Tài liệu Writing the short film 3th - Part 46 pdf

DISSOLVE to a TWO-SHOT, as the MAN puts his hand on LUCY’s bare arm, then runs his fingers over her shoulder.. DISSOLVE to an EXTREME CLOSE-UP of IRIS’s eyes.. CUT to a MEDIUM CLOSE-UP o

DISSOLVE to a TWO-SHOT, as the MAN puts his hand on LUCY’s bare arm, then runs his fingers over her

shoulder She is still He moves his fingers to her neck

DISSOLVE to a CLOSE TWO-SHOT of LUCY and the MAN

He leans toward her; she backs away slightly, then steadies herself

DISSOLVE to an EXTREME CLOSE-UP of IRIS’s eyes She blinks slowly

CUT to a MEDIUM CLOSE-UP of LUCY and the MAN, as he leans forward and moves her hair off of her shoulders

He slowly breathes the scent of her neck and face

DISSOLVE to IRIS, twirling her hair in her fingers lazily CUT to a CLOSE-UP straight on of LUCY’s face She closes her eyes

DISSOLVE to a straight-on CLOSE-UP of IRIS She closes her eyes CUT to MEDIUM SHOT from the side of IRIS standing at the window Her hands are splayed on the screen She sways back, then steadies herself

DISSOLVE to a CLOSE-UP of LUCY The man suddenly fills the frame He is kissing her

DISSOLVE to a CLOSE-UP of IRIS touching her mouth

CUT to a CLOSE-UP of the MAN’s hand as it pulls on the fabric at LUCY’s waist

DISSOLVE to a CLOSE-UP of his other hand as his fingers run through her hair He pulls it back slightly

CUT to IRIS standing at the window, breathing evenly, eyes closed

DISSOLVE to a CLOSE-UP of the clock

FADE UP on the sounds of PULSES and TICKING

CUT to an ECU of LUCY’s fingers as they find the belt

hooks of the MAN’s jeans

CUT to a MEDIUM TWO-SHOT of LUCY and the MAN His hands move up the length of her nightgown

DISSOLVE to an ECU of the MAN’s teeth as they hook on LUCY’s lower lip

CUT to a CLOSE-UP of IRIS, “waking” abruptly

IRIS (breathless)

Lucy, it’s time to come home it’s time CUT to a WIDE SHOT, at ground level, of LUCY standing

on the dark part of the lawn She is serene and

unruffled She wanders around the lawn until she

recognizes the trellis The MAN and the MOTORCYCLE

are gone She starts to climb the trellis IRIS lifts the

screen window and helps her into the room Their

movements are extremely slow and fragile LUCY

cradles herself in IRIS’s long, thin arms

IRIS (after long pause) What happened?

LUCY Hmmmmm?

IRIS You know what I’m asking

LUCY You know only you can know

IRIS Stop tell me

LUCY But you know (pause) We can’t share everything

IRIS Not even him?

LUCY

No, not him They slowly get up out of the windowsill and walk to their beds LUCY and IRIS get under their covers They are still for a while LUCY then gets up and goes to IRIS’s bed She lays down next to her, on top of the covers Both are on their sides, like spoons

CUT to a CLOSE-UP of their faces on the bed Their long hair flows and clutters the frame

LUCY Goodnight, Iris

IRIS doesn’t reply She is sound asleep

FADE to black

FADE UP on TITLES

END

THE WOUNDING

by Susan Emerling

1 ECU DOLL HOUSE

A girl’s hand comes in and out of frame

JULIE They have to set up the table for dinner His parents are going to come home after they come back from the movies

Well, what are we having for dinner tonight?

Chicken, ham No, put the chicken over here Dad likes the chicken Dessert of course And a beer

Oh tomorrow’s his birthday He’s going to have a birthday present

Oh look, the kitty cat; the kitty’s obviously going

to try and eat it Chicken—yeah It doesn’t look like he’s eating it though Well, he’ll just be looking

at it Drooling

Baby’s asleep, yeah asleep Let’s clean up What a mess it is Put the choo-choo train back together

SLOW DISSOLVE TO:

2 INT FOYER/DINING ROOM—NIGHT

A Victorian dollhouse Pull back to reveal SHEILA, 35

and voluptuous, passing in front of the dollhouse

carrying a tray of dirty glasses Jumbled sounds of a

PARTY

SHEILA Well, hi there, sweetheart

JULIE

Hi, mommy

SHEILA When did you get in? Come talk to me

JULIE Mom, the coolest thing happened today

3 INT BATHROOM—NIGHT Sheila goes into the bathroom and pauses a moment in front of the bathroom mirror to inspect her face for signs of age She takes out her lipstick and puts some

on She turns and tries to put some on Julie as she speaks, but Julie resists

JULIE well, you know Mr Connor’s cat? the one that

I took care of

SHEILA

Oh yeah, I remember that cat

JULIE

Mr Connor said that when he went into the barn this morning he couldn’t find her

SHEILA Really (She tries to put lipstick on her daughter.) No?

JULIE

So he looked everywhere

Sheila exits and touches Julie’s shoulder to encourage her to follow Julie pauses a moment, then follows

4 INT KITCHEN—NIGHT Buckling her belt, Sheila enters the kitchen and crosses

to the refrigerator Julie tags along behind her Sheila opens the freezer and takes out several ice trays She turns away with both hands full; Julie tags along behind her

JULIE

So anyway so he went into the loft and he dug into the hay

Sheila crosses back to the counter, knocks the cubes

from the trays into the bucket One falls on the floor,

and Julie picks it up and drops it into the sink

JULIE (CONT.) finally he found her

TOM, late thirties, once handsome, but dulled by alcohol, enters after them and goes to the sink to add water to his drink

SHEILA You remember Tom?

JULIE Hi

SHEILA (drops ice into his drink) Looking for this?

TOM Thanks

Julie waits for a moment to get Sheila’s attention back

JULIE (shows the size with her hands) and there were these three tiny little furry things! She was already pregnant when I was taking care of her!

SHEILA (smiling, finally realizing the point of the story)

Oh, so she had kittens

JULIE (deflated)

Yeah

SHEILA Hear that Tom? I don’t think you should let Julie babysit your daughter!

Tom laughs with Sheila Julie looks hurt and then smiles too

SHEILA

Oh hey, c’mon You want to take that out to Bill in the living room? Thanks, sweetheart

Julie exits past Tom and Sheila to enter the dining room

5 INT DINING ROOM—NIGHT

A long table set with an elaborate fall meal BILL, late fifties, is playing with a dog

BILL

Oh, I love you, that’s right, go on go on Julie enters the dining room and sets the bowl down and pokes over the food

AL, middle-aged, serves himself from the buffet Sheila and Tom can be seen through the doorway to the kitchen Their HUSHED VOICES and LAUGHTER fill the room

SHEILA (O.S.) How’d I sleep last night? Like a baby as usual

TOM (O.S.) Yeah

SHEILA (O.S.)

I woke up every hour

(laughter) God, how awful

An awkward moment is shared by Bill, Al, and Julie as they listen Nothing is said Bill scrapes the meat off the knife onto Julie’s plate Julie looks away from Bill nervously as they listen to the laughter off-screen

BILL Your mother was worried about you

JULIE

No she wasn’t