Video de: A Warm Body Script Lyrics Allison Silverman » Lyrics Fox.MusicaDe.Win

Allison Silverman - A Warm Body Script Lyrics

Text comes on screen reading “A Netflix Original Series.”

CUT TO: INT. MAXINE’S HOUSE

Nadia wakes up.

NADIA: Ai, ai, ai. Oh, God. Okay, I can do this.

She sees Lizzy and a number of other party goers sleeping on a mattress on the floor.

NADIA: Oh, a fuck pile.

Nadia tries to remove something from her hair, but fails. "Dreams-Come-True-Girl" by Cass McCombs and Karen Black begins playing. She gets up. The title card comes up on screen. Cut to Nadia entering the bathroom. A man is peeing.

NADIA: A guy peeing.

MAN: Oh, what the hell?

NADIA: Listen, has anything weird happened to you in this bathroom? Like-

MAN: This. This is a little weird.

NADIA: Touche.

He turns to wash his hands.
NADIA: Fucking clues abound.

Cut to Nadia attempting to make it down the stairs.

NADIA: All right, fuck this.

Cut to Nadia on the fire escape.

NADIA: Ain't no problem. No problem. Here we go. Downsy-wounsy.

Cut to Nadia outside the apartment building.

NADIA: Old buildings are never good. Haunted castle.

She looks at a Hebrew inscription next to the front door.

NADIA: Okay. It's, it's not the ketamine. It's the fucking yeshiva.

An old woman exits the building.

NADIA: Oh, hello. Lovely cart. Uh, do you happen to know about the history of this building? (The woman ignores her) The Jewish people? Nothing? Fucking fire escape.

Nadia walks away. Cut to her re-entering Maxine’s apartment from the fire escape. Lizzy and Maxine are heard talking in the main room.

MAXINE: Everyone. Everyone has opened up their marriage. I wish I had a marriage to open up.
LIZZY: You won't.

MAXINE: You're so mean.

LIZZY: Get rid of Opening Up.

MAXINE: No. Can I get it on Kindle? I don't want to do a podcast.

Cut to Nadia entering the room.

LIZZY: I just think that you listen to podcasts the way I do. There's so many right now and they're really-

NADIA: Hey, hey, hey.

LIZZY: Hi.

MAXINE: Hi.

NADIA: All right, so, uh, yes, this building is a yeshiva, but have you ever you ever noticed that there is an inscription over the door that is incredibly, highly creepy?

LIZZY: Mmm.

NADIA: What does it mean?

LIZZY: Don't you know? You're Jewishy.
Nadia walks over to the couch the others are seated on.

NADIA: No, not by choice. Hey, come on. Religion is dumb as fuck, all right? It's racist. It's sexist. There's no money in it anymore. Who needs it? Maxine, come on. Help me out. What does this say?

Nadia holds her phone up to Maxine.

MAXINE: Um, I can't see what you're showing me because you have a code review at 11:30 and John wants his blanket back.

We see a shot of Nadia’s phone screen. Two notifications obscure the picture of the Hebrew inscription. One is a reminder reading, “11:30 Meeting / Code Review” and the other is a text from John reading, “John / I need my blanket back. :）”

NADIA: This fucking guy. You know, he put his coat over me while I was sleeping, and I'm like, "Don't do shit like that, man." You know, it's been six months. You don't do that. I could have bed bugs.

Nadia sits in a nearby chair.

MAXINE: I forgot that you're turned off by chivalry, but it's sweet.

NADIA: Yeah, well, so is cyanide.

MAXINE: Is cyanide sweet, though? Is that why Jimmy Jones used it in the Kool-Aid, so the kids can't taste it?

LIZZY: Oh my God, Jonestown’s bonkers. Have you seen those pictures?

Text pops up on screen of Nadia’s reply to John. “I’m keeping the coat. Price of chivalry.” She accompanies it with a rude drawing of stick figures.

MAXINE: They're amazing.

LIZZY: Maybe that should be our next installation.

MAXINE: Yes!

LIZZY: Right? Something Jonestown.

MAXINE: Maybe I should start a religion.

Nadia gets up and picks up a newspaper from the table.

LIZZY: Okay.

MAXINE: Then I could really make an impact.

Nadia brings the newspaper to Maxine.

NADIA: Okay, big ideas. Look at this. Dolores Huerta. Eighty-seven years old. I mean, do you even understand how much time you have left, Maxine?

MAXINE: Yeah.

NADIA: I mean, you're gonna do fucking huge things. Huge.

MAXINE: Thanks. Oh, I didn't know you cared about stuff like this.

NADIA: Oh. Well, I don't really. Look. What does this say?

Nadia holds her phone out in front of the paper.

MAXINE: I don't know. The congregation that used to own this building. Yep, that's them. And they're still around. I think on 14th Street.

NADIA: Fuck yes.

MAXINE: Dolores Huerta.

CUT TO EXT. SYNAGOGUE

Cut to an exterior shot of the synagogue. Text on the building reads, “TIFERETH ISRAEL / TOWN AND VILLAGE SYNAGOGUE.” Cut to Nadia entering an office. A woman is ironing a shirt.

NADIA: Hey! Shabbat shalom.

SHIFRA: It's not Shabbat.

NADIA: Fine by me. Hi. I'm Nadia. Sorry I'm a little out of breath. I was just grabbing you a mango. Do you like mango? It was on the way, sort of, so…

Nadia pulls out a mango and gives it to Shifra.

NADIA: Sure, take it. What's your name?

SHIFRA: Shifra.

NADIA: Hi, Shifra. I was wondering if I could ask you about one of these synagogue's properties. It's the old yeshiva on 10th and A. It's a bunch of lofts now.

SHIFRA: Oh, before my time. The rabbi might know, but-

NADIA: Oh, thank you so much.

Nadia attempts to walk past Shifra into the Rabbi’s office. Shifra blocks her.

SHIFRA: Oh, no, no, no. The rabbi is getting ready to go to Great Neck. He's giving a speech. It's kind of a big deal. So I'm afraid he doesn't have time for you.

NADIA: That's fine. I don't mind Great Neck. I love Great Neck.

As they talk, Shifra slowly shuffles forward, forcing Nadia to shuffle backwards.

SHIFRA: Well, it's a problem for him because he doesn't have time for you, okay? So why don't you come back another day? Make an appointment.

NADIA: See, here's the thing. Uh, I think I might only have the day that the rabbi goes to Great Neck.

SHIFRA: I'm not just gonna let you go in and see the rabbi. Not just some single woman off the street.

NADIA: What, you you think I'm gonna try to sleep with the rabbi?

SHIFRA: I don't know what you're capable of trying.

NADIA: For the record, I happen to be a heavily married woman.

SHIFRA: Wonderful.

NADIA: It is.

SHIFRA: Why don't you bring your husband by?

NADIA: It is.

SHIFRA: And he can speak to the rabbi.

NADIA: Okay.

SHIFRA: Okay?

NADIA: Okay.

SHIFRA: He can speak to the rabbi.

NADIA: Not a problem.

SHIFRA: Well, I'm ordering a car.

NADIA: Okay.

SHIFRA: Hi. I'd like to order a car. And yes, to Long Island, 1:45. Thank you.

Nadia looks at her watch.

CUT TO: EXT. SIDEWALK

Cut to John walking down a sidewalk. His phone vibrates and he answers it.

JOHN: Hey.

NADIA: Hey, poppycock. Thanks for picking up.

JOHN: It was nice seeing you last night.

NADIA: Yeah, well, you know, hocus pocus.

JOHN: Thanks to you, I got a chance to wear my trench coat today. I look like Columbo.

Cut back to the synagogue. Nadia talks on the phone as Shifra watches from a distance.

NADIA: Oh. No one's mad at Peter Falk, right?

JOHN: Sure.

NADIA: Uh I... I need your help. Uh I'll explain when you get here. Well, you know, I have a real estate mystery slash emergency.

JOHN: I can't. I'm actually walking into a client meeting like in ten minutes.

NADIA: For what? Uh, to sell some New York landmark to a Russian billionaire who needs a dorm room for a parrot?

JOHN: Okay, that's not entirely fair.

NADIA: Ah, so you admit it's a little fair. Hey, listen, if you get over here, I'll give you a blowjob.

JOHN: If I come down there, you'll give me a blowjob?

NADIA: I would suck your cock anyway, but if you come down here, you know, it'll give it a transactional nature that I think would be a fun twist.

JOHN: Okay. Which precinct?

NADIA: Uh, I'm not at a precinct, all right? I'm actually at a synagogue on, uh, 14th street. Bishulim Synagogue.

JOHN: This better not be a hate crime.

Cut back to exterior shot of the synagogue. Nadia stands outside writing in a notepad. She looks up and walks over to John, who is getting out of a taxi.

JOHN: Thank you.

NADIA: Shalom, shalom! Let's move it.

Nadia takes John’s arm and walks with him into the building.

JOHN: This is a place of worship. This means something to me. I was raised Catholic.

NADIA: Right, but you fuck like a Jew. That is not a bad thing.

JOHN: Really?

NADIA: All right, I have this list of questions for the rabbi, okay?

Cut back inside the building. Shifra sits at her desk eating the mango. Nadia and John enter.

NADIA: Uh, Shifra. Hey. Look who it is. It's my husband, John.

SHIFRA: I don't see a ring.

NADIA: Look. Between us, I'm 36, no kids, lots of fibroids. Plus, I've got this thing just stuck in my hair. I brought you a man. Can you just help me out a little?

JOHN: Just so you know, I'm not Jewish, but I am circumcised.

NADIA: Well, 50-50.

SHIFRA: I have fibroids, too.

Shifra gets up from her desk. Cut to the rabbi sitting on a computer at his desk. There’s a knock on the door and he turns. John stands in the doorway.

RABBI: Come in, come in. Sit down. Who are you?

John sits down in front of the desk.

JOHN: John Reyes. Lutz and Reyes Real Estate. (They shake hands across the desk) I just have a couple of questions about the old yeshiva on Tenth and A.

John looks at a Note written by Nadia.

RABBI: Oh. I went to school there. My first memory's hiding under a desk. It was supposed to protect us from the atomic bomb blast. Can you believe it? What's on that paper?

JOHN: (Reading from the note) Um, are there any history of hauntings in the building? Supernatural events, the dead coming back to life, things of that nature?

RABBI: You said you were in real estate?

Cut back to the front desk. Shifra is occupied with something on her desk. Nadia sits across from her.

NADIA: I, uh I've been watching you, Shifra. I got to tell you, I don't think your heart is in this place.

SHIFRA: Excuse me?

NADIA: You heard me. I mean, do you even know the prayers?

SHIFRA: Yes, I know the prayers.

NADIA: All right. Uh, what's the prayer for drinking wine, huh?

Nadia picks up a bottle of wine from a nearby desk.

SHIFRA: Borei pri hagafen.

NADIA: Okay, too easy. Uh, what about for protecting someone in danger? Do you know that one?

SHIFRA: I know the prayers.

NADIA: Like, if a person could die. How does that go?

SHIFRA: Come sit.

Nadia gets up. Cut back to John and the rabbi.

JOHN: My ex found out about her and she threw me out. My daughter thinks I'm an asshole. I really thought I wanted to be with Nadia, who turned around and said that was too much pressure - which hurt.

RABBI: Listen. Mysticism teaches that there is wisdom inaccessible to the intellect. You can only reach it through surrender, being nothing. Turn away from the physical world and turn toward the spiritual one. Maybe Nadia is just a way to stay distracted, avoid the abyss, when embracing it is the only way forward.

JOHN: Right. And that building she's asking about isn't really haunted?

RABBI: Buildings aren't haunted. People are.

Cut back to Nadia and Shifra. Shifra recites a prayer in Hebrew.

NADIA: What does that mean?

SHIFRA: Angels are all around us. (Nadia takes a swig from the wine bottle) You can't drink that.

NADIA: Ah. Correct. It's undrinkable. Listen, uh, thank you for the prayer. I appreciate it. I mean, it won't do anything, but, uh, you know, thanks.

RABBI: Shifra.

Shifra gets up. John and the rabbi exit his office. Shifra approaches the rabbi. John approaches Nadia.

JOHN: Rabbi, thank you very much. We're done here. Let's go.

Nadia takes a swig from the wine bottle. Cut to outside. John keeps walking away. Nadia pursues him.

NADIA: John, John, John, come on. Just stop. You know that I'll catch up with you, John. John!

John stops and turns to her.

JOHN: What was that about? You wanna tell me? What were those questions? You having a mental issue? Did you kill someone?

NADIA: Oh my God. Seriously? Come on. No, I did not kill somebody. If I killed somebody, I would play it cool, move to Mexico, start a band.

JOHN: Then what is the problem?

NADIA: Will you just tell me what the rabbi said?

JOHN: No, no, no. It's been six months. I kept my distance. I gave you your space. Then I get a text inviting me to your birthday party-

NADIA: Maxine invited you.

JOHN: -and a transactional blowjob with a side of rabbi. What is going on with you?

NADIA: Do you want to know?

JOHN: Yes.

NADIA: I can't tell you, okay? There's too many moving parts. You know what I mean? It's a lot of ins and outs, so-

JOHN: I blew up my life, and that's not on you. But if you could acknowledge that it happened, that would be great.

NADIA: It happened, John. I know it happened.

JOHN: Thank you.

CUT TO: EXT. SIDEWALK AT NIGHT

Cut to a shot of the exterior of Nadia’s apartment.

JOHN: I don't want to rip your hair out.

Cut to inside the apartment. John and Nadia are laying in bed. John is attempting to remove the object from Nadia’s hair.

NADIA: It's like a little-

John removes the object.

JOHN: Ooh. Too-doo! Careful. Look at that.

NADIA: Ah, mamma mia. Now can you turn it into a bistro chair?

JOHN: Of course. I was a waiter in college.

NADIA: Wow.

JOHN: And very high.

NADIA: Good for you. That's good. It's 6:30. It's late. I've never lasted this long.

JOHN: Wait, hold on. Let me back up my truck of double entendres.

NADIA: Before you do that, what did the rabbi say?

JOHN: Nothing. That they sold the building 'cause nobody wanted to be there. He talked about mysticism and how there's wisdom through surrender. Why does this interest you so much? What is it about that building? Are you okay?

NADIA: Eh. Come on. I'm fine.

JOHN: I miss you.

NADIA: Right. People miss people. I miss you, too.

JOHN: Specifically, how do you miss me?

NADIA: Mmm... You know, I don't have specifics.

She kisses him and tries to get up. He stops her.

JOHN: Wait, wait, wait.

NADIA: What?

JOHN: Look, I know it's not gonna be as exciting as when we were, like, sneaking around, but I think we have something really, really good and it's worth pursuing. And it might be the best either one of us can do.

NADIA: Hmm. Yeah. Well, you know, thank you for, uh, this, which is fucking adorable. Thank you for that depressingly pragmatic sales pitch, but I actually have, uh, lots of time. Uh, too much, in fact.

Nadia gets up.

JOHN: Where are you going? Are you leaving?

NADIA: Yeah, I gotta go.

JOHN: This is your apartment.

NADIA: Wow, you really are in real estate.

She walks away. He gets up.

JOHN: We are not getting back together.

NADIA: No. No, John. We are not getting back together. I mean, especially not when your best argument is a warm body.

JOHN: Why is it so offensive to you to consider me as a real option?

NADIA: You know what? Sure. All right? Why not? I want to be with you, John. For the rest of my life.

JOHN: No, no. Oh, no. You're such a fucking asshole.

John gathers his things.

NADIA: No, no, no. If it makes you happy.

JOHN: Fuck you.

NADIA: We're together forever. I'm in.

JOHN: You have no fucking respect for me.

NADIA: I'm all the way in, John.

JOHN: Fucking piece of shit. First of all, this is my coat. (He grabs his coat from her) Thank you very much. You know what else the rabbi said? Okay? He goes, "You're using her as a distraction from the abyss," but he's wrong, because you are the abyss.

NADIA: I promise you just feel that way right now.

JOHN: No, I promise you I feel like that all the fucking time.

He walks away and exits the apartment.

NADIA: I don't fucking need this shit.

CUT TO: EXT. THE PARK

“Caldera, Caldera!” by Gemma Ray begins playing. Cut to Nadia walking around the park. She is carrying a flask of alcohol.

NADIA: Oatmeal. Oatmeal! Oatmeal.

Nadia bumps into some men walking past her.

NADIA: Ow!

MAN: Whoa! What the fuck is this?

NADIA: Pardon me!

MAN: Yeah, go home, lady.

NADIA: You go home, lady. You go home. Unibrow.

The men laugh. Nadia looks angry and turns away, continuing to walk. She passes by a homeless man.

HORSE: What's on your head? I said, "What's on your head?" Is that a wig or a hat?

Nadia approaches him.

NADIA: Where's your shoes, man?

HORSE: Mmm, someone stole them last night at the shelter, so I'm not going back there, not ever. I don't sleep among thieves.

NADIA: And someone stole your shoes? Hey, what the fuck is going on in America, huh? What's your name. Do I know you?

Nadia takes another swig from her bottle.

HORSE: No, you can call me Horse if you want.

NADIA: All right, Horse. I'm Nadia. You want some?

She holds out her bottle. He accepts and takes a drink from it.

HORSE: Can I tell you something?

NADIA: Yeah. Yeah, yeah. Yeah, yeah. You know. Mmm. I wouldn't tell me anything, you know, if I was you, because I'm just not the kind of person that you tell secrets to. Uh, I'm the abyss.

The both laugh.

HORSE: I want to cut your hair.

NADIA: Yes.

HORSE: Yeah?

NADIA: Yeah.

HORSE: Come here.

NADIA: Okay. Okay.

They begin walking away.

HORSE: Yeah?

NADIA: Yeah.

Cut to the two of them at a table. Horse lays out his hair cutting equipment. He begins picking some of them out.

NADIA: Okay. You're gonna kill me.

HORSE: I'm not.

NADIA: You can change your mind.

HORSE: Okay.

He snips some scissors. Cut to some time later, after he is done cutting her hair. Nadia drinks from her bottle. He picks up a clump of her hair.

HORSE: Oh. You see this? This is the old you. (He hands her some of the hair) This is who you were day, after day, after day... But, it's gone now. 'Cause this, this is the new you. Now you can be whoever you want to be.

He plays with some of her hair.

NADIA: I'll never understand why you're being nice to me.

He hands her a small mirror.

HORSE: Look.

NADIA: I look like my mom.

Horse laughs.

HORSE: Is that a good thing?

Cut to the two of them cuddling under a blanket.

NADIA: This blanket sucks.

HORSE: Yeah.

She reads some words on the blanket. They say, “DOWNTOWN MANHATTAN RESCUE MISSION.”

NADIA: Downtown. Eat a dick. Okay, baby. It's fucking cold.

She kisses his forehead. They cover up with the blanket. A train is hear passing by. The camera zooms out slowly. Knocking can be heard.

CUT TO: INT. MAXINE’S HOUSE

Cut to Nadia in Maxine’s bathroom. “Gotta Get Up” by Harry Nilsson is playing.

NADIA: I froze to death. Jesus fucking Christ, that's dark.

Nadia examines her hair, realizing that it is back to its original length.

NADIA: Horse.

Cut to Nadia walking down a hallway and into the kitchen.

MAXINE: Sweet birthday baby!

Nadia picks up her coat.

NADIA: Ah, I got to go, Max. The party's been grand, but I got to go check on a guy.

MAXINE: Nads, what the fuck?

Nadia puts on her coat.

NADIA: I'm sorry. It's important.

MAXINE: What's important?

NADIA: Well, it's not gonna be important to you, you know.

MAXINE: I have a lot of interests and I find a lot of different things important.

NADIA: Look, I think a guy who gave me a haircut yesterday may have died tomorrow and I don't know how tomorrow deaths work when it's yesterday again. I mean, is he in yesterday or does he even exist? I just don't know how these deaths work for other people, okay? And this is fundamental stuff, Maxine, so I really need to know, okay?

MAXINE: Sounds important.

NADIA: Bye.

Nadia walks for the door, but spins around and walks the other direction.

NADIA: The fire escape.

MAXINE: What a cunt.

CUT TO: EXT. THE PARK

Nadia walks around the park.

NADIA: Horse!

Nadia’s phone vibrates. She answers it.

NADIA: Help.

JOHN: Hello. Nadia?

Cut to John at the party.

NADIA: Hey.

JOHN: Good to hear your voice. It's been a long time.

Cut back to Nadia. She continues walking.

NADIA: Yeah.

JOHN: Listen. Maxine invited me to your party. Are you here?

NADIA: Uh, no. No, I'm not. Uh, I'm trying to find this guy I met the other night.

JOHN: Oh. Wow, okay. Well, that's a... That's a good way to make me feel special.

NADIA: All right, listen, you sick fuck. It's not a sex thing. Actually, he's a homeless guy. Like a major... Basically owns Tompkins.

JOHN: “It's not a sex thing. He's homeless.” Well, at least your taste in men has improved.

NADIA: Uh, it's not cool to make fun of homeless people, John.

Nadia approaches the spot where Horse gave her the haircut. Cut back to John.

JOHN: I'm not making fun of homeless people. I'm at your party. You're not here. I want to see you.

Cut back to Nadia. She finds Horse’s things.

NADIA: Oh, shit. Oh! Found him. Or at least, uh, I found his stuff. But you know, that means that he's around. I think I finally figured out a little something about how this world works.

Cut back to John.

JOHN: Well, you should. You're 36 years old. Are you coming back here soon? 'Cause I would like to see you.

NADIA: Um, actually, I'm not coming back there. Uh, why don't you, um, go home with someone else, all right? Go home with someone you actually like.

JOHN: What does that mean?

NADIA: Look. Do you see that chick with the red shirt about to get into a fight with her boyfriend? Uh, take it as an opportunity, okay? Just get in there.

John watches as the fight plays out at the party.

JOHN: No, I'm not interested in that. Listen, get over here, okay?

NADIA: Johnny. Goodbye.

“Cop Killer” by John Maus begins playing. Nadia hangs up.

CUT TO: EXT. HOMELESS SHELTER

Cut to an establishing shot of the homeless shelter building. Cut to Nadia entering. She looks at the directory. Cut to her getting off of an elevator. She walks down a hallway, then enters the shelter. She sees Horse preparing one of the beds. She approaches him. He notices her.

HORSE: You need something?

NADIA: No. Do you need something?

HORSE: I'm okay.

He sits down on his bed and begins taking off his boots. Nadia goes for a nearby chair.

HORSE: Who are you?

NADIA: I'm just a person that is here guarding your shoes.

HORSE: Well, I don't know what kind of weird scene you're involved in, but if you're gonna sit there, don't touch me while I'm sleeping, cause I've got serious reflexes. Deadly.

NADIA: Okay, I'm not gonna touch you. Is it okay if I just, uh, sit here and play my crossword puzzles?

She holds up her phone.

HORSE: I don't care.

NADIA: Okay.

The lights go off. Horse gets under the blankets. The camera pans to another homeless person watching Horse and Nadia. Cut to Nadia sleeping later. The homeless person approaches Horse’s bed and reaches for his shoes. Nadia notices.

NADIA: Those aren't yours.

The homeless person pulls back with an apologetic look and walks away. Cut to an exterior shot of the building in the morning. “Death of a Rockstar” by The Echocentrics featuring Alex Maas plays. Cut back inside the building. The lights go on. Nadia and Horse wake up. They each put on their respective jackets. Horse looks at her.
.
HORSE: I want to cut your hair.

Horse walks away. Nadia receives a reminder on her phone. It reads, “MONDAY 11:30 | Mtg. - Code Review.”

CUT TO: INT. BUILDING

An elevator door opens. Nadia is inside. She tries to get off, but too many people enter, forcing her to remain on the elevator.

NADIA: All right, you win.

ELEVATOR VOICE: Please stand clear of the closing door. Going up.

Cut to a top-down shot of the elevator. Nadia and Alan stand in back with four other passengers in the front and middle.

NADIA: Elevator up, huh? Okay.

Cut to a shot of Alan and Nadia standing next to each other. Alan glances at her, then takes out a small ring box and begins rhythmically tapping it. Nadia looks at him and he stops, putting it in his pocket. The elevator jolts to a stop.

ELEVATOR VOICE: We are experiencing a temporary power outage.

An alarm sounds.

WOMAN: 911. Get your phone, call 911!

The door opens, and the elevator begins falling down the shaft.

WOMAN: No, no, no, no, no, no, no! Can't break us out. Quickly, lie down, everyone! Get down, get down, get down, get down!

The other four passengers lie on the floor of the elevator. Alan and Nadia remain standing up. Nadia looks at Alan.

NADIA: Hey, man. Didn't you get the news? We're about to die.

ALAN: It doesn't matter. I die all the time.

Nadia and Alan give each other strange looks. The elevator crashes. Cut to a black screen. “MindKilla” by Gang Gang Dance begins playing.

END CREDITS