
She doesn’t talk about you much.
He looks through a stack of old, tatty BOARD GAMES. He pulls
out a CHESS SET.
ABRAHAM
You play?
She heads back to the stove and stirs the simmering stew.
JUDE
Oh -- but I’m cooking...
She turns the heat and stirs, looking busy.
ABRAHAM
Don’t want to burn it.
She’s standing, but not stirring. She plays with Sebastian’s
ring, her back turned to Abraham.
ABRAHAM
Come on. This might be the last
game I play before I snuff it.
After a beat, she smiles to herself. She turns down the heat
and sits opposite him. He sets up the game as she gets
comfortable.
JUDE
That was cheap.
ABRAHAM
It got you sitting down, didn’t it?
LATER
Abraham stares at the game intently, then moves a piece. He
calls over his shoulder.
13.
ABRAHAM
Your turn.
She’s at the stove. She tastes the soup and rushes back to
the game.
JUDE
Almost done.
ABRAHAM
Eh... I’m not that hungry.
Annoyed, she moves a pawn, BANGING it loudly. He quickly
moves a bishop. Checkmate.
ABRAHAM
Say it. You promised me, now, say
it.
JUDE
(after a beat)
No.
ABRAHAM
You’ve always got to protect the
King. It’s important.
JUDE
You don’t say.
She heads to turn up the heat, adding a few final, choice
ingredients.
ABRAHAM
Don’t feel bad that I beat you.
I’ve beat all these fogies a
thousand times. You want to play
another?
JUDE
I’m all chessed out.
ABRAHAM
How about checkers? I’ve got some
pieces somewhere...
He takes out all the board games and rifles through them.
JUDE
So I found a picture of you today.
Before I came here.
Abraham’s still looking around for the pieces. She sits,
holding the photo of Abraham and Sebastian.
14.
ABRAHAM
Ah, can’t find it.
JUDE
Look. It’s of you and my granddad.
He turns. She holds it out, and he takes it.
INT. STUDIO - AFTERNOON - FLASHBACK
A camera FLASHES on Sebastian and Abraham, standing behind
their chairs. They smile as various cast and crew CHEER.
SEBASTIAN
That’s a wrap!
Abraham’s smile fades quickly. He heads off past crew in the
middle of packing up. Sebastian follows.
SEBASTIAN
You’re not gonna stay for the
party?
ABRAHAM
I’m not in the mood.
Beat.
SEBASTIAN
Would you stop? Or have I got to
chase you around?
No response. Sebastian shakes his head.
SEBASTIAN
Come on. Say it. If you’ve got
something to --
ABRAHAM
It’s pornography. There’s nothing
else to it.
Sebastian waits for more. Almost obliged...
ABRAHAM
I don’t know.
SEBASTIAN
Can you at least wait for the edit?
We can cut it up, move it around. I
know it’s not what you had in mind.
But that’s the process.
15.
ABRAHAM
Can you move out of my way, please.
SEBASTIAN
We made a movie! Alright? Be happy!
ABRAHAM
You made a movie. Not me.
SEBASTIAN
Take some responsibility, for God’s
sake!
ABRAHAM
You keep it. I don’t want it
anymore.
Sebastian is called over to pop the champagne. Abraham walks
away.
Sebastian plants a fake smile on and heads to the
celebration.
INT. BEDROOM - AFTERNOON
Abraham laughs harshly at the photo.
ABRAHAM
Looking sharp.
JUDE
So, what? Did you make a film
together?
He looks over her shoulder at the stove. The pan BOILS OVER.
ABRAHAM
You ask a lot of questions.
She notices the food and runs to turn down the heat.
Black specks float up in the burnt soup.
JUDE
Oh, for fuck’s sake --
Abraham raises an eyebrow, almost impressed that she can
swear. She cleans the mess from the surfaces.
ABRAHAM
Don’t worry about it. There’s
someone comes in to clean that
stuff.
16.
JUDE
No. I burnt it.
ABRAHAM
Burnt it? What are you, an animal?
How did you burn soup?
JUDE
(frustrated)
I let it on for too long.
ABRAHAM
What, were you born on a farm?
She throws the towel on the counter.
JUDE
Look -- I’m just trying --
ABRAHAM
Who’s asking you to try?
JUDE
So you won’t talk to me about my
granddad, is that it? I get it --
you have a past. I don’t even want
to know anymore.
ABRAHAM
Then what are you still doing here?
Beat.
ABRAHAM
Bad food, worse conversation.
You’re a woman, technically, but
you’re terrible at it.
She’s had enough.
JUDE
I can’t believe --
ABRAHAM
Can’t believe what?
JUDE
-- You’re just another bitter,
sexist old man --
ABRAHAM
What’s so unbelievable --
17.
JUDE
I can’t believe that my granddad
would ever spend a single second
giving a fuck about a cunt like
you.
She takes her coat and storms off. Abraham slyly hides the
photo under his leg. She opens the door as we fade into...
EXT. TURKISH COUNTRYSIDE - DAY
A BLACK AND WHITE film plays.
A cart ambles down a country path, preceded and followed by
dirty refugees. Babies wail, feet stamp and voices cry out.
INT. CART - MOMENTS LATER
Inside, a wounded MAN lies, breathing his last. He holds a
WOMAN’s hand.
WOMAN
I’ll never forget you.
MAN
You already have.
He plants a kiss on her as hauntingly cheesy outro music
plays them out...
INT. SCREENING ROOM - AFTERNOON - FLASHBACK
Black.
The reel slows to a stop.
An EXECUTIVE turns on the light.
A group of PRODUCERS and EXECUTIVES, as well as GOLDSMITH,
sit around on cheap seats and breath an end-of-film sigh. A
few have been making notes.
Among them sit Sebastian and Abraham, who look straight
ahead.
A ripple of applause.
Goldsmith shakes their hands. Sebastian flashes that smile
but Abraham can’t. Goldsmith takes his lack of diplomacy
with distaste.
18.
Goldsmith turns to the producers.
GOLDSMITH
We happy?
PRODUCERS
Yes... Sure... Good job...
EXECUTIVE
I’ve got a couple of notes.
A PRODUCER whispers into Goldsmith’s ear. He replies,
loudly...
GOLDSMITH
No reshoots.
(to the rest)
Alright.
Almost as though ’alright’ were a signal, they stand and
file out, all except Abraham.
Goldsmith stops in front of him. He takes a moment, watching
the emotionless Abraham intently, then pats him on the
shoulder. He links up with a PRODUCER. As they head out...
GOLDSMITH
Are we good to go to distribution
with this cut?
Sebastian stands. He looks at Abraham. Abraham hasn’t moved.
Sebastian leaves.
INT. BEDROOM - AFTERNOON
Jude BANGS the door shut.
After a beat, Abraham reveals the photo of him and Sebastian
from under his leg. He smiles slightly, looks Sebastian up
and down, then focuses on their rings.
He checks his hands - a tan line shows that he’s not wearing
his ring.
He looks in the immediate area. Nothing.
Frantically now, he searches under sofa cushions and around
furniture.
He rifles through the chess set.
19.
EXT. NURSING HOME - CONTINUOUS
Jude gets in her car. She turns on the Sat-Nav but it
doesn’t respond, battery dead. She tries and tries. She
throws it on the passenger seat, puts her hands on the
steering wheel, and cries.
INT. BATHROOM - CONTINUOUS
He runs into the bathroom and searches.
He finds it -- hanging precariously above the sinkhole.
Carefully, he picks it up. He washes it, dries it, and puts
it on.
INT. NURSING HOME RECEPTION - MOMENTS LATER
Abraham comes winding down the hall, assisted by a walking
stick. The Care Worker’s still at the desk.
CARE WORKER
Look at that! It’s a miracle.
ABRAHAM
Did you see her?
He looks around, but Jude’s not there. He takes a brief step
out the door to poke his head around, but she’s gone.
INT. BEDROOM/INT. CAR - MOMENTS LATER
Abraham returns to his room. He just stands there, staring
blankly out of the bedroom window.
Something takes his eye.
He approaches the window. Outside, still sitting in her car,
is Jude. She composes herself, drying her eyes, unaware
she’s being watched.
He bangs the window with his hand. The ring CLINKS against
the glass. No response.
He OPENS the window as far as it’ll go - which is very
little. He puts his mouth in the gap.
ABRAHAM
Jude!
20.
She notices him, and puts on a brave face. His yells enter
the car muffled and distant.
ABRAHAM
Would you get out of the car? Jude,
would you come back in, please?
He finds a chess piece and throws it at the car. It falls
short.
ABRAHAM
I’m coming outside. Wait there!
She starts the car.
ABRAHAM
No! Just wait there!
He takes a whole HANDFUL of pieces and throws it. A few
CLANK against the car.
He takes off his RING and CHUCKS it. It HITS the windscreen.
A crack appears on the glass. The ring rolls along the
bonnet and off the front of the car.
Angered to reaction, she opens the door. He celebrates for a
split second before seeing her mood. She marches to the
window.
ABRAHAM
I’m sorry --
JUDE
Are you going to pay for that?
ABRAHAM
I’m sorry. I’m sorry. Just, would
you please come inside?
Beat. Jude walks back to the car.
ABRAHAM
You want to talk about your
grandpa? You wanna hear stories?
She stops, but doesn’t turn. She fiddles with her keys.
ABRAHAM
We made a film together. We did.
Him and me. It took two, long, shit
fucking years. That picture --
21.
JUDE
Are you going to be nice to me?
ABRAHAM
I’ll be nice.
JUDE
Do you promise?
ABRAHAM
I just said I would, didn’t I?
She glares at him.
ABRAHAM
Sorry -
She goes back to her car and locks it. She inspects the
damage to the windscreen.
He watches her go.
She looks past the bonnet to something SHINY in the road.
She picks it up. It’s Abraham’s ring.
She examines the dark obsidian, with Sebastian’s ring only
inches away on her finger.
Abraham looks out again to see her still at the car, holding
something. She smiles faintly and turns towards the
retirement home.
He smiles, triumphant.
Then he waits. She disappears from view.
He looks over at the dirty soup pot, the surfaces perfectly
clean around it. Tentatively, he goes over, opens up the lid
and takes a sniff.
He puts a spoon in, swirls it around, picks up a healthy
mouthful and eats it.
It’s not bad.
A knock at the door.