CALL ME BY YOUR NAME (PART 3 & 4)

FILM ADAPTATION

-BLACK-
(picking up the phone sfx)
ELIO
Mafalda? Mom... Hey. Yes, I'm fine. I'm in Clusone, at the
station. Yes... he left. Mom... please could you come pick me
up?

EXT. CAR – LA SALLE ROTONDA / SPACIOUS PLACE WITH TREES – DAY

ANNELLA is with ELIO in the car. She is driving back to the
villa. ELIO is silent. Elio’s shirt is open over his bare chest
and blows in the wind.
She looks at him. She reaches out with her free hand and caresses
his cheek, the sweetest gesture.
Elio’s face crumples. He starts to cry. She wipes his tears away
with her free hand but he cannot stop.

EXT. QUIET PUBLIC PLACE - AFTERNOON

The car is parked in (LOC.)

ELIO is alone and outside the car, leaning on
on the passenger seat waiting for his mother. The car's radio is
playing some summer song.
In the distance, MARZIA was coming and she notices the Perlman
car, then Elio.
She walks towards Elio who did not notice her at first
 MARZIA
Ciao.
Elio notices her only when she is close.

MARZIA (CONT’D)
How are you?

ELIO
Good, thanks.
Elio tries straightening up to hide his emotions, his face
recently upset by tears.
MARZIA
I'm sorry you feel so bad. I just wanted to tell you that I'm
not mad at you. I love you.
Elio is surprised and comforted by Marzia's words. She extends
her hand to him.
MARZIA (CONT’D)
Friends? (reaches hand)
ELIO
Pour la vie? (Forever?)
MARZIA
Pour la vie. (Forever.)

-THREE STILL SHOTS-

1. disorganized bed sheet
2. disorganized towel (hanged on the headboard of the bed)
3. books at the top of the side table
ELIO is alone, sitting on his bed while reading a book. PROFESSOR
PERLMAN comes into the room to say good night. Elio puts away the
book.
Professor Perlman lights a cigarette and shares it to Elio while
he starts a conversation

PERLMAN
So? Welcome home. Did Oliver enjoy the trip?
ELIO
I think he did.
PERLMAN takes a drag from his cigarette, then pauses a moment
before speaking.
PERLMAN
You two had a nice friendship.
ELIO
(long sigh) Yes.
PERLMAN
You’re too smart not to know how rare...how special, what you
two had was.
ELIO
Oliver was Oliver.
PERLMAN
Because he was he, because I was I

PERLMAN (CONT’D)
I may have come close, but I never had what you two had.
Something always held me back. Remember, our hearts and our
bodies are given to us only once. And before you know it, your
heart is worn out, and, as for your body, there comes a point
when no one looks at it. Right now, there’s pain. Don’t kill it
as well as the joy that you’ve felt
ELIO takes a deep breath.
PERLMAN (CONT’D)
We may never speak about this again. But I hope you’ll never
hold it against me that we did.

(Camera focuses on Elio); ELIO smiles

-BLACK-

INT. KITCHEN- ERNN'S PLACE/AIGEN’S DINING TABLE- AFTERNOON

A shot of someone finishing lighting the candles.
ELIO walks through the kitchen where Mafalda is cooking for
Hanukkah.
ELIO
What’s are you cooking?
MAFALDA
The dish is called latkes Elio

He stops to taste one and gives Mafalda a kiss on the cheek.

A telephone rang and Elio immediately ran to the answer it.

OLIVER (V.O.)
Elio? Are you there?
ELIO
I’m here, I’m here. How are you?
OLIVER (V.O.)
Fine. How are your parents?
ELIO
Fine, too... I miss you.
 OLIVER (V.O.)
I miss you too...Very much. I have some news. I might be
getting married this Spring
ELIO
You never said anything (dumbfounded). But that’s a great news!

ANELLA AND PROFESSOR PERLMAN picked up the landline leaving Elio

dumbfounded and
moments later he starts to weep silently why he hears Oliver and
his parents talking to each other happily
(camera zooms out while Elio is crying)
-BLACK-
EXT. DE LA SALLE MEDICAL HEALTH AND SCIENCES INSTITUTE
A summer song enters as still shots of DLSMHSI appears while the
text “SUMMER”; “FIFTEEN YEARS AFTER”

ELIO passed by Oliver’s college town and as he came near his desk
Oliver squinted
OLIVER
Good God—Elio!
He embraced him, and then patted his back several times as if he
was younger than he’d ever been that summer.
OLVIER (CONT’D)
Look, come for dinner, tonight. meet my wife, my boys. Please,
please, please.
ELIO
I’d love to. But I can’t.
The “can’t” did not mean I wasn’t free to visit him but that I
couldn’t bring myself to do it. (V.O.)
He looked at Elio as he was still putting his papers in the bag.
 OLIVER
You never did forgive me, did you?
ELIO
Forgive? There was nothing to forgive. If anything, I’m grateful
for everything. I remember good things only.
OLIVER
Then what is it?

Oliver is still standing and holding the papers that he’s putting
in his bag but not moving and just looks at Elio deeply
(shot switch to the both of them, Elio being the last showing the
mixture of his emotions to the situation)
(while the camera switches; insert lil dramatic bgm) The very
possibility of meeting his family suddenly alarmed me—too real,
too sudden, too in-my-face, not rehearsed enough. (V.O.)
-BLACK-

INT. DECENT DINING TABLE - EVENING

THREE STILL SHOTS

1. OLIVER’S PAPERS WITH LEATHER BAG

2. OLIVER’S BOOKS
3. OLIVER’S SHOES

(FOCUS SHOT OF ELIO CONTEMPLATING; FAMILY OF OLIVER LAUGHING IN

THE BG)

OLIVER’S WIFE
I’ve heard so much about you, Such a great composer

ELIO
(awkward) thanks
 TWO SONS
We told our dad if we could come to the villa;
And he actually said yes

ELIO
(still awkaward) that’s great!

(Camera zooms out as Oliver, his family laughs while having a

conversation suddenly shifting Elio’s mood into a good one)

EXT. SOMEWHERE WINDY AND CALM – ERNN’S TERRACE

He looked at Elio while drinking a beer.

OLIVER
I’m glad you came
ELIO
I’m glad I came too
OLIVER
Can I ask you a question?
Elio expresses his nervousness through his facial expression.
OLIVER
Would you start again if you could?
ELIO
Why are you asking?
OLIVER
Because. Just answer
ELIO
Would I start again if I could? In a second. But I’ve had two
of these, and I’m about to order a third
 Twenty years was yesterday, and yesterday was just earlier this
morning, and morning seemed light-years away (V.O.)

Oliver
(long pause) Hey, I remember everything.

If you remember everything then just this once, turn to me, even
in jest, or as an afterthought, which would have meant everything
to me when we were together and, as you did back then, (V.O. ;
happy memories flashback)

look me in the face (switch to present oliver’s face), hold my

gaze (switch to elio’s face), and call me by your name. (zoom out
at their back)