Original subtitles

[SPRAY CAN RATTLING]

[MAN] THE GUYS WHO GOT THEIR NAMES UP THE MOST

WERE THE ONES TO KNOW.

-[SPRAY CAN SPRAYING] -I ALWAYS WANTED TO BE LIKE THEM.

[CAMERA CLICKING]

HEY, EVERYBODY. MY NAME IS ANDRE WILLIAMS.

I'M FROM THE LOWER EAST SIDE.

-YO! -FUCK! SHIT!

-SHIT! -COME HERE!

YO!

[ANDRE] I WENT OUT BOMBING WITH MY FRIENDS

WHO WERE GRAFFITI WRITERS LOTS OF NIGHTS.

THOUGHT ABOUT THROWING MY NAME UP

BUT IT WASN'T MY THING.

I FOUND MY THING

WHEN I TOOK A DOCUMENTARY CLASS.

AND THIS SUMMER, I STARTED MAKING A FILM

ABOUT GRAFFITI.

BUT THEN...

SOMETHING TERRIBLE HAPPENED.

[SKATEBOARD SCRATCHING]

HI. COME HERE.

MM! [SIGHS]

YOU SAID YOU WERE COMING HOME FOR SPRING BREAK.

I KNOW, BUT HOW WAS BARD?

-IT WAS GOOD. -IT WAS REALLY GOOD. IT WAS GREAT.

-[WHISTLES] -YEAH.

LOOK WHO'S HERE.

-HEY! -HI.

[MOANS]

[MAN #2] YOU KNOW, PEOPLE HATE GRAFFITI.

YOU KNOW, WHEN YOU'RE DOING IT

PEOPLE ARE CALLING THE COPS.

GRAFFITI IS LIKE SOMETHING THAT--

IT'S THE MOST IMPORTANT THING TO ME.

IT'S LIKE YOU HAVE TO DO IT

NO MATTER WHAT THE CONSEQUENCES.

YOU KNOW WHAT I MEAN? YOU KNOW, I'M--

I KNOW WHEN I GO OUT I'M GONNA GET ARRESTED

I'M GONNA GO TO JAIL.

WHO COULD HAVE A RELATIONSHIP

-WITH SOMEBODY LIKE ME? - YEAH, MAN.

-[DOOR OPENS] -[WOMAN SIGHS]

THANK YOU. ANDRE.

I MISS YOU.

I MISS YOU.

HEY.

-YO, JAKE. YOU MIND? -NO, NOT AT ALL.

[MUMBLES]

[ANDRE] HOW'S THIS THING? WELL, I GUESS.

ONE DOWN-- ONE DOWN, THREE TO GO?

I'M DOING THE EIGHT-YEAR PLAN.

I CANNOT BELIEVE WE SURVIVED OUR FIRST YEAR.

-MOST OF US. -ALL RIGHT, EVERYBODY. SMILE.

WHAT? I WANNA MAKE MUSIC.

-YOU CAN ALWAYS GO BACK. -ONE, TWO, THREE!

-[CAMERA SHUTTER CLICKS] -[LAUGHS]

[SIGHS] GOOD LUCK.

-THIS IS GOOD. -CAN I SEE?

-YEAH. -OOH. IT'S CUTE.

[CHATTERING]

[SARAH] IS SOMETHING GOING ON WITH JAMES?

NOT THAT I KNOW OF.

ARE YOU SURE? LOOK AT HIM ON HIS PHONE.

I MEAN, HE DIDN'T TELL ME ANYTHING.

OKAY.

-HMM? -NO.

ALL RIGHT. MORE FOR ME.

-YOU WANT A BEER? -YEAH, THANK YOU.

YOU BET.

* YOU MADE ME LOVE YOU *

* I DIDN'T WANT TO DO IT *

* I DIDN'T WANT TO DO IT *

[BOTH SINGING] * YOU MADE ME LOVE YOU *

* AND ALL THE TIME YOU KNEW IT *

* I GUESS YOU ALWAYS KNEW IT *

* YOU MADE ME HAPPY SOMETIMES *

* YOU MADE ME GLAD

* BUT THERE WERE TIMES DEAR *

-* YOU MADE ME FEEL SO GLAD -THIS IS FUCKIN' STUPID.

-WHERE ARE YOU GOING? -SOME PARTY, YOU WANNA GO?

-PARTY, PARTY, PARTY. -OH, NO, NO, NO.

IT HAS NO SHAPE TO IT

AND YOU'RE GONNA KNOCK SOMEBODY OUT.

I AM WEARING THAT. PARTY, PARTY, PARTY, PARTY!

OH, MY GOD. THIS COULD BE REALLY BAD.

-[LAUGHING] -OH, WHAT ARE YOU DOING?

I'M PUTTING THE RED ON.

-OH, MY GOD. -LET'S SEE IT.

-[MUTTERS] -HOLD ON. SWITCH. GO.

-OH, MY GOD. -WAIT. WAIT. OKAY. WAIT. OKAY.

-[LAUGHING] -PUTTING LIPSTICK ON YOU

IS LIKE PUTTING ON A TODDLER.

WAIT. WAIT. WAIT. COME ON! COME ON. COME ON.

OOH, IT'S TOO MUCH.

I'M JUST GONNA WEAR WHAT I HAD ON.

-[ELECTRICAL BUZZING] -* REGARDLESS BUT DON'T THEY USE THE LIGHT *

* RIGHT ON THE STREET SOLACE *

* BUT THEY STAY ON THE GROUND *

* NOT EVEN GROUNDED IN TIME *

*IT'S TOO OLD FOR CLOTHES NOSE TO THE GRINDSTONE *

* NO KEYS TO THE CRIB HOPIN' MOM'S HOME *

* SETTING THEIR CLOCK BACK LIKE THEY'RE GOING *

* THROUGH DIFFERENT TIME ZONES *

* HOW YOU GONNA LIE TO MY FACE *

* THEN TRY TO TELL ME IT'S NONE OF MY BUSINESS *

* ACCEPTING THE PICTURE OF CRIMINALS *

DID YOU DIP YOUR EYES IN HONEY THIS MORNING, BABY?

-'CAUSE THEY LOOK SO SWEET. -[LAUGHS]

MAKE ME ONE, SOPH.

-HOW YOU WANT IT? -WHATEVER.

YOU WANT A CHICKEN NUGGET?

-[POURING] -HOW LONG HAVE THOSE BEEN IN YOUR POCKET?

YO, MY DUDE, MAN.

THAT SHIT ON DELANCEY STREET.

THAT SHIT IS NOT GOING ANYWHERE, MAN.

YOU FUCKIN' BEASTED ON THAT.

I DIDN'T EVEN REMEMBER DOIN' THAT SHIT.

I BLACKED OUT.

-HERE. -LET'S GET DRUNK, MAN.

THE ROOM FEELS LIKE--

-IT FEELS LIKE-- -I'M GONNA GET YOU SOME WATER.

THAT'S MY SHIT. YO, WHAT'S GOOD?

-WHAT'S GOIN' ON, CHARLIE? -YO, CHILL, HOMIE, CHILL.

-YO, LET ME GET IT. LET ME GET SOME OF THAT. -GET THE FUCK OUTTA HERE.

YO, THAT BEZEL IS HOT. YO, THE FUCKIN' BEZEL?

-GET OUTTA HERE. -YO, WHAT THE FUCK?

GET OUTTA HERE, MAN.

WHAT THE HELL'S WRONG WITH THIS DUDE?

THAT PIECE OF SHIT TRIED TO ROOFIE ME.

-NO WAY. -THIS WHITE FUCKER RIGHT HERE?

YO, I'M GONNA FUCKIN' KILL HIM.

[GROANS] OH, FUCK.

OH, FUCK! COME ON!

OKAY. PUT YOUR ARMS AROUND ME, PLEASE.

-NO. -COME ON, JO!

I'M NOT A SHRIMP.

[GRUNTS, SIGHS]

-WHAT AM I EVEN DOING? -OW! OW, FUCK.

-PLEASE, COME ON. -LET ME LIVE.

STOP IT! SWING YOUR LEGS OUT.

COME ON. COME ON, GET UP.

-LET ME LIVE! -STOP IT, JO!

-WANT A CIGARETTE? -OH, NO, THANK YOU.

I DON'T SMOKE.

[MAN] WHOO!

WHAT'S UP WITH YOUR BOY OVER THERE?

I DON'T KNOW. HONESTLY.

IT WOULD SEEM TO ME

THAT THIS GUY HAS NO IDEA WHAT HE HAS.

-HEY, SARAH. -HEY!

ALL RIGHT. I GOT SOMETHING FOR YOU.

-OH, YEAH? -YEAH.

-THANK YOU. -THAT SUCKED.

-WAS THAT JAMES'S GIRL IN THERE? -JEANETTE.

OH. DON'T YOU HAVE WORK TONIGHT?

YEAH, I DO. SUPER LATE.

OH! WHERE YOU GOING?

I'M ACTUALLY KINDA TIRED.

-I'M JUST GONNA GO HOME. -I'LL WALK YOU.

-OH, THAT'S REALLY SWEET-- -ANDRE, YOU NEED TO COME IN.

JAMES NEEDS HELP WITH JO. COME ON. NOW.

[SIGHS]

HEY, WHERE'S, UH, WHERE'S SARAH?

SHE WENT HOME. SHE SAID SHE WAS TIRED.

-OH. -YEAH.

SARAH!

-YEAH? -COME HERE.

LOOK.

YOU REMEMBER THIS ONE?

YEAH. [LAUGHS]

YOU LOVED CARY GRANT.

I KNOW. HE WAS A GREAT MAN.

I'M PRETTY SURE ARCHIBALD LEACH WAS BI.

-REALLY? -YEAH.

THAT'S DEVASTATING.

-HOW WAS THE PARTY? -OH, IT WAS OKAY.

-WAS JAMES THERE? -YEAH.

HE MUST'VE BEEN GLAD TO SEE YOU.

YOU WANT A GLASS OF WINE?

NO, THANKS. I'M KINDA TIRED.

-THINK I'M JUST GONNA GO UPSTAIRS. -OKAY.

-I LOVE YOU. -I LOVE YOU, TOO.

-NIGHT. -GOOD NIGHT.

IT'S A "B." * HANGIN' WITH MY GIRL

* SINGIN' THE BLUES

* ALL DAY

HI.

YEAH. YOU'RE STILL AT THE PARTY?

IS JAMES THERE?

[LAUGHS] LIAR.

OKAY. ALL RIGHT. YEAH. BYE.

[HIP-HOP MUSIC PLAYING]

[DOOR OPENS, CLOSES]

SARAH?

SARAH?

HEY!

NO, SHE'S NOT ANSWERING HER PHONE.

MAYBE THAT MEANS SHE DOESN'T WANT TO TALK TO YOU.

YOU COMIN' BACK?

NO, I'LL JUST SEE YOU TOMORROW.

[THUNDERCLAP]

-[SIGHS] OKAY, MOM! -[WOMAN] SOPHIA, I NEED YOU.

ISAAC, FINISH THAT SANDWICH, PLEASE.

-YOU OKAY, MA? -I'M OKAY.

OKAY, COME.

OKAY, I GOTTA GO. I LOVE YOU.

PLEASE BRING THAT IN. OOH, OOH, OOH.

OKAY, CAN YOU BRING THAT IN IN A MINUTE, ISAAC?

THANK YOU. MOM!

HI, MOMMY. ALL RIGHT. HERE YOU GO, MONKEY.

I GOTTA GO, MOMMY. I LOVE YOU.

-I'LL BE BACK SOON, I PROMISE. -I LOVE YOU TOO.

-HI, MOMMY. -HI, BABY.

[DOOR BUZZER ]

-GOOD MORNING. HI. -HEY.

-PRACTICING? -YEAH. WE'RE GETTING A LATE START.

HEY, HOW'S YOUR MOMMA?

SHE'S GOOD. SHE'S DOING ALL RIGHT.

IS SARAH UP?

NO, YOU KNOW, I HEARD HER COME IN REALLY LATE,

-BUT SHE'S NOT UP. -OKAY.

SARAH?

HEY, SARAH. WAKE UP.

SARAH. SARAH.

SARAH, WAKE UP.

LORNA! LORNA!

-WHAT? -COME UPSTAIRS.

-WHAT? -LORNA, SHE'S NOT WAKING UP!

SARAH? I DON'T KNOW WHY SHE'S NOT WAKING UP.

-HEY, SARAH! -SARAH, WAKE UP!

-WAKE UP, IT'S MOM! -WAKE UP, SARAH!

CALL 911. SARAH! SARAH, HONEY.

YOU GOTTA BREATHE. BREATHE.

[SOPHIE] HELLO? HELLO. HI.

-[BREATHING HEAVILY] -YES. MY FRIEND'S UNCONSCIOUS.

SHE'S NOT WAKING UP.

-[BREATHING CONTINUES] SARAH, BREATHE! -I'M ON 207 EAST 7TH.

WE'RE ON THE THIRD FLOOR. WHAT? I CAN'T--

TELL THEM TO COME NOW! COME HERE AND GET HER NOW!

NO.

-[SNIFFLES] -[SOBBING]

-NO! -EXCUSE ME. EXCUSE ME.

-EXCUSE ME. EXCUSE ME, MA'AM. -PLEASE.

MA'AM, PLEASE. EXCUSE ME.

PLEASE DON'T TAKE HER.

MOM AND DAD WENT TO MY GODMOTHER'S WAKE.

-YEAH, THEY WENT. -REALLY?

HE HAD, LIKE, SIX KIDS AND ALL OF THEM HAD TO DO A SPEECH

EXCEPT FOR THE LITTLEST ONE.

[QUIET CHATTER]

-[CLOCK GEARS MOVING] -[CAMERA SHUTTER CLICKING]

[DOOR OPENS]

JO, THAT'S WHERE SHE WAS.

[LAUGHS SOFTLY]

WHAT ARE YOU DOING?

-IT HELPS ME. -WELL, IT DOESN'T HELP ME.

SORRY.

I'M GOING DOWNSTAIRS.

JO, YOU WERE WITH HER THAT NIGHT, WEREN'T YOU?

NO. WELL, I WAS...

BUT I LEFT WAY BEFORE HER.

-I THINK. -YOU THINK?

I KNOW I WASN'T WITH HER.

THEN WHERE DID SHE GET THE DRUGS?

-[WOMAN] LORNA, IT'S NOT HER FAULT. -YOU GAVE HER DRUGS.

-I DIDN'T. -YOU GAVE HER THOSE DRUGS.

-YOU GAVE HER THOSE DRUGS! -I KNOW I WASN'T WITH HER!

-IT'S NOBODY'S FAULT. -SHE'S A FUCKING DRUG ADDICT!

-BUT IT'S NOT HER FAULT. -YOU GAVE HER THE DRUGS.

-OKAY? -I KNOW WHAT YOU DID.

-IT'S NOT GONNA HELP, LORNA. -I KNOW WHAT YOU DID.

-HEY, WE HEARD. -YOU DIDN'T GIVE HER THE DRUGS.

I CAN'T SIT HERE ANYMORE.

EXCUSE ME.

[ELECTRICAL BUZZING]

-IS JAMES SEEING SOMEBODY? -NOT THAT I KNOW OF.

OKAY.

[BUZZING CONTINUES]

-I LOVE YOU. -I LOVE YOU, TOO.

[GUITAR STRUMMING]

* IT'S A SONG

* IT'S SO VERY HARD

* IT HAS GOT ME AWAY

* BACK INTO YOUR ARMS

* AND YOU KNOW

* YOU'RE ALWAYS OKAY

[COUGHS]

-[HORN HONKING] -AW, SHUT UP.

* FOREVER

* YEAH

[BREATHING HEAVILY]

* TO YOU

[GASPS]

-[KNOCKING] -SARAH?

WAKE UP.

[BREATHING HEAVILY]

[SIGHS]

[SNIFFLES]

[LIGHT SWITCH CLICKING]

[WOMAN] YOU SHOULD GO SEE LORNA.

I SAW SARAH LAST WEDNESDAY.

JUST CAME OUT OF NOWHERE.

DO YOU THINK IT WAS AN ACCIDENT?

OF COURSE IT WAS AN ACCIDENT.

SHE AND SOPHIA WERE PLANNING ON

GOING TO PARIS.

YOU KNOW, SHE HAD PLANS.

SHE WAS HAPPY.

THAT'S WHAT I THOUGHT. I JUST--

SOMETHING HAPPENS, IT DOESN'T MAKE SENSE

YOU KNOW, YOU TRY AND MAKE SENSE OUT OF IT.

[SIGHS]

[ANDRE] SO, WHY DON'T YOU TELL US WHAT WE'RE DOING HERE?

[SOPHIA] THAT'S SARAH'S PHONE.

YOU TOOK IT OUT OF HER ROOM?

THAT'S DISGUSTING.

LISTEN, IF WE GO THROUGH THE CALLS

WE CAN FIGURE OUT WHERE SHE WENT THAT NIGHT.

-[LINE RINGING] -[SOPHIA] WHAT ARE YOU DOING?

[ANDRE] COME ON, MAN.

-I KNOW YOU KNOW THESE NUMBERS. -I KNOW ONE OF 'EM.

YOU CAN'T JUST SHOW UP AT HIS DOOR

ACCUSING HIM OF SHIT.

HE'S GONNA SLIT YOUR THROAT.

I'M NOT GONNA ACCUSE HIM OF ANYTHING.

-I JUST WANNA KNOW WHAT HAPPENED. -I'M GOING HOME.

THIS ISN'T GONNA DO US ANY GOOD.

I JUST WANNA KNOW WHAT HAPPENED.

[ANDRE] YEAH. I WANNA KNOW TOO.

HE SELLS ALL KINDS OF SHIT OUT OF HIS CRIB

AND HE LIVES THERE WITH HIS GIRL,

HIS KID AND HIS MOM

SO PLEASE, DON'T DO ANYTHING STUPID.

ALL RIGHT.

I DON'T THINK HE KNOWS. YOU'RE JUST RIDICULOUS.

-WHAT'S UP, BIANCA? -WHAT'S UP?

-WHAT THE FUCK YOU MEAN COMING HERE-- -OH, SHIT.

-...WITH FUCKING CAMERAS? -HE DOESN'T HAVE A CAMERA.

OH, YEAH? WHAT THE FUCK IS THIS?

-IT'S NOT WHAT YOU THINK. -YOU DON'T KNOW WHAT I THINK.

IF YOU DID, YOU WOULDN'T BE COMIN' IN HERE WITH CAMERAS.

WE JUST WANNA KNOW WHY SARAH CAME HERE.

-WAS SARAH HERE? -I SHOULD'VE TOLD YOU.

-YOU LOOK DRUNK. -NO, I'M-I'M FINE.

CAN I SEE HER?

YEAH, BUT IF YOU WAKE HER UP

YOU KNOW RICO'S GONNA COME OUT HERE WITH HIS GUN.

-SHE'S BEAUTIFUL. -THANKS.

UM...

CAN I HAVE A BUMP, BIANCA?

-DON'T TELL RICO. -OKAY. I WON'T.

THANK YOU.

IT WAS ONLY TWO LINES.

SO, DON'T LAY THIS SHIT AT MY DOORSTEP.

THERE'S NO FUCKING WAY THAT SHIT COULD'VE KILLED HER.

TAKE YOUR FUCKING CAMERA. GET THE FUCK OUT OF MY HOUSE.

I CAN'T BELIEVE YOU BROUGHT A CAMERA IN THERE.

COME ON.

WE WOULDN'T HAVE EVEN BEEN THERE

IF IT WASN'T FOR YOU.

-YEAH, NEITHER WOULD SARAH. -GREAT!

SO, IT'S ALL MY FAULT? FUCK YOU.

-WHAT'S UP, DRE? -THANKS FOR COMIN', MAN. APPRECIATE IT.

ALL RIGHT. LET'S DO IT.

-YEAH. LET'S GET SARAH'S NAME UP. -YEAH.

* GAME PIMPIN'

* I AIN'T LIMPIN' 'CAUSE MY LEG HURTIN' *

* TEST MY G, YOU'LL BE TALKED ABOUT IN THIRD-PERSON *

-WHOO! -* 'CAUSE, I HIT YOU WITH A TURKISH GUN *

* BARREL'S BIG, BUT YOU SHOULD SEE MY RUSSIAN ONE *

* BANANA CLIPS FULLY AUTOMATIC *

* MACHINE GUN CHOP YOU IN HALF *

-* CLOSED CASKETS -YOU GOTTA DO A BUMP OUT THIS SHIT, MAN.

-YOU KNOW WHAT I MEAN? -FUCK THAT.

DRE DON'T FUCK WITH THAT SHIT, KNOW WHAT I MEAN?

NAH! THAT'S THE BEAST, FOOL.

DO NOT WAKE THAT MOTHERFUCKER UP.

THIS IS CELEBRATORY SHIT, MAN.

-RIGHT, FLER? -ABSOLUTELY.

WE CELEBRATING.

SARAH'S NAME'S ON THE STREET.

CONGRATULATORY, KNOW WHAT I MEAN?

YOU GOTTA DO A BUMP OUT THIS SHIT.

[CHARLIE] ANDRE, NOW YOU BUGGIN' OUT.

DON'T EVEN DO A LINE LIKE THAT.

YOUR FUCKING WHOLE MIND FRAME'LL

-BE ANNOYED AND SHIT. -YOU'RE GOOD RIGHT NOW.

-GO AHEAD. -WOW, REALLY?

LIKE BLAST THAT SHIT, FOOL.

IT CHANGES THE WHOLE GAME. YOU'LL SEE, DRE. WATCH.

-YO, MAN. -GET THE FUCK OUTTA HERE. WOW!

YOU SEE THAT SHIT. YEAH, WHAT YOU THINK?

OOH. YOU RIDING THAT WAVE. YOU FEEL WAVY?

-I KNOW HOW HE FEELS, MAN. -YOU RIDIN' THAT WAVE?

-I AIN'T TRYIN' TO PUT HIM IN A FOG. -EXTRA FUCKIN' SAIL, FOOL.

-FUCK EVERYTHING. GIMME THAT. -LET ME SEE.

DON'T BE SHIESTY WITH THAT SHIT.

-ALL KNOWING GET. -I KNOW. CELEBRATING.

-[SNORTS] -[LAUGHS]

HOW I LOOK? HOW I LOOK?

-YOU LOOK BEAUTIFUL. -[LAUGHS]

YOU LIKE THAT SHIT?

-I DON'T KNOW. -NO MORE?

[CAMERA GEARS WHIR]

-HEY, WHAT'S GOIN' ON? -OH, SORRY.

-YOU'RE NOT REALLY INTO THIS? -YEAH. I AM.

-I AM. -IT'S OKAY.

I UNDERSTAND.

YOU MISS SARAH.

WHY DON'T YOU JUST MAKE YOUR MOVIE ABOUT HER?

[TAPE WHEEL SQUEAKING]

I WISH WE WERE JUST TALKING ABOUT SARAH

AND NOT REMEMBERING HER.

BUT I AM GLAD TO HAVE THIS CONTEXT

TO THINK ABOUT HER AND SAY A FEW WORDS ABOUT HER.

I TAUGHT HER FOR ONE SEMESTER.

SHE WAS A FRESHMAN

AND WHAT I NOTICED ABOUT HER

FROM THE VERY BEGINNING

WAS HER ENERGY.

SHE JUST SEEMED TO BE DRIVEN BY SOMETHING.

SHE SEEMED TO BE LIT FROM WITHIN

RATHER THAN BEING LIT FROM THE OUTSIDE

AND THAT'S INCREDIBLY RARE FOR SOMEONE THAT AGE.

IT'S INCREDIBLY RARE FOR SOMEONE OF ANY AGE.

[DOOR CLOSES]

-[RADIO CLICKS] -[MUSIC PLAYING]

* HE GAVE HER HOPE

* YOU MADE

* YOU KNOW I'M STILL

* IN LOVE WITH YOU

* AND SOMEHOW

[PHONE BUZZING]

-* YOU STILL LOVE ME -TURN THE MUSIC DOWN!

I CAME IN AND FIVE PEOPLE YELLED AT ME.

DO YOU WANNA SEE ME EVICTED?

-SORRY. -[MUSIC STOPS]

[SIGHS]

YOU THINK IT'S YOUR FAULT, DON'T YOU?

WHY DO YOU THINK IT'S YOUR FAULT?

BECAUSE...

IT IS.

YEAH, SO, WHEN SARAH WAS 16

YOU KNOW, SHE WANTED TO START GOING TO CLUBS.

AND SHE HAD TOLD ME ABOUT THIS PLACE

ON ST. MARK'S, I GUESS, WHERE YOU CAN GO

IN, LIKE TATTOO SHOPS WHERE YOU CAN GO

AND THEY HAVE THIS GIANT PICTURE

OF A NY STATE ID

AND THEY ANGLE THE CAMERA JUST RIGHT,

TAKE A PICTURE

AND THERE'S YOUR FACE IN AN ID.

AND THEN THEY LAMINATE IT

BUT WHAT WE DIDN'T REALIZE UNTIL

WE TRIED TO GET INTO OUR FIRST CLUB

IS THAT ON THE BACK IT SAYS

"THIS IS NOT A REAL ID."

SO, PRETTY MUCH, WE WEREN'T

GETTING INTO ANY OF THOSE CLUBS.

A WEEK LATER, I GUESS SHE TALKED TO SOME SORT OF

UNCLE'S COUSIN'S SISTER'S DAUGHTER'S BABYSITTER

AND GOT AN ACTUAL STATE ID.

WE WERE PSYCHED. YOU KNOW, OOH, LET'S GO.

LET'S PARTY IT UP.

WE WENT TO OUR FAVORITE CLUB

AND SHE GOES UP, ALL PROUD AS A PEACH

SHE DIDN'T EVEN LOOK NERVOUS. GAVE IT TO HIM.

SAYS, LIKE, "OH, CAN I PLEASE HAVE YOUR ID?"

GIVES IT TO HIM, HE LOOKS AT IT AND SAYS

"I ASKED FOR YOUR ID."

AND, SO, I KINDA JUST PEEPED OVER TO SEE WHAT IT WAS

AND IT WAS JUST LIKE A 37-YEAR-OLD KOREAN WOMAN

LIKE, WHO JUST LOOKED ABSOLUTELY NOTHING LIKE HER.

AND I GLANCED OVER AT SARAH AND SHE'S, LIKE,

TRYING WITH HER FACE

TO CONTORT IT INTO A KOREAN WOMAN,

YOU KNOW, LIKE, WITH THE SAME EXPRESSION.

I DON'T KNOW HOW TO DESCRIBE THAT

BUT IT REALLY HAPPENED AND, UH,

YEAH, THAT WAS SHOT, BUT WE STILL JUST HUNG OUT

FOR ABOUT 30 MINUTES.

SHE WAS VERY NICE AND CHARMING

AND, EVENTUALLY, YOU KNOW,

THEY LET US IN, SO...

SHE COULD DO THAT. SHE HAD THAT EFFECT ON PEOPLE.

[RING TONE]

[RING TONE]

[RING TONE]

[DOOR BUZZES]

[BUZZING CONTINUES]

[BELL DINGS]

[BREATHING HEAVILY]

[MOANING]

SHE WAS...

SHE IS...

MY FIRST LOVE.

I THANK HER EVERY DAY FOR THAT GIFT.

I WISH I'D TOLD HER THAT.

HERE WE ARE. THE WINNER.

I HAVE MADE YOU MY SIGNATURE DISH.

AN OMELETTE.

[LORNA] I'M NOT HUNGRY.

NO, COME ON.

JUST A BITE, PLEASE.

I THOUGHT YOU WOULD'VE BEEN WITH HER THAT NIGHT.

YEAH.

YEAH, ME TOO.

LAST SUMMER, I REALLY WANTED

TO GET MY FIRST TATTOO

AND NOBODY WOULD COME WITH ME

BUT SARAH SAID, "IF THIS IS REALLY SOMETHING YOU WANT

I DON'T WANT YOU TO GO ALONE."

SO, SHE CAME WITH ME

AND I GOT THIS

WHICH MEANS "TO RISE."

AND, THEN, THE NEXT TATTOO I GOT

WAS FOR HER.

[RING TONE]

-[WATER RUNNING] -[MUSIC PLAYING]

BUENOS...

MARGARITAS.

-SARAH? -NO, IDIOT. IT'S JO.

OH. YEAH, I THOUGHT YOU WERE HER.

WHERE ARE YOU?

[LINE RINGING]

HEY, IT'S JESS LEOPARD. LEAVE A MESSAGE.

[BEEPS]

-[KEYBOARD CLACKS] -[SARAH] I MISS YOU.

-[CLACKING CONTINUES] -I MISS YOU.

I MISS YOU.

[KNOCKING ON DOOR]

-[LAUGHS] -CHARLIE. THOUGHT I WAS THE POLICE, RIGHT?

-SURE DID. -OH, THEY'RE KILLIN' 'EM.

-WHAT'S UP? -IT'S GOOD.

WOW, THAT'S HOW YOU DO? YOU JUST DEEBOW SHIT?

-SHIT. -DO YOUR THING. DO YOUR THING.

-WHAT Y'ALL UP TO? -GOT A DEEBOW FOR EVERYTHING RIGHT HERE.

-WHAT'S GOOD, KILLER? -WHAT UP WITH YOU, MAN?

-YEAH. -LOOK LIKE YOU GOT SOMETHIN' ON YOUR MIND

OVER THERE, KNOW WHAT I MEAN?

-LET'S DO A BUMP. -WHAT?

-BUMP? -YEAH.

I TOLD YOU. I TOLD YOU.

ONCE YOU DID IT THAT'S IT.

YOU GONNA WANNA DO IT ALL THE TIME.

I TOLD YOU. WHAT DID I TELL YOU?

-WHY ARE Y'ALL TRIPPIN'? -AFTERNOON, HOMIE.

WANT A BUMP.

-BUGGIN' OUT. BUGGIN'. -YO.

GOT SOME DUST THOUGH.

-YOU FUCKED WITH IT BEFORE, RIGHT? -YEAH.

-YOU WANNA FUCK WITH IT? -LET'S DO IT.

-YOU GOT BREAD? -[LAUGHS]

LOOK AT HIM. YOU HAVE NO BREAD.

YOU A CRACKHEAD.

YOU'RE GONNA BE EATIN' OUTTA GARBAGE CANS, HOMIE.

-LOOK WHO'S TALKIN'. -GET THE FUCK OUTTA HERE.

-WHO'S TALKIN'? -YO, LIGHT IT UP.

I AIN'T ASKIN' FOR A BUMP RIGHT NOW IN THE AFTERNOON.

CHILL. ALL RIGHT! DAMN! YOU FUCKIN' THIRSTY.

-CAN I SMOKE-- CAN I SMOKE SOME? -THIRSTY.

-HERE YOU GO. -OH, MY GOD.

GET THE FUCK OUTTA HERE, REALLY.

THIS SHIT AIN'T ADDICTIVE RIGHT HERE.

LIKE COKE.

-THIS AIN'T ADDICTIVE. -MAN, I'M NOT ADDICTED.

THIS SHIT WON'T GET YOU ADDICTED.

YOU WON'T BE EATIN' OUT OF GARBAGE CANS.

THIS, YOU'D BE COLLECTING BOTTLES WITH THAT OTHER SHIT.

TAKE A HIT OF THIS, BABE,

BEFORE YOU HIT THAT, YOU KNOW WHAT I'M SAYING.

I DIDN'T SAY HE COULD SMOKE.

OH, OKAY. DON'T SMOKE ALL MY WEED.

ALL RIGHT?

-YEAH, YEAH. -[GURGLING]

-LOOK AT THAT. WHAT THE HELL? -YEAH.

-WHAT THE HELL? -YO, LET ME GET THAT.

-COME ON, MAN. -YO, I CAN'T BELIEVE THIS DUDE JUST DID THAT.

YOU JUST RIP THAT SHIT OUTTA MY HANDS LIKE THAT?

-I FUCKIN' HIT IT ONCE. -I'LL GIVE IT BACK.

YOU BURNIN' THE SHIT UP. JUST HIT IT, HOMIE.

-ARE YOU SURE YOU SMOKED BEFORE, YO? -WHAT'S WRONG WITH YOU?

I'MMA SEE YOU-- YOU BURNED THE WHOLE SHIT.

I'MMA SEE YOU EATIN' OUTTA GARBAGE CAN.

[LAUGHING ECHOES]

-YOU GONNA BE FUCKING COLLECTING BOTTLES. -[COUGHING]

-LOOK AT YOU. FIENDED OUT! -THAT SHIT STINKS.

THAT SHIT SMELLS GOOD. I LOVE THAT FUCKING SMELL.

GARBAGE!

[TV PLAYING IN BACKGROUND]

GIRLFRIENDS?

HE'S STONED.

-HE SAID, "THUMBS UP." -[LAUGHING]

YO.

NOW MAYBE WE SHOULD GET HIM SOME COKE.

-FUCK. -NAH, HELL NO.

[ELEVATOR BELL DING]

IT'S BUSY IN HERE.

-WHERE'S YOUR DAD? -AT WORK.

[STRIKING KEYS]

[STRUMS KEYBOARD]

YOU KNOW THAT GIRL JESS LEOPARD, DON'T YOU?

[JO] YEAH.

WHY WOULD SARAH CALL HER?

I HAVE NO IDEA.

WILL YOU COME WITH ME TO SEE HER?

NO FUCKING WAY.

[MUSIC STOPS]

[PLAYING PIANO]

DO YOU MIND?

[MUSIC STOPS]

[CHUCKLES]

[PLAYING PIANO]

YOU KNOW I HAVEN'T CRIED.

NOT ONCE.

[STRIKING PIANO KEYS]

OKAY.

I'LL GO WITH YOU TO SEE JESS,

BUT ONLY IF ANDRE GOES, TOO.

[MUSIC PLAYING]

[JO] WHAT WERE YOU DOING IN THERE?

-NOTHIN'. -WHAT'S IN THE BACKPACK?

YOU'RE FUCKED UP.

HE'S FUCKED UP. LOOK AT HIM.

[DOOR CREAKING]

-HEY, JESS. -HEY.

IS IT TRUE ABOUT SARAH?

SHE OD'ED?

YEAH.

OH, THESE ARE HER FRIENDS. THIS IS ANDRE AND JAMES.

HI.

HEY.

SHE CALLED YOU?

YEAH. YEAH.

SHE WAS...

SHE WAS, SHE WAS PRETTY DRUNK.

OH.

-HEY. -HEY.

YOU WANT A BUMP?

I DIDN'T KNOW YOU WERE INTO BLOW.

NO, I'M JUST-- YEAH.

I'M TRYING TO GET MY NERVE UP.

YOU LOOK PRETTY RELAXED TO ME.

YOU KNOW RICKY'S SISTER EVE?

-YEAH. -DO YOU KNOW WHERE SHE DANCES?

I DIDN'T KNOW YOU WERE INTO GIRLS.

YOU'VE SEEN HER. WOULD YOU KICK HER OUT OF BED?

TRY NO FUN.

LISTEN, I'M REALLY SORRY.

ABOUT SARAH.

I SHOULDA TOLD HER THE TRUTH.

THE TRUTH ABOUT WHAT?

NOTHING.

I'M GOING TO NO FUN.

YEAH.

[MUSIC PLAYING]

FUCK OFF, JAMES.

IS THAT THE GIRL YOU WERE WITH AT THE PARTY?

TELL HIM.

I'VE BEEN SEEING HER.

-DID SARAH KNOW? -NO!

SHE WASN'T STUPID.

WERE YOU WITH HER THAT NIGHT?

WERE YOU?

WERE YOU?

I NEVER TOLD HER I LOVED HER.

[CHARLIE] CHILL, WHY NOT?

-DAMN. LET'S BUMP THIS SHIT ALL DAY. -YOU MOTHERFUCKERS ARE CRAZY.

I GOT, LIKE, YOU GET TEN GOOD CUSTOMERS.

-TEN? -YOU GET TEN GOOD CUSTOMERS

THAT CALL YOU FUCKIN' FIVE MILLION TIMES A NIGHT--

ALL TEN OF 'EM, YOU CAN MAKE THAT BREAD.

-YOU MAKE A G A NIGHT. -HE AIN'T STOPPING THOUGH, MAN.

-YOU GOT TO TELL HIM TO STOP THAT SHIT, B. -FUCK YOU.

-I'M NOT TELLIN' HIM SHIT. I TOLD HIM ALREADY. -WHY?

-WHAT THE FUCK YOU MEAN? LOOK AT HIM. -YOU NEED TO CHILL, MAN.

DOPE BOY FRESH.

LOOK AT YOU, MISTER FUCKING DAP.

-YO, GIVE ME MY BONG. -[CHATTERING]

-GET THE FUCK OUTTA HERE. -LOOK AT YOU.

STUCK ON STUPID! HE CAN'T EVEN TALK.

-[LAUGHING] -AND HE CAN'T EVEN TALK.

-HE CAN'T EVEN TALK. -HE GOT THE YACK MOUTH.

-HE GOT THE LOCKJAW. -SAY SOMETHIN'.

SAY SOMETHIN', SAY SOMETHIN'.

AH, SALUDE.

HE'S FUCKIN' UP.

[CHATTERING]

WATCH. HE'S IN G MODE, FOOL.

MAKING MAD BREAD, MAKING T-SHIRT.

DO WHAT THE FUCK YOU GOTTA DO...

[TALKING OVER EACH OTHER]

HE TRIED TO SELL HIS FUCKIN' CAMERA

FOR YAK, MAN.

-THAT'S WHAT HE TRIED TO DO. -YES! THANK YOU.

THANK YOU. POINT MADE.

WHAT ABOUT US?

WHAT ABOUT THE DOCUMENTARY?

IT'S SUPPOSED TO BE ABOUT ME.

YO, SHUT UP!

HE'S MAKING THE FILM WITHOUT SARAH.

STOP FUCKIN' ARGUING!

[SIGHS]

YOU'RE GONNA GET CRUMBS IN MY BED.

I CAN'T STOP EATING 'EM.

YOU KNOW.

IT DOESN'T REALLY FEEL LIKE SHE'S GONE.

I MEAN, SINCE WE'VE ALL BEEN AT SCHOOL,

IT'S NOT LIKE WE SEE EACH OTHER EVERY DAY.

I SAW HER EVERY DAY.

THE OTHER NIGHT, ANDRE CAME OVER

AND CLIMBED INTO BED WITH ME.

IT WAS WEIRD.

MAYBE HE DOESN'T FEEL LIKE SLEEPING ALONE.

I SOLVED THAT PROBLEM.

I'M PLAYING THE LOTTERY.

DON'T TELL ME YOU'RE GONNA SAY WHAT I THINK YOU'RE GONNA SAY.

I TEXT THREE GUYS.

WHOEVER SHOWS UP FIRST GETS TO STAY.

SERIOUSLY?

COULD YOU PLEASE...

[BOTH SCREAM]

-[LAUGHS] -HOLY...

[PANTING]

WHAT THE FUCK IS SO FUNNY?

-WHAT? -OH, THIS WAS...

THIS WAS THE ONE PLACE I THOUGHT WAS SAFE.

SARAH?

SARAH, WAKE UP.

SARAH?

SARAH, WAKE UP.

SARAH?

SARAH? LORNA!

[ISAAC] COME ON, LET'S GO.

OKAY.

OKAY.

* YOU MAKE ME LOVE YOU

* YEAH, YOU MAKE ME LOVE YOU *

* DIDN'T WANNA DO IT

* I DIDN'T WANNA DO IT

* NO, I DIDN'T WANNA DO IT *

* YOU MADE ME LOVE YOU

* AND ALL THE TIME YOU KNEW IT *

* I GUESS YOU ALWAYS KNEW IT *

* GIMME, GIMME GIMME WHAT I CRY FOR *

* GIMME YOUR KISSES I'D LIKE TO DIE FOR *

* GIMME, GIMME GIMME WHAT I CRY FOR *

* GIMME ALL YOUR KISSES THAT I'D LIKE TO DIE FOR *

* THAT I'D DIE FOR

* I'D LIKE TO DIE FOR

ON THAT NOTE, UM...

HERE'S ANOTHER ONE.

JAMES.

JAMES.

THERE HE IS.

YOU'RE LATE.

WHERE YOU BEEN?

YOU SAW HER.

YEAH, SHE CAME BY THE CLUB LOOKING FOR E,

BUT E WASN'T DANCING THAT NIGHT.

HERE. EAT THIS.

IT'LL HELP SOAK UP SOME OF THAT BOOZE.

I'M NOT DRUNK.

YEAH, YEAH, JUST TAKE A BITE.

DO YOU KNOW WHERE JAKE LIVES?

WHY DON'T YOU JUST LET ME TAKE YOU HOME?

NO, I'M FINE. JUST-- WHERE DOES HE LIVE?

SHOULD'VE THROWN HER IN THE CAB, BUT...

SHE ALWAYS HAD A WAY

OF MAKING ME DO WHAT SHE WANTED.

[SNIFFS]

[SARAH] ANDRE!

ANDRE!

SHE WAS JUST HERE ONE DAY AND THEN GONE THE NEXT.

AND IT WASN'T LIKE SHE WAS LIVING RECKLESSLY

OR LIKE ABUSING THINGS AS THAT.

I THINK THAT'S WHY WE'RE ALL REALLY FUCKED UP.

IS 'CAUSE WE DON'T REALLY KNOW HOW

TO MAKE SENSE OF THAT.

WHAT YOU GET FOR ONE OF THESE?

OH, THESE ARE JUST 20S.

MAKE A LOT OUT OF THEM?

PROBABLY, LIKE TWO AND HALF JOINTS.

MAYBE FOUR IF YOU SPLIFF THEM.

WHEN ARE YOU GONNA STOP FUCKING ALL THESE GUYS?

ARE YOU SAFE ABOUT IT?

I'M NOT STUPID.

SARAH WOULDN'T WANT YOU TO HURT YOURSELF.

-I GOTTA MAKE DELIVERIES. -OKAY.

THANK YOU.

SEE YOU LATER.

-HEY. -HEY!

HAVE YOU BEEN HIDING?

-A LITTLE BIT. -HMM.

STILL MAD AT ME?

[BOTH MUMBLING]

GIVE ME SARAH'S PHONE.

WHAT ARE YOU GONNA DO WITH IT?

I'M GONNA PUT IT BACK IN HER ROOM.

-I KNOW THE LAST PLACE SHE WENT THAT NIGHT. -OF COURSE YOU DO.

MM, YOU KNEW IT WAS HIM.

JAKE?

HEY, WHAT'S UP?

HOW'RE YOU DOING?

I DON'T KNOW.

I MISS HER.

[JO] YEAH.

-JAMES IS HAVING A REALLY HARD TIME. -FUCK THAT.

WE'RE ALL HAVING A HARD TIME.

HE'S JUST LOOKING FOR SOMEONE TO BLAME.

YEAH, THAT'S ME.

THERE HE IS.

JAMES, DON'T! JAMES!

-COME ON, MAN. -GUYS, KNOCK IT OFF.

COME ON. YOU GAVE HER THOSE DRUGS.

GUYS, STOP!

YOU GAVE HER THOSE DRUGS.

-FUCK OFF! -YOU'RE HITTING THE WRONG FUCKING GUY.

-[BUZZER BEEPS] -WHO IS THAT?

SHIT, I DON'T KNOW.

-SHIT IS RETARDED. -IT'S LIKE THREE IN THE MORNING.

YO, WHO?

OH. COME ON IN.

-WHO IS IT? -HEY, GUYS.

GO TIME.

IT'S SARAH, YOU GUYS GOTTA BOUNCE.

-YEAH? -LET'S GO SOME.

GOOD-BYE.

YEAH, YOU KNOW HOW IT IS.

YOU'D DO THE SAME TO ME.

-OH, YEAH. SURE. -YOU KNOW HOW IT IS.

-HEY. -GET OUTTA HERE.

SENDS ME ON MY WAY.

-HEY. -WHAT'S UP?

GET THE FUCK OUTTA HERE YOU DID THIS TO ME.

-SHUT THE FUCK UP. -WHAT'S GOOD, SARAH?

-HI. -HOW ARE YOU DOING?

-GOOD, HOW ARE YOU? -I'M GOOD.

HIGH FIVE, SARAH. WHAT'S UP, KITTY?

ALL RIGHT, GET THE FUCK OUTTA HERE.

YO, HE'S REALLY FUCKED UP, YOU KNOW?

-ARE YOU SERIOUS? -YEAH.

-DEAD ASS. -I GOTTA HIT THE TRAIN I GUESS. FUCK.

-HEY, HOW ARE YOU DOING? -HI.

WHATCHA DOING HERE?

I'M... JUST THOUGHT I'D COME BY.

JESUS CHRIST.

-YOU ALL RIGHT? -YEAH.

-JUST-- I'M GOOD. -LATER, BUDDY.

COME ON, BE GOOD, GUYS.

YOU WANNA GO DOWNSTAIRS?

-YEAH. -ALL RIGHT.

LET'S GO.

[STAIRWAY JANGLING]

DUDE, JAKE, CHARLIE'S OUTSIDE, ABOUT TO KILL JOAQUIN.

YOU HAVE TO COME WITH ME RIGHT NOW.

-RIGHT NOW! -RIGHT, RIGHT, I HEARD IT.

HOLD ON, CAN YOU SIT TIGHT,

-ONE MINUTE? -YEAH.

I'LL BE RIGHT BACK, I SWEAR TO GOD.

HOLD ON.

HOW'S THAT FEEL? OKAY? HUH?

-YO, CHILL. -COOL IT, MIKE.

CHILL, CHILL, CHILL, CHILL, CHILL, CHILL.

CHILL, CHILL, CHILL.

SHIT FUCKING SUCKS.

[COUGHING, SPITS]

FUCK. [CLEARS THROAT]

[LORNA] IT DOESN'T MATTER WHAT SHE TOOK.

-DO YOU WANT ME TO OPEN IT? -NO.

I'LL DO IT.

WHAT'S ZOLPIDEM?

IT'S AMBIEN.

[SOBBING]

[BLOWS OUT]

THAT'S ALL OF IT.

OKAY?

[SOPHIA] I HOPE ANDRE'S HERE.

[HIP-HOP MUSIC PLAYING]

FUCK WITH THAT. YOU KNOW YOU LIKE IT.

YEAH.

YOU STILL GOT THAT PICTURE UP?

-YES, I DO. -[BUZZER RINGS]

YO?

IT'S JO AND SOPHIA.

[OVERLAPPING CHATTERING]

YO, JO AND SOPHIA ARE COMING THROUGH.

-WHAT? -I SWEAR TO GOD.

-THEY HERE RIGHT NOW? -SOPHIA AND--

THIS IS COOL AS HELL.

[CHATTERING CONTINUES]

HEY, GUYS.

IS ANDRE HERE?

YEAH, HE'S HIDING IN THE BATHROOM.

-[KNOCKS] -HEY, IT'S ME.

ARE YOU OKAY?

ANDRE?

OPEN THE FUCKING DOOR.

[SOPHIA] HE'S A FUCKING MESS.

[JO] HE DIDN'T EVEN RECOGNIZE ME.

JAMES, YOU GOTTA TALK TO HIM.

IT'S TOO HARD, OKAY?

WHAT IF SOMETHING HAPPENS TO HIM?

SHE'S RIGHT.

OKAY.

I'LL TALK TO HIM.

[CHATTERING]

[DOOR BUZZES]

I'M LOOKING FOR ANDRE.

[MAN] NOPE.

WELL...

YOU KNOW WHERE HE IS?

[MAN] I HAVE NO IDEA.

YO!

HEY, LISTEN.

I THINK ANDRE FELL OFF, MAN.

SAW HIM PAWN HIS CAMERA.

YOU MIGHT BE ABLE TO FIND HIM ON 3RD AND C.

THAT'S WHERE THEY COP.

YEAH. WELL, THANKS.

YOU BET.

WHATCHA DOING?

NOTHING, MAN.

-YOU WAITING FOR SOMEBODY? -NOPE.

-YO, STOP FOLLOWING ME. -I'M NOT FOLLOWING YOU.

I'M GOING THIS WAY.

ALL RIGHT, LEAVE ME ALONE, OKAY?

OKAY.

ARE YOU SURE YOU'RE NOT WAITING FOR SOMEBODY?

NO!

[JAMES WHISTLES]

-YOU GOTTA LEAVE ME ALONE. -WHY ARE YOU DOING THIS?

YOU'RE WAITING FOR SOMEONE. JUST ADMIT IT.

IT'S NONE OF YOUR FUCKING BUSINESS.

YOU WEREN'T THE ONLY ONE THAT LOST HER, ANDRE.

BUT I LOVED HER.

YEAH? WELL, I LOVED HER TOO.

YOU SURE GOT A HELL OF A WAY OF SHOWING IT.

-HEY. -WHAT?

OPEN IT.

WHERE'D YOU GET IT?

JAKE TOLD ME YOU PAWNED IT.

THERE'S NOT THAT MANY PAWN SHOPS AROUND HERE.

-THANK YOU. -DON'T THANK ME.

JUST FINISH MAKING YOUR FILM. GO BACK TO SCHOOL.

I'M NOT GOING BACK TO SCHOOL.

-NO, YOU HAVE TO. -YOU'RE NOT IN SCHOOL.

I KNOW. I'M STUCK HERE, MAN.

WORKING FOR MY DAD. IT'S FUCKING GREAT.

I DIDN'T TAKE TIME OFF.

I WAS KICKED OUT.

I DIDN'T GO TO SCHOOL. DIDN'T DO ANY WORK.

I LOST MY SCHOLARSHIP, MAN.

A FULL RIDE.

AND PISSED IT ALL AWAY.

WHAT ARE YOU GONNA DO?

[CHATTERING ON CAMERA]

[SINGING ON CAMERA]

[JAMES SINGS] * GIVE ME, GIVE ME

* GIVE ME, GIVE ME WHAT I CRY FOR *

* YOU KNOW YOU GOT THE KISSES *

* THAT I'D LIKE TO DIE FOR YOU KNOW... *

-OKAY, GIVE ME THE CAMERA. I'LL BE CAREFUL. -[ANDRE] ARE YOU SERIOUS?

REALLY CUTE.

-IT DOES. -AW, THAT'S GREAT, GUYS.

-[GIGGLES] -GREAT SHOT.

[ON COMPUTER] AW, YES. OH, THAT'S LOOKS--

I'M ABOUT THE ART.

THE REAL ART THAT'S OUT ON THE STREETS

WITH THE PEOPLE.

THAT'S BETTER THAN ANYTHING

YOU EVER SEE IN A GALLERY SOMEWHERE.

EXCEPT FOR SARAH'S ART.

IT HAD LIKE, ENERGY, YOU KNOW?

SARAH'S ART WAS REALLY ALIVE.

[MAN ON COMPUTER] AND UM...

SHE IS SOMEBODY WHO I AM SURE WE WILL ALWAYS MOURN,

BUT I HOPE WE WILL ALWAYS ALSO CELEBRATE.

HEY, EVERYBODY. MY NAME IS ANDRE WILLIAMS.

I'M FROM THE LOWER EAST SIDE.

AKA TO LES.

SO, THIS SUMMER I STARTED MAKING THIS DOCUMENTARY

ABOUT MY FRIENDS WHO ARE ALL GRAFFITI WRITERS.

BUT THEN,

SOMETHING TERRIBLE HAPPENED.

SO, SARAH,

THIS IS FOR YOU.

[SOPHIA] WHEN YOU'RE SO YOUNG,

YOU HAVE A WHOLE LIFE AHEAD OF YOU.

I THINK IT'S REALLY DIFFICULT TO WRAP YOUR MIND AROUND

WHY THESE THINGS HAPPEN

AND ALSO THE FACT THAT IT COULD HAPPEN TO YOU.

I THINK IS SOMETHING I'M... I'M LEARNING

TO DEAL WITH.

I THINK WE THINK ABOUT HOW MUCH TIME WE HAVE

AND WE THINK THAT WE CAN LIVE FOREVER.

BUT IN REALITY,

WE DON'T.

THE ONLY WISE THING THAT I'VE EVER HEARD ANYONE SAY ABOUT DEATH

IS THAT THE GRIEF WE FEEL

IS COMMENSURATE WITH THE JOY THAT WE FELT.

WE ARE SAD BECAUSE WE WERE SO HAPPY.

I THINK WE HAVE A CHOICE, YOU KNOW.

AS EVERYONE HAS A CHOICE WHEN FACED WITH LOSS,

WE CAN DIRECT OURSELVES

TOWARD WHAT WE DON'T HAVE

OR WE CAN DIRECT OURSELVES TOWARD WHAT WE DO HAVE.

AND THAT'S HOW I PREFER TO REMEMBER SARAH.

NOT AS A LIFE CUT SHORT, BUT A LIFE THAT WE HAD.

AND TO DO SO BY REMEMBERING, AND BY TALKING,

AND BY SHARING, AND BY CELEBRATING.

[SINGING IN FOREIGN LANGUAGE]

IT'S A CATCH.

OH, MY GOD. THIS'LL BE REALLY BAD.

-OH, LIKE THAT. -LET'S SEE IT.

-[MUMBLES] -HOLD ON, I SWITCHED...

OH, MY GOD.

HE'S DRAWING ME.

[ANDRE] YOU'RE DRAWING HER?

-[JAMES] YEAH. -[ANDRE] IS THAT HER FACE?

-IT WILL BE. -I HOPE SO.

-[SOPHIA WHISPERS] YEAH. -OH, BE NICE.

[OVERLAPPING CHATTERING]

OH, IT LOOKS LIKE ME. SEE?

[ANDRE] OH, MY GOODNESS.

THAT LOOKS MORE LIKE JO, ACTUALLY.

REALLY? SHE'S ALL DIALED.

[ALL LAUGHING]

CRAZY EYES.

I CAN'T TELL, I CAN'T TELL.

OKAY, FINE. ONE EIGHT.

-SOPHIA. -[JAMES] THAT'S BULLSHIT.

-THAT'S BULLSHIT. -BULLSHIT? CALL IT.

[ANDRE] POKER FACE.

-CALL IT. -POKER FACE.

[JAMES SCREAMS] AW, FUCK.

-TAKE IT OFF. -[CHUCKLES]

-I HAVE A LITTLE BIT OF EVERYTHING-- -WHAT YOU GOT, SARAH?

A LITTLE BIT OF EVERYTHING.

OH, WHY ARE YOU SHOWING ALL YOUR CARDS?

WHAT WAS THAT?

HOW'S IT FEEL TO BE A TEENAGER?

GOOD. BUT THAT'S RIGHT IN MY FACE.

[MUMBLES]

-[MUMBLING] -[GIGGLING]

LIGHT THE CANDLES AGAIN, SO WE CAN BLOW IT,

SO I CAN BLOW IT OUT.

-[CHILDREN CHATTERING] -WHAT KIND OF CANDLE IS THIS?

MY BIRTHDAY!

[OVERLAPPING CHATTERING]

-OKAY, BLOW IT OUT. -[PARTYGOERS CHEERING]

[ANDRE] HEY, SARAH.

YEAH?

YOU KNOW, YOU LOOK REAL HAPPY.

I AM HAPPY.

I DON'T KNOW, I, UM, I FEEL LUCKY, YOU KNOW?

LIKE I FOUND WHAT I WANNA DO

WITH THE REST OF MY LIFE.

[ANDRE] THAT'S GREAT.

[CHUCKLES]

[MUSIC PLAYING]

* TODAY

* YOU WERE FAR AWAY

* AND I

* DIDN'T ASK YOU WHY

* WHAT COULD I SAY

* I WAS FAR AWAY

* YOU JUST WALKED AWAY

* AND I JUST WATCHED YOU

* WHAT COULD I SAY

* HOW CLOSE AM I

* TO LOSING YOU

* TONIGHT

* YOU JUST CLOSE YOUR EYES *

* AND I JUST WATCH YOU

* SLIP AWAY

* HOW CLOSE AM I

* TO LOSING YOU

* FADE

* NOW YOU WAKE

* YEAH, I'M RIGHT HERE

* HOW CAN I ASK YOU

* ABOUT TODAY

* HOW CLOSE AM I

* TO LOSING YOU

* HOW CLOSE AM I

* TO LOSING

[MUSIC PLAYING]

* I'M SENDING YOU A POSTCARD *

* I FEEL LIKE HUMPHREY BOGART *

* A MYSTERIOUS DISAPPEARANCE

* I THRILL IN THE DARK

* IN A FOREIGN, FAR OFF LAND *

* NO ONE KNOWS WHERE I AM *

* IT'S A GOOD LINE

* ANOTHER COUNTRY

* ANOTHER LOVELY GIRL

[VOCALIZING]

* OH, COME ON GET TOGETHER *

* THIS LITTLE BODY IS GROWING OLD *

* AS ALWAYS IT'S A PLEASURE *

* MAYBE JUST ONE MORE FOR THE ROAD *

* I'M SENDING YOU A POSTCARD *

* I COULD BE ANYWHERE

* COCKTAILS WITH FRENCH POP STARS *

* AND TEENAGE MILLIONAIRES

* I FEEL LIKE GODZILLA

* CRASHING FANCY VILLAS

* A LONELY TRANSIT LOUNGER *

* A BEAUTIFUL ENCOUNTER

[VOCALIZING CONTINUES]

* OH, COME ON GET TOGETHER *

* THIS LITTLE BODY IS GROWING OLD *

* AS ALWAYS IT'S A PLEASURE *

* MAYBE JUST ONE MORE FOR THE ROAD *

* OH, COME ON GET TOGETHER *

* THIS LITTLE BODY IS GROWING OLD *

* AS ALWAYS IT'S A PLEASURE *

* MAYBE JUST ONE MORE FOR THE ROAD *