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Day 5 Assignment
Reply to post your assignment.
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12 Replies
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Rob Bertrand’s Uncertainty Scene
What I learned: I learned that uncertainty is one of the best tools to keep a reader emotionally engaged with your screenplay.
SCREAM by Kevin Williamson
Background: Casey is home alone preparing to watch a movie, when she begins to receive phone calls on her landline. After she hangs up on the caller, he calls back...
INT. KITCHEN Popcorn sizzles in a pot on the stove. Casey covers it with a lid, reaching for the portable phone. CASEY Hello. MAN Why don't you want to talk to me? CASEY Who is this? MAN You tell me your name, I'll tell you mine. CASEY (shaking the popcorn) I don't think so. MAN What's that noise? Casey smiles, playing along, innocently.
NOTE: The writer has lured us into a false sense of security with the harmless flirting. CASEY Popcorn. MAN You're making popcorn? CASEY Uh-huh. MAN I only eat popcorn at the movies. CASEY I'm getting ready to watch a video. MAN Really? What? CASEY Just some scary movie. MAN Do you like scary movies? CASEY Uh-huh. MAN What's your favorite scary movie? He's flirting with her. Casey moves away from the stove and takes a seat at the kitchen counter, directly in front of the glass door. CASEY I don't know. MAN You have to have a favorite. Casey thinks for second. CASEY Uh...HALLOWEEN. You know, the one with the guy with the white mask who just sorta walks around and stalks the baby sitters. What's yours? MAN Guess. CASEY Uh...NIGHTMARE ON ELM STREET. MAN Is that the one where the guy had knives for fingers? CASEY Yeah...Freddy Krueger. MAN Freddy-that's right. I liked that movie. It was scary. CASEY The first one was, but the rest sucked. MAN So, you gotta boyfriend? CASEY (giggling) Why? You wanna ask me out? MAN Maybe. Do you have a boyfriend? CASEY No. MAN You never told me your name. Casey smiles, twirling her hair. CASEY Why do you want to know my name? MAN Because I want to know who I'm looking at.
NOTE: Our first indication that the man on the phone isn't a wrong number. So chilling! Casey spins around like lightning facing the glass door. CASEY What did you say? MAN I want to now who I'm talking to. CASEY That's not what you said. MAN What do you think I said? Casey CLICKS on the outside light. A flood light illuminates the backyard. Her eyes survey the grounds. But it's empty. No one's there. She turns the light out. On the stove, the popcorn POPS.
NOTE: Everything looks safe. Gives the sense that the man is just messing with her. CASEY I have to go now. MAN Wait...I thought we were gonna go out. CASEY Nah, I don't think so... MAN Don't hang up on me. CASEY Gotta go. MAN Don't... CLICK! Casey hangs up. She checks the glass door making sure it's locked and then moves to the stove as... THE PHONE RINGS. She slides the popcorn from the stove, reaching for the phone. CASEY Yes? MAN I told you not to hang up on me. CASEY What do you want? MAN To talk. CASEY Dial someone else, okay? MAN You getting scared? CASEY No-bored. CLICK. She hangs up. The phone RINGS again. She grabs it. CASEY Listen, asshole... MAN (deadly serious) NO, YOU LISTEN, YOU LITTLE BITCH. IF YOU HANG UP ON ME AGAIN I'LL GUT YOU LIKE A FISH. UNDERSTAND?
NOTE: Tension has escalated. Our first indication that the man is dangerous. Total silence. He has gotten her full attention. CASEY Is this some kind of a joke? MAN More of a game, really. Casey eyes the glass doors, then looks up the hallway to the front doors...moving to it. It's unlocked. She bolts it. CASEY I'm two seconds from calling the police. MAN They'd never make it in time.
NOTE: Feels like a chess game with Casey threatening to call the police and the man calling her bluff. Casey moves her face flush against the door, her eye looking through the peephole. ANGLE THROUGH PEEPHOLE. A distorted view of the front porch. It is empty. She relaxes a bit, relieved.
NOTE: Still no sign of anyone and a visual sign of Casey being relieved eases up on the tension. CASEY What do you want? MAN (pure evil) TO SEE WHAT YOUR INSIDES LOOK LIKE.
NOTE: We are instantly sucked back into danger territory. Casey's jaw drops as total fear storms her face. She hangs up the phone, throwing it down on a side table when... THE DOORBELL CHIMES.
NOTE: The doorbell ratchets up the tension to one hundred. Or is it a red herring? Casey leaps out of her skin. She turns to the door as it chimes again. CASEY (calling out) Who's there? Another CHIME. She moves to it. CASEY (louder) Who's there? No answer. Fuck this. It's time for the police. She goes for the portable phone. Just as she picks it up... IT RINGS. Casey almost drops it, losing her breath...
NOTE: Just when we think it can't get any more tense. It's like the man on the phone can predict what she's going to do. She brings it to her ear with trembling hands, saying nothing...listening, waiting... A long silence. And then. MAN You should never say "Who's there?". Don't you watch scary movies? It's a death wish. Casey clutches the wall, nearly collapsing. She tries her damndest to hang tough. CASEY Look, enough is enough. You had your fun now you better leave me alone or else. MAN Or else what? CLOSE ON her face, her mind thinking, calculating... CASEY My boyfriend will be here any second and he'll be pissed when I tell him...
NOTE: Casey attempts to steal the momentum with the threat of her boyfriend. MAN I thought you didn't have a boyfriend. Busted. She holds steady. CASEY I lied. I do have a boyfriend and he'll be here any second and your ass better be gone. MAN Sure... CASEY I swear it. And he's big and plays football and will beat the shit out of you. MAN I'm getting scared. CASEY I'm telling you the truth. I lied before... MAN I believe you... CASEY So you better leave. MAN His name wouldn't be Steve, would it?
NOTE: Once again the momentum shifts back to the man on the phone. He's called her bluff and mentions her boyfriend by name. Silence. Casey buckles at the knees, losing it. CASEY How do you know his name? MAN Go to the back door and turn on the porch light--again. Casey, terrified, forces herself to move.. staggering to the kitchen...to the glass doors. Her shaky hand finds the light switch...she hits it. The back yard is lit. Sitting in a lawn chair in the middle of the backyard is a big, line backer of a guy, her boyfriend... STEVE tied and gagged. He's been roughed up, but he's alive. CLOSE ON his eyes..wide in fear..staring at his girlfriend, pleading with her. CASEY Oh Goddddd... Casey SCREAMS. Her hand moves to the lock on the door.
NOTE: The danger is real and now it becomes a game of cat and mouse. MAN I wouldn't do that if I were you. Terror rides Casey's face. She's petrified. CASEY Where are you? MAN Guess. Her eyes search the yard, combing bushes, trees. He could be anywhere-anywhere. CASEY (begging) Please don't hurt him. MAN That all depends on you. CASEY Why are you doing this? Tears find their way, streaming down Casey's face. MAN I wanna play a game. CASEY No... MAN Then he dies. Right now. CASEY NOOO! MAN Which is it? A long silence. Casey touches the glass...staring at STEVE...this big jock of a guy is crying too. CASEY What kind of game? MAN Turn off the light. Her hand goes to the switch...Steve tugs and pulls at his straps...as if begging her...his face sweat and tears... CLICK He disappears in the darkness. Casey moves away from the glass, back toward the living room, unbelieving, horrified. MAN Here's how we play. I ask a question. If you get it right-Steve lives.
NOTE: Casey is given hope. If she can answer his questions, her boyfriend will live. Three curtainless windows line one wall. Casey crouches down behind the couch, tipping a lamp cord from it's socket, darkening the room. Her body quivers. CASEY Please don't do this... MAN Come on. It'll be fun. CASEY No...please. MAN It's an easy category. Movie trivia. CASEY (begging) ..please... MAN I'll even give you a warm up question. CASEY Don't do this. I can't.. MAN Name the killer in HALLOWEEN. CASEY No... MAN Come on. It's you favorite scary movie, remember? He had a white mask, he stalked the baby-sitters. Casey goes silent...a nervous wreck...she can barely speak much less think. CASEY I don't know... MAN Come on, yes you do. CASEY Please..stop... Casey is SOBBING. MAN What's his name? CASEY I can't think. Casey has officially reached hysteria, petrified beyond all reality. MAN Steve's counting on you. Suddenly...through tears...Godsent... CASEY (a whisper) Michael...Michael Myers. MAN YES!
NOTE: She gets the test question right. We're on the edge of our seat, but there's hope. Casey SIGHS...relieved. MAN Now for the real question. CASEY NOOOO.... MAN But you're doing so well. CASEY Please go away! Leave us alone! MAN Then answer the question. Same category. Casey is a blubbering, wet mass on the floor. CASEY ..please..no... MAN Name the killer in FRIDAY THE 13TH. A mad smile purses Casey's lips. She knows this. She leaps up, through tears, screaming... CASEY Jason! Jason!...JASON! A slight PAUSE. MAN I'm sorry. That's the wrong answer. CASEY No it's not. It was Jason. MAN Afraid not. CASEY It was Jason. I saw that godamned movie twenty times. It was Jason. MAN Then you should know Jason's MOTHER -Mrs.Vorhees was the original killer. Jason didn't show up until the sequel. Casey is stupefied.
NOTE: The man on the phone reclaims the upperhand. CASEY You tricked me... MAN Lucky, for you there's a bonus round. But poor Steve...I'm afraid...he's out. This implication sends Casey running to the kitchen...to the glass doors. She flips on the porch lights to see... STEVE eyes wide, sitting in the lawn chair...his belly gaping open...a mass of blood and ripped flesh...his insides lay on the ground between his feet...steam rising. A SCREAM erupts from the bottom of her soul as Casey collapse on the floor...nearly passing out. CLOSE ON her face...pale and ghostly white. She SOBS. MAN Final question. Are you ready? She doesn't answer. A long, maddening silence. Casey reaches up and CLICKS off the light, making Steve go away...wishing, hoping... CASEY ..leave me alone..please... MAN Answer the question and I will. Casey is curled up on the floor like an infant, rocking slowly back and forth. MAN What door am I at? CASEY What? MAN There are two doors to your house. A front door and a back one. If you answer correctly-you live. From where Casey sits she can see both front and back doors. She deliberates...with her last bit of strength she tries to strategize. Eyeing both, the front door...the back door trying to decide between the two. CASEY Don't make me...I can't...I won't. MAN Your call.
NOTE: Her life boils down to a 50/50 chance. In the darkness, Casey crawls to the kitchen counter-she leans up and grabs a long, sharp knife. Casey looks around her...she looks down the hall to the front door...then turns back to the kitchen glass door as it suddenly... SHATTERS TO BITS... as a lawn chair come flying through it. Exploding glass sprays everywhere. This incites Casey like fire. She springs to her feet...bolting out of the kitchen as a SHADOW moves quickly through the shattered doorframe. ANGLE ON CASEY Somewhere in the house, back flat against a window, listening to FEET ON CRACKING GLASS. She turns and unlocks the latch, quietly sliding it up. She can hear him move through the foyer...to the front door. Casey lifts herself up and puts her legs through the window. She holds the knife in one hand, the phone in the other. Casey eases out the window, fumbling, dropping the knife back in the house. She starts to reach for it. Fuck it, she takes off...
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Janeen’s Uncertainty Scene
What I learned from this assignment is that every 3-4 lines, the Hope/Fear dynamic oscillates. I’ll have to check my own screenplay for that degree of oscillation.
Notting Hill — After moping around about beautiful actress Anna Scott (Julia Roberts) for six months, William (Hugh Grant) has told his friends he’s over her and immediately hears she’s back in London working on another film. He goes to see her on set since he has no other way to contact her.
EXT. KENWOOD HOUSE – DAY
Now closer to the house, William approaches a barrier — where
he is himself approached.
NOTE: HOPE — Can he see her before she leaves the country again?
SECURITY
Can I help you?
WILLIAM
Yes — I was looking for Anna Scott…
SECURITY
Does she know you’re coming?
WILLIAM
No, no. She doesn’t.
NOTE: FEAR – He won’t get in because he’s not expected.
SECURITY
I’m afraid I can’t really let you
through then, sir.
WILLIAM
Oh right. I mean, I am a friend — I’m
not a lunatic but — no, you basically…
SECURITY
… can’t let you through.
At that moment — thirty yards away, William sees trailer door
open. Out of it comes Anna — looking extraordinary — in a
velvet dress; full, beautiful make-up; rich, extravagant hair.
She has a necessary cluster of people about her. Hair, make-up,
costume and the third assistant who has collected her.
She walks a few yards, and then casually turns her head. And
sees him. Her face registers not jut surprise, certainly not a
simple smile. His being there is a complicated thing.
Cut back to him. He does a small wave. She pauses as the whole
paraphernalia of the upcoming scene passes between them. The
movie divides them. But then she begins to walk through it, and
followed by her cluster, she makes her way towards him. When
she reaches him, the security guard stands back a pace, and her
people hold back. She doesn’t really know what to say…
NOTE: HOPE — He sees her and she sees him and comes over.
ANNA
This is certainly… ah…
WILLIAM
I only found out you were here
yesterday.
ANNA
I was going to ring… but… I didn’t
think you’d want to…
The third assistant is under pressure.
THIRD
Anna.
She looks around. The poor third is nervous — and the first is
approaching.
ANNA
(to William)
It’s not going very well — and it’s
our last day.
NOTE: FEAR – they won’t get to talk.
WILLIAM
Absolutely — you’re clearly very busy.
ANNA
But… wait… there are things to say.
WILLIAM
Okay.
NOTE: HOPE – She wants to talk.
ANNA
Drink tea — there’s lots of tea.
She is swept away, four people touching her hair and costume.
NOTE: FEAR – She is swept away again before they can make any arrangements.
KAREN
Come and have a look…
NOTE: HOPE – Her assistant/PR person invites him to watch and listen to the scene — He’s in.
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Amy’s Uncertainty scene
What I learned from this assignment is that hope and fear in a script typically happen towards the end of the story, but it also keeps your turning the pages right to the very end.
Title: Sleepless in Seattle
Tell us what has occurred up to that point in the story: Annie has been listening to Sam on the radio tell the sad story of how his wife died. Annie falls in love with him. She writes him a letter. Sam’s son Jonah reads the letter and decides he wants his dad to be with her. He and his little friend who has access to her mom’s flight reservation software plan a trip to New York City. They request that Annie show up at the top of the Empire State Building at a certain time. Sam also goes to the top of the Empire State Building, but only to retrieve Jonah. Annie tells her fiancé about Sam and the possible meeting at the top of the Empire State Building. He tells her to go for it, then…
EXT. WEST 50TH STREET – NIGHT
As Annie comes out to the street and hails a cab.
As it screeches off toward Fifth Ave.
INT. EMPIRE STATE BUILDING OBSERVATION DECK – NIGHT
The lights are on all over the city.
The crowd has thinned out considerably. Jonah and Sam are among the last people left. They gaze out at the twinkling lights and the ever-darkening sky.
ELEVATOR OPERATOR
Last call. Closing time.
Jonah looks at Sam.
JONAH
This is pretty dumb, wasn’t
it?
Sam shrugs.
SAM
Big deal.
After a beat.
SAM
Maybe we’ll get a dog when we
get back.
JONAH
Okay.
SAM
What do you mean, okay?
Wouldn’t you like a dog?
JONAH
Sure.
Sam puts his arm around him, they start toward the
elevator.
SAM
Let’s go home.
EXT. FIFTH AVE – NIGHT
Annie’s cab stuck in traffic.
As Annie gets out of the cab.
She’s breaking into a hard run toward the Empire State Building.
INT. LOBBY OF THE EMPIRE STATE BUILDING – NIGHT
Annie sprints in and over to Information Booth.
INFORMATION BOOTH PERSON
Sorry, ma’am, but the elevators
are closed.
ANNIE
(out of breath)
No. Please. I really need to
get up there.
INFORMATION BOOTH PERSON
We’re closing up. No more runs
tonight.
Annie takes a deep breath. She’s hit the end of the road. She turns to go but then turns back.
ANNIE
(out of breath)
Listen, can I just take a look?
Maybe… maybe… There’s
someone I was supposed to
meet… He’s probably not
there, but if I don’t at least
look I’ll always wonder about
it.
The Information Booth Person looks at her.
INFORMATION BOOTH PERSON
Cary Grant, right?
ANNIE
You know that movie?
INFORMATION BOOTH PERSON
One of my wife’s favorites.
INT. TOP OF THE EMPIRE STATE BUILDING
After a few beat the elevator door opens on a very empty platform.
ELEVATOR MAN
Sorry, ma’am. Empty.
Annie slowly walks out.
ANNIE
Can I take a minute?
ELEVATOR MAN
Go ahead.
She sighs. Heads for the telescopes. Looks out at the twinkling lights below.
She casually turns the telescope and suddenly sees something on the floor.
Jonah’s Seattle Mariners backpack.
She picks it up. She realizes that it might be… could be… and opens it. Inside is a toothbrush and Jonah’s teddy bear. As she takes out the bear the other elevator DINGS.
Annie looks up as Jonah and Sam exit the elevator.
JONAH
I left it near the…
And they stop. There she is. There they are. Sam can’t believe it. It’s the mystery woman.
SAM
It’s you.
ANNIE
It’s me?
SAM
The one in the street. I
chased after you.
JONAH
Are you Annie?
ANNIE
Yes.
SAM
(confused)
You’re Annie too?
She smiles awkwardly.
ANNIE
(indicating the
backpack)
Is this yours?
Jonah walks over to her. He puts his hand out. She shakes it solemnly.
JONAH
I’m Jonah.
(nodding back to Sam)
That’s my dad. His name is
Sam.
ANNIE
Hi, Jonah. Sam.
(indicating the teddy
bear)
And who is this?
JONAH
Howard.
ANNIE
Howard.
Sam nods. Smiling. Starting to put it all together. Annie smiles. Still nervous. No one knows what to do next. Just then, one of the elevator operators CLEARS HIS THROAT.
SAM
We better go.
Annie nods.
Sam holds out his hand.
SAM
Shall we?
Annie slips her hand into his. It feels comfortable, natural, right.
ANNIE
Sam?
He looks at her.
ANNIE
It’s nice to meet you.
On Annie.
On Sam.
On Jonah. He makes a triumphant little double-fist
gesture to himself as the elevator doors close.
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Armand Uncertainty scene
What I learned…
“We want the audience hoping for one thing and being afraid that another will happen.”
THE SHAWSHANK REDEMPTION
After Andy escapes, leaving Red (Morgan Freeman) without his friend.
270 INT — PRISON CELL — NIGHT (1966) 270
Red is sleeping. He wakes with a start.
RED (V.O.)
But there are times I curse him for the dreams he left behind…
(FEAR)
He senses a presence, looks over his shoulder. There’s a Rita Hayworth poster on his wall. He gets out of bed. Rita just keeps smiling, inscrutable. As Red watches, a brilliant round glow builds behind the poster, shining from the tunnel. The poster rips free, charred to ash in the blink of an eye as a shaft of holy white light stabs into the cell. Sunlight. Red staggers back against the glare.
(HOPE)
A whirlwind kicks up, whipping everything into the air. The hole in the wall is like a giant vacuum cleaner — papers, book, toiletries, bedding — if it ain’t nailed down, it gets sucked down the hole toward the light. Red fights it, but the suction drags him closer and closer…
(FEAR)
271 RED’S POV 271
..and CAMERA rockets into the hole, getting sucked down an endless tunnel at impossible speed, the ROAR of air mixing with his drawn-out SCREAM, closer and closer to the light…
(FEAR)
…and erupting out the other side into total silence and a beautiful white beach. The Pacific Ocean before us. Enormous. Mind-blowing. Beautiful beyond description. All we hear now are the gentle sound of waves.
(HOPE)
RED (V.O.)
…dreams where I am lost in a warm place with no memory.
(FEAR)
A lone figure stands at water’s edge. CAMERA KEEPS MOVING, coming up behind him and TRACKING AROUND to reveal — Red.
RED (V.O.)
An ocean so big it strikes me dumb. Waves so quiet they strike me deaf. Sunshine so bright it strikes me blind. It is a place that is blue beyond reason. Bluer than can possibly exist. Bluer than my mind can possibly grasp.
(HOPE)
272 AERIAL SHOT
Nothing for a million miles but beach, sky, and water. Red is a tiny speck at water’s edge. Just another grain of sand.
RED (V.O.)
I am terrified. There is no way home.
(FEAR)
273 INT — RED’S CELL — NIGHT (1966) 273
Red wakes from the nightmare. He gets out of bed. Moves to the barred window of his cell. Peers up at the stars.
RED (V.O.)
Andy. I know you’re in that place. Look at the stars for me just after sunset. Touch the sand…wade in the water…and feel free.
(HOPE)
FADE TO BLACK
274 AN IRON-BARRED DOOR 274
slides open with an enormous CLANG. A stark room beyond. CAMERA PUSHES through. SIX MEN AND ONE WOMAN sit at a long table. An empty chair faces them. We are again in:
(FEAR)
INT — SHAWSHANK HEARINGS ROOM — DAY (1967)
Red enters, sits. 20 years older than when we first saw him.
(FEAR)
MAN #1
Your file says you’ve served forty years of a life sentence. You feel you’ve been rehabilitated?
Red doesn’t answer. Just stares off. Seconds tick by. The parole board exchanges glances. Somebody clears his throat.
(FEAR)
MAN #1
Shall I repeat the question?
(HOPE)
RED
I heard you. Rehabilitated. Let’s see now. You know, come to think of it, I have no idea what that means.
MAN #2
Well, it means you’re ready to rejoin society as a–
RED
I know what you think it means. Me, I think it’s a made-up word, a politician’s word. A word so young fellas like you can wear a suit and tie and have a job. What do you really want to know? Am I sorry for what I did?
(FEAR)
MAN #2
Well…are you?
(HOPE)
RED
Not a day goes by I don’t feel regret, and not because I’m in here or because you think I should. I look back on myself the way I was…stupid kid who did that terrible crime…wish I could talk sense to him. Tell him how things are. But I can’t. That kid’s long gone, this old man is all that’s left, and I have to live with that.
(beat)
Rehabilitated? That’s a bullshit word, so you just go on ahead and stamp that form there, sonny, and stop wasting my damn time. Truth is, I don’t give a shit.
(FEAR)
The parole board just stares. Red sits drumming his fingers.
(FEAR)
CLOSEUP — PAROLE FORM
A big rubber stamp SLAMS down — and lifts away to reveal the word “APPROVED” in red ink.
(HOPE)
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In real life, I hate uncertainty and the uncertainty over Omicron is driving me nuts because it is sabotaging my ability to make cash with in person fitness. I revisited Sleepy Hollow at the height of autumn foliage a few weeks ago so I read the screenplay against Irving’s densely descriptive, short story. The following section is exhausting and too violent and action-packed for me–I would run out of the theater–but it illustrates the oscillation of hope and fear in the midst of danger. Replete with spinning rotors, windmills on fire, and near misses, the action is choreographed in a big, if cliche way, to keep the audience wondering whether the three good guys will escape Lady Van Tassel’s only too visceral witchery. An academic pedant, I am not used to writing this kind of dramatic strip-tease. And of course the kid is the hero —Young Masbath SMASHES Lady Van Tassel over the head
with the tree limb. and the good guys end up in Manhattan after an ordeal that would exhaust Superman and Batman. It is ironic it takes place in a town that really is the most peaceful around here. I loved Sleepy Hollow and want to go back in the winter.
FLASHBACK -- FOREST BATTLEFIELD (WESTERN WOODS) -- DAY The Girl watches the burial of the Horseman... and his Head dropped into the grave. LADY VAN TASSEL ... I offered my soul to Satan if he would raise the Hessian from the grave to avenge me. INT. WINDMILL -- NIGHT Young Masbath, unseen, works his way quietly around behind Lady Van Tassel. KATRINA Avenge you? LADY VAN TASSEL Against Van Garrett, who evicted my family, against Baltus Van Tassel who, with wife and simpering girlchild, stole our home. I swore I would make myself mistress of all they had... (she cackles again) The easiest part was the first -- to enter your house as your mother's sick nurse and put her body into the grave, and my own into the marriage bed. Katrina cries out in horror. LADY VAN TASSEL (CONT'D) Not quite so easy was to secure my legacy... but lust delivered Reverend Steenwyck into my power. Fear did the same for the Notary Hardenbrook. The drunken Philipse succumbed for a share of the proceeds, and the Doctor's silence I exchanged for my complicity in his fornications... Masbath moves into the open, weapon raised. Katrina sees him and stifles a gasp. KATRINA (keeping Lady Van Tassel's attention) Yes! -- you have everything now. LADY VAN TASSEL No, my dear -- you do, by your father's will. But I get everything in the event of your death. (she cackles again) Lady Van Tassel's hand reaches for the Mystic Bauble on Katrina's neck. She rips it free. LADY VAN TASSEL (CONT'D) (as she does so) This pretty bauble, which I so kindly gave you to wear, has done it's work. My sister, by the way, sadly passed away... FLASHBACK -- OUTSIDE CRONE'S CAVE HOME -- DAY The Crone falls to the ground outside her cave, unconscious, beaten and bloodied. A hand -- Lady Van Tassel's hand -- enters FRAME to haul the Crone up by the hair, and WE SEE the Crone's bloodied features face to face with the wicked smile of Lady Van Tassel. INT. WINDMILL -- NIGHT LADY VAN TASSEL ... quite recently. FLASHBACK -- OUTSIDE CRONE'S CAVE HOME -- DAY Lady Van Tassel holds a SWORD high, SWINGS DOWN... Then we see the separated Head and Torso... and the severed CORD, which had been around the Crone's neck... and Lady Van Tassel's Hand reaching for the Mystic Bauble, which had fallen free. INT. WINDMILL NIGHT Young Masbath is about ready to bring the mallet down upon Lady Van Tassel's head. KATRINA (keeping Lady Van Tassel's attention) It was the Crone you killed... your own sister... LADY VAN TASSEL She brought it upon herself... Like a whiplash, Lady Van Tassel turns cackling at Young Masbath -- she sensed him by witchery! LADY VAN TASSEL (CONT'D) (to Young Masbath) -- by helping you and your master! Young Masbath shrieks and drops the mallet. LADY VAN TASSEL (CONT'D) You are just in time to have your head sliced off! Katrina and Young Masbath run to each other for mutual comfort. LIGHTNING BRIGHTENS the forest. Lady Van Tassel looks up. LADY VAN TASSEL (CONT'D) The Horseman comes. And tonight he comes for you! EXT. WESTERN WOODS -- NIGHT The Horseman rides Daredevil, a freight train of moldering flesh... INT. WINDMILL -- NIGHT Katrina and Young Masbath are holding hands, scared. Lady Van Tassel picks up the Horseman's skull in her gloved hand and puts up her face and gives out a long animal howl. Distantly, Daredevil is heard answering with a scream. Katrina and Young Masbath run. Lady Van Tassel has need to stop them. LADY VAN TASSEL Run! There is no escape! EXT. VAN TASSEL HOUSE, PORCH AND LAWN -- NIGHT Ichabod leaps from the coach, bounds up porch stairs... ICHABOD Katrina! Ichabod stops, sees FIRELIGHT at the Windmill. He runs... leaps back up to the coach and takes off... EXT. WINDMILL -- NIGHT THUNDER BOOMS. WIND HOWLS. Lady Van Tassel stands in the doorway with the skull in one hand, laughing. EXT. AROUND THE OTHER SIDE OF THE WINDMILL -- NIGHT Katrina and Young Masbath break out into the open. Ichabod drives toward them... KATRINA Ichabod! Ichabod meets them, halts the coach and jumps down (as the coach horses trot away), running to put his arms around Katrina and Young Masbath... ICHAB0D Thank God... Lady Van Tassel's mad laughter is heard. Ichabod and Katrina turn as... Lady Van Tassel rides from around the windmill on her white horse. She shrieks with laughter. ALONG THE TREELINE, the Horseman breaks into the open... Hell on horseback -- full speed ahead... LADY VAN TASSEL (0.S.) Have you come back to arrest him after all?! Ichabod thinks fast, moving to the windmill, leading Katrina and Young Masbath along with him. ICHABOD Quickly... ! Behind, wind tosses Lady Van Tassel's dress and hair. She holds the Horseman's skull high. LADY VAN TASSEL Mind your hat, Constable! Young Masbath scurries up the ladder and in. Katrina's next. Ichabod looks behind... The Horseman is almost upon them. Ichabod follows Katrina, pulling himself up. The Horseman arrives, dismounting, moving forward... INT. WINDMILL -- NIGHT Ichabod leaps up, lifts the heavy trap door on its hinges, slams it. The door is POUNDED from outside, buckling. YOUNG MASBATH It won't hold. Ichabod goes to a large GRINDSTONE against a wall. He struggles to roll it... Young Masbath helps him roll it to the trapdoor. It falls on top with a THUD. Masbath jumps back as the Horseman's sword jabs up through the grindstone's center hole. The sword withdraws. POUNDING begins anew. EXT. WINDMILL -- NIGHT The Horseman chops at the door with his axe. INT. WINDMILL -- NIGHT POUNDING CONTINUES, Katrina and Young Masbath back away. Ichabod holds his lantern up, desperate for ideas, searching. Above, to the right, is the high MILLING PLATFORM, where grain is ground and bagged, and a ladder leading to it. To the left is the crooked, open STAIRCASE. Ichabod picks up a BAILING HOOK, a plan forming. He gives his lantern to Katrina and points. ICHABOD Get up these stairs. Open the door to the roof and wait. Katrina and Young Masbath obey, heading left. Ichabod crosses to the right, starts climbing the ladder to the milling platform... On the platform, Ichabod grasps a wooden lever, pulling it. The entire windmill CREAKS and GROANS as massive GEARS and COUNTERWHEELS above begin to turn. EXT. WINDMILL -- NIGHT The windmill's rotors slowly begin spinning. UNDER THE WINDMILL, the Horseman keeps chopping... His axe exposes grindstone, throwing sparks. INT. WINDMILL -- NIGHT Katrina looks down from the stairway. The POUNDING on the trap door causes the grindstone to jump. KATRINA Ichabod... ICHABOD Keep climbing. I will follow... (under his breath) Hopefully. Ichabod drags large BAGS of GRAIN, lining them up at the edge of the milling platform. ABOVE, Young Masbath throws open the door to the roof. BELOW, Ichabod uses the bailing hook to cut holes into the grain bags, so that MILLED GRAIN SPILLS out and falls to the floor, creating clouds of grain dust. Ichabod grabs one open bag, dumps it. He slices into a sack hanging from a pulley system, pushes it so it swings in circles, grain flooding out... More and more DUST RISES, filling the air... EXT. WINDMILL ROOF -- NIGHT Masbath and Katrina come out. Rotors spin behind them. INT. WINDMILL -- NIGHT The GRINDSTONE blocking the trap door FALLS THROUGH as wood splinters and gives. A moment, then the Horseman climbs in. KATRINA (looking in from above) Behind you! Ichabod looks down, sees the Horseman, then looks to the staircase adjacent from the high platform. He runs... He LEAPS across the space between the platform and stairs... Ichabod grasps the outer rail of the staircase, hanging on, pulls himself up onto the stairs... Below, the Horseman moves through clouds of billowing dust, runs and LEAPS, incredibly high... The Horseman grasps a hanging chain, swinging, his momentum carrying him in a wide arc... Above, Ichabod runs upstairs, to the roof door. The Horseman's weight swings him toward the stairwell... He releases the chain... airborne momentarily... The Horseman lands high up on the stairwell. EXT. WINDMILL ROOF -- NIGHT Katrina and Young Masbath help Ichabod onto the roof. KATRINA Quickly, close it! ICHABOD No... Ichabod takes the lantern from Katrina. ICHABOD (CONT'D) (points) Get to the crest of the roof and be ready to jump. YOUNG MASBATH Jump? From up here?! INT. WINDMILL -- NIGHT The Horseman clomps upstairs, axe in hand. EXT. WINDMILL ROOF -- NlGHT Ichabod shepherds Katrina and Young Masbath to the edge, where the rotors spin close. ICHABOD Jump for the sails! Wait till I give the word! KATRINA Ichabod!... I can't... ICHABOD Yes, you can, my love -- hand in hand... Ichabod moves back to the trap door. Katrina and Young Masbath look at the rotors, and down at the long distance between them and the ground. ICHABOD (CONT'D) Be ready... Ichabod DROPS the LANTERN into the windmill and runs... ICHABOD (CONT'D) Now! INT. WINDMILL -- NIGHT The Horseman continues up. The lantern falls past... EXT. WINDMILL, ROOF -- NIGHT Young Masbath jumps. Ichabod grips Katrina, jumps... They hit one rotor, gripping the frame and cloth as the rotor begins its DOWNWARD TURN... INT. WINDMILL -- NIGHT The lantern hits the ground and shatters -- FLAMES EXPLODE! Throughout the windmill's interior, grain dust is consumed instantaneously -- FLAMES ROAR upward... FLAMES engulf the Horseman... EXT. WINDMILL -- NIGHT The rotor is halfway to its lowest point. Masbath, Katrina and Ichabod hang on as the ENTIRE STRUCTURE TREMBLES... Flames shoot out windows, doors and seams! On the rotor, Ichabod struggles to keep a grip on Katrina. Masbath drops. Ichabod and Katrina fall... They all hit the ground. Ichabod rolls over, gasping, holding his shoulders, getting to his feet... Ichabod, Katrina and Young Masbath run away as smoldering debris rains down. EXT. ACROSS THE FIELD -- NIGHT Ichabod ushers them along as they run, heading uphill. Lightning flashes across the sky. THUNDER RUMBLES. EXT. WINDMILL -- NIGHT Behind, the WINDMILL begins to CRUMBLE, huge burning sections crashing to the ground. EXT. ACROSS THE FIELD -- NIGHT Ichabod, Katrina and Young Masbath slow, looking back at the incredible conflagration. YOUNG MASBATH Is he dead? ICHABOD He was dead to start with -- that's the problem. KATRINA Look... EXT. WINDMILL -- NIGHT IN THE WINDMILL RUBBLE, the Horseman RISES, shoving off burning debris. His flame-ravaged uniform smolders. EXT. ACROSS THE FIELD -NIGHT Ichabod spins, searching for possibilities... He spots the COACH and HORSES not too far away... ICHABOD Come on! They flee toward the coach. Behind... Daredevil rides to rejoin the Horseman. EXT. THE ROAD FROM VAN TASSEL ESTATE -- NIGHT The coach hits the long straight road, rumbling at top speed away from the Van Tassel Estate, into the forest... Katrina and Masbath hold on as the coach shakes violently. KATRINA Where are we going? ICHABOD Anywhere! YOUNG MASBATH He's right behind! Behind on the trail, the Horseman chases, closing fast. KATRINA Make for the church! ICHABOD We'll never reach it! Young Masbath grabs Ichabod's satchel, offers it... YOUNG MASBATH Here, sir... you must have something in your bag of tricks. ICHABOD Nothing that will help us, I am afraid. Take the reins... Young Masbath takes them. Ichabod gives Van Ripper's rifle to Katrina, then crawls back across the coach roof. Ichabod gets to a baggage area at the rear, struggling to open a storage box. Behind, the Horseman draws his sword, closer. Ichabod opens the box and pulls out a jagged HAND SAW. KATRINA Look out... ! Ichabod looks. The Horseman rides up, SWINGS his sword... Ichabod recoils -- THWACK -- just missed. The Horseman lets the coach get ahead, shifting to the other side of the trail... coming along side again... Ichabod backpedals, looking to Masbath. ICHABOD Keep him off! Block him! Masbath guides the horses over. The Horseman must fall behind to avoid the wheels. One wheel hits a large rock... Ichabod bounces, falling, drops the saw... He hangs off the side of the coach. The saw clatters away on the trail. Ichabod tries for better purchase. He grips the coach door. Katrina climbs to offer her hand. KATRINA Take my hand! Ichabod reaches to her, but the coach door falls open... Ichabod's PISTOL falls from the holster and is lost on the trail. Ichabod clings helplessly to the door as branches slam him. EXT. BEHIND THE TRAIL The Horseman gets to his feet. Ahead, Daredevil stands waiting, giving a SCREECH. EXT. AHEAD ON THE TRAIL NEAR THE TREE OF THE DEAD Katrina and Ichabod rejoin Mashath, climb off the coach to examine the ruined wheel, panicked. ICHABOD This is not good. YOUNG MASBATH We're doomed. ICHABOD We have to get out of the open somehow. Quick, follow me... They turn to run, but suddenly falter, seeing... Riding over the crest of the hill, comes Lady Van Tassel, on her white horse, with Ichahod's lost pistol in her hand... EXT. NEAR FOREST -- NIGHT LADY VAN TASSEL What? Still alive?! Across the distance, the Horseman strides in this direction. ICHABOD Run, Katrina... Lady Van Tassel points her gun at Katrina. LADY VAN TASSEL Yes, do run. And jump. And skip. (she takes aim) And now let's see a somersault! ICHABOD Run! Ichahod makes a move toward Lady Van Tassel, but Lady Van Tassel aims and FIRES -- shoots Ichahod in the chest! Ichahod goes down... KATRINA No! Young Masbath cries out, falls to his knees beside Ichabod. Katrina moves toward Ichahod... Lady Van Tassel rides forward -- GRABS Katrina by the hair, PULLING HER, riding off toward the Horseman... Ichabod lays clutching the smoldering wound in his chest, gasping. Young Masbath holds him... YOUNG MASBATH Oh, God... no... no... Lady Van Tassel drags Katrina by the hair as Katrina screams and struggles and kicks. The Horseman keeps coming... Lady Van Tassel stops her horse, halfway to the Horseman, drops Katrina and starts riding back, shouting... LADY VAN TASSEL There she is. Take her, she's yours! Katrina gets up to run, stumbles, falls... The Horseman strides after... Up the field, Ichabod gets to his knees, feeling his chest with both hands, not quite understanding, struggling to shake off delirium... YOUNG MASBATH Sir, you're... you're not dead... ICHABOD Not... yet... Ichabod looks up, trying to comprehend... Lady Van Tassel had turned her horse, her back to us, keeping her distance from the Horseman. Beyond her, Katrina flees this direction with the Horseman at her heels. Ichabod's focused on something... The black SADDLEBAG slung over Lady Van Tassel's horse. Ichabod rises out of pure determination, runs... Katrina runs... the Horseman is closing on her. Lady Van Tassel watches, grinning, but at the last second something catches her eye and she turns, just as... Ichabod LEAPS... TACKLES Lady Van Tassel off of her horse, taking her down to the ground HARD... her bag falling open... The Horseman's skull rolling out... Ichabod scrambles toward the skull -- but falls, halted. Lady Van Tassel grips his leg, holding him. Young Masbath grabs a heavy, broken TREE LIMB off the ground. The Horseman is mere yards behind Katrina... Ichabod struggles to get free from Lady Van Tassel, can't break her grip when, BANG -- Young Masbath SMASHES Lady Van Tassel over the head with the tree limb. She's out. The Horseman catches Katrina... Ichabod scrambles free, running, reaching for the skull... grasping it... The Horseman holds Katrina ready by her hair as she falls to her knees, screaming and struggling. The Horseman raises his sword... Ichabod rises, THROWS the skull with all his might... ICHABOD (CONT'D) Horseman! The skull spins through the air... The Horseman suddenly drops Katrina, reaches up with one hand... catches the skull. Katrina runs. Ichabod runs to meet her, grabs her as she falls. Together, they back away from the Horseman... The Horseman holds the skull out... brings it to his shoulders, to its rightful place. THUNDER POUNDS. TRANSFORMATION begins -- blood and flesh rise up from the Horseman's throat and grip the skull... Young Masbath watches in awe. The Horseman's reformation continues. Muscle forms. Liquids become solids. He is made whole once more, the same evil, human face we saw in Baltus's stories. The Horseman looks to Ichabod and Katrina, touches his restored face. Daredevil rides up, SCREECHING. The Horseman replaces his sword, climbs into the saddle. He rides toward Katrina and Ichabod, but he does not want them. They are so exhausted they fall down. Young Masbath comes to stand with them. The Horseman leans to grab Lady Van Tassel's unconscious form, pulls her up across Daredevil's back. The Horseman rides away with her. Ichabod and Katrina watch him go. They look at each other, then kiss gratefully. Ichabod looks to Young Masbath... ICHABOD (CONT'D) How are you, Young Masbath? YOUNG MASBATH Weary, sir. Ichabod holds out his arm. Masbath comes over. They embrace. Katrina touches the burned bullet hole in Ichabod's clothing. KATRINA I thought I had lost you. Ichabod reaches into his clothing, takes out a BOOK he kept in an inner pocket close to his heart... The BOOK OF SPELLS with a bullet lodged in it. Katrina wraps her arms around Ichabod. EXT. WESTERN WOODS, TREE OF THE DEAD -- NIGHT HOOFBEATS. The Horseman enters the clearing, holding on to Lady Van Tassel. Ahead, the Tree of the dead awaits. Lady Van Tassel is awakening... The Horseman grips Lady Van Tassel's hair, pulling her face up closer to his, just as she opens her eyes... Lady Van Tassel screams... As the Horseman brings his face to meet hers, about to engage in a KISS, his jagged teeth open wide. Ahead, the twisted tree's wound opens, deep and glowing, as Daredevil picks up speed. EXT. WESTERN WOODS, TREE OF THE DEAD -- NIGHT Daredevil JUMPS in the air just as a LIGHTNING BOLT blasts down from the sky, striking the Horseman... For an instant, Horseman and horse are transformed, SKELETONS OF LIGHT, entering the tree! Silence and smoke. At the tree, Lady Van Tassel's hand sticks out from the tight-shut suture. The sewn wound on her palm seeps blood as her fingers curl. EXT. NEW YORK CITY STREET, ICHABOD'S HOME -- DAY A coach pulls up to Ichabod's home. Ichabod is the driver. He gets off, goes and opens the coach door. He helps Katrina down. Next, Young Masbath sticks his head out. Katrina holds Young Masbath's hand. Ichabod comes to hold Katrina's hand. A STRAY CAT watches them -- Young Masbath looks entranced at the BUSTLING METROPOLIS. YOUNG MASBATH Oh, my! KATRINA (equally impressed) And cobbled streets! ICHABOD (proudly) Yes... New York, New York! Just in time for the new century! It's the modern age, Katrina! KATRINA It's always the modern age, Ichabod ... but the ancient ones endure. Large snowflakes begin to fall upon the scene. Ichabod puts an arm around Katrina and the other arm around Masbath. The CAT is black with one white paw... the Cat from Ichabod's dreams... The CAT turns to look at the trio. ECU -- The CAT'S EYES ARE HUMAN, INTELLIGENT, KINDLY... They are Ichabod's Mother's eyes. Ichabod, Katrina and Young Masbath enter Ichabod's house, as the SNOW continues to fall. -
Budinscak Uncertainty Scene
Day 5
What I learned doing this assignment:
o I forgot how captivating the first few pages of “THE MATRIX” were – wow. Drew me right in.
o Alternating between the dialog and what was happening on the screen was hope and fear.
o Great example with “HAPPY GILMORE”. I can see the public auction of grandma’s home right now.
Name of the Script – “THE MATRIX”, and this is the very beginning of the story – it’s from FADE IN.
FADE IN:
1 ON COMPUTER SCREEN 1
so close it has no boundaries. A blinding cursor pulses in the electric darkness like a
heart coursing with phosphorous light, burning beneath the derma of black-neon glass.
A PHONE begins to RING, we hear it as though we were making the call. The cursor continues to throb, relentlessly patient, until –
MAN (V.O.)
Yeah?
Data now slashes across the screen, information flashing faster then we can read: “Call trans opt: received. 2-19-98 13:24:18 REC:Log>.”
WOMAN (V.O.)
Is everything in place? **HOPE**
On screen: “Trace program: running.” **FEAR**
We listen to the phone conversation as though we were on a third line. The man’s name is Cypher. The woman, Trinity.
TRINITY (WOMANV.O.)
I said, is everything in place?
The entire screen with racing columns of numbers. Shimmering like green-electric rivers, they rush at a 10-digit phone number in the top corner. **FEAR**
CYPHER (MANV.O.)
You weren’t supposed to relieve me.
TRINITY (V.O.)
I know but I felt like taking a shift. **HOPE**
The area code is identified. The first three numbers suddenly fixed, leaving only seven flowing columns. **FEAR**
CYPHER (V.O.)
You like him, don’t you? You like watching him? **HOPE**
We begin MOVING TOWARD the screen, CLOSING IN as each digit is matched, one by one, snapping into place like the wheels of a slot machine. **FEAR**
TRINITY (V.O.)
Don’t be ridiculous.
CYPHER (V.O.)
We’re going to kill him. Do you understand that? He’s going to die just like the others. **FEAR**
TRINITY (V.O.)
Morpheus believes he is the One. **HOPE**
Only two thin digits left. **FEAR**
CYPHER (V.O.)
Do you?
TRINITY (V.O.)
I… it doesn’t matter what I believe.
CYPHER (V.O.)
You don’t, do you?
TRINITY (V.O.)
If you have something to say, I suggest you say it to Morpheus.
CYPHER (V.O.)
I intend to, believe me. Someone has to.
The final NUMBER POPS into place – **FEAR**
TRINITY (V.O.)
Did you hear that?
CYPHER (V.O.)
Hear what?
On screen: “Trace complete. Call origin: #312-555- 0690. **FEAR**
TRINITY (V.O.)
Are you sure this line is clean?
CYPHER (V.O.)
Yeah, ‘course I’m sure.
We MOVE STILL CLOSER, the ELECTRIC HUM of the green NUMBERS GROWING into an ominous ROAR. **FEAR**
TRINITY (V.O.)
I better go. **HOPE**
She hangs up as we PASS THROUGH the numbers, entering the nether world of the computer screen. Suddenly, a flashlight cuts open the darkness and we find ourselves in –
2 INT. HEART O’ THE CITY HOTEL – NIGHT 2
The hotel was abandoned after a fire licked its way across the polyester carpeting, destroying several rooms as it spooled soot up the walls and ceiling, leaving patterns of permanent shadow.
We FOLLOW four armed POLICE OFFICERS using flashlights as they creep down the blackened hall and ready themselves on either side of Room 303. The biggest of them violently kicks in the door. The other cops pour in behind him, guns thrust before them. **FEAR**
BIG COP
Police! Freeze!
The room is almost devoid of furniture. There is a foldup table and chair with a phone, a modem, and a powerbook computer. The only light in the room is the glow of the computer.
Sitting there, her hands still on the keyboard, is TRINITY; a woman in black leather.
BIG COP
Hands behind your head! Now! Do it! **FEAR**
She slowly puts her hands behind her head.
3 EXT. HEART O’ THE CITY HOTEL – NIGHT 3
A black sedan with tinted windows glides in through the police cruisers. AGENT SMITH, AGENT BROWN, and AGENT JONES get out of the car. They wear dark suits and sunglasses even at night. They are also always hardwired; small Secret Service earphones in one ear, the cord coiling back into their shirt collars.
AGENT SMITH
Lieutenant?
LIEUTENANT
Oh shit.
AGENT SMITH
Lieutenant, you were given specific orders –
LIEUTENANT
I’m just doing my job. You gimme that Juris-my dick-tion and you can cram it up your ass.
AGENT SMITH
The orders were for your protection. **HOPE**
The Lieutenant laughs.
LIEUTENANT
I think we can handle one little girl.
Agent Smith nods to Agent Brown as they start toward the hotel.
LIEUTENANT
I sent two units. They’re bringing her down now.
AGENT SMITH
No, Lieutenant, your men are already dead. **HOPE**
4 INT. HEART O’ THE CITY HOTEL 4
The Big Cop flicks out his cuffs, the other cops holding a bead. They’ve done this a hundred times, they know they’ve got her, until the Big Cop reaches with the cuffs
and Trinity moves — It almost doesn’t register, so smooth and fast, inhumanly fast. **HOPE**
The eye blinks and Trinity’s palm snaps up and the nose explodes, blood erupting. Her leg kicks with the force of a wrecking ball and he flies back, a two-hundred-fifty
pound sack of limp meat and bone that slams into the cop farthest from her.
Trinity moves again, BULLETS RAKING the walls, flashlights sweeping with panic as the remaining cops try to stop a leather-clad ghost. A GUN still in the cop’s hand is snatched, twisted, and FIRED. There is a final violent exchange of GUNFIRE and
when it’s over, Trinity is the only one standing. **HOPE**
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This reply was modified 3 years, 5 months ago by John Budinscak.
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This reply was modified 3 years, 5 months ago by
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PS 80 Michelle Damis Uncertainty Scene
Bruce Almightly – The scene on the boat where he poses his shit because Evan got the anchor job.
I’m not posting the script, because I can’t get it to cut and paste and I don’t; want to re-type the entire thing.
This scene did a good job mixing hope and fear by using the other character pulling for him and him being unpredictable and us fearing what crazy thing he is going to say next and what those repercussions are going to be.
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Jodi’s Uncertainty scene - Day 5
Keep the audience on the roller coaster ride of Hope and Fear. Intermingling these throughout the script keeps the script interesting and engaging.
CAST AWAY
Chuck Noland is a systems analyst executive with Fedex. In the operations room the executives find a problem in Malaysia. Their communications system; telex, email,etc has broken down. Chuck gets on the first sweep to fly to Malaysia to fix the problem. Chuck’s plane crashes into the ocean. Eventually Chuck floats to an island and must learn to survive.
OPENING THE COCONUT - SERIES OF SHOTS
Chuck uses the stone knife to saw at the coconut. No luck.
Chuck clumsily sharpens a stick with the sharp rock.
Chuck brings the sharpened stick down hard on the coconut,
but the stick slides off, sending the coconut rolling away.
(FEAR) Chuck will starve to death
Chuck positions the stick, pointed end up, in a hole, then
SLAMS the coconut down hard on it. Success! The green nut
of the coconut splits. The brown inner nut is free! He
smashes the nut with a rock, but -- OW! -- he hits his hand!
Chuck licks his fingers, but he is so thirsty there's no more
saliva. He smashes again. The shell breaks to smithereens.
Coconut milk splashes everywhere.
CHUCK
That was smart, really smart.
(HOPE)
Rotating a nut along its axis and carefully moving his
fingers out of the way, he SMASHES the nut again. The shell
splits! The precious liquid splashes out. Left inside is a
swallow or two, which Chuck laps up eagerly. The milky white
liquid dribbles down his face.
CHUCK
Ahhh.
EXT. BEACH - SUNRISE
Chuck squints at the ocean. His sunburn is bad -- his lips
are cracked. A stack of broken coconut shells is beside him.
No one's there -- again.
(FEAR)
CHUCK
Maybe the GPS malfunctioned. That Korean
airliner did.
Clouds scud in front of the sun. Beyond the reef the waves
are high and churning. Chuck can see them pound onto the
reef.
(HOPE and FEAR)
CHUCK
Okay, do the math. Maybe they know where
you are within, say 500 miles. That's a
circle with an area of, uh, pi r squared.
So, uh, 250,000 times three point one
four, that's about 800,000 square miles.
Three times the size of Texas.
This sinks in. Then Chuck gets an idea.
( a dash of HOPE)
CHUCK
They could use a satellite.
But even that doesn't give him much hope.
CHUCK
Say each satellite photo is 30 feet
square, that's uh...fuck it...billions
and billions of photos.
(FEAR)
That sinks in.
(HOPE)
CHUCK
Aw, someone will come.
EXT. BEACH - NIGHT
Chuck sleeps by the coconuts. The tide is coming in. Chuck
stirs, gets up, staggers over to a palm tree to relieve
himself.
He stares idly out at the moonlight on the waves. Then not
so idly. Something's out there, something floating on the
tide.
(HOPE)
CHUCK
What the hell?
EXT. BEACH - MOMENTS LATER
Chuck splashes into the gentle surf, reaches the dark object.
(FEAR)
It's a body. Chuck turns it over. It's Al, one of the
pilots, his face gray and waterlogged and very dead.
CHUCK
Oh Jesus.
EXT. BEACH - MOMENTS LATER
Chuck drags the body up on the beach and then collapses,
exhausted. He sits by it, staring at it.
CHUCK
I'm so sorry, Al. So sorry.
EXT. BEACH - MORNING
Chuck has almost finished a grave in the sand back of the
palm trees. He's been digging with a piece of driftwood
sharpened with his stone knife.
(FEAR)
He drags the body into the pit. Stares down at it. That
could be me.
CHUCK
Got to cover Al up.
He wants to say more, can't. He scoops some sand over the
body.
CHUCK
Got to cover Al up.
He scoops in some more sand. It's eerily like burying the
tropical fish in his back yard.
EXT. BEACH - LATER
With a rock Chuck hammers a crude driftwood marker into the
sand.
EXT. BEACH - LATER THAT DAY
As Chuck sits on the beach, he half-sings, half-talks "Yellow
Submarine" very quietly to himself.
CHUCK
We all live in a yellow submarine, yellow
submarine...
(HOPE)
He looks over at the deep woods and down to the rocky point.
Comes to a decision. He takes a drink of coconut, picks up
his club and a coconut, sticks the stone knife in his pants.
He's ready to go.
EXT. BEACH - DAY - MOMENTS LATER
Chuck climbs over the rocks and disappears out of sight.
He's still half-singing to himself.
CHUCK
Yellow submarine. We all live in a
yellow submarine...
EXT. ISLAND - DAY - MOMENTS LATER
Chuck's way is blocked by rocks and jungle. He hesitates.
He picks up a rock and THROWS IT to scare away all those bad
things. It crashes into the ferns and palm trees. He takes
a step into the jungle.
EXT. JUNGLE - MINUTES LATER
(FEAR)
Chuck struggles through a dense thicket beneath a jungle
canopy. Vines and creepers reach out toward him. There is
no path, nothing to show him where to go.
EXT. JUNGLE - HALF HOUR LATER
Chuck climbs through a tangle of vines and ferns. He takes a
drink from the coconut he is carrying. The last drink.
(FEAR)
CHUCK
Bad idea. Should have saved some.
He throws away the husk. He looks up, but the only sunlight
reaching him is dappled from the canopy above him.
EXT. ISLAND - MOMENTS LATER
(FEAR)
Chuck emerges onto a ridge that leads to a summit. He climbs
across a rocky lava field covered with scrub lichen and low
ferns, soil dark as coffee beans, his way crossed by steep
gullies that cut like dark fingers into the lava.
The lava field narrows, forcing Chuck closer to the sea. He
passes a series of CAVES, their mouths dark and mysterious
and scary. He gives them a wide berth.
EXT. ISLAND - CLIFF - MOMENTS LATER
The land narrows to a ledge that stretches across a high
cliff perched over the ocean. Beyond this rock bridge the
path smoothes out to a summit.
(FEAR)
Chuck stares at the narrow bridge, then down at the waves
breaking on the rocks far below. To get any view, he will
have to cross the bridge. He's thirsty. The late afternoon
sun is hot.
CHUCK
Other than that, Mrs. Lincoln, how did
you enjoy the play?
Hugging the wall of the cliff, taking each step with great
caution, he sets out across the bridge.
EXT. ISLAND - CLIFF
Step by step, Chuck negotiates the narrow bridge. He reaches
a flume of polished basalt which cuts across the ledge like a
slide in a water park -- except this flume ends high above
the waves. Chuck tries to step across it, can't quite, tries
one foot first, then the other.
CHUCK
Shit!
He looks back, but that seems even scarier.
CHUCK
Got to get there. Got to see. C'mon...
c'mon. Don't be such a wuss. Be bold.
He looks down at the ocean beneath him, closes his eyes, and
jumps. It's only a few feet, but he's breathing hard when he
lands on the other side. He hugs the rocks, getting his
breath.
(HOPE and FEAR)
EXT. ISLAND SUMMIT - SUNSET - MOMENTS LATER
Chuck looks to each point on the compass. He is on an
ISLAND, small, inhospitable, without sign of habitation or
anything human. On three sides the waves break against
steep, hostile cliffs. A reef encloses the cove where he
came from.
CHUCK
No way on. No way off.
Chuck stares out to sea in every direction. Nothing.
CHUCK
This is bad. Really, really bad.
The last rays of sun hit his face. The ocean turns a deep
reddish gold.
EXT. CLIFF - MOMENTS LATER
Going down is even scarier. It's dusk and the light is flat
and gray. Chuck stares at the ledge.
CHUCK
Come on. Crawl if you have to.
Chuck crawls on his hands and knees across the rock bridge.
EXT. ROCKY SLOPE - MOMENTS LATER
Chuck stumbles over the rocks. The caves look ominous and
primal.
EXT. EDGE OF JUNGLE - NIGHT
It's getting dark now. The jungle seems impenetrable, the
dark wood of fable. Chuck hesitates, then plunges into it.
EXT. JUNGLE - NIGHT MINUTES LATER
The moon has just begun to rise, casting eerie light into the
jungle. The shadows reach out to grab Chuck, then real
branches and vines tug at him. He heads into thick
blackness.
EXT. BEACH - NIGHT - LATER
(HOPE)
Chuck emerges around the rocks. He reaches the stack of
familiar FedEx boxes -- Ahh, home! He's breathing hard, from
both fear and exertion.
CHUCK
Got to drink. Got to drink something.
With his last strength he opens a coconut on the stick. He
bangs hard on the shell and gulps down the milk. He stares
at the stack of FedEx boxes. What could be inside? He
reaches out and touches one.
CHUCK
They don't belong to you.
Responsibility gets the better of necessity, and he takes his
hand away.
EXT. BEACH - MORNING
Face red from the sun, Chuck hacks at a palm frond with his
stone knife. He saws the palm frond off near the base,
leaving it about a foot long.
CHUCK
Got to have shade. Got to have a hat.
He ties the loose fibers into a sort of circle, then sets it
upon his head. It looks amazingly like some sort of
primitive cap.
He grabs a couple of FedEx boxes and heads for the beach.
EXT. BEACH - LATER
(HOPE)
Chuck finishes the P on H E L P, which he has spelled out
with the FedEx boxes on the beach.
EXT. JUNGLE - DAY - LATER
Chuck scrambles down a ravine. He kneels down and feels the
ground. It is dry, completely dry.
EXT. LAVA SLOPE - DAY
(HOPE)
Chuck traverses the slope, determined to find water.
A FLAT ROCK - LATER
With a puddle of dirty water trapped in a tiny hollow.
Suddenly Chuck flops down into frame. He tries to scoop up
some water in his hands, but he just splashes it around. He
licks his fingers. Then he gets down on his stomach and laps
up the water with his tongue. Like an animal.
In the bottom of the small depression is some fine mud. He
rubs it on his reddened face and across his burned lips.
(HOPE)
CHUCK
Oh, God. Thank you.
-
Elizabeth’s Uncertainty Scene
What I learned: not only can you have multiple fears/hopes in a scene, you can have them in a single line of dialogue!
The Shawshank Redemption
Near the end of the movie, Red is facing the parole board yet again. Red’s friend Andy has escaped with cash, and gotten their nemesis Hadley arrested. His friend Brooks was unable to make the transition to living outside prison, and committed suicide. We’re sitting with hope that Red will be released, that he will successfully transition and find Andy—and fear that any of these things might not happen
274 AN IRON-BARRED DOOR 274
slides open with an enormous CLANG. A stark room beyond.
CAMERA PUSHES through. SIX MEN AND ONE WOMAN sit at a long
table. An empty chair faces them. We are again in:
Hope he’ll finally be released. Fear he won’t
INT — SHAWSHANK HEARINGS ROOM — DAY (1967)
Red enters, sits. 20 years older than when we first saw him.
MAN #1
Your file says you’ve served forty
years of a life sentence. You feel
you’ve been rehabilitated?
Red doesn’t answer. Just stares off. Seconds tick by. The
parole board exchanges glances. Somebody clears his throat.
Fear he won’t answer—or be released
MAN #1
Shall I repeat the question?
RED
I heard you. Rehabilitated. Let’s
see now. You know, come to think of
it, I have no idea what that means.
MAN #2
Well, it means you’re ready to
rejoin society as a–
RED
I know what you think it means. Me,
I think it’s a made-up word, a poli-
tician’s word. A word so young fellas
like you can wear a suit and tie and
have a job. What do you really want
to know? Am I sorry for what I did?
MAN #2
Well…are you?
RED
Not a day goes by I don’t feel
regret, and not because I’m in here
or because you think I should. I
look back on myself the way I
was…stupid kid who did that
terrible crime…wish I could talk
sense to him. Tell him how things
are. But I can’t. That kid’s long
gone, this old man is all that’s
left, and I have to live with that.
(beat)
“Rehabilitated?” That’s a bullshit
word, so you just go on ahead and
stamp that form there, sonny, and
stop wasting my damn time. Truth
is, I don’t give a shit.
Hope: he’s finally expressed remorse (arc complete). Fear his words and attitude will keep him in.
The parole board just stares. Red sits drumming his fingers.
CLOSEUP — PAROLE FORM
A big rubber stamp SLAMS down — and lifts away to reveal the
word “APPROVED” in red ink. RELIEF (hope he’ll enjoy his freedom)
275 EXT — SHAWSHANK PRISON — DAY 275
TWO SHORT SIREN BLASTS herald the opening of the main gate. It
swings hugely open, revealing Red standing in his cheap suit,
carrying a cheap bag, wearing a cheap hat. He walks out, still
looking stunned. Fear he’s too lost to enjoy himself, or even function
276 INT — BUS — DAY 276
Red rides the bus, clutching the seat before him, gripped by
terror of speed and motion. Fear, as above
277 EXT — BREWSTER HOTEL — LATE AFTERNOON 277
Red arrives at the Brewster, three stories high and even less
to look at than it used to be. Fear that so much has changed—for the worse
27B INT — BREWSTER — LATE DAY 278
A BLACK WOMAN leads Red up the stairs toward the top floor.
279 INT — RED’S ROOM — LATE DAY 279
Small, old, dingy. An arched window with a view of Congress
Street. Traffic noise floats up. Red enters and pauses,
staring up at the ceiling beam. Carved into the wood are the
words: “Brooks Hatlen was here.” Fear Red won’t be able to cope either—and will commit suicide. Fear that he can’t be happy in these dingy circumstances
280 INT — FOODWAY MARKET — DAY 280
Loud. Jangling with PEOPLE and NOISE. We find Red bagging
groceries. Registers are humming, kids are shrieking. Red
calls to the STORE MANAGER:
Hope—he has a job!
RED
Sir? Restroom break sir?
MANAGER
(motions him over)
You don’t need to ask me every
time you go take a piss. Just go.
Understand?
Fear he doesn’t quite fit/get it. Also hope re: how free he is
28l INT — EMPLOYEE RESTROOM — DAY 281
Red steps to the urinal, stares at himself in the wall mirror.
RED (V.O.)
Thirty years I’ve been asking
permission to piss. I can’t squeeze
a drop without say-so.
A strange east Indian guitar-whine begins. The Beatles. George
Harrison’s “Within You Without You…” fear: the people he is living withotu
282 EXT — STREET — DAY 282
…which carries through as Red walks. People and traffic. He
keeps looking at the women. An alien species. The new people he doesn’t know how to connect to.
RED (V.O.)
Women, too, that’s the other thing.
I forgot they were half the human
race. There’s women everywhere,
every shape and size. I find myself
semi-hard most of the time, cursing
myself for a dirty old man. Fear he feels ashamed (might suicide) a tiny bit of fear—might he do something wrong?
TWO YOUNG WOMEN stroll by in cut-offs and t-shirts.
RED (V.O.)
Not a brassiere to be seen, nipples
poking out at the world. Jeezus,
pleeze-us. Back in my day, a woman
out in public like that would have
been arrested and given a sanity
hearing. Fear the world has changed too much for him
283 EXT — PARK — DUSK 283
Red finds the park filled with HIPPIES. Hanging out.
Happening. Here’s the source of the music: a radio. A HIPPIE
GIRL gyrates to the Beatles, stoned, in her own world.
RED (V.O.)
They’re calling this the Summer of
Love. Summer of Loonies, you ask me.
284 INT — PAROLE OFFICE — DAY 284
Red sits across from his PAROLE OFFICER. The P.O. is filling
out his report.
P.O.
You staying out of the bars, Red?
RED
Yes sir. That I am.
P.O.
How you doing otherwise? Adjusting
okay?
RED
Things got different out here.
P.O.
Tell me about it. Young punks
protesting the war. You imagine?
Even my own kid. Oughtta bust his
fuckin’ skull.
RED
Guess the world moved on.
Fear he’s feeling left out (suicide)
285 INT — FOODWAY — DAY 285
Bagging groceries. CHILDREN underfoot. One points a toy gun at
Red, pumping the trigger. Red focuses on the gun, listening to
it CLICKETY-CLACK. Sparky wheel grinding.
The kids get swept off by MOM. Red starts bagging the next
customer. SLOW PUSH IN on Red. Surrounded by MOTION and NOISE.
Feeling like the eye of a hurricane. People everywhere,
whipping around him like a gale. Strange. Loud. Dizzying. It
gets distorted and weird, slow and thick, pressing in on him
from all sides. The noise level intensifies. The hollering of
children deepens and distends into LOW EERIE HOWLS.
He’s in the grip of a major anxiety attack. Tries to shake
himself out of it. Can’t. Fumbles the final items into the
bag. Walks away. Trying not to panic. Trying not to run.
He makes his way through the store. Blinking sweat. He bumps
into a lady’s cart, mumbles an apology, keeps going. Breaks
into a trot. Down the aisle, cut to the left, through the door
into the back rooms, faster and faster, running now, slamming
through a door marked “Employees Only” into – fear: he’s not doing well
286 INT — EMPLOYEE RESTROOM — DAY 286
— where he slams the door and leans heavily against it,
shutting everything out, breathing heavily. Alone now.
He goes to the sink, splashes his face, tries to calm down.
He can still hear them out there. They won’t go away. He
glances around the restroom. Small. Not small enough.
He enters a stall. Locks the door. Puts the toilet lid down
and sits on the john. Better. He can actually reach out and
touch the walls now. They’re close. Safe. Almost small enough.
He draws his feet up so he can’t be seen if somebody walks in. Hope-he’s feeling a bit better
He’ll just sit here for a while. Until he calms down.
287 EXT — STREET — DUSK 287
Red is walking home.
RED (V.O.)
There is a harsh truth to face.
No way I’m gonna make it on the
outside. Fear: he’s said he can’t make it
He pauses at a pawnshop window. An array of handguns. More fear: he’s looking at guns. Thinking about breaking parole
RED (V.O.)
All I do anymore is think of ways
to break my parole.
The SHOPKEEPER appears at the glass, locking the door and
flipping the sign: CLOSED. Hope: too late to get one
288 INT — RED’S ROOM — NIGHT 288
Red lies smoking in bed. Unable to sleep.
RED (V.O.)
Terrible thing, to live in fear.
Brooks Hatlen knew it. Knew it all
too well. All I want is to be back
where things make sense. Where I
won’t have to be afraid all the time. Fear is terrible. Too much?
He glances up at the ceiling beam. “Brooks Hatlen was here.” Fear of suicide peaks
RED (V.O.)
Only one thing stops me. A promise
I made to Andy.
Hope- he’s a loyal guy and he’s made an oath.
-
Pablo’s Uncertainty Scene
What I learned: That emotional yo-yo of uncertainty is so crucial and typically found towards the end of a film I think, much like the Happy Gilmore example. And I feel that dashing in a bit more fear may be better for storytelling as you must post a challenge for the hero to obtain hope. I chose the ending in 5th Element as my example.
The Fifth Element
Right before this scene, Leeloo gets shot and the case of stones is stolen by Zorg (fear). Then we come to find out that the stones are inside the Diva Plavalaguna, Leeloo’s trusted contact (hope). The group gain possession of the elemental stones arrives at the temple with only minutes to save the world. In this final scene it swings between hope and fear 14 times with fear beating out hope 13 to 9. But hope ultimately wins out at the end, of course.
263 EXT. SPACE Earth is in view. The Dark Planet fills the screen and heads for the blue planet. 264 INT. PRESIDENT'S OFFICE SCIENTIST About nine minutes. *(FEAR)* President Lindberg has trouble breathing. 265 INT. TEMPLE Lit by torches, Korben sets Leeloo delicately on the altar in the exact center of the four elements. Cornelius looks over the four Stones every which way. CORNELIUS (panic-stricken) Uh, this one... must be water! It's obvious he doesn't know where to put it. KORBEN *(FEAR)* Don't tell me you don't know how all this works? CORNELIUS Theoretically, yes! The four Stones form the beam and the Fifth Element is supposed to stand in the middle there, but... I don't have the reference book. I've never seen the Stones work! Korben can't believe his ears. He tears the Stone out of Cornelius' hand and studies the inscriptions. He goes over to one of the four bases the stones rest on and tries to figure it out. The symbol of air is on the Stone, the same as on the base. *(HOPE)* KORBEN Match the symbols! Korben places the first Stone and picks up another one. Cornelius has found the symbol for water. Loc Rhod sits down. He is very tired. LOC RHOD What is this some kinda game? Like chess? Korben pulls him to his feet and sticks a Stone in his hands. *(FEAR)* KORBEN No. It's much simpler. If we don't figure out where these Stones go in five minutes, we're all dead! Think you got it? Loc Rhod's got it and runs over to put in his Stone. The four Stones are all in place but nothing happens. KORBEN There's no light! You told me there were supposed to be four beams of light. CORNELIUS (lost) Yes, of course, but... The Stones are shut! They have to be open for it to work. KORBEN *(FEAR)* And you don't know how they open, is that what you are saying? CORNELIUS That's what I'm saying. 266 EXT. SPACE The Dark Planet closes in on Earth rapidly. 267 INT. CHAPEL Korben leans over Leeloo. KORBEN Leeloo? The Stones! We have to open them! How does it work? LEELOO (feeble) The wind blows... the fire burns... KORBEN I know all that, Leeloo! I'm talking about the Stones. LEELOO ...The rain falls... Korben is desperate. Leeloo's too weak, he won't get anything more out of her. He darts over to a Stone and turns it over and over. KORBEN The rain falls... the wind blows? Loc Rhod stands in front of his Stone looking at Korben. KORBEN Try and figure out how this fucking thing opens, instead of staring at me like that! Loc Rhod starts feeling the Stone all around. LOC RHOD (afraid) I'm looking, I'm looking. 268 INT. PRESIDENT'S OFFICE The tension is palpable in the President's office. SCIENTIST ...Three minutes. MUNRO *(FEAR)* We've lost contact with them. 269 INT. CHAPEL Korben and Cornelius turn the Stones every which way. All to no avai1. Loc Rhod is discouraged. LOC RHOD ...we'll never make it. He sighs. Three hooks pop off the Stone. Loc Rhod can't believe his eyes. LOC RHOD *(HOPE)* It... it moved! Korben! Korben! Korben rushes over, looks at the Stone. Hooks are undone. KORBEN What did you say? What did you do? LOC RHOD Nothing! Swear to God, I didn't do nothing! KORBEN Look, you did something that set it off. Try to remember. Concentrate. Tell me exactly what you did!! Loc Rhod tries to duplicate the same movement. LOC RHOD I was like this... With my hands here and... I said, "We'll never make it!" That's all! Nothing happens. KORBEN Is that all? LOC RHOD Yeah... then I sighed... like this. Loc Rhod sighs, really depressed this time. The Stone opens even more. Korben's got it. KORBEN The wind! The wind blows... Korben blows on the Stone which immediately opens revealing a patch of blue sky with some miniature clouds floating around inside. A yellow beam pops up like a ray of sunlight, like Korben's smile. KORBEN *(HOPE)* Quickly, everyone on a Stone! Water for water! Fire for fire! Earth for earth! The two men move fast. Korben on the 4th Stone: Earth. He grabs a fistful of earth and throws it on the Stone. A miniature patch of green appears and immediately forms a green beam. Cornelius wipes his forehead with a scarf and wrings it out over the Stone. It opens revealing a patch of miniature raging sea. A blue beam appears. Loc Rhod has a problem. LOC RHOD (shaking) *(FEAR)* I don't have a light. I stopped smoking last week! If we'd come a bit sooner... Korben pats his pockets, he comes up with a box of matches. There's only one left. KORBEN Don't breathe. *(HOPE)* Loc Rhod and Cornelius hold their breath. Korben strikes the match. A small flame appears on the tip. A breeze goes through the room. Korben feels like he's got TNT in his hands. He approaches the flame to the Stone. The flame twists, dims, flickers ...but holds on. The Stone opens. A patch of miniature fire appears. Korben sighs, snuffs out the match. The fourth beam, a red one, immediately forms. 270 EXT. SPACE A mass of fire fills the screen. The Earth is only a thousand miles away. 271 INT. PRESIDENT'S OFFICE SCIENTIST Two more minutes. *(FEAR)* The President shuts his eyes. His lids move in prayer. 272 INT. CHAPEL Korben helps Leeloo onto her feet where the four beams and four colors crisscross. KORBEN It's up to you now, Angel! LEELOO I'm so tired... KORBEN You can sleep tomorrow... come on... LEELOO I want to sleep... forever... KORBEN Leeloo! Listen to me! I'll take you on a vacation afterwards! A real vacation, this time, for as long as you want. Come on! You can do it! Korben slowly releases Leeloo and steps back from the altar. Leeloo can barely stand in the center of the four beams. An indistinct white beam begins to form around her, starts to rise. (HOPE) CORNELIUS Come on Leeloo! Come on! *(FEAR)* The beam loses its intensity. Leeloo crumples to the floor. 273 EXT. SPACE The Dark Planet hurtles toward Earth. A hundred miles before impact. The African continent is visible. No doubt about it:The fireball is heading right for Egypt. 274 INT. PRESIDENT'S OFFICE Seconds tick away relentlessly on the scientist's stopwatch. SCIENTIST *(FEAR)* It'll be entering the atmosphere in one minute. 275 INT. CHAPEL The heat in the temple is unbearable. All the walls start to ooze the same horrible black slimy liquid seen at Zorg's. A drop of liquid falls to the temple floor and begins to smoke, eating away at it like acid. Loc Rhod has to dodge another drop of the stuff. Korben quickly straightens Leeloo up and puts her back in the center of the beams. KORBEN Leeloo! If you don't get on with the program we're all gonna die! And that's not on my agenda for today. Leeloo wraps her arms around Korben's neck. LEELOO (weak) What's the use of saving lives... when you see what you do with them! KORBEN You're right but there are lots of good things... beautiful things... LEELOO *(HOPE)* ...Like love... KORBEN Exactly. LEELOO But I don't know love... I'm like a machine programmed to save other people's lives but never to have one of my own. 276 INT. PRESIDENT'S OFFICE The Scientist's stopwatch goes from 30 to 29 seconds. 277 INT. CHAPEL LEELOO I have thousands of memories but none of them are mine... There is no need for me other than this. I'm immortal but I have no life. KORBEN Yes, you do! I need you. More than you can imagine! Stand up straight! LEELOO Why?... Why would you need me? KORBEN Because... CORNELIUS (to himself) Tell her, for God's sake! A bit of the black acid falls on Loc Rhod's shirt setting it on fire. He rips if off. CUT TO: 278 INT. CHAPEL KORBEN Because... Leeloo has tears in her eyes. The heat is overpowering. Black acid is everywhere. LEELOO Tell me... KORBEN *(HOPE)* I love you... Despite her fatigue, Leeloo smiles broadly. CUT TO: 278b INT. PRESIDENT'S OFFICE The stopwatch goes from 3 to 2. 279 INT. CHAPEL LEELOO Now you're allowed to kiss me. *(HOPE)*- Korben wraps his arms around her and kisses her like he's never kissed anybody before. - The white beam, the Divine Light, immediately forms around Leeloo and Korben. - The stopwatch hits zero. - The Absolute Beam explodes from the top of the pyramid and heads straight into the sky zapping the fireball smack in the middle, slowing it down. - Korben and Leeloo kiss like there was no tomorrow. - The beam hardens and slowly solidifies the Evil Planet. Inaudible screeches escape from the dying planet. Screeches of terrifying pain as if a million souls were dying. - Streams of black acid spurt from the pyramid and solidify like brilliant stalactites. 280 EXT. SPACE The pure beam, the Light of Life, has finished its work. The Dark Planet nothing more than a dead planet. Strangely enough, it looks like the moon. Everything is calm around it. 281 INT. PRESIDENT'S OFFICE President Lindberg opens his eyes and realizes he's not dead- SCIENTIST The planet seems to have stopped at... 62 miles from impact.
-
DAY 5 BOB SMITHS UNCERTAINTY SCENE
What I learned doing this assignment is…?
It is always more than helpful to study the masterpieces. and “Casablance” is one of the best. In this page-turner, HOPE and FEAR are intertwined and even compounded, this is very much the case in the final scene. I am welling up with tears even as I did this assignment.
SCRIPT: “Casabanca”
BACKSTORY: ILSA LUND and RICK BLAINE were in love back in Paris which is rekindled when she and her husband, the heroic freedom-fighter VICTOR LASZLO come to Casablanca for Letters of Transit to Lisbon from where they can go to America. RICK has illegal possession of the Letters of Transit which he refuses to sell because of his romance with Ilsa. Ilsa and Rick still love one another and and it appears that Rick – himself a one time freedom-fighter – will use the one Letter of Transit to get Laszlo on the plane to LIsbon while he and Ilsa stay behind in Casablanca. But is it right? In her moral confusion, Ilsa asks Rick “to do the thinking for both of us, for all of us. ”
CASABLANCA: The final scene.
The entire airport is surrounded by a heavy fog. The outline of the transport plane is barely visible.
CUT TO:
INT./EXT. AIRPORT HANGAR – NIGHT
A uniformed ORDERLY uses a telephone near the hangar door. On the airfield a transport plane is being readied.
ORDERLY
Hello. Hello, radio tower? Lisbon plane taking off in ten minutes. East runway. Visibility: one and one half miles. Light ground fog. Depth of fog: approximately 500. Ceiling: unlimited. Thank you.
He hangs up and moves to a car that has just pulled up outside the hangar.
Renault gets out while the orderly stands at attention.He’s closely followed by Rick, right hand in the pocketof his trench coat, covering Renault with a gun. Laszlo and Ilsa emerge from the rear of the car.
RICK
(indicating the orderly) Louis, have your man go with Mr. Laszlo and take care of his luggage.
RENAULT
(bowing ironically) Certainly Rick, anything you say. (to orderly) Find Mr. Laszlo’s luggage and put it it on the plane.
ORDERLY
Yes, sir. This way please..
The orderly escorts Laszlo off in the direction of the plane.Rick takes the letters of transit out of his pocket andhands them to Renault, who turns and walks toward the hangar.
RICK
If you don’t mind, you fill in the names. That will make it even more official.
RENAULT
You think of everything, don’t you?
HOPE
RICK
(quietly) And the names are Mr. and Mrs. Victor Laszlo.
Renault stops dead in his tracks, and turns around. Both Ilsa and Renault look at Rick with astonishment.
ILSA
But why my name, Richard? RICK Because you’re getting on that plane.
ILSA
(confused) I don’t understand. What about you?
RICK
I’m staying here with him ’til the plane gets safely away. Rick’s intention suddenly dawns on Ilsa.
ILSA
No, Richard, no. What has happened to you? Last night we said —
RICK
— Last night we said a great many things. You said I was to do the thinking for both of us. Well, I’ve done a lot of it since then and it all adds up to one thing. You’re getting on that plane with Victor where you belong.
ILSA
(protesting) But Richard, no, I, I —
RICK
— You’ve got to listen to me. Do you have any idea what you’d have to look forward to if you stayed here? Nine chances out of ten we’d both wind up in a concentration camp. Isn’t that true, Louis? Renault countersigns the papers.
RENAULT
I’m afraid Major Strasser would insist.
ILSA
You’re saying this only to make me go.
HOPE
RICK
I’m saying it because it’s true. Inside of us we both know you belong with Victor. You’re part of his work, the thing that keeps him going. If that plane leaves the ground and you’re not with him, you’ll regret it.
ILSA
No.
RICK
Maybe not today, maybe not tomorrow, but soon, and for the rest of your life.
ILSA
But what about us?
RICK
We’ll always have Paris. We didn’t have, we’d lost it, until you came to Casablanca. We got it back last night.
ILSA
And I said I would never leave you.
RICK
And you never will. But I’ve got a job to do, too. Where I’m going you can’t follow. What I’ve got to do you can’t be any part of. Ilsa, I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that. Now, now…Ilsa’s eyes well up with tears. Rick puts his hand to herchin and raises her face to meet his own. RICK Here’s looking at you, kid.
CUT TO:
FEAR
122.EXT. ROAD – NIGHT
Major Strasser drives at break-neck speed towards the airport.He HONKS his horn furiously. CUT TO:INT./EXT. AIRPORT HANGAR – NIGHT
Laszlo returns. Rick walks into the hangar and Renault hands him the letters. He walks back out to Laszlo.
HOPE
LASZLO Everything in order?
RICK
All except one thing. There’s something you should know before you leave.
LASZLO
(sensing what is coming) Monsieur Blaine, I don’t ask you to explain anything.
RICK
I’m going to anyway, because it may make a difference to you later on. You said you knew about Ilsa and me.
LASZLO
Yes.
FEAR
RICK
But you didn’t know she was at my place last night when you were. She came there for the letters of transit. Isn’t that true, Ilsa?
ILSA (facing Laszlo) Yes.
HOPE
RICK (forcefully) She tried everything to get them, and nothing worked. She did her best to convince me that she was still in love with me, but that was all over long ago. For your sake, she pretended it wasn’t, and I let her pretend.
LASZLO I understand.
HOPE
RICK Here it is.
Rick hands the letters to Laszlo.
LASZLO Thanks. I appreciate it.
Laszlo extends his hand to Rick, who grasps it firmly.
LASZLO And welcome back to the fight. This time I know our side will win.
On the airfield the airplane engine TURNS OVER and thepropellers start turning. They all turn to see the plane readying for take-off.Ilsa looks at Rick and he returns her stare with a blank expression. He then glances at Laszlo, as does Ilsa.Then Laszlo breaks the silence.
LASZLO Are you ready Ilsa?
ILSA Yes, I’m ready. (to Rick) Goodbye, Rick. God bless you.
RICK You better hurry, or you’ll miss that plane.
Rick watches as Ilsa and Laszlo walk very deliberately towards the plane.
RENAULT Well I was right. You are a sentimentalist.
FEAR
RICK Stay where you are. I don’t know what you’re talking about.Rick puts a cigarette in his mouth.
RENAULT What you just did for Laszlo, and that fairy tale that you invented to send Ilsa away with him. I know a little about women, my friend. She went, but she knew you were lying. RICK Anyway, thanks for helping me out.
FEAR
RENAULT I suppose you know this isn’t going to be pleasant for either of us, especially for you. I’ll have to arrest you of course.
RICK As soon as the plane goes, Louis.
The door to the plane is closed by an attendant and it slowly taxies down the field.
FEAR
Suddenly a speeding car comes to a stop outside the hangar.Strasser alights from the car and runs toward Renault.
STRASSER What is the meaning of that phone call?
RENAULT Victor Laszlo is on that plane.
Renault nods toward the field. Strasser turns to see the plane taxiing towards the runway. STRASSER Why do you stand here? Why don’t you stop him?
RENAULT Ask Monsieur Rick.
FEAR
Strasser looks briefly at Rick, then makes a step towards the telephone just inside the hangar door.
RICK Get away from that phone. Strasser stops in his tracks, looks at Rick, and sees thathe is armed.
STRASSER (steely) I would advise you not to interfere.
RICK I was willing to shoot Captain Renault, and I’m willing to shoot you.
Strasser watches the plane in agony. His eyes dart towards the telephone. He runs toward it and desperately grabs the receiver.
STRASSER Hello?
RICK Put that phone down!
STRASSER Get me the Radio Tower!
RICK Put it down!
FEAR
Strasser, one hand holding the receiver, pulls out a pistol with the other hand, and SHOOTS quickly at Rick. The bullet misses its mark. Rick now SHOOTS at Strasser, who crumples to the ground.At the sound of an approaching car both men turn.
FEAR
A policecar SPEEDS in and comes to a stop near Renault. Four gendarmes hurriedly jump out. In the distance the plane turns onto the runway.The gendarmes run to Renault. The first one hurriedly salutes him.
GENDARME Mon Capitaine!
RENAULT Major Strasser’s been shot.
Renault pauses and looks at Rick. Rick returns Renault’sgaze with expressionless eyes. RENAULT Round up the usual suspects.
GENDARME Oui, mon Capitaine.
The gendarmes take Strasser’s body away and then drive off.Renault walks inside the hangar, picks up a bottle of Vichywater, and opens it.
RENAULT
Well, Rick, you’re not only a sentimentalist, but you’ve become a patriot.
RICK
Maybe, but it seemed like
a good time to start.
RENAULT
I think perhaps you’re right.
As he pours the water into a glass, Renault sees the Vichy label and quickly DROPS the bottle into a trash basket whichhe then KICKS over.He walks over and stands beside Rick.
They both watch theplane take off, maintaining their gaze until it disappears into the clouds.Rick and Louis slowly walk away from the hangar toward the runway.
RENAULT It might be a good idea for you to disappear from Casablanca for a while. There’s a Free French garrison over at Brazzaville. I could be induced to arrange a passage.
RICK My letter of transit? I could use a trip. But it doesn’t make any difference about our bet. You still owe me ten thousand francs.
RENAULT And that ten thousand francs should pay our expenses.
RICK Our expenses?
RENAULT Uh huh.
RICK Louis, I think this is the beginning of a beautiful friendship.The two walk off together into the night.
FADE OUT:
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Emmanuel’s Uncertainty Scene
What I learned doing this assignment is uncertainty builds anxiety into the script and leaves the reader wondering if it will be resolved. A great tool to use, almost like a setup/payoff, but with uncertainty, there is back and forth.
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