A Prince

A PRINCE
Written by
Nicolas LeBrun
BLACK SCREEN.
Credits roll.
MOTHERLY VOICE
You can do anything. Youre not
like the other kids your age.
Youre smarter than the other kids
your age. Youre special. Youre
smart and youre special. You are
special. You can do anything. You
can do anything. You can do
anything youll ever want to. You
can do everything, you deserve
everything and you one day everyone
will know how special you really
are.
Credits end.
TITLE CARD : A Prince
That voice echoes out and in comes the voice of CHARLES
DUNNING-KRUGER, our main character. -CHARLESS VOICE
Cut it!
OPEN ON:
INT. THEATER CLASS - DAY
TWO ACTORS sit across a desk from each other on a small stage
in the middle of a large classroom. One of the students is
dressed as a teacher and the other as a student.
CHARLES
(to the actors)
Could you guys come here for a sec.
Charles Dunning-Kruger is 17 years old and a senior at Lake
Posser School for the Artistically Inclined. Average height
and build. He wears glasses and is currently directing a
school play.
ACTOR 1
(to Charles)
Yeah hold on.
The two walk off stage into the classroom, towards Charles
whos standing off to the side. In the background, OTHER
STUDENTS are doing general stage hand work.
2.
ACTOR 2
What is it?
CHARLES
That didnt feel great to me. Its
like it felt a bit too rehearsed.
Its losing its realness.
ACTOR 2
I thought it was good.
ACTOR 1
Yeah. I thought it was good.
CHARLES
Yeah of course. Just remember not
to like act like how you think a
teacher and a student act. You need
to be full characters who also
happen to be teachers and a
students okay.
ACTOR 1
Okay... But how are we supposed to
do that?
ACTOR 2
Yeah, how are we supposed to make
it feel unrehearsed?
ACTOR 1
Yeah what does that mean?
CHARLES
Oh, yeah, no, just... I didnt say
it is over rehearsed, I said it
feels that way. So like -ACTOR 2
Yeah well thats because were
practicing.
CHARLES
Yeah but its still losing its
spontaneity you know. When you
practice you do it to learn the
character - not for the lines. The
lines should come to you. Let the
character define the lines not the
other way around.
The three of them pause for a second until --
3.
PROFESSOR GLADNEY (V.O.)

Cut it!
THE CAMERA pulls out to show that Charles, the actors, the
students surrounding them and the stage that they were on is,
itself, on an even bigger stage in the middle of an even
bigger classroom.
CHARLES
What?
PROFESSOR GLADNEY
Come down here.
Charles then walks off stage and we follow him into -INT. ACTUAL THEATER CLASS - THAT MOMENT.
Professor Gladney (50s), Charless theater teacher, sits on a
directors chair directly in front of the stage. As Charles
walks by, an other group of students start setting up on
stage, putting sets in place. Etc.
PROFESSOR GLADNEY
Sit down.
Charles sits next to him on a slightly but noticeably smaller
directors chair.
PROFESSOR GLADNEY (CONTD)
Let me ask you something. What are
you thinking about when youre up
there?
CHARLES
(joking)
Umm. Not the lines I guess...?
The joke flops and Gladney just stares at him blankly for a
second.
PROFESSOR GLADNEY
Youre faking it. Do you know that?
Do you get what Im saying when I
say that? Faking it?
CHARLES
(confused)
Yeah, no. I do I- I just dont
think Im a good enough actor to
really do what youre expecting of
me you know.
4.
PROFESSOR GLADNEY
Youre a keen observer of when to
fish for compliments Charles.
CHARLES
(confused)
What?
(getting it)
Oh no, I wasnt -PROFESSOR GLADNEY
Besides, being an actor has nothing
to do being on stage. Being bad on
stage is not misunderstanding how
to act, its misunderstanding how
to be a real person. Think about
your character tonight and be
better tomorrow.
Professor Gladney stands up and walks away. Charles stays
sitting and watches the other students rehearse on stage.
PROFESSOR GLADNEY (CONTD)
Alright everyone thats enough for
today. You can leave.
None of the students in the class react and they continue to
work on their individual tasks.
Charles looks at Gladney who is watching people in the class.
THE BELL rings, everyone starts talking and wrapping up their
things.
CUT TO:
INT. LAKE POSSER - MOMENTS LATER
Charles walks into a hallway out side of the class with Noah
(17), his friend.
NOAH
What did he tell you?
CHARLES
I dont know really. Stuff about my
performance but I cant tell if it
makes sense or its just bullshit
complicated enough to seem like it
makes sense.
CUT TO:
5.
INT. SCIENCE CLASS - LATER

The class has just begun and the teacher, MRS. JOHNSON (40s),
is giving a lecture at the front of the room. Charles sits at
the back. He is looking at MADELINE (18), a girl seated next
to Noah. Theyre talking.
MRS. JOHNSON
(background)
- The observer affect is a term in
many branches of science that
refers to changes that the act of
observation will make on a
phenomenon being observed. In
particle physics, when a particle
feels that it is being observed,
say by a cooler group of particles,
it might temporarily display the
properties of the cooler group.
Because of this temporary
displacement of its initial
properties, the particle is
thereafter known by a new name, a
phonytron.
Charles is listening but distracted. He starts to eaves drop
on what Noah and Madeline are saying.
NOAH
(to Madeline, in a macho
voice)
Yeah, Im trying to make myself
look smart in your eyes so Im
gonna ask a question right now that
makes me look smart.
Noah raised his hand.
MRS. JOHNSON
(to Noah)
Yes, Noah.
NOAH
(macho voice)
I just want to say that I want
people to think that Im smart
right now so Im gonna question
what your saying based off of
basically pseudo-science. And
hopefully thatll make me look
smart.
6.
MRS. JOHNSON
(completely serious)
Good question, but what you have to
remember is that youre a high
school student so you dont know
more about this than me or the
physicists that proved it. And also
that was a very transparent attempt
to make yourself look smart. But
thank you.
Noah turns to Madeline.
MADELINE
(impressed)
Youre so cultured.
Charles smirks and turns back around.
MRS. JOHNSON
Charles, do you have anything to
add?
CHARLES
What?
MRS. JOHNSON
Do you have anything to say?
CHARLES
What? No I didnt raise my hand.
MRS. JOHNSON
No but that smirk seemed pretty
indicative of you having something
to say. -- Anything you want to
say, anything at all.
After a second.
CHARLES
(cowering slightly)
Okay, well I guess I would like to
say that I dont say anything
because Im scared of people
thinking that I think Im smart so
Im not going to say anything.
MRS. JOHNSON
Okay see not so bad. Thanks for
that.
7.
Charles looks at his feet in embarrassment.

CUT TO:
INT. LAKE POSSER HALLWAY - LATER
Charles and Noah lean on a locker in silence. Everyone else
in the hallway is talking about traditional high school
stuff. A group of people are right next to Charles and Noah,
one of them is talking obnoxiously.
STUDENT 3
Yeah man, my boy just benched two
plates man! Two plates! Look at
this guy man! This guy fucks man!
You know the girls like this guy
man! Two plates man! Etc.
Charles and Noah exchange looks as the group progressively
pushes up against them, forcing them to move to a new spot.
Miles (17), an other student and Noahs twin, approaches.
Theyre both wearing basically the same outfit.
MILES AND NOAH
(simultaneously/to each
other)
Hey. Whats up?
They do a special handshake reserved for each other.
CHARLES
Hey.
MILES AND NOAH
(simultaneously)
Caf?
MILES AND NOAH (CONTD)
(simultaneously)
You know it.
CHARLES
(annoyed)
Yep.
CUT TO:
INT. CAFETERIA - LATER
Charles, Noah and Miles are sitting at a cafeteria table,
surrounded by the rest of their friends.
8.
Charles is trying to eat while one of the students

surrounding him, ERIC (18), tells a story.
ERIC
Okay so you know how like Marc has
like a cast on his wrist? Yeah so
were on the same hockey team right
and we had a tournament this
weekend right so like half way
through the first game like the
first game he gets hit by this guy
across the boards and not hit that
hard you know like a standard hit
like Ive taken way way worse and
played and stuff.
(he takes a bit of his
food)
But anyways he just like falls to
the ground and starts fucking
screaming on the ice that his
fucking wrist is broken and hes
done this routine before right so
were just thinking like what a
pussy and he just stays there for
like a minute and people are like
skating around him and shit and
hes fucking screaming so finally
(Eric starts chuckling)
he gets himself off the ice and his
fucking wrist is like bent in half
he and he had to go to the hospital
because he got a fucking compound
fracture on his wrist. From just
like a fucking hit that pussy -Charles interrupts -CHARLES
(sarcastic)
I know right hes such a fucking
pussy right.
ERIC
No but seriously this guys is the
worst like of all people it had to
happen to -CHARLES
(sarcastic)
Oh yeah I know what a pussy. This
kid gets fucking injured. I cant
fucking believe it. Hes probably
gay too.
9.
ERIC
(exasperated)
Okay.
Everyone goes back to eating, silenced by that interaction.
CHARLES
(apologetic)
Hey. I - Im sorry man. I donno...
CUT TO:
INT. LACK POSSER - LATER
A winding staircase is shown from the top. Its empty with
the exception of Charles who walks up slowly.
The BELL rings and people starts to file in from the bottom.
CUT TO:
INT. CLASSROOM - LATER
Charles lies on his desk. He turns back and looks at Eric who
is in the same class as he is. He stares at him for a bit but
Eric doesn't see. The bell rings and he looks up at the
clock. It reads 2:48.
CUT TO:
INT. PROFS OFFICE - 3:00
Theres a knock on the door and Charles pokes his face in. He
knows he can come in but he wants Professor Gladney to think
hes polite.
CHARLES
Hey.
GLADNEY
Hello Charles. Come in.
Charles takes a seat at in front of the desk.
CHARLES
I wanted to talk about umm class
today.
GLADNEY
Okay... What about.
10.
CHARLES
Well I was thinking about what you
said and -- well I just think that
I'd be better not being an actor. I
want you to read something that I
wrote.
GLADNEY
(slightly interested)
Okay lets see in.
Charles pulls a stack of papers out of his bag. Professor
Gladney flips through it, doesnt read it.
GLADNEY (CONTD)
Its a play?
CHARLES
Yeah. Ive been writing it since
the summer.
GLADNEY
Well Ill definitely give it a look
and get back to you.
CHARLES
You dont want to read it now?
GLADNEY
Well Im not sure how long thats
going to take I have other things
to do Charles.
CHARLES
Please could you look at it now. I
really put a lot of effort into it
and -GLADNEY
(exasperated)
Look what do you want to hear?
CHARLES
I just think it could really help
me out if -GLADNEY
No stop. What do you want to hear?
Do you just want me to tell you how
impressed I am that you wrote a
play.
(mocking him)
(MORE)
11.
GLADNEY (CONT'D)
Wow you wrote this play and youre
only 17 I cant believe it this is
visionary.
(normal tone, looking down
at other papers)
Its good that you have drive but
dont come to me for validation.
Charles takes off his glasses and starts cleaning the lenses.
CHARLES
Look Im sorry if I caught you at a
bad time I just though that I could
use your opinion.
GLADNEY
(annoyed)
Do you really want my opinion?
Really?
CHARLES
Why are you talking to me like
this?
GLADNEY
Just cut it out. Im right arent
I? I know your type, this isnt my
first year at this school. Youre
not interested in any real advice,
you just want me to think about how
cool and smart you are. Ill take
you seriously when you grow up.
Take a look at yourself in the
mirror and dont let your ego get
in the way.
Charles has no answer but cant stand up. He just sits in
silence until we -CUT TO:
INT. CHARLESS DORM - LATER THAT DAY
The walls are blank. There are no family picture and there
are no papers lying around. The room is clean. Charles sits
in the corner of it, on his bed, watching a movie on his
laptop. Theres a knock on the door, Miles and Noah enter.
NOAH
Hey were going to the thing.
12.
CHARLES
Oh okay. Ill meet you there in a
bit it think.
NOAH
(insisting)
No come on. Come now with us.
MILES
Yeah man come with us.
CHARLES
(playing it cool)
I just want to sit for a bit.
MILES
(getting it)
Oh. Okay.
They stay at the door for a second until -NOAH
What are you like depressed or
something?
CHARLES
I donno man I think I might be like
depressed or something.
MILES
Yeah I thought so.
CHARLES
I just feel like all I ever want to
do is sit around and watch movies
all day.
NOAH
Yeah man, me too.
MILES
Yeah.
CHARLES
Yeah but Im not happy about it
though.
NOAH
Oh... Hun. Well Im not really
sure what to do about that. Come
okay.
They walk out of the room and Charles goes back to his
laptop. Noah walks back in.
13.
NOAH (CONTD)
Hey look man, Im tired of the way
youve been acting lately.
CHARLES
Fuck off man I just dont want to
go.
NOAH
No Im serious. Why do you insist
on making it your thing to hate
everyone around you.
CHARLES
Fuck you okay. Just go.
Noah walks out. Charles tries to act like he doesnt care.
CUT TO:
INT. LAKE POSSER -
THAT NIGHT
It is 8:00 PM. The entire school has gathered in the

auditorium. Students are settling in and talking with each
other.
Charles walks in and finds an empty seat in the middle of the
crowd.
A HOST walks out on stage. The students quiet and turn their
attentions towards him.
HOST
Hello everyone. Settle down. Settle
down. Good evening everyone. We
have a very important guest today
who I think you all will
appreciate.
The lights go down and a slide show is projected onto the
back wall. Various action shots of the guest are projected
showing him directing a film as a child (in the classic
director pointing somewhere shot), photos of magazine covers
he was on etc...
HOST (CONTD)
He is know by most to be a leader
in the American new wave of cinema.
It has been said by many that his
film Anhedonia is the
quintessential independent film.
(MORE)
14.
HOST (CONTD)
The fact that he also wrote,
produced and directed this film at
the age of 12 adds to the lore
surrounding him -
In the crowd, A STUDENT from the row behind Charles taps on

Charles shoulder.
STUDENT
(whispering)
Wow he did all that by the age of
12 and youre already 17 and what
have you done.
HOSTS VOICE (O.S.)
- Over the past 40 years he has
directed just over 30 films and
starred in as many CHARLES
(confused/angry)
Who are you?
The STUDENT sits back and ignores Charles.
HOSTS VOICE
- Please welcome to the stage
Horace Murray!
The crowd erupts in applause as HORACE walks out on stage. He
is a middle aged British man, with glasses and long greying
hair that is brushed backwards. He shakes hands with the host
and takes the microphone from him.
HORACE
Thank you. Thank you The applause continues.
HORACE (CONTD)
- Really thank you all so much The applause dies down as HORACE begins his talk.
(to the host)
Thank you for that enthusiastic
introduction.
(back at the crowd, he
pauses first)
(MORE)
15.
HORACE (CONTD)
What I am here for is to talk about
something not only vital to the way
films are made but vital to the way
we conduct ourselves in society:
acting. Acting is something that is
a part of our every day lives and
understanding that can help any
artist out immensely. -- Each and
every one of us are Oscar caliber
actors. -- Were just not good at
acting when its called acting
and put on a stage or in front of a
camera with an audience glaring at
us. We are however good at it
however when we are at home
watching television, or talking on
the phone, or speaking to our
mothers. Et cetera, et certa. Most
of what composes our day to day
actions and interactions is a form
of acting that is so in touch with
reality that it feels like it isnt
acting at all. But I assure you
all, it is. Imagine yourselves in
this scenario: You are in a job
interview. Your goal is to get the
job and your tools are the way you
communicate in that moment. The
interview is the performance. Your
role is that of a qualified
employee, and the interviewee is
your audience. How do you behave?
How do you sit? At what pace do you
blink your eyes to make yourself
look normal and friendly and ready
to take on the responsibility of
the job? These are all questions
that the actor faces on stage just
as the interviewee faces in the
interview. You may no be asking
yourselves but how do we act
normal with such ease but the actor
does so with such difficulty? Well
its simple. You dont think about
it, you just act normal. You simply
are yourselves. Well that, ladies
and gentleman is what truly good
acting is. Acting is being yourself
as someone else. And being yourself
is acting. Not only that, but the
normal us that weve imagined
ourselves to be, is simply the
persona youve settled into over
the years.
(MORE)
16.
HORACE (CONTD)
What you identify as yourself is a
character. A character where every
line is fed to you from your brain
and delivered in real time to the
world around you. A character
written by yourself and molded by
every experience youve ever had.
And when we realize the extent of
this, we are free to be whoever we
want to be on all the stages and
screens of life. -- Now, the actor
who is confronted with this is left
with two choices as far as how he
will present himself to the
audience. One: he forgets all about
himself when he enters the role and
becomes a new self. And two: he
becomes completely aware of
everything the character puts out.
He calculates every last move from
line delivered to overt eye
movement... I need some volunteers,
are there any acting students who
want to come on stage and show off?
CUT TO:
INT. CHARLESS DORM - THAT NIGHT
Charles, on his bed, looks at his laptop. A word file is
opened, titled: UNTITLED, SHORT. He writes a sentence
(something like: It was crowded but he felt all too lonely)
but erases it shortly thereafter.
CUT TO:
INT. CHARLESS DORM - LATER
Charles is lying on his bed watching Netflix. He is on his
side, and wrapped in his covers like an infant. He closes his
laptop and lies it on the ground. He tries to fall asleep.
After a beat he takes out his phone.
ANGLE, PHONE SCREEN
On the screen we see an article about child geniuses. It
reads: There have been many child prodigies through history.
But chances are you are not one.
FADE TO BLACK:
17.
INT. CHARLESS DORM - THE NEXT MORNING

Charles lies on the bed in the same spot. There is a knock on
the door. He wakes up and we follow him -INT. DORM COMMON SPACE - THAT MOMENT
-- He walks to the door. He opens the door and no one
answers. There is an envelope on the floor. He picks it up
and opens it.
We see that the letter head is from the offices of the
Director of Student Directing of the school. The letter
reads:
Your presence has been requested at the office of Helen York
D.S.D, tomorrow at 7 PM.
The letter is signed by Helen York.
CUT TO:
INT. LOBBY - 7:00 PM - THE NEXT DAY
Charles sits patiently outside Helens office. GALE (20s),
her secretary, sits nearby.
GALE
Charles Dunning-Kruger?
CHARLES
Yeah?
GALE
You can go ahead.
CUT TO:
INT. HELENS OFFICE - SECONDS LATER
A large, daunting door opens into a large, equally daunting
office. A dim light illuminates Helen (40) who sits, at her
desk, in the back of the office. Charles walks in and sits
down.
HELEN
Hello Charles.
CHARLES
Hi.
18.
HELEN
Do you know who I am?
Charles doesnt say anything.
HELEN (CONTD)
Well my name is Helen York, and my
official job at the school is as
the Director of Student Directing.
And what that means is that Im
basically in charge of making sure
that our students get as much out
of themselves as they possibly can.
CHARLES
Okay. I get it.
HELEN
Do you think that youve gotten as
much as you can out of yourself?
CHARLES
(trying to get the right
answer)
Yeah. No... No.
HELEN
Great. Neither do we.
So with that being said, were
happy to inform you that you are a
genius.
CHARLES
(surprised)
What? Really?
HELEN
Yes, of course.
CHARLES
Why?
HELEN
Because we decided.
CHARLES
Oh. Okay but what does that like
mean?
HELEN
Well in a couple of weeks were
implementing a genius program at
the school and wed like for you to
be our first genius.
(MORE)
19.
HELEN (CONT'D)
Congratulations and youre welcome
for confirming your suspicions.
CHARLES
I dont really know what to say.
HELEN
If you want I can give you some
ideas about what to say. Are you
happy?
CHARLES
Yeah, definitely.
HELEN
Great. So are we.
CHARLES
Yeah, just um, -- where is this
coming from? I mean its not like
Im doing that well in school or
anything.
HELEN
This decision wasnt made based off
of any previous merits. For the
last couple of weeks weve put the
student body though a couple rounds
of testing in order to determine
which students have the highest
super-IQ. You were then chosen from
a group of the best students after
a period of observation.
CHARLES
Oh okay... But um. Whats uh Super
IQ?
HELEN
Well my super-IQ isnt nearly high
enough to be able to give you an
accurate explanation. But
essentially its like normal IQ,
only super.
CHARLES
...super.
HELEN
IQ, yes. And people with high superIQs have that intrinsic
characteristic that makes them able
to do wonderful things.
(MORE)
20.
HELEN (CONT'D)
Basically were letting you know
that you have what it takes to do
anything that you want to. And this
program intends to help you do
these things.
CHARLES
But I dont really do anything.
HELEN
You have interests, right?
CHARLES
Yeah I mean I write a bit... but -HELEN
Thats exactly the type of thing we
had in mind.
CHARLES
Oh. Alight.
HELEN
Now... This is not a normal
program. You will have many things
that you might consider essential
personal freedoms
(air quotes)
taken away from you. But as a
result you will have an exponential
amount of creative freedom given to
you. Basically by entering this
program you will be put in a
environment where most aspects of
your life with be controlled or
guided. Hopefully this will
enable you to focus all of your
energy on your interests with the
eventual goal of helping you create
an artistic masterpiece.
Helen pulls out some files from his desk and hands them to
Charles. Each is labeled with an aspect of his life.
HELEN (CONTD)
Here is your new life.
Charles flips through some of them.
HELEN (CONTD)
First things first most of the
work you will be doing will be
under to tutelage of a mentor.
(MORE)
21.
HELEN (CONTD)
He has been personally fitted to
you just as most of these things
are, and he will hopefully
complement your work ethic
perfectly. These folders detail the
different aspects of your new life.
First of all, financially, you will
have complete liberty, provided by
the school. The money can go to
whatever you feel will benefit your
work or even to things that you
just want to have. You will be
provided emotional counseling by a
therapist who you will meet with
twice a week. Spiritually, you
will hence forth identify yourself
as a secular Neo-Buddhist. Which
means that from now on you dont
believe in capital a G god, just
the god that lives inside of you.
Also youre gonna meditate.
Physically you are thankfully in
complete health so there is no
worry in that aspect and as for the
intellectual and occupational
aspects, the ability afforded to
you by this program to pursue
anything and everything that you
want will hopefully be
satisfactory. Finally, in terms of
social wellness, we will be
providing you a girlfriend. She
will hopefully satisfy your need to
have a girlfriend. Do you have any
questions?
CHARLES
Uh yeah. What if I dont want a
girlfriend?
HELEN
Well this is sort of a package
deal. If you dont want to meditate
youre not in the program. If you
plan on getting fat within the next
couple of months youre out of the
program. There is a way that this
works and that is by committing to
it fully. Having a girlfriend is
supposedly something that people of
your age quite enjoy. You might not
know it now but you need her. She
knows you and she knows how to help
you.
(MORE)
22.
HELEN (CONT'D)
Besides were not going to let you
become the type of genius who
doesnt have a girlfriend.
Beat.
CHARLES
Has this type of thing ever been
done before or anything?
HELEN
Not exactly. But I feel like that
makes this even more appealing to
you, doesnt it?
CHARLES
What if I dont accept?
HELEN
If you dont accept? Hmm. Well you
become just an other student who
floats through his days waiting for
each one to finish and then
eventually realizes that he floated
his way through a huge part of his
life. And then youre going to
realize that the person who took
this fellowship instead of you is
doing the type of things that you
very well might be able to do but
cant because you missed your
chance. -- Dont worry this will
all feel normal.
CHARLES
I really dont think it will.
HELEN
Yes it will. It just will. This is
what it takes Charles. If you want
what I think you want, this is all
necessary. -- Take a couple of days
to decide. Ill be here when youre
ready.
CUT TO:
INT. DORM COMMON ROOM - LATER
Charles opens the door and walks into the dark room. He turns
on the TV and blankly watches it while lying on a couch.
CUT TO:
23.
INT. DORM COMMON ROOM - HOURS LATER

The light of an opening door hits Charles. Coming through
that door are Noah and Miles.
MILES
Hey.
CHARLES
(tired/confused)
Hey -- where were you guys?
NOAH
Third floor.
Miles walks into the kitchen. Noah sits down next to Charles.
CHARLES
Oh cool. With who?
NOAH
Hey, so what was the thing finally?
CHARLES
Oh yeah. So the thing finally is
actually pretty big news.
NOAH
Oh yeah what is it?
Miles comes back in and sits will two COKE ZEROs in his
hands. He passes one to Noah and before they open them they
tap them together twice and wink at each other.
CHARLES
Well, its weird, they brought me
in and it was just Mrs. York and
she told me that Im a genius. Hey
what- what was that?
MILES
What the Coke thing? Its our new
thing. Were just trying it out.
CHARLES
Oh okay...
MILES
You think itll be a hit?
CHARLES
What? Yeah sure.
24.
NOAH
Wait so the genius thing. What does
it mean?
CHARLES
Technically I guess it means that
Im better than both of you.
NOAH
Yeah I guess.
MILES
Wait but why you though? Its not
like youre doing that well in
school or anything.
NOAH
Yeah, its not like youre doing
that well in school or anything.
CHARLES
Yeah they dont care about that
apparently.
MILES
Thats weird.
CHARLES
Everything about it is weird. Im
not sure but I dont even think
Ill technically be a student
anymore.
MILES
Yeah but why did they ask you?
CHARLES
They just said I have what it
takes.
NOAH
(to Miles)
Dude shut up.
MILES
(to Noah)
What man?
(to Charles)
Do you actually think youre a
genius?
CHARLES
I dont know.
25.
MILES
Exactly. This just seems like the
type of thing that doesn't happen.
Like who does that even?
NOAH
Hey shut up.
CHARLES
No its fine, I get it. I know this
is weird and you know... I dont
know if Im a genius.
NOAH
You could be?
CHARLES
I mean I know that I feel special.
And I also know that everyone
thinks theyre special. But I also
know that no one who ever did
anything special did it without
feeling special. But Im not saying
that that means anything. So I
dont know.
NOAH
Hmm.
CUT TO:
INT. CHARLESS DORM - CHARLESS ROOM - LATER
Charles sitting on his bed with his phone to his ear. He is
waiting for someone to answer.
HIS MOTHER picks up. Her voice is barely audible.
CHARLES
Hey, its Charlie.
CHARLESS MOTHER (O.S.)
Hi, whats wrong, how are you?
CHARLES
Im fine, nothings wrong. Im just
- calling. Well, not really.
Something big is happening at
school and I just want to talk a
bit.
26.

(concerned)
Why, what is it?
CHARLES
No its nothing bad. They - I was
invited into an accelerated program
and I dont know if I should accept
it.
Youre kidding! I always knew this
would happen one day youve always
been so gifted -CHARLES
Mommy, stop, please.
Ive been waiting for that school
to recognize your talent -CHARLES
Please, stop. I need you to be
serious right now.
Okay, Im serious...
CHARLES
I dont know if I should do it. If
I do, my entire life is gonna be
different. I like what I have now,
Im comfortable. Theyre calling me
a genius and they say that they
think I can make a masterpiece. I I just don't know.
This sounds like something youve
always wanted Charles. I think this
is something you have to do.
CUT TO:
INT. HELENS OFFICE - LATER THAT WEEK.
Charles sits in Helens office.
CHARLES
Ive decided that Im going to take
the spot in the program.
27.
HELEN
Great. Im happy youre seeing what
were seeing.
CHARLES
Yeah, great.
HELEN
Now I know we just met but were
not going to have much contact
aside from this and a few other
interactions.
CHARLES
Oh well thats fine I guess.
HELEN
As you can realize, because of the
experimental nature of the program
we need to try to abstain from any
direct influence on you. So we
hired someone to have direct
influence on you on our behalf -Thats your mentor.
CHARLES
Okay.
HELEN
Do you think youre ready to meet
him?
CUT TO:
INT. IANS OFFICE - LATER
Charles is in the middle of the room. The walls are
completely white. The door opens and Ian Blain (20s),
Charless mentor, walks in.
Ian looks about 2 years older than Charles. They look like
they could be brothers even. He is happy to be with Charles
but resents him for being a genius. He is actually very
smart, way smarter than Charles, but no one calls him a
genius. He wants to help Charles grow to his full potential
but he wants it to be him that helps him. He wants Charles to
grow on his own terms.
IAN
Hi, Im Ian.
28.
They shake hands.

CUT TO:
INT. MOVIE THEATER - LATER
Its dark but the movie hasnt started yet. Theres a couple
of people dispersed across the seats but its mostly empty.
CHARLES
(trying to break the
discomfort)
So this is where were supposed to
bond right?
IAN
Yeah, you feel it yet?
CHARLES
Maybe.
Charles then forces a chuckle and things go quiet.
IAN
The thing is - I love movies. But
Im not the type of guy who sees
every single one you know.
CHARLES
I know, me too. Its like, I like
movies so much that I hate bad
ones.
IAN
Yeah. Thats exactly it.
CHARLES
Does that make us pretentious?
IAN
Why do you care if people think
youre pretentious, what does that
even mean?
CHARLES
I dont know, Id honestly rather
not be thought of in any way by
anyone ever.
IAN
Well then youre going to hate this
program then.
29.
CHARLES
Yeah I guess.
(beat, trying to change
the subject)
Wow this bonding things is really
working eh?
IAN
Are you nervous about the program?
CHARLES
Oh. Uh. Yeah, like crazy. But I
mean worst case scenario Im just
not a genius. Which isnt that bad.
Theres been a bunch of people
whove just been not geniuses and
theyve still managed great things.
So I shouldnt really care that
much about it.
IAN
Thats true. But I dont really
think thats true. I think just
about everyone deep down wants to
be special. Hell I do. God, I just
wish this was around when I was at
Lake Posser. But it wasnt so I
just have to tell myself whatever
it takes to keep myself feeling
special. But I think a lot of
people do that.
CHARLES
Yeah, youre right I guess. Its
like... Do you ever just wish you
believed in the things you tell
yourself you believe in?
IAN
(changing the subject)
Have you ever seen this before?
CHARLES
No I dont think so.
IAN
Well get ready for something
special then. This is the type of
movie youre supposed to like.
CUT TO:
30.
EXT. MOVIE THEATER EXIT - LATER

Ian is leaning up against a wall talking on the phone.
IAN
Yeah no the lines are good its
just hard to casually slip them
into conversation. -- Look Ill try
but -- Ill try -- Okay.
Charles walks out of the entrance.
CHARLES
Hey you ready?
IAN
Yeah lets go.
CUT TO:
INT. IANS APARTMENT - LATER
Ian and Charles are having a drink in Ians apartment. They
sit on the couch for a bit watching another movie.
IAN
Hey. I have a question for you. Do
you think its weird - all this?
CHARLES
What the program?
IAN
Yeah.
CHARLES
I know that Im not a real genius-If thats what youre asking. Well
maybe I could be who knows...
IAN
Hey, they picked you for a reason.
CHARLES
I know that should comfort me. But
somehow it doesnt.
IAN
I get that.
CHARLES
Are you married Ian?
31.
IAN
Im 22.
CHARLES
Shit. I didnt think you were that
young. Why did they hire you then?
IAN
I dont know. I mean people can get
hired without being married..
CHARLES
No I mean like what qualifie-IAN
Yeah, no I know. And I dont really
know. I mean I do-- I went to this
school. So that probably helped.
CHARLES
Oh yeah.
IAN
So what do you think youll do as
your project or whatever?
CHARLES
I dont know. I think Ill try
rewriting my play. But I dont know
if play writing is for me.
IAN
Oh yeah? How?
CHARLES
I kind of just said that.... I
think I should get back to my dorm.
Charles stands up and heads toward the door.
IAN
Thats probably a good idea. Big
day tomorrow.
CHARLES
Yeah. Big day. Alright so... see
you tomorrow then.
IAN
Yeah, see ya tomorrow.
CHARLES
Yeah, see ya. Okay.
32.
Charles leaves and we -CUT TO:

INT. HELENS OFFICE - THAT NIGHT
Helen and Ian are hunched over a stack of paper. Its late,
theyre both tired. As Ian answer her questions, she circles
something or takes notes on the stack of paper.
HELEN
Self-confidence.
IAN
A 4 Id say.
HELEN
Okay, were going to have to get
that up to an 8 at least. Selfconsciousness.
IAN
Probably a 7.
HELEN
Good. Self-awareness.
IAN
He would say a 10 but actually a 8.
HELEN
Okay, good. Cynicism.
IAN
Easy 9.
HELEN
Alright. Self-doubt.
IAN
10.
HELEN
(hoping)
Okay and Narcissism.
IAN
Hed say 6 but really 10.
HELEN
Perfect. Thats our money zone.
33.
They look at each other with hope in their eyes.

CUT TO:
INT. CONFERENCE ROOM - EVEN LATER
Ian; EMILY (20), Charless girlfriend; Dr. DANIELLE ALDERSON
(30s), his therapist; CHAN KHONG (50s), his neo-buddhist
counselor; and Helen all sit around a table. Its even later
than before and Ian and Helen are showing it. Their clothes
are disheveled and they have visible signs of fatigue.
Danielle leans back in her chair. She looks like the type of
person who is comfortable everywhere she sits. She dresses
casually and rarely shows how she feels.
Chan forces himself to sit cross-legged on his chair. He has
long white hair that he lets hang freely.
Emily is in the room but the camera never looks at her
directly. We never get a clear shot of her face.
Helen hands out stacks of paper to everyone.
HELEN
Okay so heres the itinerary for
tomorrow. Everyone study it.
Nothing can go wrong tomorrow. As
for Charles, as you might have
guessed it hes a mess. But
hopefully hes the type of mess who
can create a masterpiece. This is
going to be difficult but if we
pull this off well be remembered.
Forever. Everyone here can be a
genius. Dont forget that. Okay go
home everyone.
Everyone gathers their stuff and walks out as Helen sits back
in her chair.
FADE TO:
INT. LAKE POSSER AUDITORIUM - STAGE - THE NEXT DAY
Helen stands at a podium at the front of the stage. Charles
and Ian are backstage. The entire school is gathered in the
crowd.
34.
HELEN
Today is an important day in the
history of Lake Posser. With the
inauguration of the Genius Program
we are beginning a new chapter in
our schools history. A chapter
about one very important student. A
student who represents the virtues
that Lake Posser holds dearest.
He is a person who not only has the
capacity to reach a new and better
stage of success, but he might just
bring the rest of the school with
him. He is a student of incredible
talent who is equally gifted in
modesty. He is a student who
understands things that the rest of
us all know but cant communicate.
He is a student who knows himself
fully and knows his potential
fully. He is a genius CUT TO:
INT. LAKE POSSER AUDITORIUM - BACKSTAGE - THAT MOMENT
Charles and Ian are waiting at the wing of the stage.
CHARLES
(to Ian)
Its weird. It hasnt really felt
real until this moment.
HELENS VOICE
- Please welcome to the stage
Charles Dunning-Kruger!
The crows applauds as we follow Charles into -INT. LAKE POSSER AUDITORIUM - STAGE - THAT MOMENT.
Charles walks toward the front of the stage and takes the
applause. As he walk music starts to play. He reaches the
front of the stage and smile forms on his face.
CUT TO:
INT. BACK STAGE - LATER
The music quickly stops. There are people all around.
Charles is surrounded by a group of students.
35.
STUDENT
Wow Charles, this is so exciting!
Try not to forget us when youre
famous!
Everyone laughs except for Charles. He is physically
uncomfortable.
CHARLES
(laughing it off)
Dont say that. I - I dont think
Im gonna be famous. I -STUDENT
Sure you will. And Im gonna tell
everyone I know that I used to go
to high school with the great
Charles Dunning-Kruger.
Everyone laughs again.
CHARLES
Excuse me.
Charles storms off.
CUT TO:
Charles walks in circles around the room, nodding and smiling
at people.
CUT TO:
Charles sits at a table alone, playing with his drink. Ian
walks up from behind and taps his shoulder.
IAN
I think its time. Excited?
Charles just holds a fake smile on his face.
CUT TO:
36.
INT. APARTMENT HALLWAY - NIGHT

Charles and Ian stand outside the door of Charless new
apartment. The hallway is nice. Through the windows next to
him we can see that hes on a high floor.
IAN
Are you ready?
CHARLES
I dont know... honestly, I think
Im too tired. Is tonight really
the best time to do this?
Charles tries to wander off but Ian pulls him back.
IAN
Yes it is. You have to do this
right now okay.
CHARLES
(scared)
Okay.
(fake confident)
Okay.
IAN
Okay. Good luck.
CHARLES
Yeah. See ya around.
IAN
See ya.
Ian walks away. Charles unlocks the door and we -CUT TO:
INT. CHARLESS APARTMENT - THAT MOMENT
The room is dark. He turns on the lights and we see the rest
of the apartment. Very big, slightly modern. Its mostly an
open space and there are pillars keeping up the roof. Near
the back we see his bed. Theres an arrangement of couches in
near a television towards the front of the place. Off to the
other side is the kitchen. Emily walks out from the dark and
comes toward him. The shadow rolls off of her face and we see
her for the first time.
CHARLES
Hi.
37.
She walks over, puts her arms around him and kisses his
cheek.
EMILY
How was your day?
CHARLES
Good, Im uh Charlie. Charles.
EMILY
(chuckling)
I know.
She hugs him.
EMILY (CONTD)
I missed you today.
CHARLES
Its nice to meet you.
EMILY
(insistent)
What? Dont be silly.
She leans in and whispers in his ear.
EMILY (CONTD)
(out of character)
That isnt how this is going to
work.
CHARLES
(whisper)
Okay.
EMILY
(back in character)
Lets get you something to eat.
CUT TO:
INT. KITCHEN - LATER
Charles sits at the table. Emily is cooking at the stove.
Its quiet.
CHARLES
You need any help with anything?
EMILY
No, everythings fine. Just relax.
38.
CHARLES
Okay.
Charles is very uncomfortably but tries to relax.
CUT TO:
INT. CHARLESS APARTMENT - LATER
Charles looks at his reflection in a window. The window looks
out onto Lake Possers main quad. Emily hugs him from behind.
EMILY
Dont stay up to late. Tomorrows a
big day.
CHARLES
You dont have to hug me like that If you dont want to.
EMILY
Why wouldnt I want to?
CHARLES
We dont have to pretend its
anything different than it really
is.
EMILY
Im not pretending.
Charles keeps looking out the window and Emily rests her head
on his back. She looks worried.
CUT TO:
The tv is on. Charles and Emily are lying on the bed, at arms
reach apart, watching a movie. She moves toward him and tries
to cuddle with him. He resists.
EMILY
(whispering)
Please.
CHARLES
Im sorry.
She goes back across the bed.
39.
EMILY
I think Im going to leave soon.
Charles just looks off to the side. Emily waits for an answer
but realizes it isnt coming.
CUT TO:
INT. HELENS OFFICE - THAT NIGHT
Ian is slumped down in a chair, dozing off. Emily opens the
door and walks in.
EMILY
Sorry Im late, Helen isnt here
yet?
IAN
No, shes coming later she told me.
EMILY
Thank god.
Emily sits down next to Ian.
IAN
So how was the big day?
EMILY
(embarrassed)
It was a mess mostly. It was 50%
silence, 50% awkward silence.
IAN
Jeez. Do you think he liked you?
EMILY
He better have or else why am I
fucking here? How about you? How
was your day?
IAN
It was fine. I think were getting
along pretty well actually. Hes
not a bad guy.
EMILY
Bad? No. An awkward mess? Maybe.
The chuckle a bit. Helen opens the door and walks in.
40.
HELEN
Hey guys, so sorry. So how was it?
CUT TO:
INT. CHARLESS APARTMENT - THE NEXT MORNING
The screen is black. You can hear voices but theyre muffled.
VOICES
Okay you guys ready? 3-2-1 Happy
first-day-of-being-a-genius!
Charles opens his eyes and Ian, Helen and Emily are standing
in front of him. Charles is in his bed. Ian puts a birthday
hat on his dead and Emily hugs him. Real fake stuff.
CHARLES
This is definitely a weird thing to
celebrate...
EMILY
Get dressed. Big day!
IAN
Big day.
CUT TO:
Theyre all sitting at the table eating in silence.
CUT TO:
INT. APARTMENT HALLWAY - LATER
Charles, Helen, Emily and Ian walk out of the apartment.
HELEN
So Charles, youre going to start
with Ian, hes going to run you
through some stuff and then Im
going to come pick you up around 2
and I'll take you through the rest
of the stuff we have to do today,
sound good?
CHARLES
Yep. Absolutely.
41.
HELEN
Alright. And in the mean time Im
gonna get to know youre new
girlfriend.
CHARLES
(awkward laugh)
Okay...
IAN
(to Charles)
Alright. Lets get going. Youre
gonna like this, well get to see
your library.
CUT TO:
INT. LIBRARY - LATER
Ian guides Charles through a new library filled with books
for him. Charles takes note of what Ian says on a pad of
paper.
IAN
Do you have any authors that you
like?
CHARLES
Yeah of course. Like uh...
Vonnegut, Salinger, you know,
people like that. The regulars.
IAN
Okay good. From now on youre not
allowed to read them. You need to
be reading the books that they read
when they were writing. Find out
who they liked and then start
reading those books. That way you
get the same influence that led
them to the place that they got to.
CHARLES
(taking notes)
Okay, okay. And if I start to like
the people who influenced them?
42.
IAN
Then you go back again. Either
youll land on something that you
dont enjoy enough to be
appropriately influenced by it, or
youll go all the way back and, you
know, find the main source of
influence on all literary
entertainment.
CHARLES
Right... And if I just want to read
a book.
IAN
Then you find the people that were
influenced by the books you want to
enjoy and you start to likr them.
That way you can enjoy books on
your own time while using their
books as influence in your genius
time.
CHARLES
Wait but wouldnt that-IAN
And the same goes for the movies
and the music you admire.
Charles takes note of this and we -CUT TO:
INT. THERAPISTS OFFICE - LATER.
Silence. Charles sits in his therapists, Dr. Aldersons
office. Shes waiting for him to talk. Eventually -CHARLES
I dont really know what to say...
Like I get that youre waiting for
me to talk and everything and Im
not trying to purposefully not talk
I just dont have anything to say
really. -- Did I have to say that?
The thing about me not talking.
(MORE)
43.
CHARLES (CONT'D)
I know youre my therapist so I get
that youre not going to judge me
for what I say but I still feel
like I want you to know as a person
that I wasnt trying to offend you
or anything, you know, not just as
a therapist. Am I supposed to say
every thought that I have? Is that
what therapy is supposed to be? I
dont really know. And I guess Im
saying this also because I dont
want you to think thats just how I
talk. I guess I just want you to
think that Im kind of doing it
just because this is what I think
therapy is. And I know that right
now youre just waiting for me to
stop talking so you can write
something down on your paper and
Im not mad at you about that you
know I know youre just doing your
job and stuff so...
Charles trails off as he locks eyes with Dr. Alderson. She

writes something down on a pad of paper. She looks up from
her pad and smiles at him.
DR. DANIELLE ALDERSON
(laughing at him)
Youre a mess.
She again looks up from her pad and smiles at him.
DR. DANIELLE ALDERSON (CONTD)
(understanding)
Dont worry, you can calm down.
Just talk to me about the things
you think about. If it helps start
by telling me about one of your
dreams. Thats kind of a standard
therapist question.
CUT TO:
INT. NEO-BUDDHIST DOJO
Charles sits with Chan in a meditative pose. Everything Chan
says is spoken as if hes trying become enlightened right
hten and there.
44.
CHAN KHONG
The point of meditation, or at
least the technique that well be
practicing, is to find happiness
through material goals. You need to
focus intensely on what you want,
and then make sur every decision in
your life leads you towards those
goals. Is that understood.
CHARLES
I think so.
CHAN KHONG
We will also be using a mantra. The
one that you will be using is Be
Better.
CHARLES
Be better?
CHAN KHONG
Correct.
CHARLES
(hesitantly)
Is that a certified mantra?
CUT TO:
INT. THERAPISTS OFFICE
Back in the therapists office.
CHARLES
So then I rode my bike home and I
got hit by a car. And then my
sister was pregnant. But I dont
have a sister. And also I was late
for one of my classes but that
wasnt a part of what was going on,
that was just something that I
knew.
CUT TO:
Back in the Dojo. Same position they just were.
CHAN KHONG
Say it.
45.
CHARLES
Be better.
CHAN KHONG
Dont just recite it-- say it.
CHARLES
(more hesitantly)
Be better.
CUT TO:
INT. THERAPISTS OFFICE
Back at Dr. Danielle Aldersons office.
Why do you think its so important
to you that youre different than
other people?
CHARLES
What? I dont think that I think
that. How did you get that from
that?
I think you do.
CHARLES
I guess some people get to be
extraordinary right? So why
shouldnt it be me?
She writes that down.
CUT TO:
Same spot as before.
CHAN KHONG
Now as an exercise, try reaching
enlightenment.
CHARLES
Am I ready?
CHAN KHONG
Yes. Reach enlightenment. Go.
46.
Charles closes his eyes and tries momentarily then gives up

and opens them
CUT TO:
INT. THHERAPISTS OFFICE - CONTINUOUS
Back at the therapistss office. Further again in the
conversation.
CHARLES
All I see when I look at people are
the lies they tell themselves.
Thats all you see?
CHARLES
No I just kind of said that because
I thought it would sound like a
good line. Its like a part of what
I see.
Do you ever lie to yourself?
CHARLES
Yeah. I think everyone does. And
if they say they dont theyre
probably lying to themselves. But I
think that just the fact that I
know that mean I lie less than
normal people do. Right?
She nods.
CUT TO:
Charles and Ian sit across a desk from each other. Its
raining outside. Behind Ian is Charless weekly schedule for
the program. Ian leans back on his chair as Charles continues
to take notes.
IAN
If you just want wide recognition,
you have to do movies.
CHARLES
Why? Higher chance of being
accepted into the genius community?
47.
IAN
No. Youll get wide recognition but
its harder to cross the genius
threshold. -- With mainstream
movies that is, theres a slightly
higher chance if you make cult
movies.
CHARLES
Okay well-IAN
Then again cult genius is a less
prestigious genius than mainstream
genius.
CHARLES
I thought mainstream genius was
unattainable.
IAN
No its attainable. You just need
to be a lot better than the average
genius. You might even have to be a
real genius.
CHARLES
How about being a novelist?
IAN
Well. Large market. Passionate
fans... It might work but if you
want to be a genius now youre
going to have to write at least 700
pages, maybe 1000. If not your best
shot as a novelist is posthumous
acceptance into the genius
community.
CHARLES
That could work. I think I might
have 1000 pages in me.
IAN
Or of course you could do something
interesting and original. But I
dont know if were there yet.
CHARLES
Yeah no probably not... I could do
like a thinly veiled autobiography
thing?
48.
IAN
You dont want to do that. No
matter what you write its going to
be about you. You dont want to
make it too much about you, itll
look like youre just a bit to
happy about the fact that youre a
genius. The critics wont like
that.
CHARLES
I thought we werent supposed to
think about the critics though.
IAN
Well no. Youre not gonna get
recognition as a genius if the
critics dont like it.
CUT TO:
INT. CHARLESS APARTMENT - CONTINUOUS
Charles and Emily sit on their bed together.
EMILY
This is something were really
going to have to work on. Hard. But
its like that with every
relationship. So that means holding
hands in public, maintaining an
active instagram account where we
post pictures together, missing
each other when were apart,
dreaming about each-other when
were apart, daytime and nighttime
dreaming, and having a lot of cute
inside jokes.
CHARLES
I dont know if Im ready for all
of that.
CUT TO:
INT. IANS OFFICE
Back to them. Same spots as before.
49.
CHARLES
(taking notes)
Okay so I have to do things because
the critics like it?
IAN
No. Youre doing it because its
your calling. Youre doing it for
the critics but you say youre
doing it for the fans.
CHARLES
Why do I say Im doing it for the
fans?
IAN
Because critics love it.
CHARLES
Right.
INT. NEO-BUDDHIST DOJO - CONTINUOUS
Same spots as before.
CHARLES
Okay but what type of enlightenment
am I going for here?
CHAN KHONG
You have to be fully enlightened.
CHARLES
Fully? Isnt that harder though?
CHAN KHONG
Yes but they say its better.
CUT TO:
INT. IANS OFFICE - CONTINUOUS
Same spots.
CHARLES
I could do a not-so thinly veiled
autobiography.
Ian looks in disapproval.
50.
CHARLES (CONTD)
(desperate)
It could be meta?
IAN
Charles youre not Charlie Kaufman.
So dont try to be. Besides, if you
rip him off he wont let you into
the genius community.
Charles nods and writes it down.
CUT TO:
INT. CHARLESS APARTMENT
Back here. Charles and Emily in the same spots they were
before.
EMILY
These are some books I want you to
read.
She hands over a stack of book. The titles are along the
lines of How to make everyone think youre in a better
relation ship than they are. Etc...
Charles looks at them sceptically.
CUT TO:
INT. PROJECTION ROOM
The room is dark. Charles sits on a chair in the middle of
the room with, you guessed it, a pad of paper in his hands to
take notes. On the wall is projected a slide show of
paintings which Ian controls.
At every new slide, Ian says something new.
IAN
Look at this one. -- This ones
important. -- Right there, see
that, thats important. -- Thats
the first time that was ever done. - The artist thought that was his
best work. -- This guy actually
painted this spot over 40 times in
his life. -CUT TO:
51.

Charles and his guide lie on the floor and stare at the
ceiling.
CHAN KHONG
Now I want you to try to stare at
the entire ceiling right now. All
of it right at once.
Charles tries.
CHAN KHONG (CONTD)
Now I want you to stare at one
single point in on the ceiling.
Charles tries.
CHAN KHONG (CONTD)
Now what did you realize from this
experience?
CHARLES
That I have to look at the big
picture?
CHAN KHONG
(disappointed)
Okay restart.
CUT TO:
INT. CHARLESS WORKPLACE - LATER
Charles sits next to a record player with a pile of records
next to him. Beethoven, Bach, Mozart, Etc. Ian sits nearby.
The record ends and Charles goes to change it.
IAN
No, not that one. Hold on.
Ian grabs an other record and puts it on the player. Charles
leans back and gets comfortable.
IAN (CONTD)
Wait no. Not like that.
Ian grabs Charless arms and moves them into position behind
his head. He then grabs Charless legs and stretches them
out.
52.
IAN (CONTD)
There, thats how you listen to
music.
(then)
Do you like it?
CHARLES
No. Im not enjoying it at all.
IAN
Good.
CUT TO:
Charles walks through the aisles. He is not walking by
himself however. Ian is behind him holding onto him like a
giant life-sized puppet, controlling his movements. They pick
books off the shelves, flip through them, move along and
continue. The scene is filled with ad-libs by Ian such as:
Look down, delicately, quick scan...etc.
CUT TO:
The Charles-Ian puppet duo now sits at a desk, throwing a
tennis ball against the wall repeatedly. Theyre thinking.
CUT TO:
INT. HELENS OFFICE - LATER
Charles/Ian walks into the office. Helen is there to greet
them.
HELEN
Howd it go?
IAN/CHARLES
Good. Big day.
Ian hands Charles off to Helen who grabs him and holds him
like a toddler on her shoulder. Ian walks out and Helen sits
Charles down on her desk.
HELEN
So tell me what you did today.
CUT TO:
53.
INT. APARTMENT HALLWAY - LATER

Helen and Charles, in a similar mother-toddler pose, knock on
the door of Charless apartment. Emily answers and smiles.
EMILY
Good first day?
HELEN
Oh yes. And hes very hungry, I
hope you prepared him something
good.
EMILY
Of course.
Helens makes Charles hold Emilys hand as she hands him off.
HELEN
Good night.
EMILY
Good night.
CHARLES
Goodbye.
They walks in and the door shuts.
CUT TO:
INT. CHARLESS APARTMENT - BATHROOM - LATER
Charles sits on the toilet, hiding from Emily. Hes on the
phone with Noah.
The scene is intercut with Noah sitting on his bed in his
dorm.
NOAH
So whats it like with the
therapist?
CHARLES
Its okay... She said that I have
mother issues.
NOAH
Really? Thats weird, usually
people with mother problems crush
chicks.
54.
CHARLES
Yeah I asked her about that and she
said I have a bunch of other
complexes so they balance out.
NOAH
Oh yeah thats probably true.
Listen I have to go. Practice
tomorrow morning.
CHARLES
Oh yeah totally.
NOAH
Anyway I hope everything pans out
with you being a genius and
everything.
CHARLES
Yeah me to.
NOAH
Later. And Miles says later too by
the way.
CHARLES
Oh cool tell him later.
Noah hangs up and Charles is left in his bathroom.
FADE TO BLACK.
TITLE CARD: ONE MONTH LATER
FADE IN:
INT. WAITING ROOM - MID DAY
Ian, Emily and Dr. Alderson wait outside of Helens office.
Chan walks out and bows in front of Helen.
HELEN
Danielle. Youre up.
She gets up and follows Helen in. After a while -IAN
(nervous)
You nervous?
55.
EMILY
No. I dont have anything to be
nervous about.
IAN
How about the fact that you guys
havent had sex yet.
EMILY
Fuck off. Not all relationships are
based around that.
IAN
Creative ones are.
EMILY
Fuck, I know.
IAN
Dont worry. I think if anyones
gonna get torn apart its gonna be
me. He hasnt written anything even
half decent, he lies in bed all
day, and he wont even fuck his
girlfriend.
EMILY
Hey dont talk about me like that.
IAN
Like what?
EMILY
Like Im not here right now.
IAN
But thats not you.
EMILY
Its a part of me.
IAN
Youre right. Im sorry.
Silence for a bit. Dr. Alderson walks out.
Youre next Ian. Good luck.
IAN
Okay thanks.
Ian leans over and kisses Emily.
56.
EMILY
Hey cmon not now.
IAN
Calm down no one saw.
Emily smiles and we follow Ian into -CUT TO:
INT. HELENS OFFICE - THAT MOMENT
Ian walks right in and closes the door behind him.
IAN
(pointing at the chair)
Right here?
HELEN
Yes.
He sits down.
HELEN (CONTD)
Just before we start I just want to
say that Im about to be very
honest with you and just because I
say some things that make you feel
bad, it doesnt mean that Im not
proud of you.
IAN
Are you mad at me?
HELEN
Im not- Im not mad. Im
disappointed with the results.
Thats all. Okay?
IAN
Okay.
HELEN
Okay. Lets start then.
CUT TO:
Charles sits at a desk with a book in front of him.
ANGLE ON: Charles PHONE
57.
On it is a wikipedia article about the novel hes holding. He

is scrolling down and reading through the plot section.
Charles hears a noise, drops his phone onto his lap and looks
back at his book. No one is there.
CUT TO:
INT. CHARLESS WORKPLACE - THEATER - PROJECTION ROOM - LATER
Charles is looking through some old movie prints, looking for
something to watch. He pulls one out and puts it in the
projector. He struggles slightly to figure it out but
manages.
CUT TO:
INT. CHARLESS WORKPLACE - THEATER - LATER
Charles is looking up at the screen watching the movie he
chose.
CUT TO:
Charles is now lying on his bed, covered in sheets, watching
the same movie as before but on his laptop.
The door opens. Its Ian.
IAN
Charles?
CHARLES
Im here.
IAN
What are you doing?
CHARLES
Watching a movie. Research.
IAN
Get up. Youre not in this program
to lie on the couch all day.
CHARLES
Im doing research.
58.
IAN
If you were doing research you
would be watching in the theater we
built for you.
CHARLES
Whats the difference?
IAN
The difference is youre lazy. Come
on. Were going to go through what
youve done today.
CUT TO:
Ian is reading the work Charles did that day.
IAN
What is this?
CHARLES
This is what I did today. Why are
you so demanding all of a sudden?
IAN
Because things need to change
around here. The whole point of the
program is to get you to make
something and youre turning out a
page a day? Whats going on?
CHARLES
Its just hard.
IAN
Then practice. You have nothing
else to do. Theres no excuse for
this.
CHARLES
Im working as hard as I can and up
until today it met your standards.
IAN
How is this as hard as you can, you
have an outline. The story is there
just do the work.
CHARLES
Its not that easy.
59.
IAN
Why? Because you like the idea of
being an author more than you want
to actually be an author. And
because you like to practice even
less than that.
CHARLES
(shocked)
No because when I try to write what
I want to write it just comes out
wrong.
IAN
Thats because you dont practice.
CHARLES
Because I only want to give you my
best.
IAN
This isnt your best. Because you
dont practice.
CHARLES
No this isnt my best because the
moment I write things down they go
from the beautiful thing I have in
my head to a piece of garbage.
IAN
Your best is whatever youre able
to do. If this is the only thing
you can write and its crap then
your best is crap.
CHARLES
Then I still dont want my best to
be bad.
IAN
But not doing anything ever isnt a
good alternative to that! If I was
in your place- Look just... Get it
together. Soon.
Ian storms off. Charles is left in the room, not quite
getting what just happened.
CUT TO:
60.
EXT. RESTAURANT TERRACE - DAY

Emily and Ian sit across from each other with a drink in
front of each of them.
EMILY
Im gonna ask you something and I
dont want you to react the way
that youre gonna.
IAN
(insulted)
What is that supposed to mean?
EMILY
I want to start sleeping over at
Charless apartment.
IAN
What? No. You dont have to do
that. They cant make you do that.
EMILY
Theyre not making me. I want to.
IAN
Fuck, what the hell did Helen say
to you today?
EMILY
She didnt say anything okay. I
just think I need to start really
committing myself to my character
okay?
Ian stops to think.
IAN
Look Im not one of those -- Youre
allowed to do what you want but Im
not happy about this.
Emily looks angry.
CUT TO:
INT. CHARLESS APARTMENT - KITCHEN - LATER
Charles and Emily sit at the kitchen table. Theyre eating.
They haven't been talking much.
EMILY
Do you like it?
61.
CHARLES
Of course. Its always good.
EMILY
I would like it if I didnt have to
ask you for you to say that.
CHARLES
Im sorry. Im just tired of
talking sometimes.
EMILY
Well you shouldnt be. We shouldnt
have to tire ourselves thinking of
conversation. Were in a
relationship.
CHARLES
Im sorry.
EMILY
Ask me a question about my life.
CHARLES
Okay. Whats youre real name?
EMILY
Emily. Ask something else.
CHARLES
Why are you doing this?
EMILY
Because I love you.
Emily grabs Charless hand and holds it. She then leans in
and kisses him on the cheek. He does not react. She leaves.
CUT TO:
INT. CHARLESS APARTMENT - LATER THAT NIGHT
Emily is standing at the couches. She looks slightly
concerned.
EMILY
Charlie!
CHARLESS VOICE
Yeah?
EMILY
Could you come in here please.
62.
He walks in from the back.

CHARLES
What is it?
EMILY
Can we talk a bit?
CHARLES
Sure, what about?
EMILY
Can we sit down?
CHARLES
Yeah of course.
They both sit down.
EMILY
Okay, so lately, youve been acting
really uncomfortable around me-CHARLES
Yeah I know. Im sorry... This is
just harder than I expected it to
be.
EMILY
You act like were not dating.
CHARLES
Well we arent really.
EMILY
Dont say that. Thats exactly what
Im talking about.
CHARLES
Sorry.
EMILY
(hesitantly)
Here.
She moves in closer to him, grabs his hand and puts it around
her lower back.
EMILY (CONTD)
This is how you hold me, okay? And
you can put your hands lower if you
want.
63.
CHARLES
I - uh.
EMILY
And when we see each other after
being apart, you hug me like this
and I put my arms around your neck
and you kiss me.
CHARLES
Okay.
EMILY
Show me how you would do that.
He does it.
EMILY (CONTD)
Thats better. Again.
Charles does it again.
EMILY (CONTD)
Good. And this is how we kiss.
She leans in slowly and then puts his hand on the side of her
face. They start to make out a bit and she stops them.
EMILY (CONTD)
Follow me.
She walks over to the bed and lays down.
CHARLES
I dont know if I want to do this.
EMILY
Just come.
She grabs his hand and pulls him down onto her. She starts to
kiss him then puts her hand down his pants.
EMILY (CONTD)
(whisper)
You want this.
CHARLES
(under his voice)
What is going on...
EMILY
(whisper)
Do it.
64.
Charles stops for a second then starts kissing her more

passionately. They take off some of their clothes.
EMILY (CONTD)
In the drawer.
Charles leans over and pulls out a condom which he puts on
under the sheets. He takes off his glasses and puts them by
the side of the bed. They have sex for about a minute. They
dont speak at all during but still look at each other the
entire time. When they finish she gets out of bed and goes to
the bathroom.
THE CAMERA stays on Charles. He doesnt put his glasses back
on. (He wont wear them again until mentioned.) Emily comes
back into bed.
EMILY (CONTD)
Feel different?
CHARLES
How am I supposed to feel?
EMILY
Better I guess.
CHARLES
Then yes.
(beat)
Was that your first time?
EMILY
It was my first time with you
thats what matters.
She cuddles up against him.
CUT TO:
INT. DINING ROOM - LATER
Charles, Emily, Dr. Alderson, Chan and Helen sit at a dining
room table, enjoying a meal together.
Emily and Charles are holding hands under the table.
BUTLERS come into the room and place a meal in front of
everyone.
HELEN
(exaggerated)
Mmmm. Looks good doesnt it?
(MORE)
65.
HELEN (CONT'D)
(to butlers)
Thank you.
Everyone silently starts eating.

HELEN (CONTD)
I just thought that we could
benefit from a bit more time all of
us together. Does everyone agree?
Thats nice.
Everyone goes back to silence.
HELEN
So what did everyone do today?
Charles?
CHARLES
I tried to write for 3 hours and
then I went to see Dr. Alderson.
HELEN
Thats nice. What did you write
about?
CHARLES
It isnt really ready to be talked
about yet.
HELEN
Oh. Okay then. Thats fine.
They drift back into awkward silence. Emily is looking at
Charles. After a couple of seconds she gets his attention and
nods at him.
EMILY
(excitedly)
Me and Charles have something
important to say.
Everyone turns their attention toward Emily. Charles is still
looking at her.
HELEN
(in suspense)
Go ahead.
66.
EMILY
We were going to wait until the
weekend to announce this but we
couldnt really wait any longer...
Charles and I... are finally having
sex!
Everyone at the table congratulates them. Ad-libs like Wow!
Oh my god! Congratulations!
IAN
(under his voice)
Subtle.
EMILY
Yes, yes, I know. Were very happy.
Charles you really should have
shared this with me earlier today
this completely changes your
psychological landscape.
CHAN KHONG
This is progress.
CHARLES
I didnt think this was going to be
a big thing.
HELEN
Well I for one am very excited to
see how this affects your work
Charles. Hopefully youll become
one of those womanizing geniuses.
Charles swallows hard on a piece of food and we -CUT TO:
Off the dining room. Emily brings her plate up to the
dishwasher.
BUTLER
I could get -EMILY
Oh no, no its fine.
He leaves and she rests against the counter for a minute.
67.
The door opens its Ian.

IAN
You okay?
EMILY
Yeah of course.
IAN
(teasing)
So you guys finally had sex eh?
Looks like you just earned yourself
a raise.
EMILY
Shut up.
IAN
No for real, youll probably get
some sort of sex commission from
Helen.
They fall silent.
EMILY
I think this is gonna be really
good for him.
Ians smile fades and he transitions into why hes really
here to talk to her.
IAN
Look, I told myself that I wasnt
going to bring this up but... you
know that you dont have to do all
of this for him. Normal jobs dont
ask this much out of people.
EMILY
Just leave it okay? This one does.
And Im happy to do it.
IAN
Okay. Ill leave it. But the moment
you feel used, just stop.
EMILY
Its my job to be used. If Im okay
with that you should be.
Ian doesnt know what to say. He leans in for a kiss to try
to feel like hes worth something to her. Emily pushes him
off.
68.
EMILY (CONTD)
Hey! -- Im -- Not now.
She walks back into the dining room, angry.
CUT TO:
INT. DINING ROOM - THAT MOMENT
Emily walks in followed quickly by Ian. Charles watches them.
CHAN KHONG
(muffled)
No, no, no. Superbad is the
crowning achievement in modern
comedy.
(muffled)
Okay but then how do we define
modern? Modern doesnt just mean
new you know. Or does it just mean
any time after the time of the
Buddha.
CHAN KHONG
(muffled)
Dont give my the Buddha cliche. If
you knew anything about my
teachings you would know that I do
not subscribe to the teachings of
the Buddha.
ANGLE ON: Charles looking at Ian and Emily.
FADE TO:
INT. CHARLESS APARTMENT - THE NEXT MORNING
Ian walks in. Charles is in bed next to Emily.
IAN
Charles. Wake up.
Charles turns around and gives Ian a look. For a moment, Ian
looks at Emily whos still sleeping.
IAN (CONTD)
Its time to go.
CUT TO:
69.
INT. GENIUS CON AUDITORIUM - DAY

Its the annual Genius-con, held in New York City. A
MODERATOR sits at a panel, on-stage, in the front of the
auditorium. Ian and Helen also sit at the table. TECH GUYS
are checking the speakers. OTHER WORKERS are walking around
on stage. THE CROWD MEMBERS are talking liberally, waiting
for the show to start. Everyone who isnt essential steps off
of stage and the Moderator goes to the mike.
MODERATOR
Please help me give a warm welcome
to our guest of honor, Charles
Dunning-Kruger.
The audience applauds and from the side of the stage Charles
walks out. He shakes the moderators hand and sits down next
to Emily. The applause dies down quickly.
CHARLES
(tentatively)
Hello.
He turns back and looks at the crowd. He is out of place.
MODERATOR
(fading out)
Okay so were going to get things
started off with a quick
presentation about the program...
FADE TO:
INT. GENIUS CON GREENROOM - LATER
The room is filled with other geniuses mingling between each
other. Charles sits alone in a corner, eyeing a group of
other people his age. He goes to the back of the room where
theyre sitting. In the group are CAL FANTANO, SOPHIE
REMNICK, DAVID FAUCET, and JOHN WAYNE. As he approaches they
stop talking and turn their attention toward him.
CHARLES
(nervous)
So you guys are the rest of the kid
geniuses I guess eh?
SOPHIE
Why? Are you one?
CHARLES
(nervous)
Thats what they say.
70.
SOPHIE
Thats cool. Im Sophie...
As she says their names the CAMERA pans to the corresponding
person.
SOPHIE (CONTD)
...this is Cal...
CAL
Hey.
SOPHIE
...this is David...
DAVID
Hey.
SOPHIE
...and this is John.
JOHN WAYNE
Hey.
CHARLES
Hi everyone.
It gets quiet and Charles just keeps standing there.
CHARLES (CONTD)
(about to leave)
Okay so -JOHN WAYNE
You can sit down.
CHARLES
Oh (anxious laughs). Yeah.
CAL
Wait so whats youre name?
CHARLES
Umm. Charles. Dunning-Kruger.
CAL
Did you do your panel today?
CHARLES
Yeah. Did you guys hear about it?
CAL
Oh no.
71.
SOPHIE
We dont watch other geniuses.
Howd it go though?
CHARLES
Oh you know... I feel like I dont
deserve to be here and everyone
resents the fact that Im here and
that people are just waiting for me
to mess up. You know basic stuff.
SOPHIE
(indifferent)
Oh yeah.
CHARLES
Are you guys doing panels?
SOPHIE
Yeah. Tomorrow. Were with the
regular geniuses. Were all carded.
CHARLES
(surprised)
Oh shit really? Thats crazy.
JOHN WAYNE
What do you do?
CHARLES
Um. Nothing really Im just a
standard genius really.
JOHN WAYNE
What does that mean?
CHARLES
Im just a genius. Thats it. Why,
what do you guys do?
JOHN WAYNE
Im a pianist. And shes a
journalist, and hes a cartoonist,
and hes a mathematician.
CHARLES
Oh. I didnt even know they had
geniuses for cartooning. Thats
pretty cool. Its cool that you all
do stuff.
JOHN WAYNE
Yeah thats usually how it works.
72.
CHARLES
Oh yeah for sure.
Charles looks a bit disappointed. The rest of the geniuses
keep talking. Charles isnt listening to them and we cant
hear them.
CUT TO:
INT. GENIUS CON FLOOR - LATER
Charles sits at a booth inside the large Genius Con space.
There are hundreds of people on the floor exploring different
impressive exhibits by different impressive geniuses. A YOUNG
MAN is at Charless booth. Charles is zoned out.
YOUNG MAN
... Yeah no, I really think its
about suicide more than anything,
like I actually think that hes
dead the entire time.
CHARLES
(snapping out of it)
What? Im sorry. What?
YOUNG MAN
Oh just -CHARLES
You know what, Im sorry. I have to
go for a walk.
Charles gets up and walks onto the floor among the other
visitors.
He sees various
performance art
performance art
piece. He stops
exhibits, books, science experiments,

pieces, non-performance art pieces, nonpieces made as a part of a larger performance
at one booth and flips through a book.
On the front cover the title reads: 4 Minutes of Thoughts

CHARLES (CONTD)
How much is this?
MAN AT BOOTH
10.
Charles takes a 10$ bill out of his wallet.
CHARLES
Thanks.
73.
Charles keeps walking into the crowd. After a few seconds he

pulls out his phone and dials Sophies number. She answers.
CHARLES (CONTD)
Hey. Hi Its Charles.
She pauses for a split second.
CHARLES (CONTD)
The genius.
SOPHIES VOICE
Hey, yeah of course. Whats up?
CHARLES
Nothing much I'm just on the floor
right now and need to get out of
here. Are you guys doing anything?
SOPHIES VOICE
Umm. Not really we all just
finished are sets so were just kind
of relaxing right now.
CHARLES
Oh yeah where?
SOPHIES VOICE
The lobby. You can come if you
want.
CHARLES
Okay cool Ill be there in a bit.
SOPHIES VOICE
Okay cool.
Charles hangs up and paces nervously for a few seconds before
finding his bearings and walking toward the exit.
CUT TO:
INT. LOBBY - LATER
Sophie, Cal, John and David sit around a table in the lobby.
They look like theyre drifting in and out of sleep. Charles
is there too but is wide awake and looks anxious.
CHARLES
You guys wanna do anything?
JOHN WAYNE
No.
74.
Charles looks down, embarrassed.

CUT TO:
INT. HOTEL ROOM - LATER
Charles lies on his bed. He gets up, grabs a pen and starts
to write something on a piece of hotel paper.
CUT TO:
INT. HOTEL HALLWAY - LATER
Charles walks out of his room, stops in front of an other
door and then slides that same paper under it.
CUT TO:
INT. HOTEL ROOM - LATER
Charles waits patiently/anxiously on his bed. Someone knocks
at the door. He opens it and Sophie is there.
SOPHIE
Hey.
CHARLES
Hey. Thanks for coming.
SOPHIE
Yeah no problem. Why did you put a
note under my door?
CHARLES
What? Oh I dont know I thought it
would -SOPHIE
No its just you could have just
texted me you know.
CHARLES
Oh yeah, well I just thought that
the note would be... I dont know.
SOPHIE
So whats going on?
CHARLES
Uh come. Sit down.
75.
They sit on Charless bed.

SOPHIE
What?
CHARLES
Well I was thinking. And you know
tomorrow is the last day of the
convention and all and Im really
happy that we met you know - and I
know that I would regret it if I
didnt do something. So...
SOPHIE
Hey look I dont know if -He leans in to kiss her and she awkwardly pushes him off.
SOPHIE (CONTD)
Charles please.
CHARLES
Dont deny yourself this.
He leans in again.
SOPHIE
What the fuck? Stop!
She pushes him again. Charles snaps out of it. Sophie gets up
and walks toward the door. Charles chases after her.
SOPHIE (CONTD)
What the hell is wrong with you
CHARLES
I dont know. Im sorry. Oh god.
Im sorry I didnt want to put you
in a position like this.
Sophie stops and turns toward him.
SOPHIE
Yes you did, you just did.
CHARLES
Well doing that was actually kind
of like a huge step forward for me,
Im really not the type of person
to try that and I was kind of proud
that I gave it a shot actually so --
76.
SOPHIE
What the fuck are you saying? How
is that supposed to change anything
you creep? I knew that message
under the door was creepy. Ive
known you for a couple of hours -CHARLES
Look just forget about the message
under the door. I get it that was
dumb, I though it would be
different.
SOPHIE
What would be different?!
She tries to open the door but he grabs her arm and stops
her.
CHARLES
Look Im sorry, Im sorry please
let me apologize.
SOPHIE
Why should it?
CHARLES
I dont know where that came from.
I was just feeling weird and I
though you maybe liked me.
SOPHIE
What the hell made you think that.
CHARLES
I dont know were both geniuss...
SOPHIE
Youre an idiot.
She opens the door and then stops herself.
SOPHIE (CONTD)
How did you honestly think this was
going to turn out?
She walks out and slams the door. Charles walks back into his
room and doesnt know what to do. He lies back on his bed and
cries for about one second then stops himself and turns on
the TV.
CUT TO:
77.
INT. PLANE - NEXT DAY

Charles and Ian sit next ot each other on the plain home.
Charles is writing, Ian and Helen sleep next to him. Charles
stops.
CHARLES
(whispering to Ian)
Im not sure if those people were
assholes or Im just bad at making
friends.
Ian doesnt wake up.
CHARLES (CONTD)
Okay.
Charles goes back to writing. On his laptop we see the title:
5 Minutes of Thoughts.
CUT TO:
INT. HALLWAY - LATER
Charles walks up to his door with his bags in hand. As he
takes out his keys, Emily opens the door. They hug. He kisses
her.
CUT TO:
Charles and Emily are on the bed on top of each other. He
gets off of her and they lay back in exhaustion.
CHARLES
What got into you?
EMILY
I missed you.
CHARLES
Thats sweet.
Silence for a bit.
EMILY
Did you enjoy yourself?
78.
CHARLES
Yeah, I think so. I met some really
smart people.
EMILY
I meant the sex.
CUT TO:
INT. THERAPISTS OFFICE - NEXT DAY.
They sit facing each other. Charles looks occupied.
CHARLES
Im working on something new.
What do you mean new?
CHARLES
Like something that I just started.
I stopped all the other stuff. I
see now that those other things
were just like... guesses. Like
they were just what I thought might
be something good. But this new
thing I think is actually something
good.
Talk more about what you just said.
That your other efforts are just
guesses.
CHARLES
Well they were literally guesses.
I couldnt think of anything
personal to do so I just invented
what I thought would be something
personal.
Why?
CHARLES
Because I had to do something. And
I hated it and I felt like a phony
but it was what I had to do.
And the new thing youre working
on? Tell me about it. If you can.
79.
CHARLES
Well its a novel. And it just
feels so much more personal and
true than anything else that Ive
ever done. Its like... I kept on
waiting for the moment when it
stopped feeling like I was
pretending when Im writing and
when it started feeling like I was
actually doing something real. And
I think Im finally there. I dont
even feel weird saying it or even
calling myself a writer or even a
genius. I finally believe in what
everyone is saying about me.
You can tell Charles is lying in all of those lines except
for the last one.
FADE TO BLACK.
INT. HELENS HOUSE - LIVING ROOM - LATER THAT MONTH
A bottle of champaign pops. The crowd cheers. Charles doesnt
know anyone there. The room is littered with various party
decorations with words like launch party or
congratulations on them. Charles holds the bottle and
people swarm around him. Ian and Helen stand off to the side
watching.
IAN
Do you think hes actually ready
for this?
HELEN
Hell be fine. Hes past the
drinking age in Canada.
IAN
You know what Im talking about.
HELEN
Yes I do think hes ready. Do you
have doubts about what weve been
doing?
IAN
No, no I think weve done
everything we can with him, Im
just not sure hell be able to
handle all the attention, good or
bad.
80.
HELEN
Look at him right now. Have you
ever seen him like this? Hes
loving it. Hes thriving. Besides
youve read it you know how good it
is. Do you have any doubt at all
that thisll be well received.
IAN
(sarcastically)
Youre right. I have to stop
worrying.
HELEN
Besides were heading into phase
two anyways. -- The focus wont be
on him anymore.
(hinting)
And therell be lots of room for
promotions.
Helen walks towards Charles whos talking with PHILLIP
SPITOULI (40s) the editor of Charless novel.
HELEN (CONTD)
I didnt know you two knew each
other?
PHILLIP
Well we just met. I thought it was
about time I met the author of the
book thats given me so much
trouble. Whyve you been hiding him
from us all this time?
HELEN
(joking)
We haven't been hiding him, we just
didnt want to subject him to any
world that would have you in it.
PHILLIP
Oh course -HELEN
Could you excuse us just for a
minute? We just have to do some
famous author stuff.
PHILLIP
Of course.
They walk away.
81.
CHARLES
(being sassy)
And tonight is supposed to be a
break is it? I shouldve seen this
coming.
HELEN
This wont take long it just has to
be done.
Charles and Helen walk into an empty bedroom.
HELEN (CONTD)
Charles sit down.
Charles sits.
HELEN (CONTD)
Listen. Okay... Okay listen. When
you went into this program there
were really only two options of
what could happen. Either you
weren't successful and we would
dissolve the program or you would
be and you would become a star.
Thankfully you proved to be even
more than successful in fact you
completely lived up to your title
and amazed all of us. What that
means is that the program works.
And its tested. So for us at this
point the only real option is to
keep going. So within the next two
weeks, we havent decided yet,
were going to hold a press
conference and announce that were
taking on a knew genius into the
program.
CHARLES
What?
HELEN
Were going to find someone else,
just like you, and were going to
do it again. And its going to be
hard for us, thats why were
really going to need you to
cooperate with us. No matter who
the new genius is. I need you to
say to me right now that youre
going to cooperate.
Charles doesnt answer.
82.
HELEN (CONTD)
Charles?
CHARLES
(detached)
I will.
HELEN
Alright. Now the good news is that
youre going to stay in the program
and youll be just as important as
you always were alright. Youre
going to keep working on things and
everything will feel like its
always been okay. This doesnt
change anything.
CHARLES
Okay.
HELEN
(worried)
Im very proud of the way you
reacted to this, Charles.
CHARLES
Thanks...
HELEN
Now Im going to go back into the
party. You can stay here if you
want or you can come you with me,
but I dont want you to act any
different than before alright.
CHARLES
Yes.
Helen kissed him on the cheek.
CHARLES (CONTD)
Why did you have to tell me
tonight?
HELEN
Why wouldnt I?
CHARLES
Tonight was important. To me.
HELEN
Well this isnt what should be
important to you.
83.
She walks out. Charles stays for a bit and then walks out.
Everyone is smiling at him and happy to see him but the party
has lost all of its charm.
INT. BOOK STORE - DAY
A video recording of Charles reading a passage of his book is
shown. In the video, Emily is next to him holding his hand.
CHARLES
(reading)
Why hadnt I learned anything? Was
learning things something that I
only expected of myself because I
was raised by movies in which
people always learned things? Was I
even raised by movies? People say
that a lot but I dont know if I
was subjected to enough movies at
an early enough age to qualify as
being raised by movies. Had I
learnt ---wrongly--- that people
are supposed to learn things
through large events. Or maybe what
had happened to me simply wasnt
big enough to qualify as something
large enough to warrant a lesson
learnt. Maybe I should have watched
more Seinfled when I was young,
they never learnt anything. Thats
their whole thing isnt it no
hugs, no learning. I could have
learnt a lesson about not learning
anything. Where did I get that idea
about Seinfeld. I probably wouldnt
even have know that I was watching
was something in which people dont
learn, because I only know that
through what Ive learnt about it.
Would I even know something is good
if someone didnt tell me it was
good? Was I thinking to deeply
about this? Is there a point of
diminishing returns on the metaness? Im only saying that because
that phrase is something Ive heard
on Community. Am I only Meta
because I watched ---and liked--Community and then thought that was
the only acceptable clever way of
being clever? Would I even like
Community if I hadnt been told
that its good?
84.
He folds up his paper and the audience applauds.

CUT TO:
INT. TV STUDIO - DAY
Charles is being interviewed by a Charlie Rose-type
INTERVIEWER about his new book. The header under him reads:
Genius + Work = Work of genius.
INTERVIEWER
That was Charles Dunning-Kruger
doing a reading from his latest
book Five minutes of Thoughts.
The novel has been called stream
of consciousness for the AD/HD
generation and the type of thing
people think is smart by the New
Yorker. Joining me now is novelist
Charles Dunning-Kruger and Im very
pleased to have him here to talk
about this important novel.
CHARLES
Thank you. Very happy to be here.
INTERVIEWER
Now why 5 minutes of thoughts,
whats the significance of that to
you.
CHARLES
The significance of that is that
the novel is about the thoughts of
a character during 5 minutes of his
life. And thats basically where
the title came from.
INTERVIEWER
Interesting. Now, tell us about
your time at Lake Posser. When did
this all start?
CHARLES
Well I started going to Lake Posser
in grade 7 so I must have been...
12. Or almost 13. And well my
mother went there so I decided I
should go and she was a really
great writer when she was young so
I thought you know... It did the
trick for her.
85.
INTERVIEWER
Is that true, did she write
anything I might have heard of?
CHARLES
She was never published. But she
writes constantly. She probably
would have managed to if it wasnt
for-INTERVIEWER
For you.
CHARLES
(fake TV laughs)
Yeah I guess. Well for life.
INTERVIEWER
Now she must be proud of you now
isnt she. First novel not only
published but a best-seller.
CHARLES
Yeah shes super proud, but I think
she knows better than to let me
know that.
INTERVIEWER
(Fake TV laughs)
Of course. Did she encourage you to
write a lot as a child and during
your early years?
CHARLES
You know... she encouraged me in
the way that I... I dont think Id
be writing if it wasnt for her.
But she never really pushed me to
do anything. She turned me onto it
more.
INTERVIEWER
Where was your father in all of
this?
CHARLES
He was also a writer. A poet. But
he actually worked as a teacher
most of his life. So same type of
deal as mom.
INTERVIEWER
And when did this whole program
thing happen?
86.
CHARLES
It started in November of last
year. I -- I was called in to meet
Helen, the head of the program and
we kind of just clicked. Her and my
mom both play a very similar role
in my life. Theyre both very
important to me and I dont think
that Id be here if it werent for
them.
INTERVIEWER
You dont think you would be here
if not for them. So if you werent
in the program, you dont think
youd ever become a successful
writer? That is the question that
everyone seems to want to know.
CHARLES
Umm. Well. I guess I misspoke
there. What I meant is that. Well.
Of course I would like to say that
the program has helped me that much
and Im sure thats whats expected
to be said by me... But thats not
really true. The program did help
me channel my gift but it did not
give me my gift. Im tired of these
talented artists coming on the
show, or any show really, and being
humble to a point of discomfort. I
get that as a person in the public
eye its important for public
opinion to be humble, but I think
something thats really important
is authenticity. People should be
okay with what they think because
they have no choice. Its what they
think. Its neurotransmitters in
our brains, nothing more
complicated than that. And I find
the denial of ones own innermost
feelings even more sickening than
an arrogant artist ever could be.
So yeah... I think that I could
have been a novelist without he
program. But that doesnt mean Im
not grateful for what its done for
me.
CUT TO:
87.
INT. BACK STAGE - CONTINUOUS

Helen and Ian watch Charles from the back.
IAN
What the fuck?
HELEN
This is bad.
IAN
Should we stop this?
HELEN
Fuck.
CUT TO:
INT. HELENS OFFICE - LATER
Helen, Ian and Charles sit.
HELEN
Ive got to say, I haven't been
more disappointed in you than I am
right now.
CHARLES
I know, look -HELEN
Weve given you everything. Weve
literally given you fame. And this
is how you repay us. By trashing us
on television.
CHARLES
I didnt think -HELEN
Do you know how hard we had to
bargain with them not to air that
part of the interview?
CHARLES
From context Im guessing pretty
hard.
HELEN
Yes, Hard! And dont fucking...
(beat)
(MORE)
88.
HELEN (CONT'D)
I understand what you said out
there and hey, maybe thats how you
actually feel. But you of all
people dont want to be looking too
deep into whether or not youre
being authentic to yourself.
Charles just got put in his place. He cant look at Helen.

Hes too embarrassed, but hes trying to play it off.
CUT TO:
INT. VAGUE SPACE - LATER
Charles walks in a white space. A CROWD of faceless people
swarm around him. They all pass by him and say various adlibs like I love your work or youre a genius. Charles
stops and they vanish. An OTHER CROWD appears nearby,
standing still. They aren't talking but their thoughts can be
heard. Similar ad-libs like before.
CUT TO:
INT. LIBRARY - DAY
Charles is at a table making his way through a line of people
who want their book signed. He looks up and in the line he
spots Noah.
CUT TO:
INT. BACK ROOM - LATER
Charles walks in followed by Noah. Charles grabs a water
bottle from a fridge and sits down.
CHARLES
You want one?
NOAH
Yeah sure.
Charles grabs one for Noah and hands it too him.
CHARLES
Here. So. Hows it goin?
NOAH
Its good you know. Schools fine.
Weve been following everything
youre doing.
(MORE)
89.
NOAH (CONT'D)
I gotta say when you were just
started we had no idea you had this
in you.
CHARLES
Miles didnt want to come?
MILES
He couldnt I dont think he meant
anything by it.
CHARLES
Okay. And what do you mean by it?
By coming here.
MILES
(joking)
I wanted to get my book signed.
Make a bunch of money off of it.
CHARLES
No seriously, why are you even
here.
MILES
What are you talking about? Were
friends.
CHARLES
No were not. We were just people
who ate lunch together.
MILES
What are you doing? Why are you
trying to start a fight? Im just
trying to talk to you.
CHARLES
I know why youre here okay, I get
what this is.
MILES
Jesus, Charles not everything has
to turn into a big thing.
CHARLES
Why else would you be here then?
MILES
Fuck you man, have some self
respect. Maybe Im here because we
were friends you dick? Because I
like you?
90.
CHARLES
You know were not friends.
MILES
What the hell are you talking about
we lived together?
CHARLES
That means were roommates.
Congrats. We didn't even pick each
other.
MILES
Then why did you always tag along
with us when we would go do shit
eh? Those weren't your friends we
were hanging out with?
CHARLES
Why do you think? Because I hate
being alone more than I hate being
with people that make me feel
alone.
MILES
Fuck youre a hypocrite. So Im not
allowed to come and ask you for
stuff but youre allowed to use me
as your token friend so that you
dont feel like a complete outcast.
CHARLES
So then you admit you were here to
ask me for stuff.
MILES
Fuck you man... This conversation
didnt have to go the way it just
did.
Miles walks out. Charles isnt affected by what just

happened.
CUT TO:
INT. SOUNDSTAGE - DAYS LATER
This is Charless new project. The stage is noisy and
chaotic. Dozens of people are sprawled around the stage, each
performing their own task: producers, art directors, set
dressers, actors etc...
91.
The actors are teenagers who look similar to Charles and who
are wearing the same outfit that he is.
A small group of actors is crowded around Charles. He is very
high energy at the moment.
CHARLES
Okay are you page 114?
PAGE 103
No Im page 101. Wait sorry 103.
CHARLES
Okay things are a lot easier if we
remember our page numbers.
PAGE 103
Im sorry.
Its fine
taking my
blah blah
and grow.
CHARLES
Im just stressed and
frustration out on you
no time to fucking hug
Wheres page 114?
PAGE 114
Im page 114.
CHARLES
Great so youre the guy who thought
you would just let page 1-0-fuck-up
here blabber on. Forget that I said
that, were moving on. I want you
to hit line 4 a bit harder okay.
(Charles speaks with the
tempo hes talking about)
You know you start on slow and then
build and built and then suddenly
by the time you say Oedipa McFly
it comes out in a slow crawl.
PAGE 114
Okay.
CHARLES
Okay. Do that 30 times tonight as
homework.
A production assistant walks up to Charles and grabs a hold
of him.
PRODUCTION ASSISTANT
Charles are you ready to go over
the cameras now?
92.
CHARLES
Yes absolutely.
Right here?
CHARLES
Right here. Okay so the cameras
shooting the film are the ones
that are labeled with a red tag on
them okay. So these are also the
ones that are gonna be seen in the
documentary. The blue-labeled
cameras are the ones shooting the
documentary okay. I dont want to
see any cameras at all in the film
and I only want to see red cameras
in the documentary. But both
cameras are going to be in the play
okay?
Yes got it thank you.
CHARLES
Thank you.
A producer walks by and Charles grabs his arm to get his
attention. They walk next to each other through the sea of
actors.
CHARLES (CONTD)
Hey, hey, did that girl from The
Sun stay? Is she still here?
PRODUCER
Yeah shes back in the greenroom,
why are you gonna talk to her?
CHARLES
Yeah I mean Ill at least give her
a quote or something.
PRODUCER
Okay but remember were doing a runthrough in 10.
CHARLES
Yeah, yeah, no, I got it.
CUT TO:
93.
INT. GREENROOM - 5 MINUTES LATER

Maya Camue (40s), a local reporter, sits in the back of the
room, taking notes.
Charles walks in drinking a water bottle. It looks like hes
just finished a workout.
Maya gets up and goes to shake Charless hand.
CHARLES
Maya right?
MAYA
Yes, yes.
They shake hands.
CHARLES
Im Charles.
MAYA
(playfully)
Yeah I know, I came here to
interview you.
CHARLES
Thats right I just wasnt sure if
I should say my name or not and
then you introduced yourself so I
just felt obligated.
MAYA
Right.
Charles doesnt say anything and she doesnt know what to
respond so they hang in awkward silence for a few seconds.
CHARLES
Right, so... Interview?
MAYA
Yes. The interview. Well dont
worry it wont be a full -CHARLES
So lets go to -- Wait actually hang
on.
Charles pulls out his phone to check the time.
94.
CHARLES (CONTD)
Yeah sorry, we cant do this now
but actually if you want you can
see a little bit of the show. Were
about to go through it.
MAYA
Actually can you just comment on
the new announcement. I really just
need a quick quote.
CHARLES
Yeah. Sure, no problem. What
announcement?
MAYA
Ians announcement. It was today.
CHARLES
What are you talking about?
MAYA
Oh I - I just figured since youre
a part of the program...
CHARLES
Wait, What are you talking about?
Hang on.
Charles pulls out his phone and looks through a news feed.
Theres a story about Ian. He clicks the video and turns up
the volume to listen.
On screen: Ian is at a podium
IAN
I think Ive spent enough time
behind the scenes. Its time for me
to finally do something for myself.
To be authentic to who I really am.
An with that I resign my post of
resident genius mentor at Lake
Posser and officially announce that
I will be now be representing the
school as a genius as a part of
Lake Possers second wave of
genius.
Ian walks away form the microphone.
In real life:
Charles is in shock. He heads for the door. The camera
follows him into --
95.
INT. HALLWAY - THAT MOMENT.

Charles paces through, Maya comes after him.
MAYA
Anything on the record, Charles?
CHARLES
(trying to play it cool)
No, no, Just need to go clear
things up. This really isnt
anything.
MAYA
(persisting)
I really cant leave until I have
something.
Charles stops and turns to Maya.
CHARLES
(frustrated)
How about this for a headline.
Frustrated artist accidentally
says something that looks bad out
of context.
MAYA
Why would I be looking for a
headline?
CHARLES
(angry)
Okay now you can leave me alone.
Charles paces up to an elevator off of the hallway. He pushes
the up button and waits for it to arrive. As he waits he
paces impatiently and looks at the floor.
After about 30 seconds the elevator doors open. Inside are
two actors dressed as Charles.
We continue with Charles into the elevator -INT. ELEVATOR - THAT MOMENT.
Charles presses the button for the top floor. The elevators
moves up.
PAGE 46
Um. Youre Charles right. Like the
Charles.
96.
CHARLES
(annoyed)
Yes I am.
PAGE 90
(star struck)
Wow. This is actu -CHARLES
(angry)
Im sorry I really cant talk right
now. I would be happy to later
through. So please.
PAGE 90
(getting it)
Oh sure... I get it.
Everyone gets quiet and waits as the elevator continues
upward.
PAGE 46
(blurting it out)
Are you angry right now? Because on
my page youre really angry so I
feel like this is just too big of
an opportunity to miss out on.
The doors open and Charles walks out. We follow him into
INT. HALLWAY - THAT MOMENT
Charles storms out and looks around, confused. He takes a
right but then realizes that hes going in the wrong
direction and turns around.
As he walks past every door, he looks at the name tag on it.
Once he gets to Helen's door he barges in and we follow him
into -INT. HELENS OFFICE - LATER
Charles storms in. Helens sitting down.
CHARLES
(yelling angrily)
Ian?
HELEN
(trying to calm him down)
Charles, hey, hey, hey, Charles sit
down Ill explain. Sit down --
97.
CHARLES
(angry/sassy)
Really? Ian? You wouldnt be able
to see how that might be a conflict
of some sort?
HELEN
(trying to reason with
him)
It was a big decision, a lot of
factors had to be considered and he
was the best candidate.
CHARLES
(yelling)
What the fuck do you mean best
candidate? Hes a jealous piece of
shit.
HELEN
Hey wow Charles we dont talk like
this alright!
CHARLES
He is! Hes not a real genius. He
wants to be thats for sure he
cant handle what I have to do...
HELEN
(holding it in)
Charles sit down..
CHARLES
... All he does all day is boss me
around as if I dont deserve to be
where I am-HELEN
(furious)
...Charles SIT DOWN! We know about
your book!
CHARLES
Know.. Know what?
HELEN
We know. You dont think that the
moment you made headlines that
other poor author didnt come right
out and try to tell everyone that
you stole your entire book from
him.
98.
Charles sits down and shuts up.

HELEN (CONTD)
How could you think you could get
away with that Charles? And the
title? What was that some type of
personal fuck you? We paid for that
Charles and you know what, its
fine because now we get to put a
real genius in the chair and well
have some actually credibility to
do it.
CHARLES
(in shock)
Why didnt you say anything to me?
How did I not hear about this
somewhere?
HELEN
(sad about it)
You live in a bubble Charles. Dont
you know that. Youre not in a real
world. And... We just couldnt tell
you. At first we thought he just
stole it from you and then by the
time the trial was underway it was
too late and we figured if we said
anything you would spiral.
Charles takes a moment of silence.
CHARLES
(ashamed)
Am I still in the program?
HELEN
Yes, Charles youre still in the
program.
CHARLES
(ashamed)
Do you still love me?
HELEN
I cant say. I dont know anymore.
Charles looks out of a window on the wall next to him.
CUT TO:
99.

Charles is in his kitchen, on the phone with his Mother.
CHARLES
I think Im going to come home for
a bit. -- I miss you guys. -- I
need to be away from things, just
for a bit, while I work on my next
project. -- By the end of the week
I think. -- Yes. -- Yes. I love you
too. -- Okay. Bye. -- Yes I know
you love me. Bye.
He hangs up.
Later: Charles sits at the dinner table with Emily.
CHARLES (CONTD)
Im leaving for a bit. With
everything thats happening, I just
think I need to be home.
EMILY
What?
CHARLES
I need to get some perspective on
things and -EMILY
(insulted)
What do you mean home? This isnt
your home?
Later: Charles stands up at the stove looking away from
Emily. Shes still on the chair at the table.
EMILY (CONTD)
(crying)
I dont know what else I can do.
Ive loved you, Ive been there for
you Ive cooked for you, god damn
it Ive fucked you.
Later: Charles and Emily face each other at the table,
theyre now yelling at each other.
CHARLES
(yelling)
You just want us to be what you
want us to be! Stop caring so
fucking much with what we look like
from the outside!
100.
EMILY
No. No. No. Thats not the real
reason and you know it! Youre
fucking lying, like you always do.
You know what, thats why you never
told me anything, because youre
scared that if I learned how you
really are Id hate you as much as
you hate yourself.
Later: Charles sits at the table, Emily is leaning on the
fridge. Its dark out now.
CHARLES
(quiet)
I do feel bad about this. I do.
Emily shakes her head.
Later: Charles walks through the kitchen with a suitcase in
his hands.
CUT TO:
INT. TRAIN - LATER
Charles sits on a train. He tales out his laptop and opens it
on Chat Roulette. Hes gets connected with a stranger.
CHARLES
(typing)
Hi
ANON
(on screen)
Asl?
CHARLES
(typing)
17m usa. You?
ANON
(on screen)
33m uk.
CHARLES
(typing)
Tell me something about yourself.
ANON
(on screen)
Im married.
101.
CHARLES
(typing)
Thats cool.
The user disconnects. Charles gets connected to someone else.
CHARLES (CONTD)
(typing)
Asl?
ANON
(on screen)
18f Canada.
Charles types: I know youre not actually a girl but then
erases it.
CHARLES
(typing)
Me too!
Later: Charles sleeps against the window. Its dark and rainy
outside.
CUT TO:
EXT. TRAIN STATION - LATER
Charles sits on a bench outside. Its damp and he looks cold.
His phone rings and its Helen.
CHARLES
Hello?
HELEN (V.O.)
Charles its Helen. Are you okay?
Where are you?
CHARLES
Im uh at a trainstation. Im fine.
Im going back to live with my mom.
HELEN
Charles, I know, I overreacted. I
shouldnt have said... what I said.
You have to know that I didnt mean
that, Charles.
CHARLES
No Im- Its not... Its not
because of that.
(MORE)
102.
CHARLES (CONT'D)
I need to feel real again. I feel
like Ive lost that.
CUT TO:
INT. CHARLESS CHILDHOOD HOME - LATER
Charles walk in the house with his bags and everything. He
drops them as his mother walk up to him. They hug, its still
dark.
CHARLES
I miss you.
CHARLESS MOTHER
Me too. Me too. Let me get you
bags.
She picks up his bags and carries them toward the kitchen. He
looks at the house as he walks behind her. We follow them
into -INT. KITCHEN - THAT MOMENT
The lights flick on and a dozen hidden people jump out and
yell Surprise. Charles doesnt say a single word and doesnt
change his facial expression.
Later.
He walks around the parts and smiles at a couple of people.
CUT TO:
INT. LIVING ROOM - LATER
The party is still going on. Charles wanders into the living
room. On the TV his mom is playing old family videos of
Charles.
On the tv:
Its Halloween. Charles is around 7 and dressed up like a
scientist. Crazy hair, glasses, lab coat: the works.
MOTHER IN THE VIDEO
Tell us what you are Charlie.
CHARLES IN VIDEO
Im a nucelar (he says it like
that) physicist.
(MORE)
103.
CHARLES IN VIDEO (CONT'D)
And Im gonna do an experament that
proves that the strong nucelar
force is... (ad-libs about quantum
physics)
In the living room:

Charless mother sits on the couch and amiably talks with the
guests:
MOTHER
See! I always knew he was going to
be a genius. It was so cute, he
spent so long memorizing all of
that stuff! I dont even think he
knew what it meant but he still did
it! Charles will always be my
little scientist, isnt that right?
His mothers voice blends into the background and Charles and
has a moment of clarity as he stares at the TV.
CUT TO:
INT. CHARLESS CHILDHOOD BEDROOM - LATER
We can still hear the party downstairs. The walls of his
bedroom are literally covered with posters and articles about
movies and people he admires; there are participation
trophies all over the shelves; and there are pictures of
Charles smiling along side various people scattered across
his room.
Charles circles the room and looks at everything. He then
moves over to his bed and gets under the covers, fully
clothed.
CUT TO:
INT. CHARLESS CHILDHOOD BEDROOM - THE NEXT DAY
Charles lies in his bed. Its morning. His mother calls him
from downstairs.
CHARLESS MOTHER (V.O.)
Charles? When do you want to leave?
He thinks for a second.
CHARLES
What time does it start at?
104.

Well how early do you want to get
there?
He thinks again.
CHARLES
How long does it take to get there?
15 minutes.
No answer.
Charles?
He closes the door.
CUT TO:
INT. CHARLESS CHILDHOOD HOME - LATER
Charles lies down on his bed in his room, reading a
wikipeadia entry titled Child Geniuses. On the screen we
see him ctrl-f Charles Dunning-Kruger. Nothing comes up. He
erases it and ctrl-fs Ian Blain. Nothing comes up.
CUT TO:
INT. LIVING ROOM - LATER
Charles watches TV with his laptop on his lap and his phone
in his hand. His mother is in the adjacent kitchen washing
dishes. Charles is completely oblivious to what his mother
says.
(MUFFLED)
...Do you even need to go to
university or can you just stay
here? HAHA! Just kidding! But no
seriously youve already shown that
you can create a masterpiece what
else can they teach you right?
Right?!? I mean right? There isnt
anything they can teach you really.
Im just kidding, Im just saying
that because I want you here all
for myself haha! I mean look...
CUT TO:
105.
INT. CHARLESS BEADROOM - LATER

Its around 10 oclock and Charles is lying in his bed
waiting to fall asleep. As usual, his phone is in his hand.
His mother is hovering inches away from his face still
talking...
CHARLESS MOTHER
(MUFFLED)
... Do you remember when I used to
read you stories every night before
going to bed? Do you remember that?
We used to do that in the tub and
when you didnt want me to stop Id
keep going by your bed. Do you
think thats what made you such a
good writer? I knew...
CUT TO:
INT. HELENS OFFICE - DAYS LATER
Helen works silently at her desk. Once again, its dark and
rainy outside. The door opens at the front of her office and
Charles walks enters.
As he walks toward her Helen starts to smile with hints of
sadness in it. Charles smiles as well trying to make things
feels less serious than they are. Hes wearing his old
glasses. He gets up to the desk and stands in front of it
before sitting down.
Helen takes a beat as she stares at him.
HELEN
You can sit down.
CHARLES
(slightly embarrassed)
Oh yeah. Right.
He pulls out the chair and sits down in silence. He has
trouble getting comfortable.
HELEN
So... You started wearing glasses
again.
CHARLES
Oh yeah. I just wanted to Change
things up.
(jokingly)
See things clearly.
106.
Helen smirks.
HELEN
Right.
CHARLES
(sincere)
How are things with Ian?
HELEN
Theyre good. Ians a bit of a diva
but things are definitely good...
CHARLES
Thats nice to hear.
They take a beat.
CHARLES (CONTD)
And Emily? Hows she been without
me?
HELEN
Couldnt tell you. After you dumped
her she moved to New York. Shes in
a play actually. Were very proud
of her. Did you ever find out about
her an Ian?
CHARLES
No. What?
HELEN
They had a thing.
CHARLES
While me and her?
HELEN
Yep.
CHARLES
(shocked)
Really?
(fine about it)
I guess I cant really be mad at
her about that.
HELEN
Yeah. She left him right after you
left her... And now we have a play
about it. So thanks.
107.
CHARLES
An shes an actress?
HELEN
Mmhmm. Not to pull the curtain too
far back but we even found her
through a casting call and
everything. What did you think she
was?
CHARLES
I didnt really ever think about
it. Hun. An actress... I knew. I
knew she had something, you know.
Helen smiles and nods.
HELEN
Charles... Why are you here?
Charles thinks for a bit.
CHARLES
(joking)
Because I hate my mom I guess.
They both chuckle.
CHARLES (CONTD)
(serious)
No. I dont know why Im here.
Maybe to tell you that Im quitting
the program. Theres that.
HELEN
I figured you were done with us.
CHARLES
Yeah... I dont think I have it in
me to keep things up like this. I
guess Im kinda mad at you
actually.
HELEN
(playfully amused)
Hows that?
CHARLES
You know what the program did to
me. Why did you let that happen?
HELEN
You wanted it. I knew right away
that you were ready for anything.
108.
CHARLES
(playfully)
I was an idiot. You should not have
let me do that to myself.
They take a beat.
CHARLES (CONTD)
You know... There was a while there
where I actually believed all the
lies I was telling myself.
HELEN
Those glasses look good on you.
CHARLES
Well they feel like shit.
Charles lets out a huge sigh and rubs his eyes. Hes starting
to cry.
CHARLES (CONTD)
How are you going to reme?
HELEN
Think about what?
CHARLES
The last couple of months. When I
was a genius.
HELEN
Charles youre still a genius.
He doesnt answer, just bobs his head and stares off to the
side.
CHARLES
I think Ill write a book. About
something I dont know anything
about...
HELEN
That could be good for you.
CHARLES
Ill change my name though.
Obviously. Or Ill just write a
book about the program.
HELEN
Try the first thing.
109.
Charless eyes are full of water at this point. There arent

any tears but you can tell theyre coming. They just stare at
each other.
HELEN (CONTD)
(smiling)
Cut it out Charles.
CHARLES
What?
HELEN
(smiling)
Stop staring at me like that?
CHARLES
(smiling)
What?
Beat.
CHARLES (CONTD)
I really dont want to stop talking
right now.
Helen stares back at him. Just before she answers we -Cut to black. Credits roll.
The end.

A Prince

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A Prince

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A PRINCE

PROFESSOR GLADNEY (V.O.)

INT. SCIENCE CLASS - LATER

Charles looks at his feet in embarrassment.

Charles is trying to eat while one of the students

It is 8:00 PM. The entire school has gathered in the

In the crowd, A STUDENT from the row behind Charles taps on

INT. CHARLESS DORM - THE NEXT MORNING

INT. DORM COMMON ROOM - HOURS LATER

CHARLESS MOTHER (O.S.)

They shake hands.

EXT. MOVIE THEATER EXIT - LATER

Charles leaves and we -CUT TO:

They look at each other with hope in their eyes.

INT. APARTMENT HALLWAY - NIGHT

Charles trails off as he locks eyes with Dr. Alderson. She

Charles closes his eyes and tries momentarily then gives up

INT. NEO-BUDDHIST DOJO

INT. APARTMENT HALLWAY - LATER

On it is a wikipedia article about the novel hes holding. He

EXT. RESTAURANT TERRACE - DAY

He walks in from the back.

Charles stops for a second then starts kissing her more

Everyone silently starts eating.

The door opens its Ian.

INT. GENIUS CON AUDITORIUM - DAY

exhibits, books, science experiments,

On the front cover the title reads: 4 Minutes of Thoughts

Charles keeps walking into the crowd. After a few seconds he

Charles looks down, embarrassed.

They sit on Charless bed.

INT. PLANE - NEXT DAY

He folds up his paper and the audience applauds.

INT. BACK STAGE - CONTINUOUS

Charles just got put in his place. He cant look at Helen.

Miles walks out. Charles isnt affected by what just

INT. GREENROOM - 5 MINUTES LATER

INT. HALLWAY - THAT MOMENT.

Charles sits down and shuts up.

INT. CHARLESS APARTMENT - LATER

In the living room:

CHARLESS MOTHER (V.O.)

INT. CHARLESS BEADROOM - LATER

Charless eyes are full of water at this point. There arent

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