BREAKTHROUGH

Written by

Mike Ugada

[email protected]
(832)859-4466
 FADE IN:

1 INT. ACADEMY AWARDS. NIGHT 1

Dramatic lighting. Spotlight separates characters from dark

background.

A BLACK MAN - 35, is dressed in a classy West African attire.

This is IHEANACHO. A 28 year old black lady - ADA, sits
beside him. She too is dressed West African. Very elegant.

ANNOUNCER (O.S.)
The nominees for achievement in
film directing are.. Stephen
Spielberg, The Turning; Ava
Duvernay, An American Story;
Wilmore Spencer, The man who knows;
Mike Ugada, Happiness, and
Iheanacho Ositadimma, Breakthrough.

As the ANNOUNCER opens an envelope, the room is pin-drop

silent.

Iheanacho is noticeably sweating. Ada grabs his hand and

squeezes it. She can't hide her anxiety.

ANNOUNCER 2
WOW. I love the Oscars man. This is
what the Academy is all about.
History has just been made before
our eyes.. Iheanacho Ositadimma,
Breakthrough!

Iheanacho's eyes turn red and teary. Ada SCREAMS out her
lungs as she turns and plants a kiss on his lips, then grabs
him by the shoulder and shakes him hard. An overwhelmed
Iheanacho tries to keep his cool.

We hear a crowd clapping. Ada tries to out-clap the claps.

Iheanacho is overwhelmed with emotion. They both stand, and

he kisses Ada's neck, before stepping off frame to presumably
go collect his award.

CUT TO:

2 INT. UNKNOWN. CINEMATIC 2

Iheanacho, holding the Oscar, dances with Ada in slow motion

at 60FPS.

CUT TO:
 2.

3 INT. IHEANACHO'S ROOM. NIGHT 3

A dark room illuminated by a mac computer monitor. Iheanacho

is in bed.

He suddenly wakes up, sweating profusely. He seems

disappointed.

He looks at the computer monitor. An editing program -

Premiere Pro - is open.

CUT TO:

We see a digital camera, a foreign passport, and a green card

denial letter from immigration, on a night stand.

Iheanacho lethargically looks over a desk directly in front

of his bed, and we catch a blurred glimpse of a manuscript
sitting on the nightstand.

He wipes his eyes, and it gradually comes to focus.

INSERT:
MANUSCRIPT ON NIGHTSTAND, TITLED - ‘BREAKTHROUGH’

OPENING CREDITS.

4 EXT.HOUSTON, TX. DAY 4

MONTAGE:

Establish intersecting street signs to show location is

Houston, Texas.

Establish Methodist Hospital street sign.

END MONTAGE.

5 E/I. METHODIST HOSPITAL. LATER 5

A busy background of nurses, doctors and patients. Ada and

Iheanacho are standing in the hallway of the hospital. Ada is
in a nurse' outfit, and Iheanacho is wearing a visitor badge
on his shirt.

ADA
I thought you said you'd think
about it.
 3.

IHEANACHO
Ada, I know what I said.I want you
to understand that this is my best
chance of breaking into Hollywood.
There's nothing here for me in
Texas.

Ada is disappointed.

IHEANACHO (CONT’D)
Except you of course.

[Silence]

Ada avoids eye contact. Iheanacho gently caresses her jaw.

She looks into his eyes. Her eyes are a bit wet. She plays it
off.

ADA
Do you know how many aspiring
writers and film directors who go
out there to California and never
make it? The stats are mind
blowing. It's totally okay to
dream, but..

IHEANACHO
So you think this is a joke? When
everyone doubted you and said you
could never become a nurse, who
believed in you? ME. So..how come
whenever I share my dream with you,
you just discourage me? Why?

ADA
I'm not discouraging you. Let me
ask you a question. So you think
because Hollywood is in California,
that you will break into Hollywood
if you lived in California? You can
make films anywhere in the world,
even in Texas. Isn't Robert
Rodriguez from Texas? He is
successful! I know you may be
thinking you're not where you want
to be in life right now. I could
get you a job here. If you want to
take the CNA exam I can pay for it.
Nurse Assistants make good income.

Iheanacho is visibly PISSED.. It's clear Ada doesn't get it.

 4.

ADA (CONT’D)
Sorry I didn't mean to..

She starts shedding tears.

IHEANACHO
Ada, do you want to come with me?

ADA
I can't. I just got this job. I
take care of my mom. So many
reasons I can't just up and leave
Texas.

She starts crying..

ADA (CONT’D)
It's easy for you; you have no
responsibilities.

Iheanacho is caught off guard. WOW. He shakes his head.

Ada gives him a hug.

ADA (CONT’D)
If things don't work out, please
just come back. Don't be prideful.
I love you.

She grabs his hand and puts something in it. He opens his
palm - $200. He stares at her. There's a non verbal
communication of appreciation and support, then she wipes her
tears.

Iheanacho holds her hands and looks into her eyes..

IHEANACHO
My name is Iheanacho Ositadimma.
Whatever I set my mind to I
accomplish it. You have nothing to
worry about. Baby I'm doing this
for us.

Ada can see it in his eyes - a man stuck in his ways.

IHEANACHO (CONT’D)
I love you too baby... but it's now
or never. I'm not coming back to
Texas unless I make it big.

Ada withdraws her hands. Iheanacho gently grabs her by her

waist and kisses her lips, softly.
 5.

RACK FOCUS from Ada in the background, as she watches

Iheanacho walk away, down the long hospital hallway, to
Iheanacho's MEDIUM CLOSE UP as he walks toward the camera
into the foreground.

6 I/E. IHEANACHO'S CAR. CONTINUOUS 6

Iheanacho is in his 2002 TOYOTA CAMRY. He slots in a CD into

the CD player, and FELA's music comes on. He savors it.

CUT TO:

7 I/E. IHEANACHO'S CAR - VARIOUS LOCATIONS. CONTINUOUS 7

A MONTAGE of Iheanacho's road trip at various locations. He

sings along to Fela's music.

8 EXT. RANDOM DESERT ROAD. LATER 8

At a desert road, Iheanacho's car has a flat. He pulls out a

car jack from his trunk, kneels and starts to change the
tire.

A raggedy vintage pickup TRUCK filled with young SKATER PUNK

type white kids, speeds past him and comes to a halt in front
of his car. He ignores it.

A few moments later, he hears his car door open, and he

quickly jumps up to see a young adult SKATER PUNK kid running
away with one of his luggage, toward the truck. He runs after
him.

But he can't catch him. Skater punk boy jumps on the truck
and they zoom off.

Iheanacho stands there in the middle of the road, dejected,

then pissed!

FLASHBACK:

9 EXT. NIGERIA. DAY 9

Aerial establishing SHOTS of Enugu, Nigeria

 6.

10 E/I. WHITE GARMENT CHURCH - NIGERIA. DAY 10

In a dilapidated building by a lake, illuminated by lots of

natural light, Iheanacho kneels down in the midst of multiple
black African men and women who jump and dance in front of
and around him in their flowing white attire, in SLOW MOTION
at 60 FPS.

One of the men, BABA, washes a much younger Iheanacho's head

with a basin of water, then picks up a staff and a bible. He
places the staff on Iheanacho's shoulders and blesses him,
then makes prophetic declarations in foreign language - igbo.

BABA
(foreign language)
Before God and man, I see you on an
airplane, flying to the land of the
white man, studying the white man
education and speaking like the
white man. You will accomplish
things beyond your wildest dreams.
Your star will shine brighter than
the morning sun.

Baba pulls his own ear with one hand, to emphasize a point to
Iheanacho..

BABA (CONT’D)
But make sure you never forget
where you come from. Don't lose
yourself.

Iheanacho nods his head and stretches open his palms. Baba
rubs the staff on each palm.

END FLASHBACK

11 EXT. HOLLYWOOD. MORNING 11

A SHOT of the Hollywood sign.

12 EXT. WILCOX AVE. SAME 12

A SHOT of intersecting street signs - WILCOX & SUNSET.

13 I/E. IHEANACHO'S CAR. SAME 13

Iheanacho's car is parked by a parking meter. A parking

ticket is on the windshield.
 7.

Iheanacho is on the driver seat, reclined all the way. He is

lethargic and in deep thought.

14 E/I. JASON'S APARTMENT. SAME. 14

From the 2nd floor of an apartment on the same street, JASON,

a muscular, 29 year old caucasian guy is standing by a huge
window, sipping a cup of coffee and observing.

Jason'S POV:

Iheanacho gets out of his car and takes the parking ticket
off his windshield. He is very upset. He leans on his car and
stares at the ticket.

15 EXT. WILCOX AVE. SAME 15

Iheanacho stares at the ticket. It's a $75 citation. He looks

behind him and sees a 'NO PARKING' sign posted exactly where
his car is parked.

16 E/I. JASON'S APARTMENT. LATER 16

Iheanacho knocks on an apartment door. Jason opens the door

but doesn't usher him in.

IHEANACHO
I can't go back to Texas man.. I
can't go down like this.

Jason is not buying his story. He is not interested

whatsoever.

JASON
Fam' you tryna play me. I can't let
you stay here for free. Nah bro.
Good thing you drove, so you don't
gotta sleep on the streets. Most
folks out here do it. You' gonna
have to keep crashing in your ride
homie... Just recline your chair
and turn on your heater.. Oh yea,
it gets cold at night. Yea L.A. is
weird like that. And you might get
jacked again!

As Iheanacho walks out, Jason walks up to a window and

watches him walk dejectedly to his car.

Jason'S POV:
 8.

Iheanacho takes another parking ticket off his windshield. He

is upset. He then opens his car and sits. He is overwhelmed,
overcome by emotion.

Jason pulls up the window, opening it, and..

JASON (CONT’D)
Yo, come up real quick (under his
breadth) let's work something out.

Iheanacho looks up and Jason beckons him to come up.

Jason sits on the bed, and momentarily, Iheanacho walks in

with his bag. He offers him a seat.

JASON (CONT’D)
You got anything on you at all?

Iheanacho digs into his pockets and pulls out $200.

IHEANACHO
This is all I have left.

Jason says nothing. He just stares at him contemplatively..

Then takes the money from him.

JASON
Listen man. This town ain't what
you dreamed about. Hollywood ain't
the movies. Most folks come out
here and they never make it. It
swallows them. Now I don't know
what you came out here for, but
what I can tell you is that only
the strong survive in this town...
Look here. I've been taken
advantage of before. I'm wiser now,
but there's something about you
man. Something.. I can't quite
place it, but I feel it, or maybe
it's just me being a nice person.
It's a cold world out there. You
can squat for two weeks.

He gives a $100 back to Iheanacho.

IHEANACHO
Thanks you sir.

JASON
Yo, call me Jason, bro. I'm only

He laughs with a deep baritone.

 9.

Iheanacho forces a smile.

He offers him a seat.

IHEANACHO
Thank you.

JASON
What you out here for anyway? If
you don't mind me asking.

IHEANACHO
Aspiring director.

JASON
What? Film director? Like Spike Lee
kind shit?

Iheanacho chuckles. They both chuckle and shake hands.

JASON (CONT’D)
That's what's up. Yea I like that.
I like when brothers are ambitious.
So you came out here to pursue that
dream? What are your plans?

IHEANACHO
I have a screenplay I wrote and
want to make a film out of it.
Everyone believes it has the
potential to be the next best
thing.

JASON
Oh yea? Everyone tells you that?
And by everyone you mean mom and
dad, and friends? Cuz that don't
count.

He looks at Iheanacho. No reaction.

JASON (CONT’D)
You got a budget for your film?

IHEANACHO
Not yet, but I'm very optimistic. I
came out here to meet somebody. If
I do, my life will change, forever.
I believe it.

Jason looks at him for a second, and..

 10.

JASON
I like you... Many come out here
with the same attitude. Let's see
how long this will last. You got
the screenplay? If I read past the
first page then you got something.

Iheanacho pulls out a script from his bag, and hands it to

Jason.

Jason takes a look at the spiral bound script, titled

'Breakthrough'

JASON (CONT’D)
Great title.. The binding is wrong.
No professional will read it if
it's bound like this. Just a side
note.

Jason reads through the first page, then flips to the second
page. He turns and looks at Iheanacho. Iheanacho returns a
facial gesture, with an 'I told you' facial expression.

Jason flips to page three...four... five, and he keeps going.

Many pages later, he turns and looks at Iheanacho. Iheanacho

sits up, like 'what now'? Jason gives him a thumbs up, and
continues reading. Iheanacho smiles.

He reads the last page, and hands the script back to

Iheanacho.

Iheanacho is curious..

JASON (CONT’D)
You're definitely unto something
here. The potential is there. It
could be a feature, but it can also
be a TV show. Limitless
possibilities. The characters are
magnificent. Story is great, but it
still needs work. The structure is
not there yet.

Iheanacho's ego is slightly bruised. He plays it off.

JASON (CONT’D)
Who do you have in mind to play the
main characters?

IHEANACHO
Rebeka Wood and Mojavé Banks.

Jason's eyes light up.

 11.

JASON
Dam, I could totally see that. Yo,
if they like this shit, and we get
them to sign L.O.I., then believe
me we can walk into any major
studio or TV network and get this
baby GREEN LIT. I swear.

Iheanacho revels in his excitement. They fist bump each

other.

IHEANACHO
Man, if I can pull this off my life
will never be the same.

JASON
First of all, you need to learn how
to say WE, if we're gonna be a
team, alright... We?

IHEANACHO
If WE can pull this off.

JASON
AHA. My man.
(beat)
So I'm kinda working on a network
TV show...

IHEANACHO
Congratulations man! You say it
like it's no big deal. That's great
Jason.

JASON
No bro. Nah I'm just a stand-in for
one of the main actors.

IHEANACHO
Stand in? What do you do? Stand in
for the main character when he
can't make it to set?

JASON
I wish! No I just stand in there
because I look like him. Athletic
white guy, same height and all. I
stand there so the DP can set up
the camera and light the scene, so
that the main guy doesn't have to
stand right there for all that.
 12.

IHEANACHO
AHH. Thanks for the knowledge. I
just learned something new.

JASON
It's all good gee. It's for a major
network, and check this out though,
Andre Lawi is the stunt double for
the black lead.

IHEANACHO
Who is that?

Jason pulls out his phone, gets on an IMDB page, and..

JASON
This guy right here. He goes by
Dre.

Iheanacho mopes at him.

JASON (CONT’D)
Remember that one article, two or
three years ago... Mojavé Banks
gives some aspiring female director
chic named Chiyoko an opportunity
of a lifetime?

Iheanacho does not recall..

JASON (CONT’D)
Anyway, Chiyoko is Dre's girl. Do
you see where I'm going with this?

Iheanacho's eyes light up. He's gotta hear this!

IHEANACHO
No way. So you know him personally.

JASON
No I don't, but we work together. I
think we can pull this off.

IHEANACHO
How?

CUT TO:

17 EXT. WARNER BROS STUDIOS. MORNING 17

A black 2005 HONDA pulls up at the gate of Warner Bros

studios, for security clearance. This is Jason's car.
 13.

18 I/E. JASON'S CAR. SAME 18

Jason is the only one in the car. He hands his driver

license to the GUARD, who checks his name off a list, and
hands him back the driver license.

As Jason drives into the lot, he turns to the empty back

seat, and..

JASON
YO, all cleared!

Iheanacho, who is hiding behind the driver's seat, quickly

gets up and sits at the back seat.

JASON (CONT’D)
Rebeka's call time is 9:30AM. She's
never late. She'll be here like
8:15AM. She likes to rehearse in
her trailer. It helps her absorb
the atmosphere. If you see her
before I do, let me know. We walk
into her trailer and pitch the
idea. If she's down, we celebrate.

IHEANACHO
Just like that? Walk into her
trailer? What if she gets turned
off and says no?

JASON
Then so be it. We can't afford a
Casting Director. Besides this
ain't a real project.

He looks in the rear view mirror, at a disenchanted

Iheanacho.

19 EXT. WARNER BROS STUDIOS BACK LOT. LATER 19

CAST and CREW are lined up for food. Jason and Iheanacho are
in the middle of the line, holding plates.

From Jason's POV, a tall, beautiful African American WOMAN,

pulls into the parking lot in a Ferrari, and as she walks out
of the car, Jason nudges Iheanacho, and beckons him to behold
their opportunity.

Iheanacho looks up. It's REBEKA WOOD! They both get excited.
They have a moment, like they're both thinking the same
thing, and then...
 14.

20 EXT. REBEKA’S STAR DRESSING ROOM. LATER 20

Iheanacho and Jason walk down a studio hallway and stop at a

star dressing room with ‘REBEKA WOOD’ pinned to the door.

21 INT. REBEKA'S STAR DRESSING ROOM. SAME 21

Rebeka is in her trailer, reading a script. She is wearing

shorts and a t-shirt. She is so invested in the script, and
shouts every line.

REBEKA
No Angela, if I wanted you gone, no
one would find you. No police..Not
even you would find you!

There's a KNOCK on her door.

REBEKA (CONT’D)
Come in! The door is unlocked!

Iheanacho and Jason walk in, carrying make up kits.

REBEKA (CONT’D)
New makeup guys? Where is Mabel?

Iheanacho looks at Jason..

[Silence]

REBEKA (CONT’D)
....Anyway, I need to get this
right before make up though. Stuck
on this one dialogue.

Iheanacho and Jason set down the make up kits.

She stands and paces the room.

REBEKA (CONT’D)
No Angela, if I wanted you gone, no
one would find you. No police..Not
even you would find you! (beat)
AHHHH how does that sound, guys?
Opinion needed real quick.

She drops the script on a chair. Iheanacho takes a glance,

and...

IHEANACHO
You're not being defensive, you're
confident.
 15.

Rebeka gazes at him, inquisitively.

Iheanacho picks up the script and skims through it..

IHEANACHO (CONT’D)
The character is arrogant, but with
her it's all about subtlety.

Rebeka takes it in, then turns over to look at Iheanacho. He

tries to stay calm.

IHEANACHO(CONT'D) (CONT’D)
Angela is the one that should be
shouting, because she believes
Stephanie plotted to have her
kidnapped, and possibly killed, but
Stephanie, although she may be the
one, the audience doesn't know that
yet. She is confident, arrogant yet
subtle. Try that..

Rebeka applies the correction.

REBEKA
No Angela, if I wanted you gone, no
one would find you. No police..Not
even you would find you..

She looks at Iheanacho, and he nods in affirmation. Rebeka

smiles. She is mad impressed

REBEKA (CONT’D)
You are good.

Jason presents Rebeka with 'Breakthrough' script.

JASON
Ms. Rebeka , I know this is way
outta line, but my name is Jason,
and Nacho here is my business
partner. This is his brainchild. It
has the potential to be a
blockbuster, and...

Rebeka looks at Iheanacho..

REBEKA
Let him pitch it to me.. Make me
interested.

Iheanacho basks in the moment.

 16.

IHEANACHO
You play a character named Mona.
You feel stagnated in your small
town in Arizona, so against all
odds you just get up one morning,
and head to Hollywood to meet a
movie star, who also made it out of
the same town as you.. Justin.. To
be played by, Mojavé Banks.

Rebeka is WOWED.

REBEKA
Oh my God. This is so my life. This
is my life. Is Mojavé Banks down
for this?

Before Iheanacho can say a word..

JASON
We are in talks with his people
already. They seem interested.

REBEKA
I'm down for this. Definitely.

Jason pulls out a piece of paper.

JASON
Here Ms. Rebeka . An L.O.I. we
drafted. If you can just read and
sign here. It just shows you're
interested, that's all. This is for
our investors to feel confident to
stay on board. There's nothing
legally binding here.

Rebeka reads over the paper document, and inks her name over
the blank space, then signs her signature.

REBEKA
Let's do this guys.

22 EXT. REBEKA'S STAR DRESSING ROOM. A FEW MOMENTS LATER 22

Iheanacho and Jason walk out of Rebeka's trailer and get

animated. They are ecstatic!

 17.

23 EXT. HOLLYWOOD BLVD. LATER. 23

Lots of people, mostly tourists are on Hollywood blvd and

Highland Ave. There are people disguised in costumes as
recognizable movie and animation characters, and tourists
taking photos with them.

Iheanacho and Jason emanate from the crowd, screaming out

their lungs as they run toward the foreground.

JASON
Hollywood here we come!

IHEANACHO
Afam bu Iheanacho Ositadimma!

SUBTITLE: ‘My name is Iheanacho Ositadimma'

Iheanacho pounds his chest as he proclaims his full name..

They run through the WALK OF FAME - an array of stars

engraved on the ground, bearing names of famous people.

Jason continues to run. Iheanacho stops on Stephen

Spielberg's star, and gazes at it. He smiles delightedly.
Then he calls out to Jason who is almost running too far into
the distance, and he starts walking toward him, almost
exhausted from running and screaming.

As Jason walks back toward him, Iheanacho points at Stephen

Spielberg's star.

IHEANACHO (CONT’D)
Our names will be here one day. One
day brother.

Jason is out of breath. He smiles. Affirmative.

FLASHBACK:

24 EXT. UNIVERSITY OF HOUSTON, TEXAS. DAY 24

Establish University of Houston, Texas.

25 INT. CAMERA RESERVATION KIOSK. DAY 25

We see a younger Ada, donning braids, as she checks out

camera equipments from the kiosk. AARON, the kiosk attendant,
attends to her. A younger Iheanacho is an apprentice at the
kiosk.
 18.

26 I/E. COFFEE SHOP. MORNING 26

On a rainy day at a Coffee bean style coffee shop, Ada is on

a table by herself, with huge headphones to her ears, eyes
glued to the editing software on her laptop and the camera
she's transferring files from. She's in the zone. Iheanacho
observes, but says nothing.

Momentarily Ada closes her laptop, packs her belongings into

a bag and leaves. Iheanacho watches her as she runs through
the gloomy rainy weather, to her car.

27 INT. UNIVERSITY OF HOUSTON - FILM CLASS. DAY 27

In a diversified university classroom of about fifteen

STUDENTS, Ada sits in the front row, and Iheanacho sits
adjacent to her. PROFESSOR - an older white man, is standing
in front of the class, at a corner. Center stage, is MR.
SANCHEZ - a Stocky late 40s Colombian man, with a 'Guest
Speaker' badge on his shirt.

MR. SANCHEZ
But at the end of the day,
remember.. We are storytellers, so
tell stories. In sports, there’s
amateur and there’s pro. Every
athlete doesn’t go pro. Does that
mean they’re not athletes?

The class is engaged.

MR. SANCHEZ (CONT’D)

Hollywood is like going pro. What
you’re doing right now, that’s the
first step. When you get to that
level when you want to take your
career even more seriously, when
you start feeling like a shark in a
little fish tank, and you’d rather
be a goldfish in the ocean, then
it’s time to play with the big
boys.. Hollywood baby.

He spreads his arms and the class chuckles.

The professor walks center stage and shakes Mr. Sanchez’

hand. As they shake hands, he delivers his last words to the
class.

MR. SANCHEZ (CONT’D)

But don’t wait until you graduate,
to start networking.
 19.

PROFESSOR
A big thank you to our Hollywood
guest speaker!

The class CHEERS. A 27 year old Latina - MIRABEL, cheers the

loudest.

MIRABEL
Mr. Sanchez, I think it's really
cool that you get to live the
Hollywood dream. Maybe you can hook
me up if I ever finish school and
want to work in the industry. You
can be my Godfather and shit.

The class LAUGHS.

MR. SANCHEZ
Ha! You're funny. Well, I'm
definitely well connected in the
industry. I'm a very well known
producer out there, so yea, if any
of you ever makes it out there, and
need my guidance,...

He pulls out a few business cards and hands them out to every
student in the classroom.

MR. SANCHEZ (CONT’D)

..call me.

He hands the last one to Iheanacho as he leaves the

classroom. Iheanacho looks at the card..

INSERT:
BUSINESS CARD READS: UNIVERSAL STUDIOS - JAVIER SANCHEZ -
PRODUCER.

ADA (O.S.)
I usually do a character bio for
every single character, even the
background characters. Character
name, what she does for a living,
how old she is, her favorite
color..

PROFESSOR
Character development

ADA
What the character wants or needs..
 20.

PROFESSOR
Character want and character need..
Two different things, but we'll get
to that in a second. Now do you
start with a story outline or?..

ADA
Nope, no story outlines. It never
works for me. I usually think of an
inciting incidence, then build my
story around that one incident.

PROFESSOR
Hmm... You know what, everyone has
a method that works best for him or
her. Outlines help keep you
disciplined with structure, but
some of the greatest Hollywood
stories ever told, as a matter of
fact didn't even adhere to a three
act structure...
(beat)
Ada, what inspires you?

ADA
There's something about a
breakthrough..

Reveal Iheanacho sitting adjacent to her. He has an epiphany.

He likes that word. He jots 'Breakthrough' on a piece of

paper.

Ada continues to talk but she's muted out. Focus is on

Iheanacho as he stares at her lips. She notices from the
corner of her eye.

PASSAGE OF TIME:

Everyone but Ada and Iheanacho, leaves the classroom.

IHEANACHO
How did it go?

Ada turns around, like pardon?

IHEANACHO (CONT’D)
The video shoot. I was there at the
kiosk when you rented the camera.

ADA
Oh! I'm excited and nervous at the
same time.
(MORE)
 21.
ADA (CONT’D)
I can show you a few clips, unless
you have another class?

IHEANACHO
I'd be glad to check it out. I've
had my last lecture for the day.

Ada brings out camera from her bag, turns it on and hands
Iheanacho a headphone as she gets ready to share her
masterpiece. Iheanacho scrolls through the video clips.

Ada is curious to know what he thinks. He laughs..

IHEANACHO (CONT’D)
I can already see how the clips
will edit together. AH

He looks at her.

IHEANACHO (CONT’D)
I like your sense of humor.

Ada smiles. She's happy.

Iheanacho halts on a particular clip..

IHEANACHO (CONT’D)
But..some of the video clips are a
little out of focus.

Ada places a hand over her forehead..

ADA
Oh shit let me see.

They both hold the camera as Iheanacho maximizes the frame..

ADA (CONT’D)
Dam I hate reshooting; I can never
recapture this moment.

28 INT. FILM SET. UNDETERMINED 28

Ada, with papers in her hand and headphones on her ears, is

giving directions to an ACTRESS and an ACTOR in a scene.

ADA
Ok so although you're saying "I
hate you", what you're really
saying is "I love you"

Actress is confused.
 22.

ACTOR
Like she should be gentler with the
delivery?

ADA
Not necessarily. Playful sounds
better.

Actress is ready to take a shot at it.

ADA (CONT’D)
Roll camera!

CAMERA GUY (O.S.)

Speed!

Ada puts a clapperboard in front of the camera..

ADA
Reshoot, scene 4B take 3

CLAP!

Focus is on Ada in the foreground looking at the scene. We

neither hear nor see the actors. She smiles.

ADA (CONT’D)
And..CUT! That was brilliant.

RACK FOCUS to the CAMERA MAN in the background. It's

Iheanacho.

Ada walks to the camera and watches scene playback with

Iheanacho. She is satisfied with the take.

ADA (CONT’D)
That looks sharp! Yesss.

END FLASHBACK

29 EXT. LOS ANGELES - JASON'S APARTMENT. NIGHT 29

Iheanacho and Jason, coming from exploring Hollywood, walk up

to Jason's apartment door, and as Jason touches the door
knob, the door cracks open.

JASON
Hey wait out here for a minute man.

Jason walks into the apartment and..

CUT TO:
 23.

30 INT. JASON’S APARTMENT. CONTINUOUS 30

A young black woman - ANA, is inside the apartment. She

doesn’t look so pleased. Jason is surprised to see her.

JASON.
Babe, you didn't say you were
coming back this early. I thought
you were coming back next month?

ANA
So you can do whatever the hell you
wanna do with my apartment? Right?

JASON
Babe.. Don't do that.

ANA
Don't do that? I saw my room on
craigslist. You're renting out my
apartment to someone without my
consent., and you have the guts to
say don't do that? I didn't approve
this. You've done this before.

JASON
Ana! Just chill ok. Just chill

ANA
Babe, I'm definitely not allowing a
stranger in my crib.

JASON
Ana. Babe listen, this guy is
different. He ain't even from LA.
He is from Texas yo. Humble guy.
Dude is mad talented too. He got
this wonderful project, and I'm
involved now. Can you at least let
him crash on the floor for a month?

He stares into Ana’s eyes in one last desperate attempt to

convince her. Ana is subdued.

JASON(O.S.) (CONT’D)
If this thing don't pop off in a
month then you can do your thing.

ANA
I'm not doing that!
 24.

31 INT.MONTAGE AERIAL SHOTS OF VARIOUS PARTS OF LA; 31

SLOW MOTION shot of Iheanacho walking through a crowd on

Hollywood BLVD.

A SHOT of Iheanacho's back to the camera in the foreground of

a busy intersection of Hollywood and Highland as people zig -
zag in the background in SLOW MOTION at 60 fps. He is
literally watching life pass him by. All hope is lost.

FLASHBACK:

32 I/E. RESTAURANT. NIGHT 32

SUPERIMPOSE GRAPHICS: TEXAS.

Date night. Iheanacho and Ada are seated on a red clothed

round table, set in the middle of the restaurant. They are
both well dressed, under warm lighting. Every other thing
around them is poorly lit with specs of light.

Iheanacho has grown a little facial hair, and Ada's braids

are neat.

The WAITER takes the paper menus away.

IHEANACHO
Were you always interested in
filmmaking?

ADA
Storytelling has always been my
passion. I was aware of this very
early in life. Hence I saved up a
bunch of money, put furthering my
nursing career on hold to pursue
filmmaking.

IHEANACHO
Nursing career?

ADA
I was a certified nursing
assistant. Decent pay, no college
degree required.. But I was working
toward being a nurse.

IHEANACHO
That's not even related in anyway.
How do you go from aspiring to be a
nurse to..
 25.

ADA
Never said I aspired to be a nurse.
(playful)
You're not listening.

Iheanacho chuckles.

IHEANACHO
No I get it. The nursing profession
is quite a big deal, and I respect
the ones who are truly called to do
it, but then there are also ones
that do it as means to an end.

ADA
Exactly.

IHEANACHO
That was you?

ADA
Umm...

IHEANACHO
The ones who are never happy to see
you. They be like..Why are you
here? Do you have an appointment?
(exaggerating his accent)
There is nothing wrong with you my
friend; stop pretending just so you
can see the doctor.

Ada laughs.

ADA
I do not know what kind of nurses
you have dealt with in your life.
You're a mess.

They both laugh.

Iheanacho stops laughing and stares admiringly at her. Ada

continues to laugh and talk, but we don't hear what she's
saying, just her lips moving as she cracks herself up unaware
of Iheanacho's momentary bewilderment.

IHEANACHO
What part of Nigeria are you from?

ADA
What makes you think I'm Nigerian?
 26.

IHEANACHO
Your name, Ada. That means first
born, where I'm from.

Ada smiles and fiddles with her cutlery.

IHEANACHO (CONT’D)
I can't make assumptions. Are you
Nigerian?

ADA
I'm Chinese.

Iheanacho is caught off guard. He doesn't know if she's

serious or joking.

Ada is amused by his gullibility. She got him.

ADA (CONT’D)
First generation Nigerian. Came
here as a child. Mom won the visa
lottery and brought me with her.

Iheanacho is delighted.

IHEANACHO
I'm Nigerian as well.

ADA
Duh. I know that. You act and sound
Nigerian. The only reason everyone
says HUH when you say something and
I don't is because you sound just
like my cousins from Nigeria.

Iheanacho laughs.

IHEANACHO
Oh now you're exaggerating. I think
I sound pretty American.

Ada laughs.

ADA
No! Who lied to you?

They both laugh.

ADA (CONT’D)
How did you come to the U.S.?

IHEANACHO
F1 visa.
 27.

ADA
Nice. What does your name -
Iheanacho Ositadimma, mean?

IHEANACHO
The thing you seek, from now on it
shall be well.

ADA
Umm..that's long as heck, but deep.
I like that. I assume you speak
Igbo fluently?

Iheanacho nods his head.

ADA (CONT’D)
I understand Igbo. I'm still
working on the speaking part
though.

IHEANACHO
How old are you?

ADA
Twenty six

IHEANACHO
Oh no it's too late now; you are
not learning anything anymore.

ADA
Oh you are so wrong for that.

They laugh.

IHEANACHO
In fact I can even sell you, do the
whole transaction in Igbo and
pocket the money without you
knowing what was discussed.

ADA
Oh WOW. Why am I getting sold?

She laughs.

ADA (CONT’D)
You see, that right there tells me
without a single doubt, that you're
an Igbo man. Igbo man and money are
like man and wife.

Iheanacho laughs, and they begin to mimic Igbo men.

 28.

IHEANACHO
(Speaking Igbo language)
Nwanne ego di mkpa [My sister,
money is important]

ADA
(Speaking Igbo language)
Choro mu ego ka mu were mee movie
[Give me some money so I can
produce a movie]

IHEANACHO
(Speaking Igbo language)
CHAI, a si kwa na ibiara yesterday
[If only you had come yesterday!].
My container just arrived and I
shipped everything back again, so
EGO AGWUSIALA [so I'm broke now]

They both laugh uncontrollably.

Ada smiles and holds up her wrist showing Iheanacho her green
white green customized wristband.

ADA
Gotta represent.

IHEANACHO
I like that.

ADA
You know, there's not a lot of us
out there making films, so it's
important that you represent.
Something that speaks to you, that
identifies you as an individual,
says who you are and sets you apart
from the rest of the world.

Iheanacho likes where she's going with it.

IHEANACHO
Representation.

ADA
Identity.

END FLASHBACK
 29.

33 EXT. LA - SUBWAY. NIGHT 33

SHOT of Iheanacho on a train subway bench falling asleep. He

opens his eyes and stares into space...

A 45 year old Afrocentrically stylish African brother sits

beside him. This is PELE.

34 E/I. TRAIN. NIGHT 34

As the train goes under a subway we see Iheanacho sleeping on

a seat.

PELE, sitting across, observes Iheanacho and confirms signs

of homelessness - bedraggled, mobile belongings.

Iheanacho opens his bloodshot eyes and locks eyes with a

staring Pele. He yawns.

35 INT. PELE'S APARTMENT. LATER 35

Pele turns on the light in his studio apartment and ushers

Iheanacho to a corner.

Pele, pointing to the couch..

PELE
You can crash here until you get
situated my brother. Tomorrow
morning we get formally acquainted.

They shake hands and dap.

PELE (CONT’D)
The bathroom is right there. Got a
clean towel and soap in there, if
you ever need that in the morning.
Feel free; this is your home.

Iheanacho is appreciative. His gestures acknowledge Pele's

hospitality.

36 INT. PELE'S APARTMENT. MORNING 36

In the morning, a rejuvenated Iheanacho and Pele sit across

from each other in Pele's studio parlor.

PELE
I go by Pele. Plain and simple.
 30.

IHEANACHO
You're from Ghana?

PELE
What gave it away?

IHEANACHO
Abedi Pele! Olympique de Marseille.
The African Maradonna.

PELE
AHH..You play soccer?

IHEANACHO
Of course!

PELE
Abedi Pele is my hero man. I was
named after him, by the same JV's I
destroy on the pitch.

IHEANACHO
Oh yea? You're that nice?

PELE
Only one way to find out!

IHEANACHO
Don't tempt me out of retirement
bro. Are you talking real soccer or
FIFA?

Pele can't help but laugh.

PELE
Someone got a sense of humor, I
see. Good one. I'm guessing you're
a Naija boy huh?

IHEANACHO
Yesso.

PELE
Nice..Naija boys always find a way
bro. A very resilient people. Are
you straight with your papers?

Iheanacho is quiet. For a moment he feels uncomfortable..

Pele breaks the tension..

 31.

PELE (CONT’D)
Don't even worry about it. I can
hit up some people for some under
the table jobs. You gotta avoid the
police like the plague though, and
don't tell people your business.
One of my guys got deported last
week.

A nervous look on Iheanacho's face.

PELE (CONT’D)
The guy that owed him money called
the cops on him. How cold was that?

IHEANACHO
Dam.

Pele goes into a comical rant.

PELE
After thirteen years in America,
his village people eventually got
their wishes fulfilled. Man trekked
back to Africa with nothing but a
Ghana-must-go bag.

Iheanacho burst out laughing.

IHEANACHO
You're hilarious man! He trekked?
Hahaha.

PELE
Barefooted too!

Iheanacho is cracking up.

IHEANACHO
You're hilarious bro.

FLASHBACK:

37 INT. DOCTOR'S OFFICE. DAY 37

Ada and her mom, MRS. OBI, a black woman in her late 50s, are
seated in a Doctor's office. The DOCTOR, a late 40s black
man, is sitting across them, examining a file before him.
 32.

DOCTOR
The results of the mammogram,
ultrasound and biopsy, all point to
one thing, Mrs. Obi.. Breast
cancer.

Mrs. Obi breaks down. Ada is emotional as well but she tries
to be strong and consoles her.

ADA
Doctor Cromathy, what stage is it?

DOCTOR
We still have to determine that,
and discuss treatment options.

Ada is sad and helpless.

ADA
Doctor Chromathy, my mom has no
insurance. She's never been sick in
her life. How do we handle this?

DOCTOR
I understand. No need for panic.
Being diagnosed with breast cancer
doesn't mean death sentence.
Getting an insurance would be very
beneficial, but pre existing health
conditions may hinder it.

38 INT. UNIVERSITY OF HOUSTON - FILM CLASS. DAY 38

Film Professor is giving lectures to a full classroom. Focus

on Iheanacho. From his POV we see an empty chair. Ada is
absent.

39 INT. METHODIST HOSPITAL. DAY 39

Ada's mom is in a hospital bed, and Ada, dressed in a nurse's

outfit, spoon feeds medicine to her.

40 EXT. METHODIST HOSPITAL. LATER 40

Establish Methodist hospital. Ada and Iheanacho sit and chat

by the curbside.

ADA
I got my job back so I can help
care for her.
(MORE)
 33.
ADA (CONT’D)
We have zero source of income. I
asked her to take a break from
work.. This is too much.

Ada fights emotion. Iheanacho rubs her back.

ADA (CONT’D)
Methodist has been supportive. I'll
be creating a Go- Fund-Me page
soon, and they have promised to
match any donations we get.

Her eyes are teary. She fights the emotion as one tear drops
down her cheek. She looks at Iheanacho who seems to empathize
with her.

ADA (CONT’D)
They'll be moving her to MD.
Anderson.

41 EXT. MEMORIAL PARK. MORNING 41

Establish a peaceful park at golden hour. Iheanacho and Ada

are sitting on a bench, facing the rising sun.

ADA
She started chemo, and she's
responding well to treatment.

IHEANACHO
That's good news. She will pull
through.

ADA
She's going to beat it for sure;
breast cancer is so aggressive
especially on black women, but
stage two is not so advanced.

IHEANACHO
It wouldn't be a bad idea to go for
a mammogram yourself, you know.

Ada is quiet.

IHEANACHO (CONT’D)
What, are you scared?

Ada has an epiphany and tries to deflect..

ADA
I just thought of a brilliant idea.
 34.

She has Iheanacho's attention.

ADA (CONT’D)
What if the main character of your
story is an African woman.. She's
dying of cancer and her dying wish
is to meet her favorite actor - the
American actor, Mojavé Banks.

Ada and Iheanacho look at each other. Brilliant!

ADA (CONT’D)
That's a plot right there.

Iheanacho is excited, then curious.

IHEANACHO
Why Mojavé Banks?

ADA
You like Mojavé Banks. DUH. You
want the main character of your
story to be African because
representation matters, hence the
African woman. You want something
people can relate to. She has a
terminal illness. Everyone can
relate to that. Put all that
together and you have a banger!

Iheanacho smiles. Jackpot!

ADA (CONT’D)
(Jokingly)
I want my writer's credit!

END FLASHBACK

42 E/I. AFRICAN RESTAURANT. DAY 42

Pele and Iheanacho are seated at a table in a Ghanaian

restaurant. Old Ghanaian record plays in the background.

A waiter - young African woman named AFIA, takes their order.

PELE
(Speaking Akan)
For me, the Omo tuo with Nkate
nkwan.
 35.

AFIA
(Speaking Akan)
Nice choice Sir.

PELE
Ever since your madam prepared that
dish for our association I've been
hooked. For this gentleman here,
just get him the peanut stew with
white rice.

IHEANACHO
Oh no, I'm having what you're
having.

PELE
We eat this dish with our hands
bro; none of that fork and knife
shit. You better let the waiter
serve you rice and stew.

IHEANACHO
Yo I'm West African brother; you're
trying to play me.

Pele throws his hands in the air. The waiter laughs..

AFIA
Oh he's going to like it. I'll tell
madam you're here sir.

PELE
Thank you, Afia.

As the waiter walks away with the menu..

IHEANACHO
Omu Tuo?

PELE
Oh trust me, you're going to love
it. I hope you like spicy food!

IHEANACHO
My specialty. Storytelling and
eating spicy food.

Pele chuckles.

PELE
What kind of stories do you tell?
I'm more of an action guy. I don't
do drama bro.
(MORE)
 36.
PELE (CONT’D)
If I want drama I just go in the
bathroom and stare in the mirror.
What genre do you write?

IHEANACHO
Drama.

PELE
UGHH.

Iheanacho is amused.

PELE (CONT’D)
I have an association for African
Creatives. It's called AFU -
Africans in Film United. I'm the
president. We have a guest speaker
from the industry come in and speak
to the group once a week.

IHEANACHO
Oh yea? That's dope. What days are
your meetings?

PELE
We are meeting tomorrow actually.
The guest speaker is in charge of
acquisition at HBO.

Iheanacho is impressed.

IHEANACHO
WOW.

The restaurant owner - MADAM - an older black woman, comes

out with their food and places it on their table. Pele greets
her warmly and proceeds to converse with her in Akan..

PELE
(Speaking Akan)
That's the young man I mentioned to
you. Perhaps you could use someone
around here to clean and wash the
dishes and dirty pots.

MADAM
(Speaking Akan)
I will let you know.

Madam walks back to the kitchen. Iheanacho and Pele salivate

over their food.

FLASHBACK:
 37.

43 INT. RESTAURANT. NIGHT 43

Cinematic lighting falls on Ada and Iheanacho, as they are

the only people we see in this intimate setting. They are
well dressed and seated at a restaurant table. The waiter,
whose face we don't see, is standing. She pours champagne in
their glasses then walks away.

Iheanacho and Ada toast.

ADA
To the film graduate. Mr. Writer
Director Iheanacho Ositadimma. May
you make great movies; may the
world know your name. Cheers.

As their glasses meet, she keeps quiet and stares at him..

ADA (CONT’D)
I am so proud of you.

IHEANACHO
Very soon we'll be celebrating you
as well. You and I together will
conquer the film industry.

Ada is quiet, then..

ADA
Methodist is offering me a
scholarship.

She doesn't seem so excited, but not Iheanacho.

IHEANACHO
What!...
(He smiles excitedly)
Yes!

ADA
Not for film. That dream is over
for me. I'm going to pursue nursing
full time. I can complete my
courses and have my RN degree in
about two years or thereabout. If I
pass the board right after then,
yea we could be sitting here
toasting to the newest Registered
Nurse in town.

IHEANACHO
WOW

Iheanacho processes it.

 38.

IHEANACHO (CONT’D)
Is that what you really want?

ADA
I'm at peace with it... A lot of
things are changing around me. As
we grow we evolve, and our dreams
evolve.

[Silence]

IHEANACHO
You can do it. Ada I'm proud of
you, and I support you all the way.

Ada fights emotions. Her eyes a bit teary.

ADA
Oh yea? Thanks! That means a lot to
me. My own best friend doesn't
think I can do it.

IHEANACHO
Nonsense. Just because she couldn't
accomplish that doesn't mean you
can't. The Ada that I know, is a
very disciplined girl.

ADA
I'm trying to be.

Iheanacho raises his glass to a brand new toast.

IHEANACHO
To accomplishing goals.

Their glasses meet.

END FLASHBACK

44 INT. AFRICANS IN FILM UNITED. DAY 44

Los Angeles. It's AFU day. A room filled with other Africans
in diaspora. They all look afrocentric.

Pele and the guest speaker - AJA - a young African woman, are
sitting in the front, facing the audience.
 39.

PELE
Her identity was kept a secret
because we didn't want people
googling, tweeting shit and making
this public. We have to keep this
in the family. She doesn't have be
here but she is. Ladies and
gentlemen, Aja Obafemi.

He stands up and acknowledges her. Everyone stands and CLAPS.

Aja is honored. She stands and waves.

PELE (CONT’D)
The kind of information you're
receiving today, trust me five
hundred dollars is nothing at all.
People spend millions of dollars
making movies that never get
distribution. So after tonight, you
all go home and thank God for money
well spent.

The room laughs.

AJA
And he is so right about that. As
the first African woman to be made
president of inclusive acquisition
by a major studio, the onus is on
me to open the door for people who
look just like me.

The room to CLAPS some more.

AJA (CONT’D)
It's our time to shine!

The room CLAPS louder, animated.

AJA (CONT’D)
It's time we told our stories by
ourselves. We can't let Hollywood
tell our stories while they shut us
out. And that is where I come in.
Everyone in this room is some form
of creative. We have writers,
aspiring directors and producers,
Cinematographers, production
designers, costume designers, sound
engineers, the list goes on. And we
all tell unique stories.
(MORE)
 40.
AJA (CONT’D)
The studio system is not designed
for us to thrive, but everything is
about to change.

The room is ecstatic. They CLAP and dap each other. Their
time is now! They are about to blow up.

Iheanacho is sitting in the back, calm and attentive.

PELE
Consider yourselves special. We
thank Ms. Aja Obafemi, for making
out time out of her busy schedule
to come hang with us. We don't take
this for granted at all.

The room claps, as Aja modestly receives all the adulation.

PELE (CONT’D)
Please I request that you don't
approach our guest with any
unsolicited material. You can email
any material to me at Pele78 at
yahoo dot com. Pele with a capital
P, seven eight, at yahoo dot com.

Aja stands up, as well as everyone. Pele tries to control the

group.

PELE (CONT’D)
Please only group pictures are
allowed; no personals. Everyone
gather here for group photos if
interested. Mrs. Aja is only
available for two photos.

From Iheanacho's POV: Aja and the group pose for group
photos, and she chats with some people in the group.

Iheanacho stands at a corner waiting for his moment to

approach the unsuspecting Guest Speaker lady. That moment
never comes, as Pele takes her away from everyone and escorts
her out of the room, down a hallway.

45 I/E. AFRICANS IN FILM UNITED - HALLWAY POV. CONTINUOUS 45

Iheanacho can see Pele, from a cracked door opening standing

at the hallway with Aja. Pele hands Aja some dollar bills.

FLASHBACK:
 41.

46 E/I. ANGLICAN CHURCH. DAY 46

Ada and her mom dance to the altar, accompanied by a 100%

African congregation. Everyone is dressed in a native West
African attire.

ADA'S MOM
(Singing)
This kind God O, I never see your
kind O. This kind God O, blessed be
your holy name.

The congregation and CHOIR sing along. The PRIEST dances in

his white robe as they approach the altar.

As the get to the altar, Ada's mom and the accompanying

congregation face the church.

ADA'S MOM (CONT’D)

Praise the Lord!

CONGREGATION
Hallelujah!

ADA'S MOM
Praaaaaaaiiiiise the Lord!

CONGREGATION
HALLELUJAH!

ADA'S MOM
Please everyone join me thank God
o. As of today, I am hundred
percent cancer free.

CONGREGATION
Praise the Lord!

Congregation starts clapping.

Choir sings praises.

Ada's mom dances. Congregation is genuinely joyous.

ADA'S MOM
And as if God hasn't done it all,
he also gave me another testimony a
few days ago. My daughter Ada is
officially a registered nurse!

Congregation rejoices with her.

 42.

Ada is embarrassed. She looks across her, and Iheanacho who

is also in the congregation, smiles at her. She covers her
face and shakes her head.

47 INT. ADA'S HOME - NIGHT 47

Ada and her mom are sitting on a bed. Both women are dressed
for bed.

ADA
Isn't it the woman that always
sings louder than everyone in the
church. Her dance is hilarious too.
I don't know who gets the award for
the most dramatic church member,
you or her.

Ada's mom is amused.

ADA'S MOM
Have you ever seen her son?

ADA
Emeka?

ADA'S MOM
He is a medical doctor.

ADA
Good for him.

ADA'S MOM
He is interested in you and wants
to ask for your hand in marriage.

ADA
My hand? AH, my hand is here o. My
hand is staying with me.

ADA'S MOM
Everything is a joke to you.

ADA
Mom, first of all, he doesn't even
know me. I can't trust any man who
says he wants to marry me without
knowing me. Secondly isn't he too
old for me?

ADA'S MOM
Love goes beyond what the new
generation defines love as. You're
putting love in a box.
(MORE)
 43.
ADA'S MOM (CONT’D)
A twenty five year age difference
is great because women mature
faster than men. It's better if the
man is more mature. A man you can
learn from, respect and rely on to
be a man, not a boy.

ADA
Oh mom, I see where this is going.
I have a boyfriend.

Ada's mom is disappointed.

ADA'S MOM
Iheanacho? That boy that has no
future?

ADA
Ok mom, this conversation is over.

Ada's mom changes her tone.

ADA'S MOM
Sorry baby. I'm not trying to sound
harsh. Just hear me out. He has a
degree that he can't use. He
graduated from film school before
you finished nursing school, and
since then hasn't gotten a job.
Listen let me tell you what you
don't know, because you may be
naive. You're beautiful,
hardworking and focused. You're a
catch; any man will desire you, but
you don't want a man with no
future.

Ada is uncomfortable.

ADA'S MOM (CONT’D)

Now that you're a Registered Nurse,
do you know what is going to
happen? He's going to want to tie
you down so he can take advantage
of you.

Ada's facial expression is like 'How the heck does that even
make any sense?'
 44.

ADA'S MOM (CONT’D)

He's probably thinking of a way to
tie you down because you're
successful, and you can be his
source of income and pathway to
getting a green card. His stay in
the U.S. has long been expired. Why
is he still here? An illegal
immigrant with no job is who you
are choosing over an established
doctor that is ready to have a
family with you and cherish you?

48 INT. IHEANACHO'S ROOM. NIGHT 48

The atmosphere is romantic. Sentimental music plays in the

background. The light from the computer monitor glimmers
enough to discern the location - Iheanacho's bedroom. A
candle light on the nightstand flickers over Ada's face as
she sits in bed with Iheanacho, occasionally smelling a red
rose she holds in her hand while she stares into Iheanacho's
eyes with utmost engagement.

IHEANACHO
I'm going to be the greatest
storyteller of my generation. I'm
going to tell stories that
literally move mountains. Men and
women will honor me, and Kings and
Queens will bless me.

We see a visual representation of Iheanacho's soliloquy.

MONTAGE:

49 INT. UNKNOWN. CINEMATIC 49

Shot in slow motion - 60 FPS. Dramatic lighting in a dark

empty space.

* Iheanacho, dressed in West African costume, wielding an

Oscar and a camera, wades through BLACK MEN AND WOMEN of
diverse age group and class who are equally dressed in
various West African costumes, and they bow down to him.

* The group carries Iheanacho shoulder high.

* Iheanacho bows before the throne of an African KING and

QUEEN, and they bestow blessings on him.

END MONTAGE.
 45.

50 INT. IHEANACHO'S ROOM. NIGHT 50

Ada is both intrigued and amused at Iheanacho's soliloquy. He

kisses her, then...

IHEANACHO
I visualize you there, every step
of the way, every milestone, every
single moment. There's no one I'd
rather share eternity with.

He brings out a ring and bares his heart.

Ada is hesitant..

ADA
What if your dream doesn't come
true? What's your back up plan?
What if you never make it as a film
director?

IHEANACHO
I'm going to make it; everything
will work out. I am a film
director.

He puts the ring back in the box and closes it, then sits at
the edge of the bed. Ada sits beside him.

ADA
I love you. I'm not saying no, but
this is not the right time baby.

She holds his face and kisses him, tenderly and emotionally.

END FLASHBACK.

51 I/E. AFRICAN RESTAURANT. DAY 51

A busy restaurant.

[Customers chattering]

The waitress - Afia is giving sultry today, as she clears

empty dishes off a table and takes them to the kitchen.

52 INT. KITCHEN. CONTINUOUS. 52

As Afia drops the dirty dishes, the DISH WASHERS pick them
up.
 46.

One of the dish washers is a black guy - ANTHONY, in his

thirties, the other is Iheanacho. They are dressed in aprons,
and they sweat in the hot kitchen, as dishes pile up.

53 EXT. KITCHEN BACKYARD. LATER 53

Anthony is standing by a dumpster, smoking a cigarette.

Iheanacho throws a full trash bag in the dumpster and walks

in.

He steps out momentarily, drying his wet hands with his

apron.

Anthony takes a puff and offers him a cigarette..

IHEANACHO
I'm good.

ANTHONY
You don't smoke, you don't drink.
What's your vice?

Afia walks out, and Iheanacho looks at her. She smiles and
walks down an alley. Iheanacho stares at her, then turns back
at Anthony..

ANTHONY (CONT’D)
Mmhm I see you bro.

IHEANACHO
Na

ANTHONY
This guy..

IHEANACHO
Man Anthony, smoking is bad for
your health bro. Shit dries up your
lungs.

ANTHONY
Ha, he changed the topic. No
worries though. Good looking out. I
hear you're a writer; what kind of
stuff do you write anyway?

IHEANACHO
Mostly drama, I dabble in comedy.
Here and there, but mostly drama
and fantasy stuff.
 47.

ANTHONY
Fantasy? No kidding. I have this
brilliant idea for a fantasy TV
series. Something you can probably
see on the Sci Fi channel. Maybe
you can help me write it?

IHEANACHO
Of course, what else am I good at,
other than eating spicy food,
writing, directing and editing?

ANTHONY
Do you know how many times I've
stayed up for hours, trying to come
up with a story, and nothing comes
out? Countless times. It took a
while, but at some point, I
realized I'm not a writer.

IHEANACHO
Some things come easy for some
people. Some can write a badass
story, and some can direct the shit
out a story. I'm sure you make up
in directing, where you suffer in
writing.

Anthony chuckles, a one syllable chuckle..

ANTHONY
This girl I met while doing
background, hired me to direct her
short film, because I told her I
was a writer director right, so
first day of production I'm
standing there with the whole crew,
and the actors are ready for their
scene and I shout action!.. Nothing
happens. I look at the DP, he looks
at me like .. Ummm what am I
shooting? And the actors are
standing there looking at me like..
ummm what action are we taking? No
clue what to do bro.

Iheanacho is laughing..

ANTHONY (CONT’D)
I thought if I said action things
would just magically happen.

IHEANACHO
So what happened?
 48.

ANTHONY
Man by the time that production was
over and we got into post, sitting
in the editing studio and my editor
didn't know what the heck to do
with the footages, it dawned on me
that I was also not a director. I
was breaking all the rules. Editor
looked at me and said, you're
breaking the one eighty in every
shot, and I was like.. what does
that mean?

Iheanacho bursts into laughter.

Anthony stifles his laugh. He lights another cigarette.

ANTHONY (CONT’D)
If you help me write it, I have
connections that can help me pitch
it to Sci Fi Network.

IHEANACHO
That sounds exciting. What's in it
for me? I mean I have a material of
my own that I'm trying to pitch;
it's called Breakthrough.

ANTHONY
Help me write my script, Sky-bound.
You get the written by credit, and
I'll bring you on to pitch your
Breakthrough.

Iheanacho nods his head. They shake hands to the deal.

54 INT. PELE'S APARTMENT. NIGHT 54

A laptop on Iheanacho's lap is the primary source of light.

Iheanacho is typing very fast on the keyboard. From his POV,
we see what he is typing..

INSERT:
TITLE: SKY-BOUND; WRITTEN BY IHEANACHO OSITADIMMA.

CUT TO:

Iheanacho's face looks intense. He is feeling it. He types

fast... Faster... Even faster.
 49.

55 INT. STARBUCKS. MORNING 55

Iheanacho is sitting by a window, typing on his laptop.

A TIME LAPSE shows him sitting at various spots in the same

Starbucks, writing.

He lifts his eyes for a second to stare at a lady who walks

past him. She looks familiar, but it hasn't registered yet.
That's Aja.

56 E/I. STARBUCKS. A FEW MOMENTS LATER 56

Aja walks outside, wearing a Starbucks apron. Iheanacho sees

her through the window, lighting a cigarette. He stands up,
slowly, like..wait a minute.

57 EXT. STARBUCKS. CONTINUOUS 57

Aja is smoking outside by the dumpster. Iheanacho approaches

her.

IHEANACHO
You look familiar.

AJA
I don't recall meeting. I'm Gina;
you?

IHEANACHO
Iheanacho. Are you from LA?

AJA
Born and raised.

IHEANACHO
So you're not from Nigeria? And
your name is not Ms. Aja Obafemi?

Gina is quiet. She is uncomfortable. She puffs a cigarette

smoke in the air.

IHEANACHO (CONT’D)
You don't work for HBO; do you?

This conversation is over.. Gina walks away.

58 INT. PELE'S APARTMENT. NIGHT 58

Iheanacho is in his work clothes. He has confronted Pele, and

he is defensive.
 50.

PELE
Are you accusing me of fraud? You
ungrateful son of a... How do you
think I survive in this crazy town?
Everyone you meet in this town is
going to sell you a dream brother..
Africans in Film United.. They are
my customer; I'm the salesman. The
product?..Dreams and aspiration.

IHEANACHO
I don't want to see you go to jail
man. Just do things the right way
bro.

PELE
Dude are you seriously going to sit
here in my own crib and Martin
Luther King me? How many of the 'Do
Things The Right Way' people you've
met have given you shelter and a
job?..
(flips)
You got me messed up. I found your
ass on the night train! Nobody gave
me handouts; I did all these shit
on my own.
(that's it)
You're out of here man. Be gone
tomorrow morning bro. Good luck.

FLASHBACK:

59 INT. DOCTOR'S OFFICE. DAY 59

Ada and her mom are sitting with their doctor in his office.

DOCTOR
The tests returned positive for
breast cancer on the left breast.

Both Ada and her mom are devastated.

ADA
Again?

60 E/1. MD ANDERSON CANCER CENTER 60

A slow DOLLY SHOT of Ada's mom in the hospital undergoing

chemo. Ada is there.
 51.

61 E/I. METHODIST HOSPITAL. LATER 61

A busy background of nurses, doctors and patients. Ada and

Iheanacho are standing in the hallway of the hospital. Ada is
in a nurse' outfit, and Iheanacho is wearing a visitor badge
on his shirt.

Ada looks into Iheanacho's eyes. Her eyes are a bit teary.
She plays it off.

ADA
I'm not discouraging you. You can
make films anywhere in the world,
even in Texas..

She starts shedding tears.

IHEANACHO
Ada, do you want to come with me?

ADA
I can't. I just got this job. I
take care of my mom. So many
reasons I can't just up and leave
Texas.

She starts crying..

ADA (CONT’D)
It's easy for you; you have no
responsibilities.

Iheanacho is caught off guard. WOW. He shakes his head.

Ada gives him a hug.

ADA (CONT’D)
If things don't work out, please
just come back. Don't be prideful.
I love you.

Iheanacho holds her hands and looks into her eyes..

IHEANACHO
My name is Iheanacho Ositadimma.
Whatever I set my mind to I
accomplish it. You have nothing to
worry about. Baby I'm doing this
for us... I love you too baby...
but it's now or never. I'm not
coming back to Texas unless I make
it big.
 52.

Ada withdraws her hands. Iheanacho gently grabs her by her

waist and kisses her lips, softly.

RACK FOCUS from Ada in the background, as she watches

Iheanacho walk away, down the long hospital hallway, to
Iheanacho's MEDIUM CLOSE UP as he walks toward the camera
into the foreground.

END FLASHBACK

62 INT. AFRICAN RESTAURANT. DAY 62

A very noisy atmosphere. Iheanacho and Anthony are washing

dishes. The dirty dishes continue to pile up.

ANTHONY
Today is my last day bro!

IHEANACHO
Oh yea?

ANTHONY
I'm sky-bound!

They laugh.

IHEANACHO
I see what you did there!

ANTHONY
Bro, I couldn't stop reading that
shit. I felt like I was in that
world. Read it five times already
man. You're a bad man!

IHEANACHO
Thanks son. But dam how are you
going to survive? Did you find
another job?!

ANTHONY
No. This job is so stressful. I
just need some time off!

IHEANACHO
Oh man. So you put in a resignation
letter already?!

ANTHONY
No resignation letter. After work
I'm going home and never coming
back; that's it!
 53.

IHEANACHO
That's gangsta!

Afia walks past the kitchen.

63 INT. SAFE DEPOSIT ROOM. CONTINUOUS 63

Afia counts cash, and as she straightens the bills, she

puts some away, into her apron pocket.

Iheanacho is standing at the entrance, and witnesses this.

When she notices he is standing there, she is shocked, then
embarrassed. Iheanacho is disappointed. She tries to act
nonchalant.

64 INT. KITCHEN. CONTINUOUS. 64

Iheanacho walks in and continues washing dishes. Afia walks

out of the safe deposit room and makes her way outside.

65 EXT. KITCHEN BACKYARD. CONTINUOUS 65

As Afia walks down the alley, Iheanacho hurriedly walks after

her until he catches up to her. She turns quickly.

AFIA
Hey you're scaring me! What the?

Iheanacho comes to a halt, panting.

IHEANACHO
Hey, I'm not going to say anything,
if you do the right thing.

AFIA
You're harassing me man. Stay away
from me.

As she turns to walk away, Iheanacho clumsily grabs her

waist, then quickly grabs her left wrist.

IHEANACHO
Afia, just go put it back, and
nobody has to know anything.

AFIA
Did you just...grab my butt?
 54.

IHEANACHO
Oh WOW, chill.

She slaps Iheanacho, and he lets go of her wrist.

IHEANACHO (CONT’D)
You're about to be sorry for this.
Remember I gave you a chance.

She turns around and starts running back toward the kitchen.
Iheanacho is unsure of her motive. He follows her.

66 INT. SAFE DEPOSIT ROOM. CONTINUOUS 66

Iheanacho walks into the safe deposit room, and Afia is

standing next to Madam, a MAN in his 50s, dressed in shirt
and tie, and a late 40s SECURITY GUARD.

They are all staring at Iheanacho.

IHEANACHO
Good day sir. Good day Madam.

MAN
Do you want to go to jail, or do
you want to go home?

IHEANACHO
WOW, why do I have to go to jail?

MAN
I gave you an option. Do I call the
police now, or do you want to go
home?

IHEANACHO
I didn't do anything that would
make me go to jail, and I don't
want to go home; I need this money.

Man gathers some wrinkled cash on a table, and straightens

them. He waves them in front of Iheanacho.

MAN
Stealing from your job, and sexual
harassment, wouldn't make you go to
jail?

Iheanacho is shocked. He turns and looks at Afia, and at

first she avoids eye contact, then she stares back at him.
They engage in a staring contest. Her eyes get a bit teary,
from guilt.
 55.

Iheanacho's eyes turn red, and tears drop, from rage. He

stares at her with utmost contempt. Then he looks at the man
and responds..

IHEANACHO
Home..

67 EXT. CAR TOWING YARD. DAY 67

Establish a yard with a lot of dusty cars old and new. A tow
truck pulls up in the foreground with the name of the tow
company on it.

CUT TO:

68 INT. CAR TOWING CUSTOMER SERVICE. SAME. 68

Iheanacho is at the window. A customer service REP attends to

him.

IHEANACHO
So what is the exact amount if I
was to bail out my car today?

Rep looks at some paperwork.

REP
Nine hundred and twenty five
dollars to be exact.

IHEANACHO
That's not what I was told on
Friday.

REP
Sir it's not like your car was
towed yesterday; everyday your car
is here, that's more money out of
your pocket.

IHEANACHO
Can I pay in installments?

REP
No sir. We are not Walmart.

69 INT. IHEANACHO'S CAR. NIGHT 69

Iheanacho is laying at the back seat of his car. His phone

vibrates, and he picks it up. The light from his phone
illuminates his face, as he holds it up.
 56.

SUPERIMPOSE TEXT MESSAGE CONVERSATION..

Jason: 'Yo, it's Jason. What's good gee?'

Iheanacho: 'Nothing much; you?'

Jason: 'Yo, don't worry about me. Guess who's the star of
this show I'm working on?'

Iheanacho: 'Umm...'

Jason: .... (Typing)

Jason: 'Mojavé Banks!'

Iheanacho: 'Does it even mean anything anymore to meet

someone, in Hollywood?'

Jason: 'Pardon? And why are you not excited?'

Iheanacho: 'We met Rebeka Wood, nothing happened..'

Jason: 'Yet... Nothing has happened yet. Point of

correction'

Iheanacho: 'I'm tired of meeting these guys, and they smile

in my face like my dream just came true, but then nothing
happens'

Jason: 'Listen up here bourgeois, quit the drama. I can get

you on as background. The show always needs background
actors.'

Iheanacho: 'Good looking out'

Jason: 'No worries. I know that's not what you came out here
for, but when you're on the set, grab any opportunity you
get, to exchange info with him, and tell him about
Breakthrough!'

Iheanacho: (Thumbs up emoji)

He drops his phone on his chest and goes to sleep.

PING! A notification comes in, and he picks it. One of the

people he follows on Instagram has just posted something.

He opens Instagram.

INSERT:

INSTAGRAM POST FROM ANTHONY - Just sold my first screenplay

to Sci-Fi channel #startedfromthebottom.
 57.

Iheanacho quickly sits up. He clicks on a link on the page,

which takes him to an article..

INSERT:

'A Los Angeles resident, who goes by Anthony, has sold an

original TV idea to Sci Fi. The pilot script titled
SKY-BOUND, was sold for $1m. Anthony was a dishwasher at
Riri's African Kitchen'

Iheanacho clicks a video link..

INSERT:

70 IHEANACHO’S PHONE: 70

Video of Anthony being interviewed by STACY - a young black

woman. They are seated across from each other, in an intimate
studio photography setting.

CUT TO:

71 INT. STACY’S STUDIO. SAME 71

STACY
Ladies and gentlemen, the man of
the hour - Anthony Maseko.

Anthony is much obliged. He folds his palms in prayer, and

nods to Stacy.

STACY (CONT’D)
Sky-bound! How brilliant.
Congratulations on your million
dollar deal with Sci Fi. Very
deserving. You have something
original here. How did you come up
with this?

ANTHONY
It took me like three hours to
write the treatment for the pilot
episode, and two days to write the
script.

STACY
WOW. This comes easy for you;
doesn’t it?

CUT TO:

INSERT:
 58.

72 IHEANACHO’S PHONE: 72

ANTHONY
I've been writing since I was ten.
It's my first love.

73 INT. IHEANACHO'S CAR. SAME 73

Iheanacho turns off his phone. He is PISSED!

IHEANACHO
BASTARD! You couldn't write a word
even if it was spelled out to you.
Bastard!

He turns his phone back on, and dials Anthony's number..

CELL PHONE (V.O.)

The number you have dialed is not a
working number. Please check the
number and dial again...El número
que ha marcado no es un número de
trabajo. Compruebe el número y
vuelva a marcar.

He turns off his phone, with an intensity that almost breaks

the phone.

IHEANACHO
Scumbag.. What a scumbag.

74 EXT. PRODUCTION SET. DAY 74

A Camera DP is in the mid ground, with his back to the

camera. Background actors are in the background.

MOJAVÉ BANKS steps into the foreground, looking spiffy.

Iheanacho and Jason are part of the background actors. Jason

nudges Iheanacho, and smiles mischievously.

The DIRECTOR, a Caucasian man in his early 50s, is getting

impatient. He is standing beside the Camera DP, and is
beckoning Mojavé to come on.

He yells in an Australian accent..

DIRECTOR
Action, background!

The background starts interacting in wild chatter. The

 59.

camera DP starts filming.

Director points at Mojavé, but he doesn't move an inch. He is

disgusted, and shakes his head.

DIRECTOR (CONT’D)
Cut!

Action stops, and the director walks up to Mojavé.

DIRECTOR (CONT’D)
What's your problem man? Are we
gonna do this or not?

Mojavé gives him the hand, to his face.

MOJAVÉ BANKS
First of all, you're the one with
the problem, because I'm about to
walk out of this set, and your
Australian ass is about to get
fired, and no studio will ever hire
your ass to work in America after
that!

Mojavé starts undressing, and walks away.

DIRECTOR
Oh what an ass. You're gonna walk
out in the middle of shoot? You're
gonna just waste the production's
money like that? It's a small town
you know, and every producer and
director in town knows each other.
You're gonna be jobless.

MOJAVÉ BANKS
Oh I'm not gonna be jobless.
Everybody wants me. Fox
Searchlight; SONY; TPS; OWN;
NETFLIX, PRIME, Universal, name
them. They all want me. You on the
other hand, after this, your ass
will be making short films, YouTube
skits and music videos for
struggling independent artists, for
the rest of yo’ life.

Mojavé walks away. Director walks toward the DP, waving to

the background that it's a wrap. All the background actors

disperse.
 60.

75 EXT. STUDIO PARKING LOT. LATER 75

Mojavé walks up to a Bentley, and as he is about to enter,

Iheanacho runs up to him. Mojavé is startled.

MOJAVÉ BANKS
Oh WOW. You almost got shot pulling
up on me like that, foo!

IHEANACHO
I'm sorry Mojavé.. Hey look, it was
great meeting you and networking
with you earlier today. I'll
cherish this forever.

MOJAVÉ BANKS
Hey it's all good. I got your
script right here. Great title.
I'll read it when I can. Keep
working young soldier.

INSERT:

Breakthrough Script, is sitting on the passenger seat of

Mojavé's car.

Mojavé tries to enter his car...

IHEANACHO
Hey Mojavé, this is not about me.
You can't just walk out in the
middle of production.

MOJAVÉ BANKS
And who are you? A background
actor, lecturing Mojavé Banks on
ethics? Child, you're not even a
real actor!

IHEANACHO
I don't mean any disrespect...
Mojavé, you are great. Why would
you quit? You're not a quitter. You
have the potential to be the
greatest actor that ever lived. The
opportunity is right here before
you and you're not going to walk
away from a once in a lifetime
opportunity.

Mojavé is almost moved, but then quickly snaps out of it.

 61.

MOJAVÉ BANKS
Boy you really do give great
speeches. Man you had me going,
until you said once in a lifetime
opportunity. No one gives me
opportunities; I create
opportunities, son. Boy bye.

IHEANACHO
It may not be a once in a lifetime
opportunity for you, but it is a
once in a lifetime opportunity for
us. Look at how many people who
have jobs because of this movie.
This movie has a production crew,
cast and background, of about four
hundred. They all have about five
to twenty family members each.
That's roughly about ten thousand
people who depend on this project.
What do we tell our families? That
the same guy they have prayed and
thanked God for, for creating this
opportunity, is the same guy who
takes it away? You're not a
quitter. If you quit, you don't
quit on the studio. You don't quit
on that director. You quit on all
of us. You quit on our dreams.

Iheanacho walks away. Mojavé stands there, moved and subdued.

76 EXT. PRODUCTION SET. LATER 76

The director and Camera DP are in the mid ground. Background

actors are dispersed in the background.

Mojavé walks into the foreground.

Director turns and is surprised to see Mojavé, but pleasantly

surprised.

MOJAVÉ BANKS
Let's shoot this sucker!

DIRECTOR
Roll camera! Action background!

The background actors gather up and start chattering.

[wild chattering]

Mojavé walks toward the mid ground.

 62.

Iheanacho, who is in the background with Jason, smiles, a wry

smile.

77 EXT. HERMOSA BEACH - UNDER BRIDGE. MORNING 77

Aerial view at sunrise, of a bridge, somewhere at Hermosa

beach area.

Slowly reveal under the bridge. Iheanacho's car is parked on

a sandy ground, and he is asleep.

As the sun rays glimmer on the windshield, he opens his eyes.

He leans below his dash board, and momentarily, gets out of

the car with a bottle of water and toothbrush.

As he stands under the bridge, brushing his mouth, a RANGE

ROVER pulls up behind his car, and Jason jumps out from the
back seat wearing a West African attire, and carries one
almost identical, on a hanger, as he walks toward Iheanacho.

Iheanacho rinses his face and stares at him.

JASON
Straight from Naija. Custom made.

Iheanacho smiles and accepts the attire from Jason. They hug.

IHEANACHO
You are a crazy man.

JASON
Wash your balls and put a deodorant
on. We have a pitch meeting in
Hollywood!

CUT TO:

78 I/E. RANGE ROVER. MOMENTS LATER 78

Iheanacho and Jason are at the back seat, both dressed in

West African attires. DRE, 28 year old athletic African
American guy, is driving. He is wearing a bandana and a Tom
Ford blazer.

A Japanese lady, CHIYOKO (27), is on the passenger seat. She

is dressed business.

Dre looks in the rear view mirror, and addresses Iheanacho.

 63.

DRE
Hey I'm Dre. That was some next
level writing right there my man.
Chiyoko thought it was great too.

CHIYOKO
I really loved it. Never read
anything that captivating in a long
time.

DRE
Oh you can take that to the bank,
believe that. With her experience
in this business, if she says
you're good, you're really good.
She be tossing scripts in the trash
all day.

IHEANACHO
Hey thank you. That really means a
lot.

CHIYOKO
You're welcome.

DRE
No don't thank me. Thank YOU.

JASON
Give him a run down on how this is
gonna go down.

DRE
Chiyoko is going to pitch this, and
if she succeeds we both get co
creator credits. She's got it down.

DRE (CONT’D)
You're not about to walk in there,
with that West African Ankara, and
expect to get a deal from these
folks. It's a small circle brother,
and you haven't paid your dues.

IHEANACHO
Are you sure about this? Can I at
least be in the room when you
pitch? I know this story more than
anyone.

JASON
Knowing the story is different from
knowing how to sell the story,
brother.
 64.

Iheanacho sits back, resigned.

DRE
Brother you got nothing to worry
about. She's been working. Mojavé
Banks wrote her back last night.

Iheanacho sits up. He's gotta hear this.

IHEANACHO
Mojavé Banks wrote you?

CHIYOKO
He didn't give an L.O.I, but he
definitely likes the concept. That
could be an ammunition right there.

IHEANACHO
So what is he skeptical about? If
he wrote you back, that means he
definitely wants to be on board
right? All we have to do is tell
them that he's on board to make
them green light the project,
right?

CHIYOKO
It could really backfire. This
industry is so small. Everyone
knows everyone's agent, and the
above the line guys all have each
other on a speed dial.

DRE
Mojavé Banks's people want to know
who is attached.

JASON
(to Iheanacho)
It's standard practice in
Hollywood. Attaching one star draws
other stars. Attaching a great
director draws A-list talents.
First time filmmakers don't even
get the kind of shot we're about to
walk into right now..pitching to a
studio.. Come on bro!

IHEANACHO
Yo, first time filmmaker? I'm not a
first time filmmaker; I have a
short film under my belt.

They all burst out laughing.

 65.

DRE
Did this man just say short film?
Dude, I've been writing for almost
six years now. Never got a call,
much more a meeting. The only
meeting I had was with Adam
Sandler's P.A.,to determine if I
could get an actual meeting with
Adam Sandler., at an In N Out
burger joint.

They laugh..

JASON
BRROO!

CUT TO:

79 I/E. WARNER BROS STUDIO. LATER 79

Establish Warner Bros Studio Lot.

80 INT. WAITING AREA. SAME 80

Iheanacho, Jason and Dre are sitting at a waiting area.

Iheanacho bites his finger nails.

81 INT. STUDIO ROOM. SAME 81

Two STUDIO EXECS - a man and a lady, are sitting on a table.

Chiyoko is standing in front of them, making a pitch.

CHIYOKO
Rebeka Wood is big right now. She
has a show on HBO, that is
basically one of HBO's biggest hit
in a long time. She has a huge
following. Then you have the
sensational, Mojavé Banks. One of
the most commercially viable actors
in Hollywood. Put this two
together, with a badass
screenplay..

STUDIO EXEC 1, a black man with retro bohemian style, sees

the vision and completes the sentence.

STUDIO EXEC 1
Box office.
 66.

Chiyoko smiles and points at Studio Exec 1, acknowledging

him.

STUDIO EXEC 1 (CONT’D)

So, tell me.. what are we looking
at, in terms of budget?

CHIYOKO
It's all contingent upon what the
stars request as salary. But right
now, it's a base budget of forty
million..

STUDIO EXEC 2, a Polynesian lady in business attire,

interjects

STUDIO EXEC 2
Forty what?

Studio Exec 1 chuckles.

STUDIO EXEC 2 (CONT’D)

You do realize that a movie like
this... Wait a minute. What's the
target audience for this?

CHIYOKO
Everyone.

STUDIO EXEC 1
Everyone? From zero to a hundred?

CHIYOKO
Everyone can relate to an underdog
story. It's in the title.
Breakthrough. I think everyone
wants a breakthrough.

Studio Exec 2 whispers into Studio Exec 1's ear, and hands
him a paper. He glances over it and hands it back to her.

STUDIO EXEC 1
(at Chiyoko)
How confident are you that Rebeka
Wood and Mojavé Banks are both on
board?

CHIYOKO
I have an L.O.I. from Rebeka Wood.

The Execs chuckle..

STUDIO EXECS (TOGETHER)

L.O.I.?
 67.

STUDIO EXEC 2
Who still does L.O.I?

STUDIO EXEC 1
Do you have one from Mojavé too?

CHIYOKO
Not really. However I spoke to him
over the phone and he is enthused
about the idea.

STUDIO EXEC 1
That's great. That's something.

STUDIO EXEC 2
You spoke to Mojavé Banks? In
person.

CHIYOKO
His manager.

STUDIO EXEC 2
That's not the same thing. What's
the manager's name?

Chiyoko's face turns red. She starts to sweat.

CHIYOKO
I spoke to his Personal Assistant.

Studio Exec 2 dramatically leans back in her chair, an

attitude of resignation. Studio Exec 1 doesn't give up on
Chiyoko just yet. He stares dramatically at her for a few
seconds, and...

Anxiety grips Chiyoko.

STUDIO EXEC 1
Do you have a hard copy of the
script?

CHIYOKO
Yesss

Chiyoko bursts a sigh a relief, and presents Studio Exec 1

with a hard copy of the script. He glances over it, then
flips over a few pages.. HMMM

STUDIO EXEC 1
I definitely like the title. It's
catchy..

CUT TO:
 68.

82 INT. STUDIO WAITING AREA. LATER 82

Iheanacho, Jason and Dre, are sitting in the waiting area.

Iheanacho's eyes are shut, like he's saying a prayer.

Chiyoko walks out with a file. She looks disappointed.

They all stand up.

IHEANACHO
How did it go?

CHIYOKO
They didn't like the idea. They
think it's a joke, and definitely
not interested. They don't think
it's good enough a project to draw
A-list talents. They don't believe
that Mojavé Banks would sign onto
the project if they put a gun to
his head.

They are all disappointed. Iheanacho is crushed.

CHIYOKO (CONT’D)
Sorry.

Iheanacho and Jason mope at each other. This is one of

failure. All hope is lost.

CUT TO:

83 EXT. HOLLYWOOD BLVD. LATER. 83

SLOW MOTION: At Hollywood & Highland, where dreamers parade

in costumes of live action Hollywood heroes, Iheanacho stands
in the mid-ground with his broken dream, as the characters
gallivant in the foreground and background at 120 FPS.

84 EXT. HERMOSA BEACH - UNDER THE BRIDGE. MORNING 84

Iheanacho's car is parked under the bridge. The driver's door

is open, and he is sitting down with his legs out on the
sand. He is deep in thought..

His phone vibrates - A text message alert.

He picks his phone and checks the message, then tosses his
phone to the sand, and reflects..

Suddenly he halts and looks up into space. His eyes light

 69.

up, like he has just had an epiphany.

CUT TO:

85 I/E. IHEANACHO'S CAR. CONTINUOUS 85

Iheanacho reaches toward the dashboard and opens the glove

compartment. He pulls out a business card, and smiles. AHHA.

INSERT SHOT:
BUSINESS CARD READS: ‘UNIVERSAL STUDIOS - JAVIER SANCHEZ -
PRODUCER.

CUT TO:

86 EXT. UNIVERSAL STUDIOS. LATER 86

Iheanacho's car pulls up to the Universal studios gate. A

COLOMBIAN SECURITY GUARD, about 5O years old stops him.

87 I/E. IHEANACHO'S CAR. CONTINUOUS 87

Iheanacho pulls out his ID and gives to the Security guard.

His face looks familiar!

IHEANACHO
I'm here to see someone. He is the
producer here.

SECURITY GUARD
There are many producers here. What
are you talking about? Do you have
an appointment.

His voice definitely sounds familiar! He recognizes that

accent., but it can all be a coincidence.

He takes a close look at the business card, then looks at

the Security guard's shirt. A CLOSE UP of his name tag,

reads 'MR. JAVIER SANCHEZ'.

It's the same guy that was 'the guest speaker producer from
Hollywood', at his school in Texas. The guy whose business
card he has in his hand.

IHEANACHO
What's your title sir?
 70.

MR. SANCHEZ
Chief Security Officer. Do we have
a problem?

IHEANACHO
No Sir.

Iheanacho makes a u-turn and tosses the business card out the
window.

88 SFX SEQUENCE. 88

As the business card flies out his car window, TRACK the card
into the air.

89 EXT. CONSTRUCTION SITE. CONTINUOUS 89

Clean air transitions to dusty atmosphere. Card falls on the

site where CONSTRUCTION WORKERS are drilling.

GRRRRRRUUUU.... A CONSTRUCTION WORKER drilling on a site,

turns off his drilling tool, and as it cools off he walks
toward his car.

As he takes off his helmet we see that it is Iheanacho.

END SFX SEQUENCE

90 E/I. HERMOSA BEACH - UNDER THE BRIDGE. DAY 90

Different breeds of HOMELESS PEOPLE are under the bridge.

Some are sleeping, some are doing drugs.

Iheanacho's car is parked under the bridge. The driver's door

is open, and he is sitting down with his legs out on the
sand. He is deep in thought..

He picks up a photograph.

INSERT:
AN IMAGE OF IHEANACHO & ADA.

He drops it and picks up his phone. He scrolls through his

contacts and stops at 'BABE'. He clicks it, but is hesitant
to push the 'Call button'. He ponders.

He drops the cell phone on the dash board, and bows his head
in meditation, on the steering wheel.
 71.

In the back seat, amidst the dump that is all his belongings,
the screenplay - BREAKTHROUGH comes to focus.

ZZZZZZZZ... Iheanacho SNORES away.

As he sleeps and snores, his phone suddenly starts to

vibrate.

INSERT:

Caller ID - Mojavé Banks...

FADE TO BLACK.

THE END