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Lesson 1
Reply to post your assignment.
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6 Replies
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Karin Armbrust Finds the Essence
What I learned is things are much more complicated than I thought. That small things can have a dramatic impact.
Script I choose: Midsommar
(https://assets.scriptslug.com/live/pdf/scripts/midsommar-2019.pdf)
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Scene 1 Location: Bedroom – NIGHT
Logline:
An insecure woman who is afraid for her sister and parents attempts to get support from her boyfriend and fails.
Essence:
Dani is alone in this world.
Scene 2 Location: Kitchen – NIGHT
Logline:
A distraught, insecure woman is taking all the blame for her relationship while talking to a friend.
Essence:
Dani feels completely responsible for her boyfriend’s behavior.
Scene 3 Location: Mark & Josh’s Apartment – Day
Logline:
When Dani’s boyfriend invites Dani to join them in Sweden, he doesn’t expect her to say yes. But then Pelle, one of his friends, ensures she comes.
Essence:
Pelle starts his seduction of Dani.
Scene 4 Location: Farmstead Kitchen – Day
Logline:
Dani is accepted as one of them and invited to participate in a dance where she becomes the May Queen.
Essence:
Dani continues to be seduced into the community. Pelle and the community shower her with affection.
Scene 5 Location: Field – Last scene of movie
Logline:
Dani processes her action of sacrificing her boyfriend and burning him alive.
Essence:
Dani celebrates becoming one of the members of this group, celebrates the death of her boyfriend, and celebrates knowing that she’ll never be a lone again.
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My selection for most profound essence: The final scene and the completed seduction of Dani. Just seeing her face change in the movie haunts me.
INT. SACRED HOUSE – SAME TIME120 120
The fire has grown considerably. Inside the bear, Christian
is now being steam-boiled in the animal’s fluids.
The bear’s FUR begins to catch fire. Before long, the whole
animal is swallowed in the blaze. Christian’s wretched face
becomes invisible behind the flames.
Ulf and Ingemar (still smiling) watch this with detached
fascination.
The fire has now spread to other piles of hay. It has begun
to crawl up the walls of the house.
Ulf is suddenly consumed by flames. He SCREAMS!
EXT. FIELD – SAME TIME121 121
Ulf’s screams are heard from the Sacred House. Suddenly, every
member of the Hårgan community (who is not singing) begins to
SCREAM as well. Feeling Ulf’s pain, they emit a horrible chorus
of wails. When Ulf’s screams die down, so do theirs.
Meanwhile, Ruben has been given paper to PAINT on. Two elders
encourage him.
DANI, watching the burning house with fraught eyes, is suddenly
met with a wave of conflicting emotions. Her expression curdles
into one of sheer HORROR and DISGUST. Then it becomes one of
deep SORROW and SHAME. Her eyes well with tears. The singing
has now HARMONIZED and has risen to an insane, operatic pitch.
We cut to an immense WIDE. Dani’s back is in the f.g. and the
burning house is in the b.g. Overcome, Dani buries her face in
her hands. Breaking into gentle sobs, she begins to walk
aimlessly to the side. We TRACK alongside her, keeping her
centered. She is circling the house, pulling at her hair and face
in increasing anguish. She is WEEPING now, and the house (ever-
present in the b.g.) has become ENGULFED in the raging flames.
Dani begins MOANING and SCREAMING. Her howls almost harmonize
with the singing in the b.g. The fire ROARS and CRACKLES in
the distance. It’s apocalyptic.
Soon it’s uncertain whether Dani is crying or LAUGHING. Her
legs become weak and she collapses to her knees. Four Hårgans
(one of them being Pelle) run into the scene, carrying a
LARGE CHAIR – Dani’s throne.
The Hårgans lift Dani by the arms and SEAT her in the throne.
They then HOIST the chair into the air.
On the upward LIFT, we cut to a tight CLOSE-UP of Dani’s face.
She is being carried forward. Her expression, which begins as
one of great distress, slowly starts to TURN. Her agony
subsides into sudden CONFUSION. What’s happening? Where am I?
I’m on this chair, being carried! Her expression goes from
FEAR to EXCITEMENT to CONFUSION again. She suddenly lets out
an abrupt LAUGH (which we can’t hear over the music and the
now-deafening FIRE). Dani is now being taken over by an *
invading sense of pride and contentment. This soon evolves
into a manic exhilaration. Dani BEAMS. She has been embraced
by a new family. She is Queen. She is not alone.
A SMILE finally breaks onto Dani’s face. She has surrendered to
a joy known only by the insane. She has lost herself completely,
and she is finally free. It is horrible and it is beautiful.
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Jeff Cochran Finds the Essence
What I learned is that there a meaning to each and every scene in a script, often times that meaning becoming clear later in the script after the casual watcher has forgotten about it.
Script I choose: THE SHAWSHANK REDEMPTION
Scene 1 Location: Beginning of Act 1
Logline: Andy listens to his cheating wife and her lover as he prepares to do the unthinkable: murder.
Essence: Andy is emotionally distraught to point of murder, creating the story question that will drive the narrative for nearly half the film. Did Andy murder his wife and her love?Scene 2 Location: End of Act 1
Logline: Red bets against Andy Defrense.
Essence: A 20 year inmate, Red establishes his belief that Andy will be the first to lose his mind within the walls of Shawshank Prison.Scene 3 Location: Beginning of Act 2
Logline: Andy Defrense meets Red and the crew.
Essence: Andy shows his character (and his strength) when he shows concern for another new inmate, the one that died the night before.Scene 4 Location: Beginning of Act 2
Logline: Andy approaches Red about acquiring a tool for collecting rocks.
Essence: While Andy claims he needs a rock hammer to pursue his interest in rock collecting, this is really a foreshadow of things to come.Scene 5 Location: Nearing the middle of Act 2
Logline: Andy makes his financial expertise available to the prison guards.
Essence: Andy has learned enough of the prison culture to begin manipulating his way to a better position.My selection for most profound essence:
57 EXT — LICENSE PLATE FACTORY — DAY (1949) 57
A tar-cooker bubbles and smokes. TWO CONS dip up a bucket of
tar and tie a rope to the handle. The rope goes taught. CAMERA
FOLLOWS the bucket of tar up the side of the building to —
58 THE ROOF 58
— where it is relayed to the work detail. The men are dipping
big Padd brushes and spreading the tar. ANGLZ OVER to Byron
Hadley bitching sourly to his fellow guards:
HADLEY
…so this shithead lawyer calls
long distance from Texas, and he
says, Byron Hadley? I say, yeah. He
says, sorry to inform you, but your
brother just died.
YOUNGBLOOD
Damn, Byron. Sorry to hear that.
HADLEY
I ain’t. He was an asshole. Run off
years ago, family ain’t heard of him
since. Figured him for dead anyway.
So this lawyer prick says, your
brother died a rich man. Oil wells
and shit, close to a million bucks.
Jesus, it’s frigging incredible how
lucky some assholes can get.
TROUT
A million bucks? Jeez-Louise! You
get any of that?
HADLEY
Thirty five thousand. That’s what
he left me.
TROUT
Dollars? Holy shit, that’s great!
Like winnin’ a lottery…
(off Hadley’s shitty look)
…ain’t it?
HADLEY
Dumbshit. What do you figger the
government’s gonna do to me? Take a
big wet bite out of my ass, is what.
TROUT
Oh. Hadn’t thought of that.
HADLEY
Maybe leave me enough to buy a new
car with. Then what happens? You
pay tax on the car. Repairs and
maintenance. Goddamn kids pesterin’
you to take ’em for a ride…
MERT
And drive it, if they’re old enough.
HADLEY
That’s right, wanting to drive it,
wanting to learn on it, f’Chrissake!
Then at the end of the year, if you
figured the tax wrong, they make
you pay out of your own pocket.
Uncle Sam puts his hand in your
shirt and squeezes your tit till
it’s purple. Always get the short
end. That’s a fact.
(spits over the side)
Some brother. Shit.
The prisoners keep spreading tar, eyes on their work.
HEYWOOD
Poor Byron. What terrible fuckin’
luck. Imagine inheriting thirty
five thousand dollars.
RED
Crying shame. Some folks got it
awful bad.
Red glances over — and is shocked to see Andy standing up,
listening to the guards talk.
RED
Hey, you nuts? Keep your eyes on
your pail!
Andy tosses his Padd in the bucket and strolls toward Hadley.
RED
Andy! Come back! Shit!
SNOOZE
What’s he doing?
FLOYD
Gettin’ himself killed.
RED
God damn it…
HEYWOOD
Just keep spreadin’ tar…
The guards stiffen at Andy’s approach. Youngblood’s hand goes
to his holster. The tower guards CLICK-CLACK their rifle
bolts. Hadley turns, stupefied to find Andy there.
ANDY
Mr. Hadley. Do you trust your wife?
HADLEY
That’s funny. You’re gonna look
funnier suckin’ my dick with no
fuckin’ teeth.
ANDY
What I mean is, do you think she’d
go behind your back? Try to
hamstring you?
HADLEY
That’s it! Step aside, Mert. This
fucker’s havin’ hisself an accident.
Hadley grabs Andy’s collar and propels him violently toward
the edge of the roof. The cons furiously keep spreading tar.
HEYWOOD
Oh God, he’s gonna do it, he’s
gonna throw him off the roof…
SNOOZE
Oh shit, oh fuck, oh Jesus…
ANDY
Because if you do trust her, there’s
no reason in the world you can’t
keep every cent of that money.
Hadley abruptly jerks Andy to a stop right at the edge. In
fact, Andy’s past the edge, beyond his balance, shoetips
scraping the roof. The only thing between him and an ugly drop
to the concrete is Hadley’s grip on the front of his shirt.
HADLEY
You better start making sense.
ANDY
If you want to keep that money, all
of it, just give it to your wife.
See, the IRS allows you a one-time-
only gift to your spouse. It’s good
up to sixty thousand dollars.
HADLEY
Naw, that ain’t right! Tax free?
ANDY
Tax free. IRS can’t touch one cent.
The cons are pausing work, stunned by this business discussion.
HADLEY
You’re the smart banker what shot
his wife. Why should I believe a
smart banker like you? So’s I can
wind up in here with you?
ANDY
It’s perfectly legal. Go ask the
IRS, they’ll say the same thing.
Actually, I feel silly telling you
all this. I’m sure you would have
investigated the matter yourself.
HADLEY
Fuckin’-A. I don’t need no smart
wife-killin’ banker to show me where
the bear shit in the buckwheat.
ANDY
Of course not. But you will need
somebody to set up the tax-free
gift, and that’ll cost you. A
lawyer, for example…
HADLEY
Ambulance-chaaing, highway-robbing
cocksuckers!
ANDY
…or come to think of it, I
suppose I could set it up for you.
That would save you some money.
I’ll write down the forms you need,
you can pick them up, and I’ll
prepare them for your signature…
nearly free of charge.
(off Hadley’s look)
I’d only ask three beers apiece for
my co-workers, if that seems fair.
TROUT
(guffawing)
Co-workers! Get him! That’s rich,
ain’t it? Co-workers…
Hadley freezes him with a look. Andy presses on:
ANDY
I think a man working outdoors
feels more like a man if he can
have a bottle of suds. That’s only
my opinion.
The convicts stand gaping, all pretense of work gone. They
look like they’ve been pole-axed. Hadley shoots them a look.
HADLEY
What are you jimmies starin’ at?
Back to work, goddamn it!
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Julie Creighton – Find the Essence
What I’m learning is that, regardless of the different techniques used in each scene, it must serve to drive the film forward.
“All About Eve”
Scene 1 Location: Opening scene
Logline: Margo and others attend the banquet where Eve is awarded the theatre’s highest accolade.
Essence: The reactions of Margo, Karen and Addison, etc. undercut the adulation of the surrounding attendees toward Eve. The scene displays the rewards of pursuing one’s ambition, but the viewer learns that there was a cost for Eve’s success.
Scene 2 Location: Middle of Act I
Logline: Margo, Bill and Eve waiting in line at the airline ticket counter
Essence: Eve offering to take care of the ticketing and baggage is the first time that she overtly insinuates herself into their lives.
Scene 3 Location: Early in Act II
Logline: Margo, runs after Eve to save her from an inadvertent trespass on a union worker’s duties.
Essence: Margo gets her first glimpse of Eve’s ambition and may not realize how deep it runs.
Scene 4 Location: Middle of Act II
Logline: Margo and Bill argue about Eve.
Essence: Margo is starting her journey toward letting go of her ambition but is very frightened by what her future may be.
Scene 5 Location: Middle of Act III
Logline: Eve blackmails Karen to agree to let her star in Lloyd’s new play.
Essence: Eve’s ambitious maneuvers are no longer cloaked in subtlety or feigned innocence. She reveals her cutthroat nature.
My selection of the scene which best captures the essence:
INT. MARGO’S LIVING ROOM – NIGHT
As Margo strolls up, very off-hand.
MARGO
Don’t let me kill the point. Or
isn’t it a story for grownups?
BILL
You’ve heard it. About when I
looked through the wrong end of a
camera finder.
MARGO
(to Eve)
Remind me to tell you about when I
looked into the heart of an
artichoke.
EVE
I’d like to hear it.
MARGO
Some snowy night in front of the
fire… in the meantime, while
we’re on the subject, will you
check about the hors d’oeuvres? The
caterer forgot them, the varnish
wasn’t dry or something…
EVE
Of course.
She leaves. A short lull. Margo looks into cigarette boxes.
Bill eyes her curiosity, crosses to the fire.
BILL
Looks like I’m going to have a very
fancy party…
MARGO
I thought you were going to be late-
BILL
When I’m guest of honor?
MARGO
I had no idea you were even here.
BILL
I ran into Eve on my way upstairs;
she told me you were dressing.
MARGO
That never stopped you before.
BILL
Well, we started talking, she
wanted to know all about Hollywood,
she seemed so interested…
MARGO
She’s a girl of so many interests.
BILL
It’s a pretty rare quality these
days.
MARGO
She’s a girl of so many rare
qualities.
BILL
So she seems.
MARGO
(the steel begins to
flash)
So you’ve pointed out, so often. So
many qualities, so often. Her
loyalty, efficiency, devotion,
warmth, affection – and so young.
So young and so fair…
Bill catches the drift. Incredulously.
BILL
I can’t believe you’re making this
up – it sounds like something out
of an old Clyde Fitch play…
MARGO
Clyde Fitch, though you may not
think so, was well before my time!
BILL
(laughs)
I’ve always denied the legend that
you were in ‘Our American Cousin’
the night Lincoln was shot…
MARGO
I don’t think that’s funny!
BILL
Of course it’s funny – this is all
too laughable to be anything else.
You know what I think about this –
this age obsession of yours – and
now this ridiculous attempt to whip
yourself up into a jealous froth
because I spent ten minutes with a
stage-struck kid-
MARGO
Twenty minutes!
BILL
Thirty minutes, forty minutes! What
of it?
MARGO
Stage-struck kid… she’s a young
lady – of qualities. And I’ll have
you know I’m fed up with both the
young lady and her qualities!
Studying me as if – as if I were a
play or a set of blueprints! How I
walk, talk, think, eat, sleep!
BILL
Now how can you take offense at a
kid trying in every way to be as
much like her ideal as possible!
MARGO
Stop calling her a kid! It so
happens there are particular
aspects of my life to which I would
like to maintain sole and exclusive
rights and privileges!
BILL
For instance what?
MARGO
For instance – you!
BILL
This is my cue to take you in my
arms and reassure you – but I’m not
going to. I’m too mad-
MARGO
– guilty.
BILL
Mad! Darling, there are certain
characteristics for which you are
famous – on stage and off. I love
you for some of them – and in spite
of others. I haven’t let those
become too important to me. They’re
part of your equipment for getting
along in what is laughably called
out environment – you’ve got to
keep your teeth sharp. All right.
But you will not sharpen them on me
– or on Eve…
MARGO
What about her teeth? What about
her fangs?
BILL
She hasn’t cut them yet, and you
know it! So when you start judging
an idealistic dreamy-eyed kid by
the barroom, Benzedrine standards
of this megalomaniac society – I
won’t have it! Eve Harrington has
never by word, look, thought or
suggestion indicated anything to me
but her adoration for you and her
happiness at our being in love! And
to intimate anything else doesn’t
spell jealousy to me – it spells a
paranoic insecurity that you should
be ashamed of!
MARGO
Cut! Print it! What happens in the
next reel? Do I get dragged off
screaming to the snake pit?
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Rick Whitney
What I learned: The essence of the scenes visually sets in motion the characters attitudes, personality in how he is rebellious.
Script I chose: Cool Hand Luke
Scene 1: Opening Scene: Night – Parking Meters
Logline: Lukas Jackson rebels against the things that haven’t gone right in his life by getting drunk and cutting the heads of parking meters off.
Essence: This scene gives us a feel for how Lukas is “getting Back” at the things in his life that haven’t gone well by getting drunk and cutting the heads off parking meters. This sets in motion the characters personality and how he handles life’s problems.
Scene 2: Int: Prison wash basin
Logline: Lukas Jackson speaks out about the how he is a rebellious person by not wanting to listen to or follow rules laid out by the prison folks.
Essence: This scene locks in the rebellious nature of Lukas to the audience and how he may not be easy to get along with.
Scene 3: Ext: Prison Yard Fight
Logline: Lukas fist fights the prison “Leader” Dragline when he doesn’t conform to the leaders wishes.
Essence: Lukas gets the snot beaten out of him but shows the characteristic of not giving up. This shows courage and willingness to take on anyone and fight to the death. This adds a deeper dimension to the character. Rebellious and courageous to stand up for himself.
Scene 4: Int: Prison
Logline: Lukas takes on the impossible task of eating 50 eggs in one hour.
Essence: This scene elevates Lukas into a prison hero when he eats the 50 eggs in one hour. The rest of the prisoners look to him as their leader.
Scene 5: Ext: Prison yard at “The Box”
Logline: Lukas is put in the small wooden box used to punish prisoners because the news of his mothers death might move him to try and escape to go to the funeral.
Essence: Lukas feels this is yet another injustice in his life since he didn’t break any rules. His angry rebellious nature and his courage drives him to escape the camp. And to continue to escape even when he is recaptured.
Note to teacher: I apologize for the late entry. My computer settings (VPN) would not allow access to the website materials when I didn’t receive them in email form. I will catch up as quickly as possible. Thanks
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From Winifred Meiser: Five scenes from Air Force One of the original scenes and a copy the same scenes with the edited section underlined.
Movie Script: AIR FORCE ONE, Number one scene of five scenes to be edited
Original script text
FADE IN
EXT. FIELD – NIGHT
The commandos swiftly board the craft as a handful of Stravanavitch’s guards break into the clearing. They open Fire and the helicopter’s mounted machine guns crew return.
One of the Strike Team members takes a bullet to the neck. He’s’ pulled by his comrades into the chopper as it lifts
into the sky, its guns spitting lead…
STRIKE FORCE LEADER (V.0.)
Archangel, this is Restitution. Archangel, this is Restitution. The package is wrapped. Over.
Movie Script: AIR FORCE ONE, Number Edit scene #1 of 5 scenes
Edited script text(underlined).
FADE IN
EXT. FIELD – NIGHT
The commandos swiftly board their helicopter as a handful of Stravanavitch’s guards break into the clearing, guns blazing.
One of the Strike Team members takes a bullet to the neck. He’s grabbed by his comrades and pulled into the chopper as the mounted machine guns on the helicopter return fire, spitting lead as it lifts into the night sky.
STRIKE FORCE LEADER (V.0.)
Archangel, this is Restitution. Archangel, this is Restitution. The package is wrapped. Over.
Movie Script: AIR FORCE ONE, Movie Script scene #2 of 5 scenes
to be edited
Original script text
FADE IN
INT. CONFERENCE ROOM – NIGHT
As the steward closes the door behind him, all background noise disappears. We are in a sound shielded room. Even the engines’ drone cannot be heard.
The lights in the room are dim as MAJOR CALDWELL, a military advisor, projects satellite photos of Iraqi military bases onto a screen. The steward serves coffee as unobtrusively as he can while the meeting continues
MAJOR CALDWELL
Our KH-ll’s took this one at 0100
hours. What you see here is the
mobilization of two mechanized
brigades
MARSHALL
They’ve gotta be joking
DOHERTY
The Iraqi ambassador is claiming
it’s just an exercise.
MAJOR CALDWELL
The northern border’s gotten a bit
hairy. Their MiGs are playing tag
with our Tomcats and our boys are
just itching to engage.
MARSHALL
Tell our boys to cool their jets. I
don’t need
em creating policy for </p><p> me.</p><p> We follow the steward as he slips out of the conference room </p><p> and back into the...</p><p><b>Movie Script: AIR FORCE ONE, Movie Script: Edited scene #2 of 5 scenes </b></p><p><b>Edited text(underlined).</b><b></b></p><p>INT. CONFERENCE ROOM - NIGHT</p><p>FADE IN: </p><p>As the steward closes the door behind him, all backnoise disappears. We are in a sound shielded room. Even the engines'drone cannot be heard. The lights in the room are dim as MAJOR CALDWELL, a military advisor, projects satellite photos of Iraqi military bases onto a screen. The steward serves coffee as unobtrusively as he can while the meeting continues. </p><p> MAJOR CALDWELL</p><p> Our KH-ll's took this one at 0100 </p><p> hours. What you see here is the </p><p> mobilization of two mechanized </p><p> brigades.</p><p> MARSHALL </p><p> <u>They can’t believe we’ll let </u></p><p> <u>this pass unchallenged</u>.</p><p> DOHERTY</p><p> The Iraqi ambassador is claiming </p><p> it's just an exercise.</p><p> MARSHALL</p><p> An exercise in futility. Send the </p><p> Nimitz back in.</p><p> MAJOR CALDWELL</p><p> The northern border's gotten a bit </p><p> hairy. Their MiGs are playing tag </p><p> with our Tomcats and our boys are </p><p> just itching to engage.</p><p> MARSHALL</p><p> Tell our boys to cool their jets. I </p><p> don't needem creating policy forme.
We follow the steward as he slips out of the conference room
and back into the…
Movie Script: AIR FORCE ONE, Scene number 3 of 5 scenes to be edited
INT. PRESIDENTIAL STATEROOM – NIGHT
The sounds of gunfire have reached the the nose of the plane.
Rose peers out to see what’s the matter. An armed Secret
Service agent runs toward her.
SECRET SERVICE AGENT
Get back! Get back!
A spray of bullets mows him down. He collapses in the door
frame. Terrified, Rose tries to close the door, but the dead
agent is in the way.
Movie Script: AIR FORCE ONE, Scene number 3 of 5 scenes
FADE IN:
INT. PRESIDENTIAL STATEROOM – NIGHT
The sounds of gunfire have reached the nose of the plane.
Rose peers out to see what’s the matter. An armed Secret
Service agent runs toward her.
SECRET SERVICE AGENT
Get back! Get back!
A spray of bullets mows him down. He collapses in the door
frame. Terrified, Rose tries to close the door, but the dead
agent is in the way.
The sounds of gunfire have reached the nose of the plane.
Rose peers out to see what’s the matter. An armed Secret
Service agent runs toward her.
SECRET SERVICE AGENT
Get back! Get back!
A spray of bullets mows him down. He collapses in the door
frame. Terrified, Rose tries to close the door, but the dead
agent is in her way. Rose picks up the fallen agent’s gun, and
tucks it into her waistband.
Original Script
Movie Script: AIR FORCE ONE, Scene number 4 of 5 scenes to be edited
FADE IN:
INT. AIR FORCE ONE – NIGHT
SERIES OF SHOTS–
The terrorists, from every corner of the plane, lead the
stunned survivors, hands on heads, to the central conference
room.
As Korshunov walks Rose up the corridor, he meets up with
Gibbs, descending from the upper deck.
KORSHUNOV
The rest of the secret service?
GIBBS
Dead.
KORSHUNOV
How many others killed?
GIBBS
Nine.
KORSHUNOV
Any of us?
Gibbs touches his bulletproof vest.
GIBBS
No damages.
ROSE
Where’s my daughter?
GIBBS
She’s alive, ma’am, for the time
being.
Rose allows herself a half-sob of relief.
ROSE
And my husband?
GIBBS
The secret service did their job,
ma’am. The President is safely off
the plane.
(to Korshunov)
But that still leaves us plenty to
bargain with.
Eyes filled with hatred… Rose SLAPS Gibbs face.
ROSE
Mr. Gibbs. You, of all people…
Movie Script: AIR FORCE ONE, Scene number 4 of 5 scenes edited (pg 36)
INT. AIR FORCE ONE – NIGHT
SERIES OF SHOTS–
The terrorists, from every corner of the plane, lead the
stunned survivors, hands on heads, to the central conference
room.
As Korshunov walks Rose up the corridor, he meets up with
Gibbs, descending from the upper deck.
KORSHUNOV
The rest of the secret service?
GIBBS
Dead.
KORSHUNOV
How many others killed?
GIBBS
Nine.
KORSHUNOV
Any of us?
Gibbs touches his bulletproof vest.
GIBBS
No damages.
ROSE
Where’s my daughter?
GIBBS
She’s alive, ma’am, for the time
being.
Rose allows herself a half-sob of relief.
ROSE
And my husband?
GIBBS
The secret service did their job,
ma’am. The President is safely off
the plane.
(to Korshunov)
But that still leaves us plenty to
bargain with.
Her expression filled with disgust and hatred… Rose spits in Gibbs eye and slaps his face. You, of all people…she exclaimed scornfully
Movie Script: AIR FORCE ONE, Scene number 5 of 5 scenes PG 47
Original Script
UNDERNEATH A CABINET.
Marshall pulls himself up the shelves trying to keep his
legs from buckling. Vlad grabs some I.V. tubing and wraps it
around Marshall’s neck. Marshall struggles for breath, clawing
at the tube.
HE SPOTS A DEFIBRILLATOR, REACHES AND SWITCHES IT ON. LOW-
pitched hum and beeping.
Marshall pulls his head forward, straining against the plastic
tubing. Then slams back into Vlad’s head. Viad releases his
grip just for a moment…
The beeping becomes a steady whine.
… but a moment is all Marshall needs as he grabs the def
ib’s CARDIAC PADDLES, turns, and SLAMS them on either side
of Vlad’s head.
Vlad convulses from the shock for a full five seconds… his
eyeballs roll, his hair stands on end. then he collapses to
the floor.
MARSHALL
Clear.
Marshall catches his breath for a moment. Pulls open his
shirt. Beneath it he wears a bulletproof Kevlar vest. He
lifts the vest and a half-dozen angry welts have blossomed
across his skin. The stuff may be bulletproof, but each of
Vlad’s shots sting like a motherfucker.
Movie Script: AIR FORCE ONE, Scene number 5 of 5 Edited PG 47
UNDERNEATH A CABINET.
Marshall pulls himself up the shelves trying to keep his
legs from buckling. Vlad grabs some I.V. tubing and wraps it
around Marshall’s neck. Marshall struggles for breath, clawing
at the tube.
HE SPOTS A DEFIBRILLATOR, REACHES AND SWITCHES IT ON. LOW-
pitched hum and beeping.
Marshall pulls his head forward, straining against the plastic
tubing. Then slams back into Vlad’s head. Viad releases his
grip just for a moment…
The beeping becomes a steady whine.
… but a moment is all Marshall needs as he grabs the def
ib’s CARDIAC PADDLES, turns, and SLAMS them on either side
of Vlad’s head.
Vlad convulses from the shock for a full five seconds… his
eyeballs roll, his hair stands on end. then he collapses to
the floor.
MARSHALL
Clear.
Marshall catches his breath for a moment. Pulls open his
shirt. Beneath it he wears a bulletproof Kevlar vest. He
lifts the vest and a half-dozen angry welts have blossomed
across his skin. The stuff may be bulletproof, but each of
Vlad’s shots sting like a wasp nest wrapped around his chest.
-
William Whelan – Find the Essence
Thelma and Louise
Scene 1:
Location: Thelma’s living room.
Logline: Thelma does not tell Darryl she is going away for the weekend with Louise.
Essence: Thelma avoids conflict with Darryl/men.
Scene 2:
Location: Int. Silver Bullet
Logline: Thelma and Louise order drinks.
Essence: Both women are fed up with their present humdrum lives and want some excitement/
Scene 3:
Location: Parking lot Silver Bullet.
Logline: Louise shoots Harlan
Essence: Louise is fed up with women being disrespected by men.
Scene 4:
Location: Ext. Convenience store
Logline: Thelma hops in car after robbing store.
Essence: Thelma buys into being an outlaw on the run.
Scene 5:
Location: Grand Canyon
Logline: Louise puts the car in gear and floors it.
Essence: Death is the ultimate freedom.
Most profound Essence Scene:
INT. CAR – DAY
They are still looking at each other really hard.
THELMA
You’re a good friend.
LOUISE
You, too, sweetie, the best.
(SHOOT WITH OR WITHOUT.)
MUSIC: B.B. King song entitled “Better Not Look Down”
begins. It is very upbeat.
LOUISE
Are you sure?
Thelma nods.
THELMA
Hit it.
Louise puts the car in gear and FLOORS it.
This scene is the most profound essence since Thelma and Louise have chosen dying together over incarceration. They have chosen to escape the consequences of what they consider justified actions and of which they will not get a fair trial. They have chosen the ultimate act of freedom – death.
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