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The Social Network · written by Aaron Sorkin · 2010
Scene 156 of 189 · ≈ 5 min on screen · Act two
Mark Zuckerberg wants status and belonging Harvard's final clubs won't give him, so he builds a website that gives the world both — and loses his best friend and co-founder to the company he built to prove he mattered.
Mark at the campus bar: brilliant, status-obsessed, unable to read the room he's sitting in.
He wants to matter — to be let into the final clubs, to be exceptional enough that Erica's verdict is wrong — and Facemash is the first proof-of-concept.
He takes the Winklevoss pitch as a springboard, builds theFacebook in its place, and launches it into a world he can't control.
Sean Parker enters at the 66 dinner and becomes the relationship — equal parts mentor and corrupter — that carries the story's real theme about loyalty and ambition.
The dinner at 66 with Sean Parker — "a billion dollars, that's cool" — reframes the company's ambition and pulls Mark irreversibly toward Sean's orbit.
At the Palo Alto rental house, a backyard zip-line stunt ends with the chimney collapsing near the pool as an intern narrowly avoids injury.
Mark walks through the wrecked, geek-paradise interior of the summer house, greeting a coding-obsessed intern named Andrew, when Sean Parker turns up at the door with his girlfriend Sharon.
Sean tours the Palo Alto house, impressed by the setup, and asks after Eduardo, learning he stayed behind in New York.
This scene
An ultra-hip San Francisco nightclub. It’s a hundred-year old theater that’s been converted into a 21st Century hot spot for Silicon Valley’s rock stars. The lower level is a giant dance floor packed with sweating 20-somethings bouncing to pounding house music. There are raised blocks where scantily dressed professional dancers perform non-stop. A huge lighting grid hangs from the ceiling shooting colored lights and lasers everywhere. Also hanging from the ceiling are two trapeze bars with two performers swinging and contorting.
The staircase leads up to the 2nd level which is all VIP tables that look out over the dance floor. Each VIP area has a couple of couches and a table covered in bottles of vodka, tequila, rum, mixers, ice, glasses and a private waitress who’s happy to bend over and pour a drink for you.
And that’s where we catch up with MARK and SEAN. Sitting next to SEAN is a BEAUTIFUL WOMAN and there’s another standing behind him and leaning against the couch.
MARK and SEAN have to speak up above the music.
SEAN
I was crashing there for a little bit
while I’m taking care of some things. But
she’s done for the summer so she’s back
at her parents’ place.
BEAUTIFUL WOMAN #1 (BRIANNA)
The homeless rock star of Palo Alto.
SEAN
What’s your plan for the summer?
MARK has been subtly checking out the club and not paying attention.
SEAN (CONT’D)
Mark?
MARK
I’m sorry, I was looking at the
architecture.
SEAN smiles...
SEAN
I asked what your plan--
MARK
A hundred schools by the end of the
BRIANNA
I’m going to the restroom.
SEAN
Okay.
BEAUTIFUL WOMAN #2 (KELSEY)
I’ll go with you.
The two girls exit--
MARK
Your date looks so familiar to me.
SEAN
She looks familiar to a lot of people.
MARK
What do you mean?
SEAN takes a sip of his drink...
SEAN
(simply)
A Stanford MBA named Roy Raymond wants to
buy his wife some lingerie but he’s too
embarrassed to shop for it in a
department store. He comes up with an
idea for a high end place that doesn’t
make you feel like a pervert. He gets a
$40,000 bank loan and borrows another
forty-thousand from his in-laws, opens a
store and calls it Victoria’s Secret. He
makes a half-million dollars his first
year.
He starts a catalogue, opens three more
stores and after five years, he sells the
company to Leslie Wexner and The Limited
for four million dollars. Happy ending,
right? Except two years later the
company’s worth 500 million dollars and
Roy Raymond jumps off the Golden Gate
Bridge.
(beat)
Poor guy just wanted to buy his wife a
pair of thigh-highs, you know?
MARK
Was that a parable?
SEAN
My date’s a Victoria’s Secret model,
that’s why she looks familiar to you.
MARK
God.
SEAN
Don’t be impressed by all this, I read
your blog.
MARK
Oh, you know, that was--
SEAN
You know why I started Napster? A girl I
loved in high school was with the co-
captain of the varsity lacrosse team and
I wanted to take her from him so I
decided to come up with the next big
thing.
MARK
I didn’t know th--
SEAN
Napster wasn’t a failure. I changed the
music industry for better and for always.
It may not have been good business but it
pissed a lot of people off. And wasn’t
that what your Facemash was about?
They’re scared of me, pal, and they’re
gonna be scared of you. What the VC’s
want is to say, “Good idea, kid. The
grown-ups’ll take it from here.” But not
this time. This is our time. This time
you’re gonna hand ‘em a business card
that says “I’m CEO...bitch”, that’s what
I want for you, so where the hell’s
Eduardo?
MARK
He’s in New York.
SEAN
Suckin’ up to ad execs.
MARK
He’s got an--
SEAN
--an internship? The company’s here. A
billion dollar company is here. Do you
live and breathe Facebook?
MARK
Yes.
SEAN
Wardo wants to be a businessman and for
all I know he’s gonna be a good one but
he shouldn’t be in New York kissing
Madison Avenue’s ass. This is a once-in-a-
generation-holy-shit idea and the water
under the Golden Gate is freezing cold.
Look at my face and tell me I don’t know
what I’m talking about.
MARK
(pause)
Do you ever think about the girl?
SEAN
What girl?
MARK
The one--the girl in high school who was--
with the lacrosse thing.
SEAN
(are you kidding?)
No.
The girls comes back--
BRIANNA
If you guys are gonna talk about
bandwidth we need shots.
SEAN
A hundred schools by the end of the
summer?
MARK
Yeah.
SEAN
Tell you what, gesture of good faith.
While you’re getting into a hundred
schools, I’ll put you on two continents.
MARK
If you don’t have a place to crash I
think you should definitely come and live
with us.
SEAN
(nods)
Let’s line up some shots.
(getting the server)
Excuse me.
SERVER
Yes sir.
SEAN
You can take this away and bring out the
1942.
SERVER
Absolutely, Mr. Parker.
MARK takes this in a moment before we
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