The Armenian

By

Shyam Popat

BLACK AND WHITE PHOTO

ABRAHAM and SEBASTIAN, both 20s and Armenian, standing on a

FILM SET. In front of them, two chairs. Abraham’s hand on

Sebastian’s shoulder, the other on the chair infront of him,

’EXEC PRODUCER’ plastered on it in white. He smiles warmly.

Sebastian mimics Abraham’s hand on his own chair, ’EXEC

PRODUCER’. His other hand in his pocket.

CU. THEIR HANDS - B/W PHOTO

They both wear GOLD RINGS. A SINGLE OBSIDIAN STONE inlaid in

each. Abraham’s is jet black, Sebastian’s a silver-grey.

INT. BATHROOM - NURSING HOME - DAY

Abraham, 70s, takes off his slippers and steps lazily onto a

SET OF SCALES. He’s wearing his black stone ring. He yawns.

He looks down. The pointer jitters slightly. But it doesn’t

move - barely above ZERO.

He steps off, annoyed. He steps back on. It still doesn’t

work.

He bends down with a grunt of effort and picks them up,

looks at them, shakes them, puts them down. He stands on

them again.

Still nothing.

INT. BEDROOM - CONTINUOUS

The room is clean, but artificially so, like a hospital

ward. A one-pot STOVE and a SINK make a kitchen of a corner.

The shower turns on.

INT. BATHROOM - CONTINUOUS

Abraham takes his ring off, and puts next to the soap on the

wet sink. He steps into the shower as the ring slowly slides

around in the scummy moisture.

2.

INT. FUNERAL PARLOUR - DAY

JUDE, eighteen, a muted but determined young woman, plays

with Sebastian’s gray stone ring between her fingers. She

puts it on one finger, stops halfway, and does the same on

every finger along her right hand, then switches to the

left.

Over this, a BAPTIST PRIEST reads from a prepared eulogy

CU. JUDE’S FEET - LATER

A black lace pattern winds its way up Jude’s tights. Her

heels tap against the hardwood and step along until they

reach ADA, a grieving woman in her seventies - Jude’s

grandmother.

INT. FUNERAL PARLOUR - CONTINUOUS

Ada flips the pages of an ALBUM, a single black and white

photo of Sebastian lovingly placed on each page. She stops

at one: Young Sebastian in profile, smiling.

She touches a hand to her face, tears welling. Jude puts a

caring hand on her back.

JUDE

He was so handsome, hey?

Ada forces a smile and turns the page.

It’s the photo of Sebastian and Abraham on the film set.

Ada turns the page again. Jude spots the photo, and stops

her from skipping it. She examines it closely.

She points to Abraham.

JUDE

Who’s that?

ADA

That... I’m not sure.

Jude looks around, searching the crowd. Ada flips the page,

to a picture of her and Sebastian laughing.

She cries bitterly. Jude holds her close and shuts the

album.

3.

LATER

The hall is empty. The Priest speaks in soft tones about

very little to whoever will listen. They stand next to a

table with half-empty trays of traditional Armenian

finger-food. He takes a few pieces of food on a tissue as he

talks.

Ada says her goodbyes to some leaving stragglers. Jude

excuses herself quietly and makes a bee-line to the album.

She searches until she finds the photo. She looks it over,

curious. The two rings jump out at her.

After a beat, she carefully takes it out of the page, and

looks at it, trying hard to make out who this man next to

her grandfather is.

She turns it over.

On the back, soft, faded pencil reads: SEBASTIAN AND

ABRAHAM, 1965.

She shares a look with Ada. Ada looks away.

INT. BEDROOM - NURSING HOME - DAY

A KNOCK at the door.

The SHOWER is still running. No answer.

A FIRMER KNOCK. Nothing.

A female CARE WORKER, forties, pokes her head in. She hears

the shower, and comes inside, bringing a TROLLEY full of

bedding and toiletries. She changes the bedsheets.

The shower stops and Abraham, dripping wet, steps out of the

bathroom, a towel over his shoulder.

He JUMPS back inside when he sees her.

INT. BATHROOM - CONTINUOUS

He BANGS the door shut. Intercut between Bedroom and

Bathroom.

ABRAHAM

What’s wrong with you people? Do

you understand privacy?

4.

CARE WORKER

I’m almost finished.

ABRAHAM

Yeah, well, I’m almost dead -

there’s a difference between

something being and not being a

thing.

CARE WORKER

There, done. You can come out now.

ABRAHAM

Oh, well, that’s very gracious of

you.

She mutters to herself and drags the trolley out of the

door. As she leaves...

CARE WORKER

Will we be seeing you at lunch

today, Abraham?

ABRAHAM

Sure, sure, so I can eat more of

your bag boiled, dehydrated

micro-crystal bangers and mash --

CARE WORKER

I want to see you outside your room

today, or you can change your own

dirty sheets from now on.

She waits for a response, but none comes. She gives up and

leaves.

He waits to hear her go and heads back into his bedroom.

He BANGS his foot hard on the scales, and jumps in pain,

holding his leg as he hops along.

EXT. NURSING HOME - DAY

Jude parks her car at the side of the road, a sat-nav

plugged to the windscreen.

SAT-NAV

You have reached your destination.

She readies herself for what’s ahead. She takes the sat-nav

and turns it off. It stays on.

5.

SAT-NAV

You have -- You have reached your

destination.

She chucks it on the back seat and turns off the car. She

gets out, opens the rear door and picks up a bag full of

tupperware and groceries.

SAT-NAV

Turn around when possible.

INT. NURSING HOME RECEPTION - MOMENTS LATER

It’s lunchtime. Some OAPs sit together, eating at a table,

while others watch TV, trays on their laps. It’s not a

school cafeteria, but it’s lively.

Jude walks in. She beams a smile at the seated Care Worker,

who gives her a look before going back to data entry.

After a beat...

JUDE

Hi, I was hoping you could help me.

CARE WORKER

Yes?

JUDE

I’m here to visit someone. My

granddad’s --

CARE WORKER

What’s your granddad’s name, duck?

JUDE

No, it’s not my granddad. It’s just

his friend.

CARE WORKER

Name?

JUDE

Abraham.

She raises an eyebrow, but continues.

CARE WORKER

Purpose of visit?

6.

JUDE

I brought a couple of things.

Jude raises her bags. The Care Worker laughs. She stops

herself before she laughs too much.

CARE WORKER

You’re just so sweet, aren’t you,

duck? He doesn’t get many visitors.

He’ll... like that you came.

JUDE

No family?

The Care Worker shrugs.

JUDE

There must be someone. I mean,

someone who put him -- brought him

here.

CARE WORKER

He came on his own. I suppose if

you’ve got the money... Room’s 14,

down and on the right.

JUDE

Thanks.

She ambles past and towards Abraham’s room. She stops,

remembering, and turns back, taking a tub out of her bag.

She drops it on the Care Worker’s desk with a smile.

JUDE

That’s for you.

CARE WORKER

Ooh, what is it?

The Care Worker scrambles to open it.

JUDE

Armenian food. Pickled sheep’s

cheese. It’s really good.

She stops opening it. She puts it on the side.

CARE WORKER

That’s -- I’ll share it around.

Jude smiles and heads off. The Care Worker opens a corner

and takes a whiff. She stiffens her nose, and puts it far

away.

7.

INT. HALLWAY/INT. BEDROOM - MOMENTS LATER

Jude walks to number 14. She KNOCKS.

Inside, Abraham ignores it and heads to the kettle on the

stove.

She knocks again. He stops in his tracks as the kettle

begins to boil, his eyes on the door.

JUDE

Hello?

Jude steps back, unsure, almost ready to leave. She stops

herself from knocking again, and instead presses her ear

lightly against the door. She can hear a kettle boiling.

JUDE

Sorry to bother you, but can I come

in?

ABRAHAM

No!

Jude is taken back. But she presses on.

JUDE

I have some news about my

granddad... I think you knew him.

Sebastian Aslanyan.

Hearing the name, he stops pouring his tea.

Outside, she stands in silence.

Beat.

The door creaks open, ever so slightly. It’s chain-locked.

Abraham peeks out.

JUDE

I’m Sebastian’s granddaughter. He

-- unfortunately, he passed --

ABRAHAM

Kicked the bucket, has he?

She reels. He looks down at the bags in her hands.

ABRAHAM

What’s that?

8.

JUDE

Uh, a little food. I was going to

make us some harissa. Maybe some

kiufta. If there’s time.

He shuts the door.

Inside, he stands at the door. He puts a quivering hand to

his mouth. She stands outside, wavering.

After a beat, he unlocks it and opens it wide.

She enters.

INT. PARTY - FLASHBACK

1964.

Young Abraham walks into a bustling, classy party, waiters

with empty champagne glasses rushing past. He’s dressed to

impress, and eager to find someone. He spots him...

Young Sebastian laughs with RONNIE, a yuppie banker. Abraham

rushes over, and pulls him arm ever so lightly.

SEBASTIAN

Abraham! Look, meet Ronnie. Ronnie,

this is my man from Armenia, the

one I told you about. He’s a

genius, I’m telling you.

ABRAHAM

Hello, how d’you do. Seb?

He pulls harder. Sebastian excuses himself with a "just be a

second" smile.

SEBASTIAN

How long’ve you been here?

ABRAHAM

Just now. Have you already spoken

to, uh, your man, the one --

SEBASTIAN

Goldsmith?

ABRAHAM

You know, the fella. The banker --

the investor.

9.

SEBASTIAN

I’m... working up to it.

ABRAHAM

Is he here?

Sebastian takes two glasses from a passing waiter, smiling

broadly as he does. He passes one to Abraham.

SEBASTIAN

Relax.

He spots someone over Abraham’s shoulder.

ABRAHAM

You work on your pitch? How are we

going to do this?

SEBASTIAN

Yeah, yeah. Look, I’ll be back in

one second, just one second.

He brushes past and greets Young Ada, twenties. She smiles

and brushes her hair as he meets her.

GOLDSMITH (V/O)

I’m going to be honest with you, I

don’t like it.

INT. GOLDSMITH’S OFFICE - LATER

The party is beginning to fade. Abraham sits stiff opposite

GOLDSMITH, a banker in his forties, tie loose, collar

undone.

GOLDSMITH

Look -- I don’t not like it.

ABRAHAM

What was it in particular --

Sebastian enters, a near-empty drink in his hand. He tries

to be subtle, but ends up stumbling in.

SEBASTIAN

You get started without me?

He shakes Goldsmith’s hand and smiles warmly, and pats

Abraham on the shoulder. Abraham waves it off, annoyed --

his mood is lost on Sebastian.

10.

GOLDSMITH

I was just telling your friend that

I, uh, I’ve got some reservations.

On a couple of points.

SEBASTIAN

OK. Well, we want this to be a

two-way street, so, help me help

you. What kind of things were you

thinking?

GOLDSMITH

For one -- where’s the love story?

ABRAHAM

Well, this isn’t --

SEBASTIAN

This current draft doesn’t have a

love story. It’s more a family kind

of story. There’s action. Plenty of

action -- coming out of the sides.

GOLDSMITH

But it’s got to -- look, I like the

story, it’s good. Blood, death, you

know, murder, it’s a good story.

But where’s the love angle? You’ve

got to bring in the women, I’m not

telling you anything you don’t

already know. You’re making a movie

here.

SEBASTIAN

Sure, I completely agree, but --

ABRAHAM

That’s not the film we want to

make. This is a movie about

families torn apart, state mandated

murder. Real life. It’s important

to --

SEBASTIAN

That’s not to say we’re entirely

unwilling to find a fix.

Abraham throws Sebastian a glance - what?

11.

INT. BANKERS’ PARTY - LATER

Goldsmith, Sebastian and Abraham say their goodbyes.

Sebastian walks away, and Abraham quickly follows.

ABRAHAM

Two-way street.

SEBASTIA

We made a deal. That’s something,

right?

Beat.

ABRAHAM

You know how writers are like

women?

SEBASTIAN

(unwilling)

How?

ABRAHAM

Cause they always get fucked.

INT. ABRAHAM’S BATHROOM - AFTERNOON

Abraham’s ring slips into the sink.

ABRAHAM (O/S)

What’s wrong with you people?

Vegetarian.

INT. BEDROOM - CONTINUOUS

At the stove, a vegetable stew boils away. Jude, washing her

hands at the sink, notices and rushes to turn it down.

Abraham sits in a cosy sofa flicking through channels.

ABRAHAM

Why’s everyone a bloody vegetarian

these days. I’ll show you

vegetarian.

She wipes her hands down on a cloth.

JUDE

What’ve you got against

vegetarians?

He laughs, as though it’s obvious.

12.

ABRAHAM

How’s Ada? Is she still around?

JUDE

She’s... still around.

ABRAHAM

Good. Good... Vegetarians...

JUDE

She doesn’t talk about you much.

He looks through a stack of old, tatty BOARD GAMES. He pulls

out a CHESS SET.

ABRAHAM

You play?

She heads back to the stove and stirs the simmering stew.

JUDE

Oh -- but I’m cooking...

She turns the heat and stirs, looking busy.

ABRAHAM

Don’t want to burn it.

She’s standing, but not stirring. She plays with Sebastian’s

ring, her back turned to Abraham.

ABRAHAM

Come on. This might be the last

game I play before I snuff it.

After a beat, she smiles to herself. She turns down the heat

and sits opposite him. He sets up the game as she gets

comfortable.

JUDE

That was cheap.

ABRAHAM

It got you sitting down, didn’t it?

LATER

Abraham stares at the game intently, then moves a piece. He

calls over his shoulder.

13.

ABRAHAM

Your turn.

She’s at the stove. She tastes the soup and rushes back to

the game.

JUDE

Almost done.

ABRAHAM

Eh... I’m not that hungry.

Annoyed, she moves a pawn, BANGING it loudly. He quickly

moves a bishop. Checkmate.

ABRAHAM

Say it. You promised me, now, say

it.

JUDE

(after a beat)

No.

ABRAHAM

You’ve always got to protect the

King. It’s important.

JUDE

You don’t say.

She heads to turn up the heat, adding a few final, choice

ingredients.

ABRAHAM

Don’t feel bad that I beat you.

I’ve beat all these fogies a

thousand times. You want to play

another?

JUDE

I’m all chessed out.

ABRAHAM

How about checkers? I’ve got some

pieces somewhere...

He takes out all the board games and rifles through them.

JUDE

So I found a picture of you today.

Before I came here.

Abraham’s still looking around for the pieces. She sits,

holding the photo of Abraham and Sebastian.

14.

ABRAHAM

Ah, can’t find it.

JUDE

Look. It’s of you and my granddad.

He turns. She holds it out, and he takes it.

INT. STUDIO - AFTERNOON - FLASHBACK

A camera FLASHES on Sebastian and Abraham, standing behind

their chairs. They smile as various cast and crew CHEER.

SEBASTIAN

That’s a wrap!

Abraham’s smile fades quickly. He heads off past crew in the

middle of packing up. Sebastian follows.

SEBASTIAN

You’re not gonna stay for the

party?

ABRAHAM

I’m not in the mood.

Beat.

SEBASTIAN

Would you stop? Or have I got to

chase you around?

No response. Sebastian shakes his head.

SEBASTIAN

Come on. Say it. If you’ve got

something to --

ABRAHAM

It’s pornography. There’s nothing

else to it.

Sebastian waits for more. Almost obliged...

ABRAHAM

I don’t know.

SEBASTIAN

Can you at least wait for the edit?

We can cut it up, move it around. I

know it’s not what you had in mind.

But that’s the process.

15.

ABRAHAM

Can you move out of my way, please.

SEBASTIAN

We made a movie! Alright? Be happy!

ABRAHAM

You made a movie. Not me.

SEBASTIAN

Take some responsibility, for God’s

sake!

ABRAHAM

You keep it. I don’t want it

anymore.

Sebastian is called over to pop the champagne. Abraham walks

away.

Sebastian plants a fake smile on and heads to the

celebration.

INT. BEDROOM - AFTERNOON

Abraham laughs harshly at the photo.

ABRAHAM

Looking sharp.

JUDE

So, what? Did you make a film

together?

He looks over her shoulder at the stove. The pan BOILS OVER.

ABRAHAM

You ask a lot of questions.

She notices the food and runs to turn down the heat.

Black specks float up in the burnt soup.

JUDE

Oh, for fuck’s sake --

Abraham raises an eyebrow, almost impressed that she can

swear. She cleans the mess from the surfaces.

ABRAHAM

Don’t worry about it. There’s

someone comes in to clean that

stuff.

16.

JUDE

No. I burnt it.

ABRAHAM

Burnt it? What are you, an animal?

How did you burn soup?

JUDE

(frustrated)

I let it on for too long.

ABRAHAM

What, were you born on a farm?

She throws the towel on the counter.

JUDE

Look -- I’m just trying --

ABRAHAM

Who’s asking you to try?

JUDE

So you won’t talk to me about my

granddad, is that it? I get it --

you have a past. I don’t even want

to know anymore.

ABRAHAM

Then what are you still doing here?

Beat.

ABRAHAM

Bad food, worse conversation.

You’re a woman, technically, but

you’re terrible at it.

She’s had enough.

JUDE

I can’t believe --

ABRAHAM

Can’t believe what?

JUDE

-- You’re just another bitter,

sexist old man --

ABRAHAM

What’s so unbelievable --

17.

JUDE

I can’t believe that my granddad

would ever spend a single second

giving a fuck about a cunt like

you.

She takes her coat and storms off. Abraham slyly hides the

photo under his leg. She opens the door as we fade into...

EXT. TURKISH COUNTRYSIDE - DAY

A BLACK AND WHITE film plays.

A cart ambles down a country path, preceded and followed by

dirty refugees. Babies wail, feet stamp and voices cry out.

INT. CART - MOMENTS LATER

Inside, a wounded MAN lies, breathing his last. He holds a

WOMAN’s hand.

WOMAN

I’ll never forget you.

MAN

You already have.

He plants a kiss on her as hauntingly cheesy outro music

plays them out...

INT. SCREENING ROOM - AFTERNOON - FLASHBACK

Black.

The reel slows to a stop.

An EXECUTIVE turns on the light.

A group of PRODUCERS and EXECUTIVES, as well as GOLDSMITH,

sit around on cheap seats and breath an end-of-film sigh. A

few have been making notes.

Among them sit Sebastian and Abraham, who look straight

ahead.

A ripple of applause.

Goldsmith shakes their hands. Sebastian flashes that smile

but Abraham can’t. Goldsmith takes his lack of diplomacy

with distaste.

18.

Goldsmith turns to the producers.

GOLDSMITH

We happy?

PRODUCERS

Yes... Sure... Good job...

EXECUTIVE

I’ve got a couple of notes.

A PRODUCER whispers into Goldsmith’s ear. He replies,

loudly...

GOLDSMITH

No reshoots.

(to the rest)

Alright.

Almost as though ’alright’ were a signal, they stand and

file out, all except Abraham.

Goldsmith stops in front of him. He takes a moment, watching

the emotionless Abraham intently, then pats him on the

shoulder. He links up with a PRODUCER. As they head out...

GOLDSMITH

Are we good to go to distribution

with this cut?

Sebastian stands. He looks at Abraham. Abraham hasn’t moved.

Sebastian leaves.

INT. BEDROOM - AFTERNOON

Jude BANGS the door shut.

After a beat, Abraham reveals the photo of him and Sebastian

from under his leg. He smiles slightly, looks Sebastian up

and down, then focuses on their rings.

He checks his hands - a tan line shows that he’s not wearing

his ring.

He looks in the immediate area. Nothing.

Frantically now, he searches under sofa cushions and around

furniture.

He rifles through the chess set.

19.

EXT. NURSING HOME - CONTINUOUS

Jude gets in her car. She turns on the Sat-Nav but it

doesn’t respond, battery dead. She tries and tries. She

throws it on the passenger seat, puts her hands on the

steering wheel, and cries.

INT. BATHROOM - CONTINUOUS

He runs into the bathroom and searches.

He finds it -- hanging precariously above the sinkhole.

Carefully, he picks it up. He washes it, dries it, and puts

it on.

INT. NURSING HOME RECEPTION - MOMENTS LATER

Abraham comes winding down the hall, assisted by a walking

stick. The Care Worker’s still at the desk.

CARE WORKER

Look at that! It’s a miracle.

ABRAHAM

Did you see her?

He looks around, but Jude’s not there. He takes a brief step

out the door to poke his head around, but she’s gone.

INT. BEDROOM/INT. CAR - MOMENTS LATER

Abraham returns to his room. He just stands there, staring

blankly out of the bedroom window.

Something takes his eye.

He approaches the window. Outside, still sitting in her car,

is Jude. She composes herself, drying her eyes, unaware

she’s being watched.

He bangs the window with his hand. The ring CLINKS against

the glass. No response.

He OPENS the window as far as it’ll go - which is very

little. He puts his mouth in the gap.

ABRAHAM

Jude!

20.

She notices him, and puts on a brave face. His yells enter

the car muffled and distant.

ABRAHAM

Would you get out of the car? Jude,

would you come back in, please?

He finds a chess piece and throws it at the car. It falls

short.

ABRAHAM

I’m coming outside. Wait there!

She starts the car.

ABRAHAM

No! Just wait there!

He takes a whole HANDFUL of pieces and throws it. A few

CLANK against the car.

He takes off his RING and CHUCKS it. It HITS the windscreen.

A crack appears on the glass. The ring rolls along the

bonnet and off the front of the car.

Angered to reaction, she opens the door. He celebrates for a

split second before seeing her mood. She marches to the

window.

ABRAHAM

I’m sorry --

JUDE

Are you going to pay for that?

ABRAHAM

I’m sorry. I’m sorry. Just, would

you please come inside?

Beat. Jude walks back to the car.

ABRAHAM

You want to talk about your

grandpa? You wanna hear stories?

She stops, but doesn’t turn. She fiddles with her keys.

ABRAHAM

We made a film together. We did.

Him and me. It took two, long, shit

fucking years. That picture --

21.

JUDE

Are you going to be nice to me?

ABRAHAM

I’ll be nice.

JUDE

Do you promise?

ABRAHAM

I just said I would, didn’t I?

She glares at him.

ABRAHAM

Sorry -

She goes back to her car and locks it. She inspects the

damage to the windscreen.

He watches her go.

She looks past the bonnet to something SHINY in the road.

She picks it up. It’s Abraham’s ring.

She examines the dark obsidian, with Sebastian’s ring only

inches away on her finger.

Abraham looks out again to see her still at the car, holding

something. She smiles faintly and turns towards the

retirement home.

He smiles, triumphant.

Then he waits. She disappears from view.

He looks over at the dirty soup pot, the surfaces perfectly

clean around it. Tentatively, he goes over, opens up the lid

and takes a sniff.

He puts a spoon in, swirls it around, picks up a healthy

mouthful and eats it.

It’s not bad.

A knock at the door.