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Finding Forrester 2000 Full Movie

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    MAN:
    Marker.
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    Yo, nothin' can
    Keep me detained
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    I've retained
    To numb pain
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    Brain insane
    The opposite of humane
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    To go against this Animus,
    lyricist
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    And you shall bear witness
    For the end of your existence
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    I've rapped gloom
    Give niggas cap wounds
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    And pack 'em in catacombs
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    'Cause your lives will expire
    when you test the empire
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    A.K.A. body out, Lana
    I sense a win
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    And feast when I release
    The beast within
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    It's time to meet
    The reaper's twin
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    So run from the truth
    And you might get boost
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    My dezzy goose will abuse
    And misuse your bulletproof
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    Then watch you spit red juice
    When your bones rip loose
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    Niggas that's full of it
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    Bite the bullet and get
    Their lead hit and split
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    Seeds get eaten in this apple
    I'm the type of nigga
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    That'd clap you while
    You prayin' in your chapel
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    Fillin' caskets with cattle
    'Cause bastards try to battle
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    For example
    I told this chump to stop
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    Didn't know the pump cocked
    Till the pump was up the block
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    So you guys better realize
    Inflammation what you facin'
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    From hell, I'm armed well
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    Test the vest
    I got a medal to chest
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    Execution-style sentence
    To death, no other choice
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    Weapons are useless 'cause
    Verse murders with the voice
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    []
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    That's cool.
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    WOMAN:
    Hey, Jamal!
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    Jamal, you awake?
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    Jamal, I know
    you hear me, boy.
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    Jamal, I'm writin'
    all this down,
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    but I've got that thing
    with your teacher.
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    And they got me workin' late,
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    so take care of yourself
    for dinner.
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    Okay? Okay?
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    Okay.
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    Hey, I thought you wanted
    to get up by 7:30.
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    MAN:
    Play ball.
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    Baby, hear the chains singin'?
    Check that up, man.
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    Stop cryin'.
    Hold on, hold on.
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    What up, J? Where you been?
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    Sleep, yo.
    What's up, man?
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    Up late, wondering how
    I was gonna save your ass.
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    What are you savin'?
    What up, Damon?
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    Let's go.
    J!
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    Break him up, man.
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    Oh, he broke
    your ankles, man!
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    [Softly]
    Can't give him that.
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    Can't give him that.
    I'm awake now.
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    Come on, yo.
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    Come on, man.
    You got something for me?
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    Souffle, baby!
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    JAMAL: Got nothing for me.
    Lot of good that's doin'.
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    [CAR LOCK CHIRPS]
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    Bringin' something
    for The Window.
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    DAMON: You ever seen him?
    The Window?
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    Yeah.
    No. But he see us, man.
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    Come on, man.
    Y'all don't wanna play ball?
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    All right.
    Wake up.
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    DAMON:
    You got to help me out, man.
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    In 1845, Poe wrote his most
    famous piece, "The Raven,"
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    a poem he wrote while
    he was strung out on coke
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    and obsessed with death.
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    "The Raven" is like
    the football team.
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    A team obsessed with death.
    Always get their ass kicked.
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    [EVERYONE CHUCKLES]
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    TEACHER:
    Baltimore Ravens,
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    only pro football team
    named after a classic poem.
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    Anyone read it?
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    "Once upon a midnight dreary,
    while I pondered,
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    weak and weary--"
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    Jamal, how 'bout it?
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    Nah. I never read it.
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    [BELL RINGS]
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    I need those essays
    by next Tuesday.
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    Yo,
    man, my dad saw The Window.
    'Bout 20 years ago.
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    Just like a ghost,
    like the ones
    in our science books and all.
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    Just like that.
    So what? He was white?
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    Ain't milk white?
    Seen a ghost
    that wasn't white?
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    I'm just playin', man.
    He killed somebody.
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    That's why he has
    to stay inside.
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    You gotta kill an army
    to hide here.
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    Y'all play too much, man.
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    Remember Shurrita? The one
    that lived below The Window?
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    She calls me up
    this one night, buggin', dog.
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    Talkin' 'bout
    she heard tapping
    from upstairs by The Window's.
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    Tap, tap, tap.
    [KNOCKING ON TABLE]
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    While she was on the phone,
    man,
    she started screamin', dog.
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    'Cause now the tappin',
    made its way down the stairs.
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    Tap, tap, tap.
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    Listen to him, fool.
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    And now it was on the other
    side of her door, dog.
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    She could tell there was
    some knife he
    was tappin' with.
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    She didn't know.
    Before she can even hang up,
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    the phone disconnected.
    That was
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    the last time
    we seen Shurrita.
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    Shurrita across the street.
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    Oh!
    That girl is a crack ho.
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    No, no. She was nice.
    She'd be pissin'.
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    All I know is that
    The Window is bad news.
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    Rules was if you wanted
    to go outside,
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    stay away
    from The Window's place.
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    We need to stay away
    from your lyin' ass.
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    J, what you feel?
    You believe me?
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    You full of shit, dog.
    [LAUGHS]
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    Damn.
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    Let me guess. So you'd
    go up in there, right?
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    Ooh.
    Old man lookin' out a window.
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    Superman, you'll go, right?
    He won't go.
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    Let them know, J.
    DAMON: He's not gonna go.
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    This nigga's scared.
    Yo, I got the next call.
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    So?
    So...
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    I dare you to go
    up there, right?
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    Right, right?
    Whatever, man.
    I'll go up there.
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    He's going.
    Big shot.
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    Bring it, son.
    That's my dog.
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    You feel me.
    D, I believe you, dog.
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    Man, shut up, dog.
    Go to class or something, man.
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    Here, man,
    sit over here, son.
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    Stop playin' with me.
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    It's a vibrant thing. Go.
    Fine. Not sittin' next to you.
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    Take your apple too.
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    []
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    [KNOCKING]
    Ms. Joyce?
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    Yeah. Hi.
    Good to see you.
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    Have a seat.
    Thank you.
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    Okay.
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    So, we got Jamal's
    test scores back this week.
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    Test scores?
    Assessment tests.
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    The state education department
    requires all kids take them.
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    He didn't tell you,
    did he?
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    Mrs. Wallace, Jamal
    maintains a "C" average,
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    which means he does
    just enough to get by.
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    It also means he does just
    enough not to stand out.
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    What makes Jamal's case
    unusual are his test results.
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    Oh, my God.
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    I see him reading
    all these books all the time--
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    books I never read,
    some I never even heard of.
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    And he's always writing
    in his notebooks.
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    Ever since his father left.
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    But that's what I see.
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    All he ever talks about
    is basketball.
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    Well, basketball is where
    he gets his acceptance.
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    Kids here don't care about
    what he can put down on paper.
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    MAN:
    Let's go! Between
    the yellow lines. Let's go!
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    Yo, T.
    What up, Fly? How you, baby?
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    Maintainin'.
    Look.
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    You lookin' for tickets,
    little bro? Dead tonight.
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    Sorry 'bout that, fellas.
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    Come on, man.
    We know you got tickets.
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    I got four words for you.
    Bos-ton Red Sox.
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    All right?
    The Yanks and Sox tickets,
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    they damn near been
    sold out almost a month now.
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    All right, Mr. Fly?
    And by the way, why don't you
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    go tell Camry boy over there
    that he need to go and back up
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    his cheap ass bumper
    on that Mercedes over there.
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    Go handle that.
    Let's go, Fly! Let's go.
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    What up, Jamal?
    Moms called.
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    Told me about
    the test you took.
    What's up with that?
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    Nothin', man.
    What you mean, nothin'?
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    This gettin' in the way
    of your plans?
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    Remember, it was
    your plan first, T.
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    I know. A little college ball
    and all of that.
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    Start signin' checks, solving
    everybody else's problems.
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    Look at me, though.
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    Whoa. Hold a minute.
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    Hold onto these.
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    I guess this makes it
    our plan now.
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    One thing.
    What up?
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    Don't say nothin' about
    them test scores to nobody.
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    Don't worry about that.
    I'm your brother, dog.
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    Whatever me and you discuss
    stay between me and you.
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    Right.
    Love you, dog. All right?
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    You just make sure you keep
    one thing in mind.
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    Mom's gonna know when the game
    is over,
    so take your ass home.
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    All right.
    Don't get into no trouble.
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    Be careful.
    Stay safe.
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    Love, dog.
    All right, T. Good lookin'.
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    All right, Jamal.
    Be careful, man.
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    Stink in here.
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    J, see that window? He keeps
    that one cracked sometime.
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    Light's been
    out for two hours.
    FLY: You sure he asleep?
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    Listen. That Methuselah's
    like a thousand
    years old, man.
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    That's all he ever do.
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    Yo, J, man.
    For the reals, son,
    I don't know about this.
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    [RAT SQUEAKS]
    I'm thinkin'-- Shit!
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    I think I'm gonna
    pull the call, yo.
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    No, yo, I got this one.
    Rats.
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    Yo, Fly.
    Keep it.
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    You gotta bring
    somethin' out.
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    DAMON: You hear us, drop down.
    All right.
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    Make sure you don't
    stay in there too long, dog.
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    I got you.
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    Damn, this thing's rickety.
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    []
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    [VOICES ON TV]
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    [TV CONTINUES]
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    [MAN YELLS]
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    Look, look, look.
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    Oh, shit.
    Yo, got somethin'?
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    Oh, shit!
    What happened?
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    MAN: You son of a bitch!
    FLY: Shit!
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    He wasn't asleep.
    He was right there.
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    DAMON: Did you see him?
    Nah, not for long, yo.
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    Jamal, would you stop bouncing
    that damn ball in the house?
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    I got Michael Jordan's name
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    written in dirt
    all over my floor.
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    Don't worry. I'll clean it.
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    I got a better chance
    of Michael Jordan cleaning it.
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    Hey, if you're
    thinkin' of a shower,
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    the hot water's
    taking a few minutes.
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    I wasn't thinking about it.
    Hey, where's your pack?
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    I don't know.
    Don't know?
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    What do you mean,
    you don't know?
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    We wanted you to bring
    something,
    not leave something.
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    Why don't you leave
    this one alone?
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    What was in your bag, anyway?
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    I'm not talkin' about
    the damn bag.
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    Bet you ain't, man.
    Let me teach you somethin'.
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    Now watch the eyes.
    Watch the eyes.
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    He's probably watchin' you
    right now.
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    Stop, stop. See?
    You don't know
    about that, man.
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    Here's how you do it.
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    You saw that, right?
  • 17:15 - 17:17
    []
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    [CAR LOCK CHIRPS]
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    I'm not gonna do anything
    to your car, man.
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    I'm sorry?
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    You look like I'm about
    to do something to your car.
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    I worry about this car
    everywhere,
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    so don't take it personally.
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    It's just a car, man.
    It's not just a car.
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    It's a, uh-- a B.M.W.
    Oh.
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    As anybody who knows anything
    about that company
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    knows that
    it's more than just a car.
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    Anybody who knows anything
    about that company.
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    I wouldn't know
    anything like that?
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    That's not what I meant.
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    Last thing I knew
    about B.M.W.
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    is they used to make plane
    engines when they started.
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    A guy by the name of
    Franz Popp started it all.
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    Franz Popp.
    I like that name.
  • 18:51 - 18:52
    Made this one engine
    before 1920.
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    Flew six miles up.
  • 18:56 - 18:59
    Popp and his boys, they was
    just gettin' started, man.
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    Made this one engine,
    the 801, World War II,
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    fourteen cylinders,
    2,300 horsepower,
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    seven miles up.
  • 19:09 - 19:11
    If they had more time, they
    would've been bombing England
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    and maybe even won the war.
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    That's where this comes from.
  • 19:18 - 19:20
    White propeller zippin'
    around a blue sky.
  • 19:22 - 19:23
    So after the war, we told 'em
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    they couldn't make
    plane engines anymore.
  • 19:25 - 19:28
    That's when B.M.W. gave some
    serious thought
    to makin' cars.
  • 19:30 - 19:31
    Kinda like this one.
  • 19:33 - 19:35
    But you
    probably knew all that,
    being as you lease one.
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    Thanks for
    the history lesson.
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    No problem, man.
  • 19:45 - 19:47
    [LOCK CHIRPS]
  • 19:50 - 19:52
    []
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    Messin' with my stuff, man.
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    Hey, um,
    the other night was--
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    It was just this dare thing
    me and my boys do.
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    Um--
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    Well, I was wonderin'
    maybe I could bring you
  • 22:23 - 22:26
    some more of my stuff,
    or maybe
    I could write somethin' else.
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    How about 5,000 words
  • 22:29 - 22:33
    on why you'll stay the fuck
    outta my home?
  • 22:35 - 22:38
    [WOMAN MOANING,
    HEADBOARD BANGING WALL]
  • 22:42 - 22:44
    WOMAN:
    Fuck me! Fuck me!
  • 22:47 - 22:48
    [MOANING LOUDLY]
  • 22:50 - 22:52
    []
  • 23:15 - 23:17
    [SOFTLY]
    Come on, man.
    I know you in there.
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    Take your goddamn hand
    off my door.
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    Um, I-- I just came to--
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    to drop off that thing you--
    you asked me for.
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    What thing?
  • 23:32 - 23:35
    The 5,000 words on why
    you wanted me to stay out.
  • 23:35 - 23:37
    At least that's kinda
    the way you said it.
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    Try remembering it
    exactly as I said it.
  • 23:46 - 23:48
    [SIGHS]
  • 23:51 - 23:53
    I got a crown
    Up in-a the kingdom
  • 23:53 - 23:55
    Ain't-a that good news
    Ain't-a that good news
  • 23:55 - 23:57
    I got a robe
    Up in-a the kingdom
  • 23:57 - 24:00
    Ain't-a that good news
    Ain't-a that good news
  • 24:00 - 24:03
    I'm gonna lay down this world
    Gonna shoulder up-a my cross
  • 24:05 - 24:08
    Gonna take it home to my Jesus
    Ain't-a that good news
  • 24:09 - 24:10
    Good news
  • 24:11 - 24:13
    Come on in, Jamal.
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    MRS. WALLACE:
    Hi, honey. It's okay.
  • 24:18 - 24:20
    Sit down.
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    Mrs. Wallace, Jamal, when
    we got your
    recent test scores,
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    we figured there might be
    interest from private schools.
  • 24:28 - 24:30
    Well, it turns out
    we were right. Mr. Bradley?
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    Jamal, Mrs. Wallace,
    my name's David Bradley.
  • 24:36 - 24:38
    I'm with the Mailor school
    in Manhattan.
  • 24:38 - 24:40
    Mailor?
    Mailor-Callow?
  • 24:40 - 24:42
    That's right.
    You familiar with us?
  • 24:42 - 24:44
    Yeah.
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    Mailor-Callow is not only
    the best school in the city,
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    it's one of the finest private
    schools on the East Coast.
  • 24:51 - 24:53
    Only the best go there.
    As you might imagine,
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    we're a few weeks
    into our fall term,
  • 24:55 - 24:58
    but every year we like
    to hold some openings
  • 24:58 - 25:00
    while we wait for
    the test scores to come in.
  • 25:00 - 25:02
    Jamal, your test scores,
    to put it mildly,
  • 25:04 - 25:05
    caught our attention.
  • 25:07 - 25:09
    I'm here to see
    if you'd be interested
  • 25:09 - 25:11
    in attending our school.
  • 25:13 - 25:15
    Jamal, we know leaving
    for another school,
  • 25:17 - 25:20
    especially a private school,
    is not gonna be easy.
  • 25:20 - 25:23
    But this isn't the right
    place for you anymore.
  • 25:23 - 25:26
    It's not a difficult choice.
    Mr. Bradley, um...
  • 25:29 - 25:32
    there is no way that
    we could ever pay for this.
  • 25:32 - 25:33
    We're not asking you to.
  • 25:35 - 25:38
    Jamal, when Dr.
    Simon mentioned
    only the best go to Mailor,
  • 25:38 - 25:40
    he neglected to mention
    our commitment to excellence
  • 25:41 - 25:42
    extends beyond the classroom.
  • 25:42 - 25:44
    [LOCK CHIRPS]
    I figured that.
  • 25:44 - 25:46
    We thought you might.
  • 25:46 - 25:48
    Mrs. Wallace, about 40
    of our students
  • 25:48 - 25:50
    have gone on to play
    college ball,
  • 25:50 - 25:53
    and three have made it
    to the professional level.
  • 25:53 - 25:55
    We evaluated your play
    last year,
  • 25:56 - 25:58
    and while this would be
    strictly an academic offer,
  • 25:58 - 26:01
    we won't be disappointed
    if you choose to play.
  • 26:01 - 26:04
    Come out for a couple days,
    take a look, think it over.
  • 26:06 - 26:07
    Okay.
    Mrs. Wallace.
  • 26:08 - 26:09
    Thank you.
    Jamal.
  • 26:10 - 26:13
    Good-bye.
    We'll be in touch.
  • 26:22 - 26:25
    CHOIR:
    I got a crown
    up in-a the kingdom
  • 26:25 - 26:27
    Ain't-a that good news
    Aint-a that good news
  • 26:27 - 26:29
    I got a crown
    up in-a the kingdom
  • 26:29 - 26:32
    Ain't-a that good news
    Aint-a that good news
  • 26:32 - 26:35
    I'm gonna lay down this world
    Gonna shoulder up-a my cross
  • 26:37 - 26:38
    Gonna take it home
    to my Jesus
  • 26:39 - 26:40
    Ain't-a that good news
  • 26:41 - 26:42
    Good news
    Good news
  • 26:43 - 26:48
    Good news
    My Lord
  • 26:59 - 27:00
    [DOOR SLOT OPENS]
  • 27:02 - 27:04
    I didn't knock
    this time, man.
  • 27:04 - 27:06
    To whom were you speaking?
    I'll tell you that
  • 27:06 - 27:09
    when I get
    my 5,000 words back.
  • 27:11 - 27:13
    [SLOT SLAMS SHUT]
  • 27:14 - 27:16
    [DOOR UNLOCKING]
  • 27:49 - 27:52
    Bolt the door,
    if you're coming in.
  • 27:55 - 27:57
    [LOCK CLICKS]
  • 27:59 - 28:01
    The man in the car?
  • 28:02 - 28:04
    Um--
  • 28:07 - 28:08
    He was from
    this private school.
  • 28:10 - 28:12
    They want me
    to go there.
  • 28:15 - 28:17
    We don't have to pay
    anything though.
  • 28:19 - 28:22
    We live a couple of blocks
    from here, me and my mom.
  • 28:23 - 28:26
    Well, brother was there
    a couple of years ago,
  • 28:26 - 28:30
    but he left
    after my dad left.
  • 28:44 - 28:45
    Uh, well,
  • 28:46 - 28:49
    my mom got tired of waitin'
    for my dad to
    get himself clean.
  • 28:50 - 28:51
    Then my dad got tired
    of trying.
  • 28:54 - 28:56
    But that's when
    I started writing.
  • 28:56 - 28:58
    What's your name?
    Jamal Wallace.
  • 29:00 - 29:02
    Sounds like some kind
    of marmalade.
  • 29:03 - 29:04
    How old are you?
  • 29:06 - 29:07
    I'm 16.
  • 29:08 - 29:11
    Sixteen!
    And you're black.
  • 29:14 - 29:16
    It's remarkable.
    Remarkable? What?
  • 29:17 - 29:20
    It's remarkable
    that I'm black?
  • 29:20 - 29:23
    I mean,
    what does me being black
    got to do with anything, man?
  • 29:28 - 29:30
    You don't know what to do
    right now, do you?
  • 29:31 - 29:34
    If you tell me what you really
    want to tell me,
  • 29:34 - 29:35
    I might not read
    any more of this.
  • 29:37 - 29:39
    But if you let me run you down
    with this racist bullshit,
  • 29:42 - 29:45
    what does that make you?
  • 29:49 - 29:51
    I-I'm not playing
    this game, man.
  • 29:51 - 29:52
    Oh, I say
    you are playing it.
  • 29:55 - 29:57
    An expression is worth
    a thousand words.
  • 29:59 - 30:00
    But perhaps in your case
    just two.
  • 30:03 - 30:04
    Hmm?
  • 30:05 - 30:06
    [GRUNTS]
  • 30:08 - 30:09
    Here.
  • 30:26 - 30:29
    [SOFTLY]
    Bum-ass old man.
  • 30:30 - 30:32
    [DOOR CLOSES]
  • 30:35 - 30:37
    One hand to give,
    one hand to receive,
  • 30:37 - 30:39
    as we eat together in unity.
  • 30:39 - 30:41
    May our minds, bodies
    and spirits grow strong.
  • 30:43 - 30:45
    And congratulations
    to Jamal. Amen.
  • 30:47 - 30:48
    Amen.
    Amen.
  • 30:49 - 30:51
    Did you see this?
    Let me see.
  • 30:51 - 30:53
    Don't mess it up, now.
    Let me see. Let me see.
  • 30:53 - 30:55
    Wait a minute.
  • 30:55 - 30:57
    From the cover this look like
    the funny-man school.
  • 30:57 - 31:00
    Terrell, eat your food.
    Jamal, you gonna be just fine.
  • 31:00 - 31:03
    Being broke. Mommy don't
    make nothin' but soldiers.
  • 31:03 - 31:05
    You coulda done
    the same thing.
  • 31:05 - 31:07
    I work at a parking lot,
  • 31:07 - 31:09
    and I ain't just
    no regular attendant.
  • 31:09 - 31:13
    I am the supervisor
    of all the attendants.
  • 31:13 - 31:15
    You don't know how much money
    you gonna make week to week.
  • 31:16 - 31:18
    One week $50. One week $100.
    That's not a real job.
  • 31:19 - 31:21
    Leave him alone.
    Look, I rap, I get busy.
  • 31:23 - 31:25
    I got my rap thing going.
    Don't bring up the rap.
  • 31:25 - 31:27
    Eat your food.
    Wanna hear one of my songs?
  • 31:28 - 31:30
    Eat your food.
    I'm gonna sing it for you now.
  • 31:30 - 31:33
    When I come due
    And I blow the spot
  • 31:33 - 31:35
    Your son, the supervisor
    Of the parking lot
  • 31:35 - 31:37
    [LAUGHING]
  • 31:38 - 31:40
    Tell her, Jamal. My joints
    is hot. Right, dude?
  • 31:40 - 31:42
    []
  • 32:27 - 32:29
    Jamal Wallace?
  • 32:29 - 32:32
    Yeah?
    Hi. I'm Claire Spence.
  • 32:34 - 32:37
    Bradley asked me to show you
    around this morning.
  • 32:37 - 32:39
    All right.
  • 32:42 - 32:43
    Come on.
  • 32:49 - 32:52
    Don't worry about answering
    any questions or anything.
  • 32:52 - 32:54
    Not till you decide
    what you're gonna do.
  • 32:54 - 32:55
    Besides, the teachers here
  • 32:57 - 33:00
    aren't all that into
    student participation.
  • 33:00 - 33:03
    They're too busy
    listening to themselves talk.
  • 33:03 - 33:04
    What you mean?
    You'll see.
  • 33:05 - 33:06
    This morning we begin
  • 33:06 - 33:09
    our third required reading
    of the semester,
  • 33:10 - 33:12
    the study of a novel
    that offers everything...
  • 33:12 - 33:14
    and an author who could've
    offered much more.
  • 33:19 - 33:21
    [SOFTLY]
    That's Robert Crawford.
  • 33:21 - 33:23
    He's been here as long
    as most of the buildings.
  • 33:24 - 33:26
    When William Forrester
    was 23, in 1953,
  • 33:27 - 33:29
    he set out to write
    his first book.
  • 33:30 - 33:32
    A lot of aspiring authors
  • 33:32 - 33:35
    talked about writing
    the great 20th century novel.
  • 33:35 - 33:37
    Well, William Forrester
    did it on his first try.
  • 33:39 - 33:41
    Have you read this?
  • 33:43 - 33:44
    Yeah. You?
    Only about a dozen times.
  • 33:46 - 33:49
    This was the only one
    he chose to publish.
  • 33:49 - 33:52
    For all we know, it was
    the only one he
    chose to write.
  • 33:52 - 33:54
    Your job over the next week--
    [STUDENTS GROANING]
  • 33:54 - 33:57
    Your job over the next week,
    is to read it and tell me why.
  • 33:58 - 34:00
    So, you gonna be
    back tomorrow?
  • 34:02 - 34:05
    Yeah. They want me to spend
    some time on the court.
  • 34:05 - 34:07
    Yeah, I heard.
  • 34:07 - 34:11
    Graduation was a little rough
    on last year's team,
    that's all.
  • 34:11 - 34:14
    But it's just like
    college, right?
  • 34:14 - 34:16
    You get an education,
    and they get what they want.
  • 34:18 - 34:19
    Or maybe you both get
    what you want.
  • 34:20 - 34:21
    Yeah, maybe.
  • 34:22 - 34:24
    Well, it was very nice
    meeting you, Jamal.
  • 34:26 - 34:28
    You too, Claire.
    You gonna be around tomorrow?
  • 34:29 - 34:30
    Not where you'll be, but...
  • 34:32 - 34:34
    you might be able
    to find me for lunch.
  • 34:39 - 34:40
    [EXHALES]
  • 34:41 - 34:44
    I didn't say those two words
    the other day.
  • 34:45 - 34:46
    Why didn't you?
  • 34:46 - 34:49
    'Cause I want you to read
    some more of my stuff.
  • 34:53 - 34:55
    You know, they talk a lot
    about you out there, right?
  • 34:56 - 34:58
    All this legend bullshit.
  • 34:59 - 35:01
    They got some stories, though.
  • 35:01 - 35:03
    People wonder
    if you killed somebody.
  • 35:03 - 35:06
    That and wondering why
    you been in here so long.
  • 35:06 - 35:08
    I wouldn't move, though.
    I'd stay for the quiet.
  • 35:08 - 35:10
    You don't hear
    nothin' in here.
  • 35:11 - 35:13
    Our place got
    these noisy neighbors.
  • 35:13 - 35:16
    Their kid's always yellin'
    'cause he's only a year old.
  • 35:16 - 35:19
    Or the pops is yelling
    'cause the kid's makin' noise.
  • 35:19 - 35:21
    And then moms
    on top of that is yellin'.
  • 35:21 - 35:23
    But then that's
    a different kind of yellin',
  • 35:24 - 35:26
    'cause that's when the man's
    playing the tunes for her
  • 35:26 - 35:29
    and she got her head
    bangin' up against the wall.
  • 35:29 - 35:32
    She be screamin' like,
    "Ah! Ah!" And then--
  • 35:32 - 35:35
    You better stir that soup.
    What?
  • 35:37 - 35:38
    Stir the soup
    before it firms up.
  • 35:46 - 35:48
    How come ours never
    gets anything on it?
  • 35:48 - 35:49
    Come on, come on. Closer.
  • 35:51 - 35:53
    Closer.
  • 35:53 - 35:54
    Now.
    You got somebody yellin'?
  • 35:56 - 35:57
    What I have here
    is an adult male.
  • 35:58 - 36:00
    Quite pretty.
  • 36:00 - 36:04
    Probably strayed
    from the park.
  • 36:08 - 36:09
    A Connecticut warbler.
  • 36:11 - 36:13
    You ever go outside
    to do any of this?
  • 36:14 - 36:17
    [CASE SNAPS SHUT]
    Stay with the soup question.
  • 36:17 - 36:20
    The object of a question
    is to obtain information
  • 36:20 - 36:23
    that matters to us
    and to no one else.
  • 36:25 - 36:28
    You were wondering why
    your soup doesn't firm up.
  • 36:28 - 36:32
    Probably because your mother
    was brought up in a house
  • 36:32 - 36:34
    that never thought about
    wasting milk in soup.
  • 36:35 - 36:36
    Now, that question
    was a good one,
  • 36:37 - 36:39
    in contrast to
    do I ever go outside,
  • 36:41 - 36:44
    which fails to meet
    the basic criteria
  • 36:44 - 36:46
    of obtaining information
    that matters to you.
  • 36:46 - 36:49
    All right, man. Guess I don't
    have any more soup questions.
  • 36:50 - 36:51
    No?
  • 36:53 - 36:56
    Why'd you say all that stuff
    before about me being black?
  • 36:56 - 36:59
    It had nothing to do
    with you being black.
  • 36:59 - 37:01
    It had everything to do
    with me finding out
  • 37:01 - 37:03
    just how much bullshit
    you'd put up with.
  • 37:03 - 37:05
    Oh, so you knew I'd come back.
    Yes.
  • 37:05 - 37:07
    Just like I know you'll go
    to this school.
  • 37:07 - 37:09
    Well, how you know that?
  • 37:09 - 37:12
    Because there's a question
    in your writing
  • 37:12 - 37:14
    suggesting what is it
    you wish to do with your life.
  • 37:14 - 37:16
    And that is a question
  • 37:16 - 37:18
    your present school
    cannot answer for you.
  • 37:23 - 37:25
    Let's match up.
    Wallace, you take Hartwell.
  • 37:26 - 37:27
    [PLAYERS CHATTERING]
  • 37:29 - 37:30
    What's up, man?
    I'm Jamal.
  • 37:30 - 37:33
    Just check it, all right?
  • 37:37 - 37:38
    Check the ball.
    COACH: Let's go, guys.
  • 37:39 - 37:40
    Come on, now.
  • 37:42 - 37:44
    Ball's in.
  • 37:51 - 37:53
    COACH:
    Play him tough,
    play him tough.
  • 37:53 - 37:54
    [PLAYERS CHATTERING]
  • 37:56 - 37:58
    Way to go.
    Way to go, gang.
  • 38:02 - 38:04
    Oh, D up. Let's go, garbage.
    Come on, come on.
  • 38:06 - 38:07
    Step up, step up.
  • 38:12 - 38:15
    Why don't you leave the trash
    talkin' back home. All right?
  • 38:15 - 38:18
    Huh? What? Get that goofy look
    off your face. What?
  • 38:20 - 38:22
    Gonna make you
    my son right now.
    Right.
  • 38:22 - 38:26
    You're gonna be my son now.
    Come on. Huh?
  • 38:32 - 38:34
    Let's go.
  • 38:37 - 38:38
    Come on, man.
    What?
  • 38:39 - 38:40
    You too small.
    What? You go.
  • 38:42 - 38:45
    Nice handles. Nice handles.
    Whoa.
  • 38:47 - 38:49
    COACH:
    Hartwell, a little defense
    would be nice.
  • 38:49 - 38:52
    Coach, you're right.
    A little defense. Let's go.
  • 38:52 - 38:54
    Try and get past the line.
    What did you say?
  • 38:54 - 38:55
    I said get past the line.
  • 38:58 - 38:59
    [CHUCKLES]
    Pressure.
  • 39:01 - 39:04
    Too much. Too much.
  • 39:09 - 39:11
    I need some help!
    Ten seconds. Go the other way.
  • 39:12 - 39:13
    Shit.
  • 39:28 - 39:30
    I'm taking your spot?
    Taking what?
  • 39:30 - 39:34
    I'm taking your spot.
    Take nothin'.
    Come on. Come on.
  • 39:39 - 39:41
    Ooh. Ooh.
  • 39:42 - 39:44
    Let's go.
    All right.
  • 39:44 - 39:45
    [PANTING]
  • 39:47 - 39:49
    My court, man.
    My court.
  • 39:54 - 39:56
    That's how we play it
    down here, man.
  • 39:56 - 39:58
    PLAYER:
    That's right.
  • 40:00 - 40:02
    John Hartwell's
    just a rich kid who wants
  • 40:02 - 40:06
    as much of the spotlight
    as he can get his senior year.
  • 40:06 - 40:08
    That's all it is.
    They take things serious here.
  • 40:09 - 40:10
    Well, it's a serious place.
  • 40:12 - 40:15
    Serious enough that I end up
    getting lunch on my books.
  • 40:17 - 40:19
    What's that
    you're workin' on?
  • 40:20 - 40:22
    Forrester's book.
  • 40:22 - 40:24
    I thought you read it
    a dozen times.
  • 40:24 - 40:26
    Yeah, I know,
    but look at this.
  • 40:26 - 40:30
    My dad got it for me.
    It's-- It's an early printing.
  • 40:34 - 40:35
    Um...listen. I gotta go.
  • 40:38 - 40:41
    But you just got here.
    I know, but...
  • 40:41 - 40:43
    I forgot something--
    I gotta check up on something.
  • 40:44 - 40:46
    I'll see you later.
  • 41:07 - 41:08
    "Born 1930...
  • 41:09 - 41:11
    in Scotland."
  • 41:19 - 41:22
    "Moved to New York with
    his family in his late teens."
  • 41:23 - 41:26
    "Mr. Forrester was
    unavailable for comment."
  • 41:28 - 41:30
    Yeah, I bet he was.
  • 41:30 - 41:33
    Are we now planning to make
    these visits a habit?
  • 41:35 - 41:37
    Well, you said you knew
    I'd be coming back.
  • 41:37 - 41:39
    Yes, but I thought
    you meant once.
  • 41:39 - 41:42
    I need some help
    with this thing
    they got us doing at school.
  • 41:42 - 41:44
    Ah, yes, this thing at school.
  • 41:45 - 41:49
    And what thing are we
    talking about now?
  • 41:54 - 41:56
    You ever read that?
  • 42:00 - 42:02
    I'm trying, man.
  • 42:02 - 42:05
    I just can't seem to get past
    the first ten pages though.
  • 42:07 - 42:08
    [CHUCKLES]
    As I recall...
  • 42:10 - 42:14
    quite a while to get past
    those pages myself.
  • 42:17 - 42:20
    Oh, Christ, you've
    dog-eared one of them.
  • 42:20 - 42:23
    Show a little respect
    for the author, huh?
  • 42:28 - 42:30
    That's you, isn't it?
  • 42:31 - 42:33
    You're the author.
  • 42:36 - 42:38
    I read the whole thing.
    It's not bad.
  • 42:38 - 42:40
    Especially the part--
    Hey! I know what it is.
  • 42:42 - 42:45
    The last thing I need
    is another person telling me
  • 42:45 - 42:46
    what they think it is.
  • 42:46 - 42:49
    I wasn't gonna say that.
    What were you gonna say?
  • 42:50 - 42:52
    I should tell you
    everything about me?
  • 42:52 - 42:54
    Well, I told you about me.
  • 42:54 - 42:56
    You could learn something
    about, uh, holding back.
  • 42:59 - 43:02
    [BREATHING UNEVENLY]
  • 43:31 - 43:33
    If I ask you not to say
    anything to anybody...
  • 43:35 - 43:36
    about here, us,
  • 43:39 - 43:41
    is that something
    I can trust you on?
  • 43:46 - 43:49
    Yeah. I promise.
  • 43:51 - 43:53
    Fine.
  • 43:53 - 43:56
    And if I ask you to keep
    helpin' me with my writin'?
  • 44:12 - 44:14
    There'll be no questions
    about me, my family...
  • 44:16 - 44:18
    or why there was
    only one book.
  • 44:19 - 44:20
    Then I won't ask.
  • 44:21 - 44:22
    Hmm. Good.
  • 44:23 - 44:25
    And good night.
  • 44:36 - 44:37
    What's it feel like?
    What?
  • 44:39 - 44:41
    Writin' something
    the way you did.
  • 44:43 - 44:45
    [SIGHS]
    Perhaps you'll find out.
  • 45:00 - 45:02
    [HIP HOP MUSIC PLAYING]
  • 45:03 - 45:04
    Listen,
    you five-foot-nothin'.
  • 45:04 - 45:07
    [LAUGHS]
    Yo.
  • 45:07 - 45:10
    DAMON: That's what I'm saying.
    Probably sleepin' in the crib.
  • 45:12 - 45:13
    FLY:
    Kenzo, how old are you again?
  • 45:14 - 45:17
    Why?
    'Cause look at your face!
  • 45:17 - 45:19
    Your moms didn't do
    that to you, did she?
  • 45:19 - 45:20
    She started you young?
  • 45:20 - 45:23
    Know where that starts from?
    Eating too much cookie.
  • 45:25 - 45:27
    Leave it go.
    CLAY: Yeah, Teresa told me.
  • 45:28 - 45:31
    I like 'em big.
    You got a problem with that?
  • 45:31 - 45:34
    Nothin' wrong with a big girl!
    But that big?
  • 45:34 - 45:37
    It's like when I'm home
    with all three
    of your mothers.
  • 45:37 - 45:40
    So it don't really matter!
    Not talkin' about my mother.
  • 45:41 - 45:44
    Hold on, Oscar Mayer wiener.
    Stop playin' with me.
  • 45:44 - 45:46
    You got beat like Tina
    in school one day.
  • 45:46 - 45:48
    I seen Duke smack you.
  • 45:48 - 45:51
    Listen, throw it at your mama.
    Every day towards your mama.
  • 45:53 - 45:55
    FLY: In your tank.
    Stop throwing your mama.
  • 45:55 - 45:57
    It's all in your tank,
    brother. Son.
  • 45:58 - 46:00
    You laughin'?
  • 46:00 - 46:02
    DAMON:
    Your glasses
    are like Coke bottles.
  • 46:04 - 46:05
    Classics.
  • 46:06 - 46:08
    [ALL LAUGHING]
  • 46:08 - 46:10
    You ever met somebody famous?
    How famous?
  • 46:11 - 46:13
    Like, I don't know.
  • 46:13 - 46:14
    Like somebody
    people would know.
  • 46:17 - 46:19
    Nobody like that
    comes around here, man.
  • 46:23 - 46:24
    So, you here for good now?
  • 46:26 - 46:29
    Yeah, I'm just trying
    to get started.
  • 46:33 - 46:36
    Well, at least
    they look good. Right?
  • 46:47 - 46:50
    You'll be pleased
    this year's
    writing competition
  • 46:50 - 46:52
    has now been scheduled.
  • 46:52 - 46:55
    For those who take part,
    all entries must be turned in
  • 46:55 - 46:57
    before spring break.
  • 46:57 - 47:00
    Which means you have
    a few months of
    procrastination.
  • 47:00 - 47:01
    [EVERYONE CHUCKLES]
  • 47:01 - 47:04
    Feel free to experiment
    with a more
    proactive approach.
  • 47:04 - 47:06
    [BELL RINGS]
    The-- Oh.
  • 47:09 - 47:12
    Mr. Wallace. Please.
  • 47:14 - 47:15
    Mr. Wallace, I had
    a chance this morning
  • 47:16 - 47:19
    to review the files sent
    by your former school.
  • 47:20 - 47:21
    Test scores, impressive.
  • 47:23 - 47:25
    Actual classroom work,
    not so impressive.
  • 47:27 - 47:32
    Is this the, uh, level of work
    I should anticipate?
  • 47:34 - 47:35
    Hmm?
  • 47:36 - 47:38
    Because if it is,
    it will go a long way toward
  • 47:40 - 47:43
    helping me determine whether
    to treat you as a student
  • 47:43 - 47:45
    or as someone who is here
    simply to pursue--
  • 47:45 - 47:47
    How should I put it?
    Other endeavors.
  • 47:51 - 47:53
    Your work will give you
    ample opportunity to respond.
  • 47:56 - 47:58
    Good day, Mr. Wallace.
  • 48:05 - 48:07
    Mmm. Just so you know,
    you handled
    that the right way.
  • 48:08 - 48:11
    How's that?
    Well, you didn't say anything.
  • 48:12 - 48:14
    It's the ones that do
    that run into trouble.
  • 48:14 - 48:17
    John Coleridge.
    Jamal Wallace.
  • 48:20 - 48:22
    So how many people
    do say something?
  • 48:23 - 48:25
    And actually stay
    in Crawford's class?
  • 48:25 - 48:27
    [SOFTLY]
    Not many.
  • 48:27 - 48:29
    Um, I missed what you said.
  • 48:31 - 48:34
    I didn't say anything.
  • 48:38 - 48:39
    You read all these?
    No.
  • 48:40 - 48:43
    I just keep them
    to impress all my visitors.
  • 48:43 - 48:45
    [SCOFFS]
    All your visitors.
  • 48:47 - 48:50
    We've been talking
    about your book at school.
  • 48:50 - 48:52
    People have been talking
    about it for years.
  • 48:53 - 48:55
    They just haven't been
    saying anything.
  • 48:55 - 48:57
    Yeah. I think
    I got it down, though.
  • 48:57 - 49:00
    I figure you were writing
    about how life
    never works out.
  • 49:01 - 49:02
    Oh, really?
  • 49:02 - 49:04
    You had to read a book
    to figure that out?
  • 49:06 - 49:08
    Yeah, but Crawford's
    messed up on it anyhow.
  • 49:09 - 49:12
    Says the guy having trouble
    after the war is really you.
  • 49:12 - 49:14
    Some symbolism shit
  • 49:14 - 49:17
    for all the problems
    you were having
    with everybody.
  • 49:17 - 49:18
    Robert Crawford?
  • 49:19 - 49:22
    Yeah. I think
    it's bullshit, though.
  • 49:22 - 49:24
    I think there really
    was somebody else.
  • 49:30 - 49:32
    [KNOCK AT DOOR]
    MAN: Mr. Johannsen?
  • 49:33 - 49:35
    Here. Mr. Massie.
  • 49:36 - 49:39
    Another trip to your
    favorite destination, hmm?
  • 49:39 - 49:42
    I've got four bags today.
    I can leave them if you like.
  • 49:42 - 49:43
    Oh, no, no, no.
    [DOOR OPENS]
  • 49:46 - 49:47
    Come right in.
  • 49:48 - 49:50
    How you doin',
    Mr. Johannsen?
  • 49:50 - 49:52
    It's at least a half hour
    before the sun goes down.
  • 49:52 - 49:54
    Then you can begin
    your panic-driven quest
  • 49:55 - 49:57
    back to Manhattan.
  • 49:57 - 49:59
    This should last you
    till next week.
  • 49:59 - 50:00
    Your mail is in,
  • 50:01 - 50:03
    uh, this one.
    Mr. Johannsen?
  • 50:04 - 50:06
    The essentials are in, uh--
    Essentials?
  • 50:06 - 50:09
    [BOTTLES CLINK]
    I took care of your bills,
  • 50:09 - 50:10
    and put the copies
    in this one.
  • 50:10 - 50:13
    Mm-hmm.
    And the phone company
  • 50:13 - 50:15
    wants to know if you want
    to continue service,
  • 50:15 - 50:17
    as you haven't had
    a call in six weeks.
  • 50:17 - 50:19
    Okay. Mr. Johannsen,
    I got your socks
  • 50:19 - 50:22
    for the next couple of weeks,
    which are in this one.
  • 50:22 - 50:24
    And I have your latest check
    from Accounting.
  • 50:26 - 50:28
    They wanted to know if
    you cashed the last one,
  • 50:28 - 50:30
    'cause it's still
    showing up outstanding.
  • 50:30 - 50:34
    Not as outstanding
    as it once was. Hmm?
  • 50:37 - 50:39
    Oh. I'm sorry. I didn't
    realize you had company.
  • 50:41 - 50:43
    Oh, yes, we were just
    having a discussion
  • 50:43 - 50:45
    on, uh, German
    automobile history.
  • 50:47 - 50:49
    Care to join us?
    Uh, no. I'm in a tow away.
  • 50:51 - 50:53
    Of course you are.
    So I'll see you next week.
  • 50:54 - 50:56
    Not if I'm lucky.
  • 51:00 - 51:02
    Why not give that guy a break
    and do your own shopping?
  • 51:04 - 51:06
    And why are your socks
    inside out?
  • 51:06 - 51:08
    Because socks
    are badly designed.
  • 51:08 - 51:11
    The seams are on the inside.
    Hurt the toes.
  • 51:12 - 51:15
    In some cultures,
    it's considered good luck
  • 51:15 - 51:17
    to be wearing something
    inside out.
  • 51:17 - 51:18
    And you believe that?
    No.
  • 51:20 - 51:22
    But it's like praying.
    What do you risk?
  • 51:22 - 51:23
    And I do go outside.
  • 51:24 - 51:26
    How do you think
    these windows get cleaned?
  • 51:27 - 51:29
    [LOCK CLICKS]
  • 51:29 - 51:30
    Now, about this professor
    of yours.
  • 51:33 - 51:35
    How did it feel having him
    tell you what you can't do?
  • 51:37 - 51:39
    Like he knew he was
    better than me.
  • 51:39 - 51:41
    Then let's show him
    what you can do.
  • 51:44 - 51:46
    Why is it the words
    we write for ourselves
  • 51:46 - 51:49
    are always much better than
    the words we write for others?
  • 51:49 - 51:50
    Move.
  • 51:54 - 51:56
    Sit.
  • 52:01 - 52:03
    [KEYS TAPPING]
  • 52:04 - 52:06
    Go ahead.
    Go ahead and what?
  • 52:08 - 52:10
    Write.
  • 52:12 - 52:13
    What are you doing?
  • 52:13 - 52:15
    I'm writing,
    like you'll be...
  • 52:16 - 52:18
    when you start
    punching those keys.
  • 52:24 - 52:26
    Is there a problem?
    No. I'm just thinking.
  • 52:27 - 52:28
    No. No thinking.
    That comes later.
  • 52:30 - 52:32
    []
  • 52:34 - 52:36
    You write your first draft...
  • 52:37 - 52:38
    with your heart.
  • 52:39 - 52:42
    And you rewrite
    with your head.
  • 52:46 - 52:47
    The first key
    to writing is...
  • 52:50 - 52:53
    to write, not to think.
  • 53:03 - 53:06
    Jesus.
    [BOTTLES CLINKING]
  • 53:42 - 53:44
    Is there any chance
    you might sit down?
  • 54:03 - 54:04
    "A Season of Faith's
    Perfection."
  • 54:05 - 54:06
    What's this?
    Start typing that.
  • 54:08 - 54:10
    Sometimes the simple
    rhythm of typing
  • 54:11 - 54:12
    gets us from page one
    to page two.
  • 54:14 - 54:16
    And when you begin
    to feel your own words,
  • 54:17 - 54:18
    start typing them.
  • 54:40 - 54:42
    Punch the keys,
    for God's sake!
  • 54:47 - 54:50
    [TAPPING LOUDER]
  • 54:53 - 54:54
    Yes!
  • 54:55 - 54:56
    Yes!
  • 54:59 - 55:00
    You're the man now, dog.
  • 55:01 - 55:03
    [CHUCKLES]
  • 55:44 - 55:46
    []
  • 56:05 - 56:06
    Jamal, whatever we write
  • 56:08 - 56:10
    in this apartment,
    stays in this apartment.
  • 56:13 - 56:15
    No exceptions.
  • 56:29 - 56:31
    MAN NEXT DOOR:
    That's my angel. There you go.
  • 56:33 - 56:35
    [WOMAN MOANING PLEASURABLY]
  • 56:38 - 56:39
    [HEADBOARD BANGING WALL]
  • 56:40 - 56:43
    [WOMAN MOANING LOUDLY]
  • 56:47 - 56:50
    Okay, let's push it, guys.
    Come on.
  • 56:52 - 56:54
    BOY:
    Yo, D.
  • 56:56 - 56:58
    That's a foul.
    What? I had the spot.
  • 56:58 - 57:00
    I'll let you know
    when you got the spot.
  • 57:00 - 57:02
    Hey, hey, hey.
    Gentlemen, gentlemen.
  • 57:02 - 57:06
    Our season begins in one week.
    If I see this one more time,
  • 57:06 - 57:09
    I'm gonna have you shooting
    fouls to see who runs today.
  • 57:09 - 57:11
    Is that understood?
    Is that understood?
  • 57:11 - 57:13
    One.
  • 57:19 - 57:20
    Two.
  • 57:24 - 57:25
    Three.
  • 57:27 - 57:30
    Eleven.
  • 57:35 - 57:37
    Twelve.
  • 57:39 - 57:41
    Thirteen.
  • 57:43 - 57:45
    Twenty-nine.
  • 57:53 - 57:55
    Forty-eight.
  • 57:57 - 58:00
    Forty-nine.
  • 58:04 - 58:06
    Hold it.
  • 58:07 - 58:09
    One more.
  • 58:22 - 58:24
    That was one of the most
    impressive things
  • 58:24 - 58:27
    I've ever seen
    on a basketball court.
  • 58:27 - 58:30
    Why do I know it was not good
    enough for either one of you?
  • 58:30 - 58:32
    Shower up and get out of here.
  • 58:35 - 58:38
    You may think we're
    the same. We're not.
  • 58:45 - 58:47
    Oh, Mr. Wallace.
  • 58:49 - 58:51
    Mr. Wallace.
    Professor Crawford.
  • 58:52 - 58:53
    The latest paper
    you turned in,
  • 58:55 - 58:57
    it displayed quite
    a bit of improvement
  • 58:58 - 58:59
    from your earlier work.
  • 59:00 - 59:01
    Thank you.
    Yes.
  • 59:01 - 59:03
    How long did it take
    to write?
  • 59:03 - 59:04
    I wrote it last night.
  • 59:05 - 59:06
    [CHUCKLES]
    Last night?
  • 59:08 - 59:10
    Well, I have some, uh,
    things to finish up here.
  • 59:11 - 59:13
    Good day, Mr. Wallace.
  • 59:21 - 59:24
    That's right. Select again.
    "Birds of a feather" for 600.
  • 59:25 - 59:27
    TREBEK:
    Answer: Vibrant in color,
  • 59:27 - 59:29
    its name borrows
    from Vivien Leigh.
  • 59:29 - 59:31
    The scarlet tanager.
  • 59:31 - 59:33
    It's, "What is
    the scarlet tanager?"
  • 59:33 - 59:35
    What is the scarlet tanager?
    See?
  • 59:36 - 59:37
    Gotta know the rules
    if you wanna play.
  • 59:37 - 59:40
    It was written by a writer
    you have never heard of.
  • 59:41 - 59:43
    "Thy duty,
    winged flame of spring,
  • 59:45 - 59:47
    is but to love and fly
    and sing."
  • 59:49 - 59:51
    He was writing about
    the song of the tanager.
  • 59:52 - 59:54
    A song about new seasons,
    new life.
  • 59:57 - 59:58
    That's James Lowell, man.
  • 59:59 - 60:01
    I know who he is.
  • 60:02 - 60:05
    I'll stay with "Poor
    Assumptions" for 800, Alex.
  • 60:07 - 60:09
    You ever seen any
    scarlet tanagers around here?
  • 60:09 - 60:12
    They don't stray that far
    from the park.
  • 60:18 - 60:19
    So, your professor
  • 60:19 - 60:22
    wasn't exactly
    full of praise this afternoon.
  • 60:23 - 60:24
    No, not exactly.
  • 60:25 - 60:28
    There's something you should
    know about Robert Crawford.
  • 60:31 - 60:32
    He wrote a book
    a few years after mine.
  • 60:34 - 60:36
    And all the publishers
    rejected it,
  • 60:36 - 60:38
    which was
    the right decision.
  • 60:38 - 60:40
    And instead of
    writing another one,
  • 60:42 - 60:46
    he took a job teaching
    others how to write.
  • 60:47 - 60:49
    How you know all that?
    Just keep in mind
  • 60:50 - 60:52
    that bitterly
    disappointed teachers
  • 60:53 - 60:54
    can be either
    very effective
  • 60:56 - 60:58
    or very dangerous.
  • 60:59 - 61:01
    []
  • 61:13 - 61:16
    [POLICE RADIO, INDISTINCT]
  • 61:24 - 61:27
    [THUNDER]
  • 61:46 - 61:48
    All right, this is
    the first step tonight, guys.
  • 61:49 - 61:50
    Mailor, on three.
  • 61:51 - 61:53
    One, two, three.
    Mailor!
  • 61:55 - 61:58
    [HEART BEATING]
  • 62:06 - 62:09
    [CROWD CHEERING]
  • 62:18 - 62:19
    [WHISTLE BLOWS]
  • 62:20 - 62:22
    Gold. Black.
  • 62:24 - 62:26
    Here we go. Straight
    and high, boys. Not yet.
  • 62:28 - 62:30
    [CROWD CHEERING, SHOUTING]
  • 62:38 - 62:41
    What up, J?
    You was in there tonight?
  • 62:41 - 62:44
    Twenty-six points.
    Eight out of ten
    from the floor,
  • 62:44 - 62:47
    ten for ten from the line.
    I'm supposed to miss that?
  • 62:47 - 62:49
    All right, it was hot.
    Serious ink on that stat page.
  • 62:51 - 62:53
    What's going on?
    Yo.
  • 62:54 - 62:57
    Brothers was
    going by Red Rose.
    Told 'em we'd catch up.
  • 62:58 - 63:00
    Friday night, kid.
    Come on. Come on.
  • 63:00 - 63:03
    Hi, Jamal. You plan on
    doing that every night?
  • 63:03 - 63:05
    Worked out, I guess.
    I'd say it worked out.
  • 63:07 - 63:08
    This is Fly.
  • 63:10 - 63:11
    Hi, Fly. I'm Claire.
    How you doin'?
  • 63:12 - 63:14
    You a friend of Jamal's?
    Claire! Come on.
  • 63:15 - 63:17
    I'm coming. Hey, don't
    hold that bus up too long.
  • 63:18 - 63:20
    Nice meeting you, Fly.
  • 63:20 - 63:22
    All right. What the hell
    you working there, man?
  • 63:25 - 63:27
    Shut up, man.
  • 63:28 - 63:31
    Yo, about Red Rose--
    I ain't gonna make it.
  • 63:33 - 63:36
    I gotta go to
    this dude's house.
    They do it every year.
  • 63:36 - 63:38
    Hey, don't be goin' off
    on this, man.
  • 63:38 - 63:41
    You big-time. Best be goin'.
    Don't wanna hold your bus up.
  • 63:42 - 63:44
    You gonna be around
    this weekend?
  • 63:44 - 63:48
    Where you think
    I'm gonna be? The Hamptons?
  • 63:49 - 63:51
    [PLAYING SLOW JAZZ]
  • 63:59 - 64:01
    [CHATTERING INDISTINCTLY]
  • 64:38 - 64:40
    It was very nice
    talking with you.
  • 64:40 - 64:42
    Remember, anything you need,
    please give me a call.
  • 64:44 - 64:45
    Okay? Anything.
  • 64:46 - 64:48
    Okay.
  • 64:53 - 64:55
    Building up a collection
    of those things?
  • 64:56 - 64:58
    Yeah, a few.
  • 64:58 - 65:00
    Do you wanna get outside
    for a while?
  • 65:01 - 65:02
    Yeah. You know
    this place?
  • 65:04 - 65:07
    I live in this place.
    Come on.
  • 65:15 - 65:17
    They'll be in there
    till midnight
  • 65:17 - 65:19
    congratulating themselves
    on your game.
  • 65:19 - 65:21
    Which means that
    I get to cram tomorrow
  • 65:21 - 65:24
    for this test on Monday.
  • 65:24 - 65:26
    Test on what?
    On the Sherlock Holmes books.
  • 65:27 - 65:30
    They've got us tracking down
    completely worthless stuff,
  • 65:30 - 65:33
    like who introduced
    Watson to Holmes.
  • 65:33 - 65:35
    They give it to you 'cause it
    forces you to read everything.
  • 65:36 - 65:38
    [PARTY GUESTS LAUGHING]
  • 65:38 - 65:40
    Looks like
    it might be a while.
  • 65:40 - 65:41
    Maybe so.
    So, this friend Fly,
  • 65:44 - 65:45
    how long have you
    known each other?
  • 65:46 - 65:47
    For a while.
  • 65:47 - 65:50
    He was born there,
    and I was born there too.
  • 65:50 - 65:51
    In the Bronx?
    Yeah.
  • 65:52 - 65:53
    Must be hard.
    What?
  • 65:55 - 65:56
    I don't know,
    new people, new school.
  • 65:58 - 66:00
    It's not?
  • 66:01 - 66:03
    No. What's hard
    is growing up in a place
  • 66:03 - 66:06
    where the cops don't even
    want to be in after dark.
  • 66:07 - 66:10
    What's hard is knowing
    that you're safe there,
  • 66:10 - 66:13
    'cause the people
    you need to worry about,
  • 66:13 - 66:14
    they know you got
    nothin' to give 'em.
  • 66:16 - 66:17
    So, it's a good thing
    you're here.
  • 66:19 - 66:21
    Yeah, but these people
    don't think
  • 66:21 - 66:23
    I got anything
    to give 'em either.
  • 66:24 - 66:26
    Don't let me get by you now.
  • 66:26 - 66:27
    Once I get by you,
    I'm gonna score.
  • 66:27 - 66:29
    Okay.
    You ready?
  • 66:29 - 66:31
    Ready.
    Now stay in front of me now.
  • 66:31 - 66:33
    Yeah.
    All right?
  • 66:37 - 66:38
    I got by you, man.
  • 66:39 - 66:40
    You're bigger
    than I am.
  • 66:41 - 66:44
    Doesn't matter.
    You still gotta play defense.
  • 66:44 - 66:46
    How do I do that?
  • 66:46 - 66:48
    How do you play def--
    I'll show you one right here.
  • 66:50 - 66:54
    Turn around. Turn around.
  • 66:56 - 66:58
    Feel that?
    I feel it.
  • 66:59 - 67:01
    I know where
    you're gonna go
  • 67:01 - 67:03
    'cause I can feel
    where you're gonna move.
  • 67:03 - 67:05
    All right.
    Now try and move left.
  • 67:07 - 67:09
    Okay, see, I'm still here.
  • 67:09 - 67:12
    You can't get around me
    'cause I feel you movin' left.
  • 67:12 - 67:13
    Try and go right.
  • 67:16 - 67:18
    See, I'm still here.
  • 67:18 - 67:21
    I feel when you go right,
    so you can't go there neither.
  • 67:21 - 67:22
    Now try and get by me.
  • 67:25 - 67:26
    Hold on.
  • 67:27 - 67:29
    You gotta dribble first.
    Dribble.
  • 67:30 - 67:32
    Mm-hmm.
    Dribble. Okay.
  • 67:33 - 67:36
    Like this?
    Yeah.
  • 67:37 - 67:39
    Sorry.
    Claire.
  • 67:40 - 67:42
    Daddy?
  • 67:42 - 67:44
    Some of our guests
    are leaving.
  • 67:46 - 67:48
    I'll see you
    on Monday, okay?
  • 68:01 - 68:02
    Oh, Claire.
    Yeah?
  • 68:05 - 68:06
    It was Stamford.
    Excuse me?
  • 68:09 - 68:10
    At the bar in London.
  • 68:11 - 68:14
    He's the one who introduced
    Watson to Holmes.
  • 68:14 - 68:17
    Might save you some time
    after
    everybody's done in there.
  • 68:24 - 68:27
    You know how long
    I been working on that, man?
  • 68:27 - 68:29
    It ain't one season
    of Faith's perfection.
  • 68:29 - 68:32
    Feel like I been working on it
    for two or three seasons.
  • 68:36 - 68:40
    You're in that place where
    you can't even hear me, huh?
  • 68:40 - 68:44
    I could ask you why you never
    moved out, and you wouldn't--
  • 68:44 - 68:46
    Paragraph three starts
    with a conjunction, "and."
  • 68:50 - 68:53
    You should never start
    a sentence with a conjunction.
  • 68:53 - 68:55
    Sure you can.
    Oh, no. It's a firm rule.
  • 68:56 - 68:58
    No, no, no, see.
    It was a firm rule.
  • 69:00 - 69:03
    Sometimes if you use
    a conjunction at the start,
  • 69:03 - 69:05
    it can make it
    stand out a little bit.
  • 69:05 - 69:07
    And that may be what
    the writer's trying to do.
  • 69:07 - 69:08
    And what is the risk?
  • 69:10 - 69:11
    Well, the risk is
    doing it too much.
  • 69:12 - 69:13
    It's a distraction,
  • 69:13 - 69:15
    and it could give your piece
    a run-on feeling.
  • 69:15 - 69:18
    But for
    the most part, the rule
    on using "and" or "but"
  • 69:19 - 69:21
    at the start
    of a sentence is shaky,
  • 69:21 - 69:23
    though it's still taught
    in too many schools.
  • 69:24 - 69:25
    Some of the best writers
  • 69:25 - 69:28
    have been ignoring that rule,
    including you.
  • 69:31 - 69:34
    Well, you've taken
    something which was mine...
  • 69:36 - 69:38
    and made it yours.
  • 69:38 - 69:40
    That's quite
    an accomplishment.
  • 69:42 - 69:44
    Thank you.
  • 69:44 - 69:46
    The title is still mine,
    isn't it?
  • 69:48 - 69:50
    I guess.
  • 69:50 - 69:52
    Now, it was the neighborhood
    that changed, not me.
  • 69:54 - 69:57
    I ain't seen nothing change.
    "Ain't seen nothing"?
  • 69:57 - 69:59
    What in the hell
    kind of sentence is that?
  • 70:01 - 70:04
    When you're in here, don't
    talk like you do out there.
  • 70:05 - 70:07
    I was messing with you, man.
    It was a joke.
  • 70:09 - 70:11
    [SIGHS]
  • 70:11 - 70:13
    I wanna hear
    about the neighborhood
  • 70:13 - 70:16
    back when people were
    still reading your book.
  • 70:16 - 70:18
    [COUGHS]
    What did you say?
  • 70:22 - 70:23
    Nothin'.
    You said,
  • 70:23 - 70:26
    back when people
    were still reading my book.
  • 70:27 - 70:29
    Didn't you?
  • 70:37 - 70:39
    WOMAN:
    We have 24 copies,
    but I'm sorry.
  • 70:41 - 70:42
    They're checked out.
  • 70:43 - 70:44
    Oh. Well,
    thank you anyway.
  • 70:46 - 70:48
    You're welcome.
  • 70:50 - 70:51
    [DOOR CLOSES]
  • 70:52 - 70:53
    Any luck?
  • 70:55 - 70:56
    Did you get on
    the waiting list?
  • 70:57 - 70:59
    Yeah, man, your book
    was checked out.
  • 71:01 - 71:02
    And yes, I did pay
    for dinner.
  • 71:04 - 71:06
    It cost me $13,
    so I guess you
    made your point.
  • 71:08 - 71:11
    I tried to call you to see
    what kind of food you wanted,
  • 71:11 - 71:12
    but the phone kept ringing.
  • 71:13 - 71:16
    I took the bell out
    20 years ago.
  • 71:21 - 71:25
    Let me ask you somethin'.
    How come a guy like you...
  • 71:27 - 71:29
    wastes his time reading
    the National Enquirer?
  • 71:30 - 71:32
    What's wrong with it?
  • 71:32 - 71:33
    I mean, it's trash, man.
  • 71:34 - 71:37
    You should be reading
    like the Times or something.
  • 71:37 - 71:39
    I read the Times for dinner.
    But this--
  • 71:41 - 71:42
    this is my dessert.
  • 71:43 - 71:46
    They got some contest
    at school, this writing thing.
  • 71:47 - 71:48
    You ever enter one of those?
  • 71:48 - 71:50
    A writing contest?
    Yeah.
  • 71:50 - 71:52
    Once, a long time ago.
    Did you win?
  • 71:54 - 71:55
    Well, of course I won.
  • 71:57 - 71:58
    Like money or something?
  • 72:00 - 72:02
    The Pulitzer.
  • 72:05 - 72:07
    Oh. Well, they make
    all the students
  • 72:07 - 72:09
    get up and read
    in front of everybody.
  • 72:09 - 72:11
    What the hell's that
    got to do with writing?
  • 72:11 - 72:14
    Writers write
    so that readers can read.
  • 72:14 - 72:17
    Let someone else read it.
    You ever read your own book?
  • 72:17 - 72:18
    In public?
    Hell no!
  • 72:20 - 72:21
    Barely read it in private.
  • 72:23 - 72:25
    You know
    those things they do,
  • 72:25 - 72:26
    that, uh, coffee shop
    reading shit?
  • 72:28 - 72:29
    You know why they do it?
  • 72:31 - 72:33
    Sell books, I guess.
    'Cause they wanna get laid.
  • 72:35 - 72:36
    Oh, really?
  • 72:36 - 72:38
    Women will sleep with you
    if you write a book?
  • 72:38 - 72:41
    Women will sleep with you
    if you write a bad book.
  • 72:42 - 72:45
    Did it ever happen to you?
    Sure.
  • 72:47 - 72:49
    Did you ever get married?
  • 72:52 - 72:54
    Not exactly
    a soup question, is it?
  • 72:55 - 72:58
    No. No, I never did.
  • 73:00 - 73:03
    But I learned a few things
    along the way,
  • 73:03 - 73:05
    which might be of help
    with this young lady
  • 73:05 - 73:06
    you're always talking about.
  • 73:08 - 73:10
    Like what?
  • 73:12 - 73:13
    The key to a woman's heart
  • 73:15 - 73:17
    is an unexpected gift
    at an unexpected time.
  • 73:20 - 73:21
    You're giving me
    advice on women?
  • 73:23 - 73:25
    Unexpected gift,
    unexpected time.
  • 73:26 - 73:29
    This is so unexpected.
  • 73:31 - 73:33
    Oh, Jamal.
  • 73:33 - 73:35
    It's not a first printing
    or anything, but--
  • 73:36 - 73:38
    Oh, my God!
    What happened?
  • 73:39 - 73:40
    This is a signed copy.
  • 73:42 - 73:45
    I can't accept this.
    It must have
    cost you a fortune.
  • 73:45 - 73:46
    It didn't cost
    that much, really.
  • 73:48 - 73:49
    Maybe the bookstore
    missed it.
  • 73:51 - 73:53
    Bookstores don't usually
    miss this stuff.
  • 73:55 - 73:57
    JAMAL:
    So, how'd you end up
    going to Mailor?
  • 73:59 - 74:02
    Mailor was originally
    an all-boy's school.
  • 74:02 - 74:04
    So my father did what anyone
    in his position would do.
  • 74:07 - 74:09
    He got on the board
    and changed the rules.
  • 74:09 - 74:11
    And every kid there
    knows it.
  • 74:12 - 74:14
    They would've
    done it anyway.
  • 74:14 - 74:18
    That doesn't change anything.
    I'm still Dr.
    Spence's daughter.
  • 74:21 - 74:22
    Jamal?
    Yeah?
  • 74:23 - 74:25
    That night at my home,
    after the game,
  • 74:26 - 74:28
    when you were showing me
    how to play basketball,
  • 74:32 - 74:35
    was that all
    you were showing me?
  • 74:36 - 74:38
    Listen, I don't think
    that's gonna work.
  • 74:38 - 74:40
    What?
  • 74:41 - 74:43
    That.
    Why not?
  • 74:46 - 74:48
    Ask your father.
  • 74:48 - 74:50
    Jamal...
  • 74:50 - 74:53
    I'm not asking for some kind
    of prenuptial agreement here.
  • 74:53 - 74:54
    It's just a question.
  • 74:56 - 75:01
    Why does everything have to be
    so black and white with you?
  • 75:02 - 75:04
    I forgot what
    the question was.
  • 75:04 - 75:09
    You don't forget anything,
    Mr. Stamford.
  • 75:11 - 75:14
    [CROWD SHOUTING, CHEERING]
  • 75:22 - 75:24
    MAN:
    You don't think
    he wrote it?
  • 75:24 - 75:27
    That's a serious accusation,
    Robert.
  • 75:27 - 75:29
    You come to the faculty board
    with this--
  • 75:29 - 75:31
    I'm aware
    of how serious it is.
  • 75:31 - 75:32
    It's remarkable work.
  • 75:33 - 75:34
    You recognize any of it?
  • 75:36 - 75:38
    It smacks of something.
    But I don't know.
  • 75:40 - 75:43
    The boy does well in my class.
    He had good scores coming in.
  • 75:45 - 75:48
    Maybe all he needed
    was some direction.
  • 75:48 - 75:50
    Carl, he's a basketball player
    from the Bronx.
  • 75:52 - 75:54
    Who just happens
    to have won 17 straight.
  • 75:55 - 75:57
    For a school
    that likes winning--
  • 75:59 - 76:03
    Robert, have you considered
    he might just be that good?
  • 76:08 - 76:09
    Not this good.
  • 76:11 - 76:14
    [NUMEROUS SPEAKERS OVER TV]
  • 76:52 - 76:55
    [TYPING RESUMES]
  • 76:59 - 77:02
    Do you know what
    the absolute best moment is?
  • 77:03 - 77:06
    It's when you've finished
    your first draft,
  • 77:06 - 77:09
    and you read it by yourself...
  • 77:11 - 77:12
    before these assholes...
  • 77:13 - 77:16
    take something that they
    couldn't do in a lifetime...
  • 77:17 - 77:20
    and tear it down
    in a single day.
  • 77:21 - 77:22
    People love that book, man.
  • 77:24 - 77:25
    [CHUCKLES]
    I didn't write it for them.
  • 77:27 - 77:28
    And when the critics...
  • 77:29 - 77:31
    started all this bullshit...
  • 77:31 - 77:33
    about what it was I was
    really trying to say,
  • 77:35 - 77:37
    [SCOFFS]
    well, I decided then...
  • 77:39 - 77:41
    one book was enough.
  • 77:43 - 77:46
    William, that was
    50 years ago, man.
  • 78:03 - 78:05
    [GROANS]
  • 78:06 - 78:09
    William.
    [GRUNTS]
  • 78:21 - 78:23
    [THUNDER RUMBLING]
  • 78:37 - 78:39
    []
  • 80:57 - 81:00
    William, I actually spent
    money on these tickets.
    Come on.
  • 81:01 - 81:02
    Is it still light outside?
  • 81:03 - 81:05
    It's nighttime, man.
  • 81:13 - 81:15
    Well?
  • 81:16 - 81:19
    You look good, man. I mean,
    it's not
    the latest stuff out--
  • 81:19 - 81:21
    I wasn't asking how I look!
  • 81:21 - 81:22
    I was asking,
    are we ready to go?
  • 81:23 - 81:25
    Oh, yeah.
    Come on, man.
  • 81:26 - 81:28
    Let's go.
  • 81:33 - 81:35
    Come on.
  • 81:45 - 81:47
    We're playing here
    in two weeks.
  • 81:48 - 81:50
    I said, we're playing
    here in two weeks.
  • 81:50 - 81:51
    State tournament.
  • 81:58 - 82:00
    Come on.
  • 82:11 - 82:14
    Hold on. They got programs.
    Let me get a program.
  • 82:18 - 82:19
    [AIR HORN BLOWS]
  • 82:20 - 82:22
    []
  • 82:29 - 82:31
    [STADIUM ORGAN PLAYING]
  • 82:40 - 82:42
    William.
  • 82:45 - 82:46
    Yo, William!
  • 82:47 - 82:49
    Damn.
  • 83:00 - 83:01
    Hey, William!
  • 83:03 - 83:04
    Hey, William!
  • 83:05 - 83:06
    [CROWD CHATTERING]
  • 83:57 - 83:59
    William.
  • 84:05 - 84:08
    Come on.
    Let's get you out of here.
  • 84:09 - 84:11
    I got you.
  • 84:40 - 84:41
    You used to get out,
    right?
  • 84:42 - 84:44
    Yeah, a long time ago.
  • 84:44 - 84:47
    What happened?
    How the hell should I know?
  • 84:47 - 84:49
    I didn't keep track
    of the time.
  • 84:49 - 84:52
    Sorry for losing
    you back there.
    No apology needed.
  • 84:53 - 84:55
    Well, good, 'cause I got
    one more place.
  • 84:55 - 84:57
    It's quiet,
    and it's on the way home.
  • 85:02 - 85:05
    You only got ten minutes, yo.
    All right.
  • 85:05 - 85:07
    Keep it goin'. It's all good.
    Take that.
  • 85:07 - 85:09
    Thanks a lot.
  • 85:22 - 85:25
    Ah, ground level.
  • 85:26 - 85:28
    House that Ruth built.
  • 85:35 - 85:36
    Why did you bring me here?
  • 85:38 - 85:39
    Because it's
    your birthday, man.
  • 85:42 - 85:43
    I looked it up
    in the almanac.
  • 85:44 - 85:47
    They don't even have you
    in the dead
    people section yet.
  • 85:52 - 85:55
    I figure with all the games
    you watched,
  • 85:57 - 85:59
    with whoever
    you watched 'em with,
  • 86:00 - 86:01
    you probably never
    got down this close.
  • 86:02 - 86:04
    What the hell are they
    doing on the dirt?
  • 86:05 - 86:07
    What you worried about, man?
    You acting like
  • 86:07 - 86:10
    they gonna play a World Series
    championship game. Relax.
  • 86:11 - 86:15
    My brother and I,
    we were here for every game.
  • 86:18 - 86:20
    Till he left for the war.
  • 86:22 - 86:25
    I thought it would be the same
    when he came back, but, uh,
  • 86:27 - 86:28
    he talked a little less,
  • 86:30 - 86:31
    he drank a little more.
  • 86:33 - 86:35
    I promised my mother
    I would...
  • 86:35 - 86:38
    help him
    get through it all.
  • 86:42 - 86:44
    So I caught up with him
    this one night...
  • 86:44 - 86:47
    and I was already
    a half a dozen drinks behind.
  • 86:49 - 86:50
    So we had a few more.
  • 86:52 - 86:54
    And after a while,
    he tells me he wants to...
  • 86:56 - 86:57
    drive me back
    to the apartment.
  • 86:58 - 87:00
    [CHUCKLES]
    I said, "No thanks."
  • 87:03 - 87:06
    We were all still
    living there then.
  • 87:07 - 87:09
    I just stood there and...
  • 87:11 - 87:13
    watched him drive off.
  • 87:15 - 87:16
    [CHUCKLES]
  • 87:17 - 87:19
    Makes it through
    the whole goddamn war.
  • 87:21 - 87:23
    I let him drive.
  • 87:26 - 87:28
    Later that night,
  • 87:28 - 87:31
    the nurse was typing--
    well,
    whatever it is they type.
  • 87:34 - 87:35
    And you know what
    she tells me?
  • 87:38 - 87:40
    She tells me how much
    my book meant to her.
  • 87:42 - 87:44
    My brother's getting
    cold in the next room,
  • 87:46 - 87:49
    and all she can talk about
    is a book.
  • 87:50 - 87:55
    Well, everything changed
    from there on.
  • 87:58 - 88:00
    Within five months,
    I buried him, my mother,
  • 88:02 - 88:03
    my father.
  • 88:04 - 88:07
    All of them here,
    in the Bronx.
  • 88:13 - 88:15
    We'd spend our summers here.
  • 88:17 - 88:18
    And if we were lucky,
    the fall.
  • 88:20 - 88:21
    A lot of falls
    with those teams.
  • 88:23 - 88:24
    Yeah.
  • 88:25 - 88:26
    Well, not enough.
  • 88:27 - 88:29
    "The rest of those
    who have gone before us...
  • 88:31 - 88:36
    cannot steady the unrest
    of those... to follow."
  • 88:39 - 88:42
    You wrote that
    in your book.
  • 88:51 - 88:53
    []
  • 89:07 - 89:09
    Jamal, I realize that
    if I give you enough time,
  • 89:11 - 89:15
    you'll find a way
    to amaze even me.
  • 89:17 - 89:19
    Does he know?
  • 89:21 - 89:23
    No, he doesn't know.
  • 89:23 - 89:25
    This was one
    of the best evenings
  • 89:25 - 89:26
    I've had
    in quite some time.
  • 89:27 - 89:29
    All of it?
  • 89:30 - 89:31
    Yes, all of it.
  • 89:33 - 89:35
    Well, I--
  • 89:43 - 89:45
    This guy, man.
  • 89:47 - 89:48
    So, how you say
    you know this guy again?
  • 89:49 - 89:51
    He's my teacher.
    Oh, yeah?
  • 89:52 - 89:54
    Yeah.
  • 89:54 - 89:56
    Seem like a different
    kind of a dude, man.
  • 90:03 - 90:05
    CRAWFORD:
    Anyone in particular?
  • 90:06 - 90:08
    I sometimes come here
    in the morning.
  • 90:10 - 90:11
    Just me,
    the aspiring...
  • 90:13 - 90:15
    and all of them.
  • 90:19 - 90:23
    There was a note downstairs,
    said I should
    come and see you.
  • 90:24 - 90:26
    Mr. Wallace,
  • 90:26 - 90:29
    I think it's time you and I
    had a very honest...
  • 90:29 - 90:31
    and very open discussion
    about your writing.
  • 90:33 - 90:34
    I thought you liked it.
  • 90:35 - 90:37
    Your recent work?
    Heh, heh.
  • 90:38 - 90:40
    I liked it very much.
    No, Mr. Wallace,
  • 90:41 - 90:44
    the question concerning
    your most recent work...
  • 90:46 - 90:47
    isn't whether it's good.
  • 90:49 - 90:51
    It's whether it's too good.
  • 90:53 - 90:55
    The acceleration
    in your progress
  • 90:55 - 90:57
    from your old school
    to this one is unusual
  • 90:58 - 91:02
    to the point I'm faced with
    drawing one of
    two conclusions.
  • 91:04 - 91:07
    Either you've been blessed
    with an uncommon gift
  • 91:07 - 91:09
    that has suddenly decided
    to kick in,
  • 91:10 - 91:11
    or...
  • 91:13 - 91:16
    you're getting
    your inspiration
    from elsewhere.
  • 91:16 - 91:19
    Given your previous education
    and your background,
  • 91:21 - 91:23
    I'm sure you'll forgive me
  • 91:23 - 91:25
    for coming to some
    of my own conclusions.
  • 91:25 - 91:27
    I wrote those papers, man.
  • 91:28 - 91:29
    Then you won't mind
    showing me.
  • 91:31 - 91:33
    The next assignment
    is due in two weeks.
  • 91:33 - 91:36
    I'll schedule some time
    for you to come to my office.
  • 91:36 - 91:38
    I, uh--
  • 91:38 - 91:41
    I'd like to have you
    write it there.
  • 91:43 - 91:44
    In the meantime,
  • 91:44 - 91:47
    if there's anything
    you wish to talk about--
  • 91:49 - 91:51
    I'm not writing anything, man!
    Which proves what?
  • 91:53 - 91:56
    Think if one of his two-comma
    kids was writing these papers
  • 91:56 - 91:59
    he'd be doing this shit?
    "Two-comma kids"?
  • 91:59 - 92:01
    A million dollars.
    One comma, two commas.
  • 92:02 - 92:03
    No, I don't.
  • 92:05 - 92:08
    Do you know what people
    are most afraid of?
  • 92:08 - 92:10
    What?
    What they don't understand.
  • 92:11 - 92:15
    And when we don't understand,
    we turn to our assumptions.
  • 92:17 - 92:19
    Crawford cannot understand
  • 92:19 - 92:21
    how a black kid from the Bronx
    can write the way you do.
  • 92:22 - 92:25
    So, he assumes you can't.
  • 92:26 - 92:28
    Just like I assume
    he's an asshole.
  • 92:29 - 92:31
    You knew him, didn't you?
  • 92:31 - 92:33
    Crawford? No.
  • 92:35 - 92:36
    But he thought
    he knew me.
  • 92:37 - 92:39
    What's all this
    about his book then?
  • 92:39 - 92:42
    A lot of writers know
    the rules about writing,
  • 92:43 - 92:45
    but they don't know
    how to write.
  • 92:45 - 92:47
    So?
    So, Crawford wrote a book
  • 92:48 - 92:49
    about four authors
    who did know.
  • 92:51 - 92:53
    I was the only
    one still alive.
    And?
  • 92:54 - 92:56
    Well, he convinced
    a publisher to buy it.
  • 92:57 - 92:59
    So, I made a polite
    telephone call to...
  • 93:02 - 93:05
    this publisher
    telling him and others,
  • 93:05 - 93:07
    that I was in the process
    of writing a second book,
  • 93:09 - 93:10
    and if they wished
    to bid on it--
  • 93:11 - 93:13
    Oh, so that's why
    Crawford's book went away.
  • 93:13 - 93:15
    [CHUCKLES]
  • 93:15 - 93:18
    But you already knew there
    wasn't gonna be a second book.
  • 93:18 - 93:20
    Yeah, but they didn't.
  • 93:26 - 93:27
    Interesting what happens
  • 93:28 - 93:31
    when the resources aren't
    close at hand, isn't it?
  • 94:10 - 94:12
    CRAWFORD:
    Sounds like the rich tradition
  • 94:12 - 94:14
    of handing in
    competition entries
  • 94:14 - 94:19
    on the final day continues
    for yet another year.
  • 94:25 - 94:27
    Ladies and gentlemen,
  • 94:28 - 94:29
    may I have your attention,
    please?
  • 94:31 - 94:33
    If you don't mind.
  • 94:34 - 94:36
    "Ere sin could blight
    or sorrow fade,
  • 94:37 - 94:39
    "death came
    with friendly care.
  • 94:39 - 94:41
    The opening bud
    to heaven convey'd and--"
  • 94:42 - 94:43
    How nice of you to join us.
  • 94:45 - 94:47
    That's not part
    of the poem. Hm?
  • 94:49 - 94:50
    "And bade it blossom there."
  • 94:51 - 94:52
    Anyone?
  • 94:54 - 94:57
    A little more early morning
    reticence than usual.
  • 94:57 - 94:59
    Mr. Coleridge.
  • 95:03 - 95:04
    Please. Mr. Coleridge,
  • 95:06 - 95:09
    how many
    students would you say
    we have here today?
  • 95:11 - 95:12
    Uh, I'm not sure.
  • 95:14 - 95:18
    Perhaps you could, uh,
    humor us with a guess.
  • 95:19 - 95:22
    Thirty.
    Thirty? And of that 30,
  • 95:22 - 95:25
    there isn't one
    person who knows
    the author of that passage.
  • 95:25 - 95:28
    I find that remarkable,
    don't you, Mr. Coleridge?
  • 95:30 - 95:32
    Perhaps we should
    back into this.
  • 95:33 - 95:35
    Mr. Coleridge,
    in looking at this,
  • 95:36 - 95:39
    what, if any, conclusions
    might we be able to draw?
  • 95:39 - 95:40
    Um, you mean
    about the author?
  • 95:42 - 95:44
    About anything.
  • 95:45 - 95:46
    Um--
  • 95:47 - 95:50
    Do any of the words
    strike you as unusual?
  • 95:53 - 95:55
    Mr. Coleridge,
    feel free to view this
  • 95:55 - 95:58
    as the appropriate time
    for a response.
  • 96:00 - 96:02
    Um, "ere."
  • 96:02 - 96:04
    "Ere." And why is
    that unusual?
  • 96:05 - 96:07
    Because... it sounds old.
  • 96:09 - 96:11
    It does sound old,
    doesn't it?
  • 96:11 - 96:13
    And you know why
    it sounds old, Mr. Coleridge?
  • 96:14 - 96:17
    Um--
  • 96:17 - 96:19
    It's because it is old,
    more than 200 years old.
  • 96:19 - 96:22
    Written before you were born,
    before your father was born,
  • 96:22 - 96:24
    before your father's father.
  • 96:24 - 96:26
    But that still does not
    excuse the fact
  • 96:26 - 96:31
    you don't know who wrote it,
    now does it, Mr. Coleridge?
  • 96:33 - 96:35
    Um, I-- I'm sorry, sir.
    I don't--
  • 96:35 - 96:38
    You,
    of all people, should know
    who wrote that passage.
  • 96:40 - 96:41
    And do you know why,
    Mr. Coleridge?
  • 96:42 - 96:43
    I repeat, do you know why?
  • 96:44 - 96:48
    Just say your name.
  • 96:50 - 96:53
    Excuse me. Did you have
    something to contribute?
  • 96:55 - 96:58
    I just said that
    he should say his name.
  • 96:58 - 97:01
    And why would
    it be helpful for
    Mr. Coleridge to say his name?
  • 97:02 - 97:03
    Because that's who wrote it.
  • 97:05 - 97:06
    Very good, Mr. Wallace.
  • 97:09 - 97:12
    Perhaps your skills do extend
    a bit farther than basketball.
  • 97:15 - 97:18
    Now if we can
    turn to-- You may
    be seated, Mr. Coleridge.
  • 97:20 - 97:22
    Turn to page 120.
    The blue book
    I'm certain all of you--
  • 97:23 - 97:24
    Further.
  • 97:27 - 97:28
    I'm sorry?
  • 97:29 - 97:30
    [WHISPERS]
    Don't.
  • 97:32 - 97:34
    You said my skills extend
    farther than the court.
  • 97:36 - 97:37
    "Farther" relates to distance.
  • 97:38 - 97:40
    "Further"
    is a definition of degree.
  • 97:41 - 97:43
    You should have
    said "further."
  • 97:43 - 97:44
    Are you challenging me,
    Mr. Wallace?
  • 97:46 - 97:49
    Not any more than
    you challenged Coleridge.
  • 97:49 - 97:53
    Perhaps the challenge should
    have been directed elsewhere.
  • 97:55 - 97:57
    "It is a melancholy truth
    that even great--"
  • 97:57 - 97:58
    "Great men have
    poor relations."
  • 97:59 - 98:01
    Dickens.
  • 98:03 - 98:05
    "You will hear the beat
    of a horse's--"
  • 98:05 - 98:06
    Kipling.
  • 98:07 - 98:08
    "All great truths begin--"
    Shaw.
  • 98:10 - 98:12
    "Man is the only animal--"
    "That blushes...
  • 98:14 - 98:17
    or needs to."
  • 98:18 - 98:21
    It's Mark Twain.
    Come on, Professor Crawford.
  • 98:22 - 98:23
    Get out!
  • 98:25 - 98:27
    Get... out.
  • 98:35 - 98:37
    Yeah, I'll get out.
  • 98:49 - 98:51
    Jamal.
    Leave it alone, Claire.
  • 98:51 - 98:53
    Hold on, please.
  • 98:53 - 98:55
    That's what they do? Kick you
    out if you know something?
  • 98:55 - 98:58
    You have no idea what Crawford
    does to students.
  • 98:58 - 98:59
    You're right about that.
  • 99:00 - 99:02
    Jamal!
  • 99:03 - 99:05
    Think you should apologize?
    No.
  • 99:08 - 99:09
    Do you?
    No. You did nothing wrong.
  • 99:12 - 99:14
    Just beat him
    at his own game.
  • 99:14 - 99:16
    But, uh, however, it'd be
    a good time to be careful.
  • 99:19 - 99:21
    Careful?
    Mm.
  • 99:21 - 99:23
    Careful about what?
  • 99:23 - 99:26
    You've been blessed with
    a gift that should allow you
  • 99:26 - 99:28
    to do remarkable things
    with your life.
  • 99:28 - 99:29
    That is, if you don't
    screw it up
  • 99:30 - 99:33
    by being a 16 year old
    right now, okay?
  • 99:41 - 99:43
    Jamal.
  • 99:43 - 99:45
    Yeah?
    Got a call from the office.
  • 99:45 - 99:47
    All right.
  • 99:53 - 99:55
    Mr. Wallace, please.
  • 99:58 - 99:59
    As you know,
  • 99:59 - 100:01
    Professor Matthews
    is on the faculty board,
  • 100:01 - 100:04
    and Dr. Spence is chair
    of the trustees board.
  • 100:04 - 100:06
    The three of us have been
    reviewing work
  • 100:06 - 100:09
    submitted for this year's
    writing competition.
  • 100:09 - 100:11
    And we were hoping
    you might clarify
  • 100:11 - 100:14
    a couple of points
    concerning your submission.
  • 100:14 - 100:16
    The, uh, "Season
    of Faith's Perfection."
  • 100:17 - 100:19
    Your piece, correct?
  • 100:21 - 100:23
    Yeah, that's it.
  • 100:23 - 100:26
    Mr. Wallace, it is standard
    policy to ask our students
  • 100:27 - 100:29
    if they wish to credit
    any source material
  • 100:29 - 100:32
    or acknowledge other writers
    when turning in an assignment.
  • 100:35 - 100:37
    Um, do you wish
    to do that?
  • 100:42 - 100:44
    CRAWFORD:
    1960.
  • 100:46 - 100:48
    An essay titled,
    "Baseball's Best Year,"
  • 100:50 - 100:52
    with a subtitle that reads,
  • 100:53 - 100:55
    "A Season of Faith's
    Perfection."
  • 100:57 - 100:59
    Published in the New Yorker
    and written by one...
  • 101:00 - 101:03
    William Forrester.
  • 101:06 - 101:09
    Your version is actually
    quite original,
  • 101:09 - 101:11
    but there is the title and
    the first
    paragraph to consider.
  • 101:13 - 101:15
    Isn't there?
  • 101:16 - 101:19
    MATTHEWS:
    Jamal,
    either you happen to have
  • 101:19 - 101:23
    the permission
    of William Forrester or--
  • 101:24 - 101:26
    Have you
    some other explanation?
  • 101:27 - 101:28
    No. That's my paper.
  • 101:31 - 101:34
    Well then, your entry's
    now withdrawn,
  • 101:34 - 101:36
    and this becomes a matter
    for the board to consider.
  • 101:38 - 101:41
    And bear in mind the board
    does have the authority
  • 101:41 - 101:43
    to place you
    on academic probation,
  • 101:44 - 101:47
    which would prevent you
    from playing basketball here.
  • 101:50 - 101:51
    DR. SPENCE:
    Jamal,
  • 101:52 - 101:55
    look, being as the board
    doesn't meet until next week,
  • 101:56 - 101:58
    we've decided to let you play
    this weekend's championship.
  • 101:59 - 102:01
    But the board has a history
    of taking these matters...
  • 102:04 - 102:05
    quite seriously.
  • 102:06 - 102:08
    So, we would like to suggest
  • 102:08 - 102:12
    what we feel is a solution
    that may satisfy
    these concerns.
  • 102:14 - 102:15
    Robert.
  • 102:16 - 102:17
    The most important thing
  • 102:17 - 102:20
    is making certain
    this doesn't repeat itself.
  • 102:20 - 102:22
    So, you will be required
    to write a letter of apology
  • 102:24 - 102:27
    to the students
    you took advantage of
  • 102:27 - 102:29
    by submitting this piece.
  • 102:29 - 102:31
    And you are to
    read that letter
    in front of my class.
  • 102:33 - 102:36
    I'm not reading anything.
    The board will consider that
  • 102:36 - 102:39
    deciding whether to renew
    your scholarship.
  • 102:39 - 102:41
    DR. SPENCE:
    You haven't left us
    with too many options.
  • 102:42 - 102:45
    Excuse me.
  • 102:59 - 103:02
    Don't ever embarrass me
    in front of my class.
  • 103:07 - 103:10
    Please return the pen
    when you're finished.
  • 103:17 - 103:19
    No conventional
    greetings today?
  • 103:21 - 103:24
    How come you had me rewrite
    something you published?
  • 103:24 - 103:26
    Be careful
    where you take this.
    Why didn't you tell me?
  • 103:28 - 103:30
    Why the hell should it matter?
    You should have told me.
  • 103:32 - 103:34
    What did you do with it?
    I turned it in.
  • 103:37 - 103:39
    I turned it in.
    I had to show 'em something.
  • 103:41 - 103:43
    You promised me anything
    we wrote here would stay here.
  • 103:45 - 103:47
    I know.
  • 103:50 - 103:52
    I just thought--
    Shut up.
  • 103:57 - 103:59
    What are they telling you?
  • 104:02 - 104:04
    I go on
    probation unless I write
  • 104:04 - 104:06
    some letter
    saying I was wrong.
  • 104:06 - 104:08
    Then write the letter.
  • 104:08 - 104:10
    I told you
    I'm not writing anything.
  • 104:10 - 104:12
    You got him, he gets you.
    Write the letter.
  • 104:14 - 104:15
    And you'd let him
    do that?
  • 104:16 - 104:17
    [GROANS]
  • 104:18 - 104:21
    This is supposed to be
    another lesson, huh?
  • 104:21 - 104:24
    I'm getting tired of all
    these lessons,
    man, every time.
  • 104:27 - 104:29
    So the title of your essay's
    at the top of my paper.
  • 104:29 - 104:31
    What's the lesson in that?
  • 104:31 - 104:33
    I'm not the one
    who turned it in.
  • 104:33 - 104:36
    But you talked all this trash
    when all you had to say was,
  • 104:36 - 104:39
    "Keep this one here 'cause it
    got printed in
    the New Yorker."
  • 104:39 - 104:41
    That's all you had
    to say, man.
  • 104:43 - 104:45
    I could use a little help
    on this one.
  • 104:46 - 104:47
    Oh, no.
    That's not an option.
  • 104:49 - 104:52
    You don't have to go anywhere.
    I said, that's not an option!
  • 104:52 - 104:54
    That's all right.
  • 104:54 - 104:56
    Got a nice little history
    of people not helping me.
  • 104:56 - 104:59
    [MUTTERING]
    Oh, Christ. Not that
    self-pity father bullshit.
  • 105:02 - 105:04
    What'd you say?
  • 105:08 - 105:09
    Man, fuck you, William!
  • 105:11 - 105:12
    You wanna hear
    the real bullshit?
  • 105:12 - 105:14
    How about you let me
    take it on this one
  • 105:14 - 105:17
    'cause you're too scared
    to walk out the door
  • 105:17 - 105:19
    and do something
    for somebody else.
  • 105:19 - 105:22
    You're too damn scared, man.
    That's the only damn reason.
  • 105:23 - 105:24
    [GLASS SHATTERS]
  • 105:25 - 105:27
    You don't know a thing
    about reasons.
  • 105:27 - 105:29
    There are no reasons!
    Reasons why some of us live
  • 105:31 - 105:33
    and why some of us don't.
  • 105:33 - 105:35
    Fortunately, you have decades
    to figure that out.
  • 105:35 - 105:38
    What's the reason having
    a file full of writin'
  • 105:38 - 105:40
    and keepin' the shit locked
    so nobody could ever read it?
  • 105:42 - 105:44
    What is that, man?
  • 105:47 - 105:50
    I'm done with this shit.
  • 105:52 - 105:54
    [DOOR CLOSES]
  • 105:57 - 106:01
    Oh, look. Jamal Wallace,
    here to pay us a visit, man.
  • 106:04 - 106:05
    What's up, J?
    What's up?
  • 106:06 - 106:08
    What's up, y'all?
  • 106:09 - 106:11
    Come on, Hill.
  • 106:15 - 106:17
    [BOYS CHATTERING]
  • 106:28 - 106:31
    BOY:
    That should do it, Ash.
  • 106:35 - 106:38
    [CROWD SHOUTING, CHEERING]
  • 106:39 - 106:42
    How's your first game
    in the Garden feel?
  • 106:43 - 106:45
    A little closer
    than I thought.
  • 106:46 - 106:50
    That's why I
    thought it might be
    a good time for us to talk.
  • 106:50 - 106:53
    Listen, I know it's difficult
    handling all of these classes
  • 106:53 - 106:56
    with all the time they ask you
    to spend on the court.
  • 106:56 - 106:59
    I couldn't handle that load.
    Not at this school.
  • 106:59 - 107:01
    And maybe it was unfair of us
    to ask you to do it.
  • 107:03 - 107:06
    I've been talking to other
    board members and to Crawford,
  • 107:07 - 107:08
    and the bottom line is,
  • 107:10 - 107:13
    we don't want to pursue this
    any more than
    you do, any of it.
  • 107:13 - 107:15
    So I'm here to present you
    with an offer.
  • 107:15 - 107:17
    We forget about
    the whole thing.
  • 107:17 - 107:21
    We set you up with an academic
    schedule that's
    less demanding.
  • 107:21 - 107:23
    You mean Crawford
    wanted that?
  • 107:23 - 107:25
    Crawford wants what's best
    for you, and for the school.
  • 107:27 - 107:29
    So then what am
    I supposed to do?
  • 107:29 - 107:32
    You hold up a trophy
    at the end of this tournament.
  • 107:33 - 107:36
    You make that happen.
    I'll make
    the rest of it happen.
  • 107:36 - 107:38
    All right?
  • 107:38 - 107:41
    Now go finish up
    what you came here to do.
  • 107:49 - 107:51
    Let's go, Pilgrims!
    Let's go, Pilgrims!
  • 107:52 - 107:55
    Okay, let's go!
    Throw it to Jamal.
  • 107:56 - 108:00
    CROWD [CHANTING]:
    Defense! Defense!
  • 108:08 - 108:10
    Three!
  • 108:21 - 108:22
    [CROWD GROANS]
  • 108:23 - 108:25
    Damn, man. Come on, man.
  • 108:25 - 108:29
    CROWD [CHANTING]:
    Defense! Defense!
  • 108:39 - 108:42
    Oh, oh, oh, oh.
    Jamal, get the ball!
  • 108:50 - 108:53
    Yeah! Yeah!
  • 109:00 - 109:03
    Good pass, man. Good pass.
  • 109:10 - 109:13
    Pick it up.
  • 109:23 - 109:25
    REFEREE:
    Offensive foul! That way!
  • 109:25 - 109:27
    Ten gold, offensive.
    That way.
  • 109:29 - 109:31
    Okay, you got 'em now.
    Let's go.
  • 109:31 - 109:33
    [WHISTLE BLOWS]
  • 109:35 - 109:37
    Five.
  • 109:44 - 109:46
    COACH:
    Time-out! Time-out!
  • 109:47 - 109:49
    Okay, this is still our game.
  • 109:49 - 109:52
    We make a stop here,
    and they'll
    have to put us on the line.
  • 109:52 - 109:54
    And when that happens,
    it's all over.
  • 109:55 - 109:57
    Don't lose your composure
    out there.
  • 109:57 - 109:59
    If they score, we're not
    gonna call a time-out.
  • 109:59 - 110:02
    I want the ball to go
    to Hartwell or Wallace.
  • 110:02 - 110:04
    Okay? Hartwell or Wallace.
    Let's go, guys.
  • 110:05 - 110:07
    Go!
  • 110:21 - 110:23
    Come on, man.
    What's the score?
  • 110:24 - 110:27
    Ain't looking good, Ma.
    It ain't looking good.
  • 110:38 - 110:41
    REFEREE:
    Foul! Twenty-two, blue.
    Two shots.
  • 110:44 - 110:45
    Foul, blue team,
    twenty-two.
  • 110:46 - 110:49
    Hit two.
    Go line up, guys.
  • 110:56 - 110:58
    Two shots.
  • 111:00 - 111:02
    Come on.
    We're gonna make these.
  • 111:03 - 111:04
    I can't look.
  • 111:04 - 111:07
    He's gonna be all right.
  • 111:08 - 111:10
    MAN:
    Put it in, baby!
  • 111:16 - 111:18
    Do it.
  • 111:24 - 111:27
    [CROWD GROANS]
    Damn.
  • 111:34 - 111:36
    One shot.
  • 112:01 - 112:05
    [CROWD SIGHS]
    REFEREE: That's game.
  • 112:21 - 112:23
    []
  • 114:05 - 114:07
    []
  • 114:52 - 114:53
    Ma.
  • 114:55 - 114:58
    MRS. WALLACE:
    Oh, thank God! He must've
    come in after we left.
  • 114:59 - 115:02
    Just let him sleep.
    I'm gonna turn his light off.
  • 115:02 - 115:05
    Turn the light
    off and come on.
    All right.
  • 115:11 - 115:14
    You started cleaning up
    your room, Jamal?
  • 115:29 - 115:32
    MAN ON TV:
    He looks happy with himself,
    that coyote. Ears down.
  • 115:32 - 115:35
    [KNOCKING]
  • 115:37 - 115:40
    So this is how they avoid
    that problem.
  • 115:40 - 115:41
    Because he might be
    Wile E. Coyote,
  • 115:41 - 115:43
    but he's also wussy coyote,
  • 115:43 - 115:46
    because they don't like
    getting their feet wet.
  • 115:46 - 115:48
    Hey!
  • 115:50 - 115:53
    Jamal, he wrote that for you.
  • 115:55 - 115:56
    When?
    After the game.
  • 115:59 - 116:01
    He's going back
    to the school this morning.
  • 116:02 - 116:04
    It's funny, though.
  • 116:04 - 116:05
    They always let you get
    but so far...
  • 116:07 - 116:09
    before they take
    everything away from you.
  • 116:11 - 116:12
    God,
    he's such a good kid, man.
  • 116:13 - 116:15
    Then he gets to come back
    to this shit.
  • 116:31 - 116:34
    [FOOTSTEPS]
  • 116:56 - 116:58
    That seat open?
  • 117:00 - 117:01
    Think so.
  • 117:03 - 117:06
    This isn't exactly where
    I thought I'd find you.
  • 117:08 - 117:09
    Still my school, man.
  • 117:11 - 117:13
    They want me out, they gonna
    have to do it themselves.
  • 117:14 - 117:16
    They will.
  • 117:17 - 117:19
    Whatever.
  • 117:32 - 117:33
    "The winter's darkness
    and cold
  • 117:33 - 117:37
    "is but a momentary prelude
    to the new day of spring.
  • 117:37 - 117:40
    "While its grip seems endless,
    our perseverance proves equal.
  • 117:41 - 117:43
    "We renew
    ourselves once again,
  • 117:43 - 117:46
    "seeking out
    the bright moments
    that will serve, uh--
  • 117:47 - 117:48
    "that will
    serve therefore, uh,
  • 117:50 - 117:52
    "uh, uh--
  • 117:52 - 117:55
    therefore serve as
    the foundation of our future."
  • 117:56 - 117:58
    Thank you.
  • 118:08 - 118:10
    FORRESTER:
    Professor Crawford?
  • 118:13 - 118:16
    May I read a few words?
  • 118:20 - 118:22
    What's he doing here?
  • 118:24 - 118:27
    Yes, of course,
    by all means.
  • 118:30 - 118:32
    Thank you, Professor.
  • 118:46 - 118:47
    My name is William Forrester.
  • 118:49 - 118:52
    [STUDENTS WHISPERING]
  • 118:55 - 118:57
    Excuse me.
  • 119:01 - 119:03
    I'm that one.
  • 119:07 - 119:09
    "Losing Family.
  • 119:11 - 119:13
    "Losing family obliges us
    to find our family.
  • 119:16 - 119:18
    "Not always the family
    that is our blood,
  • 119:20 - 119:22
    "but the family
    that can become our blood.
  • 119:24 - 119:26
    "And should we have the wisdom
  • 119:26 - 119:27
    "to open our door
    to this new family,
  • 119:29 - 119:32
    "we will find
    that the wishes we
    once had for the father
  • 119:33 - 119:34
    "who once guided us,
  • 119:35 - 119:37
    "for the brother
    who once inspired us,
  • 119:39 - 119:41
    those wishes are there
    for us once again."
  • 119:42 - 119:44
    []
  • 120:15 - 120:16
    "The only thing left
    to say will be,
  • 120:18 - 120:20
    I wish I had
    seen this or I wish
    I had done that or I wish--"
  • 120:22 - 120:23
    Well,
    most of you are too young
  • 120:27 - 120:30
    to know
    what your wishes will be.
  • 120:32 - 120:33
    But when I read these words,
  • 120:35 - 120:36
    words of hope and dreams,
  • 120:39 - 120:42
    I realize that the one wish
    that was granted to me,
  • 120:45 - 120:47
    so late in life,
  • 120:47 - 120:49
    was the gift of friend--
    of friendship.
  • 120:53 - 120:55
    Mr. Forrester, I'm sure
    I speak on behalf of everyone
  • 120:56 - 120:58
    in thanking you
    for this unexpected visit.
  • 121:00 - 121:01
    The quality of your words
  • 121:04 - 121:07
    is something we should
    all aspire to reach.
  • 121:09 - 121:10
    Mr. Forrester.
  • 121:12 - 121:13
    Mr. Forrester.
    May I ask,
  • 121:15 - 121:16
    to what do we owe this honor?
  • 121:17 - 121:18
    Professor Crawford,
  • 121:20 - 121:21
    I spoke here today because...
  • 121:23 - 121:25
    a friend of mine
    wasn't allowed to.
  • 121:26 - 121:28
    A friend who had
    the integrity to protect me
  • 121:30 - 121:32
    when I was unwilling
    to protect him.
  • 121:35 - 121:37
    His name is Jamal Wallace.
  • 121:43 - 121:44
    Jamal Wallace
    is a friend of yours?
  • 121:46 - 121:47
    Yes. Yes, he is.
  • 121:49 - 121:51
    I helped him to find
    his own words
  • 121:52 - 121:54
    by starting
    with some of mine.
  • 121:54 - 121:56
    And in return,
    he promised
  • 121:58 - 122:01
    never to say anything
    to anybody about me.
  • 122:02 - 122:03
    A promise which he kept.
  • 122:05 - 122:08
    Mr.
    Forrester, while your visit
    appears to be heartfelt,
  • 122:09 - 122:12
    I'm sure you
    will appreciate that...
  • 122:12 - 122:15
    it will not
    change or interfere
    with this institution
  • 122:16 - 122:19
    reaching a fair and proper
    decision in his case.
  • 122:20 - 122:21
    Oh, there's one more
    issue here.
  • 122:24 - 122:25
    Those words
    that I read today,
  • 122:29 - 122:30
    I didn't write them.
  • 122:31 - 122:33
    Jamal Wallace did.
  • 122:42 - 122:43
    CRAWFORD:
    Quiet. Shh, shh.
  • 122:46 - 122:48
    Quiet! Quiet, please!
    Be still.
  • 122:51 - 122:52
    Shush, shush, shush!
  • 122:54 - 122:55
    Quiet, please.
  • 122:56 - 122:58
    That has no bearing
    on the decision--
  • 123:00 - 123:02
    Robert.
    I--
  • 123:02 - 123:04
    As director of
    this competition,
    I have final say.
  • 123:05 - 123:07
    Robert, sit down.
  • 123:07 - 123:10
    I have been a teacher
    for more than 30 years.
  • 123:10 - 123:13
    That's long enough to know
    integrity
    counts for something.
  • 123:15 - 123:17
    I'd say that Mr. Forrester
    has cleared up
  • 123:18 - 123:20
    this matter very nicely
    for us all.
  • 123:20 - 123:23
    And as chairman
    of the faculty board, I have
  • 123:23 - 123:25
    the last word
    in that matter.
  • 123:25 - 123:28
    Mr. Wallace, you are excused
    from next
    week's board meeting.
  • 123:30 - 123:31
    Mr. Forrester,
    should you ever
  • 123:34 - 123:36
    have an interest
    in a teaching position--
  • 123:36 - 123:38
    Oh, no.
  • 123:40 - 123:43
    Jamal, these are your words?
  • 123:46 - 123:47
    Sixteen.
  • 123:48 - 123:50
    [SMACKS LIPS]
    Remarkable.
  • 124:02 - 124:03
    Well done!
  • 124:04 - 124:06
    Whoo!
  • 124:17 - 124:20
    I'm thinking you'll make your
    own decisions
    from here on, hmm?
  • 124:23 - 124:25
    I'm thinking you're about
    to say, "I always could."
  • 124:27 - 124:28
    Oh, no.
    No more lessons.
  • 124:29 - 124:31
    But I have a question,
    though.
  • 124:31 - 124:34
    Those two foul shots
    at the end of the game,
  • 124:35 - 124:37
    did you miss them,
    or did you miss them?
  • 124:40 - 124:42
    Not exactly
    a soup question, is it?
  • 124:43 - 124:45
    [CHUCKLES]
    Let's go.
  • 124:48 - 124:50
    Do you think
    our vaudeville act today
  • 124:50 - 124:52
    will merit
    the National Enquirer?
  • 124:53 - 124:55
    Oh, yeah, definitely.
  • 124:55 - 124:57
    Well, whatever happens,
    I'm off.
  • 125:01 - 125:03
    What's, uh, the word
  • 125:03 - 125:05
    you and your friends
    would use for that?
  • 125:05 - 125:06
    Leaving?
    Oh, God.
  • 125:08 - 125:10
    Where you off to?
  • 125:10 - 125:13
    Well, I have a homeland
    I haven't seen for too long.
  • 125:14 - 125:16
    You mean Ireland.
    Scotland, for God's sake!
  • 125:17 - 125:20
    I'm messing with you, man.
  • 125:21 - 125:24
    Be sure to write.
  • 125:31 - 125:33
    []
  • 125:55 - 125:57
    Hey, Jamal.
    What's up?
  • 125:58 - 126:00
    Hey.
  • 126:00 - 126:03
    What's up, John?
    Have you heard from William?
  • 126:04 - 126:06
    Yeah, but I don't know
    what he's doing.
  • 126:06 - 126:10
    But he keeps sending letters
    checking on
    college recruiters.
  • 126:10 - 126:13
    I was just downstairs.
    Looks like you
    got another one.
  • 126:13 - 126:15
    Word?
    Heh.
    Yeah. I'll see you around.
  • 126:16 - 126:18
    All right.
  • 126:20 - 126:21
    MAN: Jamal? Hi.
    Yeah.
  • 126:23 - 126:26
    Steve Sanderson.
    Hi, how ya doin'?
  • 126:26 - 126:28
    Good.
    Thanks for coming down on
    such short notice.
  • 126:28 - 126:31
    No problem. Uh, so what
    school are you from?
  • 126:32 - 126:35
    Oh, no, I'm a lawyer
    here in town.
  • 126:35 - 126:38
    I work with
    Roberts and Carter.
    Oh, a lawyer.
  • 126:38 - 126:41
    Yeah. But congratulations
    with all that. That's great.
  • 126:41 - 126:43
    That's really, really,
    really great.
  • 126:43 - 126:47
    We got a bunch of the guys
    in the office following you.
  • 126:47 - 126:49
    So-- But we're
    the legal representation
  • 126:50 - 126:51
    for William Forrester.
  • 126:52 - 126:53
    How is he?
    Here.
  • 126:56 - 126:57
    Sit down.
  • 127:00 - 127:01
    Um...
  • 127:04 - 127:08
    we've received word that,
    uh, William passed away.
  • 127:18 - 127:20
    I'm sorry.
  • 127:26 - 127:27
    He wanted you to have...
  • 127:28 - 127:31
    these things right away.
  • 127:46 - 127:47
    What happened?
  • 127:49 - 127:50
    William had cancer.
  • 127:53 - 127:56
    Uh, they found it
    a couple years ago.
  • 127:57 - 127:59
    []
  • 128:07 - 128:08
    Jamal, this is crazy.
  • 128:09 - 128:12
    Oh, my God!
    Wow!
  • 128:15 - 128:18
    Look at all these books.
    Don't touch anything.
  • 129:38 - 129:41
    FORRESTER:
    "Dear Jamal,
    someone I once knew
  • 129:41 - 129:43
    "wrote that we walk away
    from our dreams
  • 129:44 - 129:45
    "afraid that we may fail,
  • 129:45 - 129:47
    "or worse yet,
    afraid we may succeed.
  • 129:49 - 129:51
    "You need to know that
    while I knew so very early
  • 129:51 - 129:53
    "that you would realize
    your dreams,
  • 129:53 - 129:56
    "I never imagined I would
    once again realize my own.
  • 129:58 - 130:01
    "Seasons change, young man,
    and while I may have waited
  • 130:01 - 130:03
    "until the winter of my life
  • 130:04 - 130:06
    "to see the things I've seen
    this past year,
  • 130:06 - 130:09
    "there is no doubt
    I would have waited too long
  • 130:09 - 130:11
    had it not been for you."
  • 130:16 - 130:18
    Hey.
  • 130:20 - 130:22
    You gonna be here
    a while, man?
  • 130:26 - 130:28
    Just can't watch
    the eyes this time.
  • 130:28 - 130:31
    You're gonna be okay,
    man. Come on.
  • 130:33 - 130:35
    Come on, man.
  • 130:37 - 130:39
    Get up.
  • 130:57 - 130:59
    []
  • 131:22 - 131:23
    Somewhere
  • 131:25 - 131:28
    Over the rainbow
  • 131:30 - 131:32
    Way up high
  • 131:32 - 131:34
    Messing up lay-ups now?
    What happened to you, boy?
  • 131:36 - 131:37
    And dreams
    That you dream of
  • 131:39 - 131:41
    Once in a lullaby
  • 131:41 - 131:43
    Where'd the first
    step go, man?
  • 131:47 - 131:48
    Oh, somewhere
  • 131:50 - 131:52
    Over the rainbow
  • 131:55 - 131:56
    Bluebirds fly
  • 131:59 - 132:01
    And the dreams
    That you dream of
  • 132:05 - 132:10
    Dreams really do come true
  • 132:13 - 132:14
    Someday you'll wish
    Upon a star
  • 132:16 - 132:21
    Wake up where the clouds
    Are far behind
  • 132:24 - 132:26
    Where trouble melts
    Like lemon drops
  • 132:27 - 132:29
    High above
    The chimney top
  • 132:30 - 132:31
    That's where
  • 132:33 - 132:34
    You'll find me
  • 132:35 - 132:36
    Oh, somewhere
  • 132:38 - 132:40
    Over the rainbow
  • 132:43 - 132:44
    Bluebirds fly
  • 132:47 - 132:48
    And the dreams
    That you dare to
  • 132:52 - 132:58
    Oh, why, oh, why can't I
  • 133:00 - 133:01
    Well, I see trees of green
  • 133:03 - 133:04
    And red roses too
  • 133:07 - 133:08
    I'll watch them bloom
    For me and you
  • 133:12 - 133:13
    And I think to myself
  • 133:16 - 133:20
    What a wonderful world
  • 133:23 - 133:24
    Well, I see skies of blue
  • 133:26 - 133:27
    And I see clouds of white
  • 133:28 - 133:31
    And the bright blessed day
    I like the dark
  • 133:34 - 133:36
    And I think to myself
  • 133:38 - 133:43
    What a wonderful world
  • 133:46 - 133:47
    The colors of the rainbow
  • 133:49 - 133:50
    So pretty in the sky
  • 133:51 - 133:53
    Are also on the faces
  • 133:54 - 133:55
    Of people passing by
  • 133:57 - 133:58
    I see friends
    Shaking hands
  • 134:00 - 134:01
    Saying how do you do
  • 134:03 - 134:05
    They're really saying
  • 134:06 - 134:07
    I, I love you
  • 134:11 - 134:12
    I hear babies cry
  • 134:14 - 134:15
    And I watch them grow
  • 134:17 - 134:18
    They'll learn much more
  • 134:20 - 134:21
    Than we'll know
  • 134:22 - 134:23
    And I think to myself
  • 134:26 - 134:31
    What a wonderful world
  • 134:34 - 134:35
    Somewhere over the rainbow
  • 134:41 - 134:42
    Way up high
  • 134:45 - 134:47
    And the dreams
    That you dare to
  • 134:51 - 134:52
    Why, oh, why can't I
  • 134:56 - 134:59
    I
  • 135:21 - 135:23
    []
Title:
Finding Forrester 2000 Full Movie
Description:
more » « less
Video Language:
English
Duration:
02:16:12

English subtitles

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