Sunday, May 22, 2011

Wednesday, May 11, 2011

Final Screenplay

Screenplay
my new screen play

Final Screenplay

http://webpages.scu.edu/ftp/nscharffenberger/remix%20project/SCRIPT.html

Final Screenplay


Scene 1

A DARK, DAMP BASEMENT JAIL CELL UNDERNEATH THE DHS HEADQUARTERS.

Darryl sits tied up to a chair with his head down.  His mouth is sealed, and his body is limp due to seemingly never-ending whippings.  He has gone through such torture for two weeks.  Any self-confidence he once had has been beaten out of him.  The camera pans across his pain-stricken body and faces the only door ahead of him.

The door bursts open with an enormous slam.  Three brawny men dressed in black enter hastily and surround Darryl.  Despite their loud and intimidating entrances, Darryl barely lifts his head to acknowledge them.  Exhaustion and pain fill Darryl with a loss of hope.

Without a chance for Darryl to resist, the men take out their belts and begin to beat Darryl across the back, time after time.  Each blow warrants a piercing howl from Darryl, now that slash upon slash scar his bruised back.

After ten minutes the abusers leave, winded from constantly beating their innocent captive.

Guard #1
He’s had enough.

Guard #2
(with pain in his voice)
So have I.

Camera follows them out, then turns back to view Darryl, hunched over and looking up with rage in his eyes.

            Scene 2

 An UPSTAIRS CONFERENCE ROOM AT DHS HEADQUARTERS with a long, narrow table seating a dozen upscale officials.

SEVERE HAIRCUT LADY sits at the head of the table, heading a discussion of “THE PLAN”.

Severe Haircut Lady
The Plan must continue.

Agent #1
What about the innocent captives?

With a stink eye, Severe Haircut Lady looks at Agent #1 with disgust and answers:

Severe Haircut Lady
We’ll figure it out when we’re the ones in power.

Agent #2
(to Agent #1)
She’s right.  We’ll play the waiting game.

Severe Haircut Lady
We just need to focus on the Plan.

Her voice trails off as the camera backs away from the table and exits the room.

            Scene 3

Back in the dark, damp basement jail cell where Darryl is once again tied up to a chair.

Camera snaps to Darryl being whipped with belts once again.  It is an exact replica of the first scene.

Except this time when the guards are leaving, the last one hollers to the rest:

Guard #1
Hey, boys I’ve gotta pinch a loaf.  Be up in a minute.

The guard hesitates for a moment, turns back into the torture room and lifts up his mask.

Guard #1
(whisper)
Pssst.  Hey, kid.

Darryl lets out a faint mixture of a grunt and a moan, keeping his head down.

The guard hurries over to Darryl’s side, and with an intense awareness of the situation, gains Darryl’s attention by giving him a quick slap in the face.

Guard #1
(whisper)
Do you want to get out of here or not?

Darryl looks up, with eyes wide open and attentive.
  
Guard #1
(whisper)
Be ready at midnight.  I’m gonna get you out of here.

Darryl
(with anger and pain in his voice)
Why in the hell should I trust you?

Guard #1
Because I’m your only chance of survival.

Camera cuts to black as Darryl is left to contemplate his fate.

            Scene 4

IN A CRAMPED AIR VENT above the basement jail cell but below the first floor of DHS HEADQUARTERS.

It’s 12:01 A.M.  Back Jauer leads Darryl through a rusty air vent.  It is hot and grimy.  Back Jauer has a much easier time navigating the air duct than Darryl, but they both struggle significantly.

Darryl
(in his own head)
Jesus Christ, what is going on?
Who the hell is this guy, and why is he
helping me?

Guard #1
It’s just a little bit further.
You’ll be free in no time.

The guard leads Darryl to the open air on the abandoned side of DHS HEADQUARTERS.  It is pitch black in the middle of the night.

The scenery is an empty loading dock left to rot, with shrubbery overgrown and no people anywhere in sight.  Darkness covers everything.

The camera pans to a black Ford SUV speeding towards the lot.  It approaches Darryl and the guard and abruptly stops.  The SUV’s lights are off so as to not bring any attention towards it. 

Back Jauer
(intensely whispering)
Let’s go.  Get in!

Darryl and the guard rush in to the car and slam the doors.

The SUV speeds off into the distance.

The camera remains at the pick up spot, rising and watching the SUV speed off into the horizon.

            Scene 5

IN THE CAR.  There is a driver, the guard in the front seat and Darryl in the back seat.

The camera is from Darryl’s perspective, looking forwards toward the guard and the driver.

Confusion fills the air, as the guard tries to explain what is going on to Darryl.

The guard explains that his name is Back Jauer.  He was undercover while working for the DHS.  The secret group of informants he works for call themselves the Freedom Fighters.  The Freedom Fighters are the only people aware of the true events behind the terrorist attacks that took place in San Francisco: that the DHS was really behind the attacks.  Their plan is to use their security measures to ultimately take over the government.  After Severe Haircut Lady took “THE PLAN” too far, Back Jauer realized it was time to get out.  Instead of bailing, he got in touch with the Freedom Fighters and became their inside source.

Back Jauer
Look, Darryl, I know you’re confused right now.
You’ve gotta learn to trust me.


Darryl
(with panic in his voice)
Okay… okay. (Catching his breath)
But how can I?
You’ve tortured me for weeks.

Back Jauer
Just remember I was working
undercover with the overall objective of getting you
out of there.


Darryl
(with pain and anger in his voice)
I don’t think you realize the pain I just went through!
Look at me!!

Back Jauer looks back and sees the swollen face and bruised body of Darryl.  The camera cuts to look at Darryl’s face.  He winces.

Back Jauer
(with sincere remorse)
I’m sorry that had to happen to you.
You weren’t supposed to be locked up for so long.

Darryl
(screaming)
Well I was!

Back Jauer
Let’s calm down and move forward.

Darryl
(taking a deep breath)
Alright, alright.
So why do the Freedom Fighters care about me?

Back Jauer
It’s because of your friend, Marcus,-

Darryl
(yells out)
Marcus?!

Back Jauer
Marcus’ efforts have caught the attention
of the Freedom Fighters.  That’s where you come in.

Darryl
What can I do?

Back Jauer
The Freedom Fighters have some very important information
they need you to relay to Marcus.
           
            Scene 6

The car pulls in to a secret underground drive-in under Fisherman’s Wharf.

The three in the car get out and open an encoded door, and head down a lighted hallway.

After another encoded door, they step foot in an underwater submarine.

The main room is filled with about a dozen suited officers, all seated at a round table, seemingly waiting for Back Jauer and Darryl to arrive.

COLONEL MUSTARD, seated at the head, and obviously the oldest officer at the table, speaks up.

Colonel Mustard
Back Jauer, Darryl.  Please take a seat.

Back Jauer and Darryl take a seat opposite Colonel Mustard.

Colonel Mustard
Darryl, the DHS is everywhere.
This is our last chance to take them down.
We need you to carry a message to Marcus.

Darryl
And what would that be, Colonel?

Colonel Mustard
We have reason to believe that the DHS
was behind the original terrorist attack
that hit the Bay Bridge.

Darryl
(in disbelief)
What?  How in the world could that be true?!

Colonel Mustard
Their plan is to scare the people into submission,
so that they can ultimately take control of the
government and reap the rewards that come with it.

Darryl
What can I do to make sure that doesn’t happen?

Colonel Mustard
You must get to Marcus and let him know
of the scheme.  He is under the radar enough,
and has the potential to take the DHS down.

Darryl
After what they did to me, I have to get revenge.
I will do my best, Colonel.

Colonel Mustard
I know you will, son.

The camera focuses on Darryl’s face as he shakes Colonel Mustard’s hand and heads out of the submarine.  The determination on his face paints a picture of a boy ready to become a man. (This is a step in Darryl’s coming-of-age hero story.  He progresses from a scared boy when escaping with Back Jauer into a confident young man ready to take on the DHS.

            Scene 7

EARLY MORNING, SUN RISING in North Beach, San Francisco.

The camera pans as Darryl frantically runs through the streets of San Francisco, intent on reaching Marcus with the information regarding the DHS.

By this time, the DHS has realized of Darryl’s escape.  The Freedom Fighters, unable to transport him due to the DHS’ constant patrol of the area, have set Darryl on a path through side streets and back roads.

Darryl ducks and dodges in between houses and dumpsters, watching his every step.  Paranoia is seen on his face as he looks over his shoulder around every corner.

Uncertainty fills the air.

As Darryl arrives at Marcus’ house, he gets a text message from Back Jauer.
THE FREEDOM FIGHTERS HAVE BEEN OUSTED BY THE DHS.  Their Fisherman’s Wharf submarine has been raided, and only Back Jauer survives, as he left the submarine but a minute before the raid.

Darryl knows only Marcus, Back Jauer, and himself are capable of fulfilling the mission.

            Scene 8

MARCUS’ HOUSE. MID-DAY.

Darryl is on the phone with Back Jauer.

Darryl and Marcus sit in the kitchen.  Marcus wears panic on his face.  Darryl has seemingly transformed into a cool, collected leader.  He is strong and assuring with his words.

Darryl
So where do we go from here, Back Jauer?

Back Jauer
Our options are severely limited.

Darryl
Is everything destroyed?  Did the Freedom Fighters
leave any emergency tools?

Back Jauer
Now that I think of it, there is a helicopter
hidden in an underwater contraption next
to the submarine.

Darryl
The DHS officials think they destroyed
the entire Freedom Fighter hideout.
They might have moved on from the Wharf
to search for me somewhere else.
I think we might be able to double-back
and take the helicopter to a safer location,
then to the White House from there.

Back Jauer
Alright.  I’ll get the chopper and meet you at the docks at 15:00 sharp.

Darryl
Marcus and I will be ready.


Back Jauer
Godspeed, my friend.

            Scene 9

FISHERMAN’S WHARF.

Darryl and Marcus approach the Wharf, but instead of an abandoned riot, they find DHS officers ready for them.

In the distance, Back Jauer rises above the edge of the Wharf in the helicopter.

The chopper is promptly shot down by DHS missiles fired from surrounding buildings.

Darryl and Marcus are seemingly doomed.



            Scene 10

With DHS officials closing in on them, out of nowhere Darryl looks over to the shoreline.

VAN APPEARS, DRIVING A HIGH SPEED POWERBOAT.

Darryl grabs Marcus and they sprint away from the approaching DHS officers, straight to the left for Van and the powerboat.

Darryl and Marcus jump from the dock into the back of the boat.  Van barely slows down for them to jump.  They land behind her in the boat as she turns and narrowly misses crashing into the dock.

As they accelerate into the ocean, the camera pans to watch the DHS officials, dumbfounded and unable to do anything but look around at each other.

The camera turns back to the boat speeding off into the horizon.

As a giant wake follows the boat getting smaller and smaller, “Black Betty” by Ram Jam plays in the background.

Final Screenplay

http://webpages.scu.edu/ftp/atacosta/script.html

Tuesday, May 10, 2011

New Screenplay

FINAL SCREENPLAY



Scene 1: The scene begins with the middle eastern world leaders talking with the world leaders from another planet. They are discussing how they can take down the U.S.A and colonize them the way they want. Every country in the world has been taken over by this new world except America, and this new world has been unable to do so due to the strong American government. They realize they need help, so they ask America's enemy to assist them in taking down the U.S.A.
Other world leader: So, world leader of Iran, I hope you can execute your part of the plan.
Iran leader: Yes I am aware of your efforts. We can finally achieve what we have wanted on Earth for so long: every single person with the same religious beliefs and same political views.
Other world leader: Excellent.
Iran Leader: I just have a question.
Other World Leader: Yes?
Iran Leader: What if we fail?
Other World Leader: We won’t. I’m sure of it.

Scene 2: In this scene we are introduced to our protagonist, Charles. The scene takes place at his high school where he is being lectured by his teacher about current events. The conversation quickly shifts to the situation between this other world, the middle east, and America, which Americans are aware of.
Teacher: Class, what are your thoughts on the situation?
Charles: We need to fight back, Mrs. Smith.
Teacher: we are entering a battle that we cannot win. Compromise is the answer here.
Charles: Compromise what?
Teacher: Compromise American Values.
Charles: What?!
Teacher: We can’t win. So let’s not lose.
Charles: You don’t love your country.
Teacher: Charles, at some point you have to realize what kind of fight we are in here. America will be taken over soon.
Charles: I won't allow it. (Leaves the room)

Scene 3: Charles is seen in an outdoor setting with his closest friends, telling them how ridiculous his teacher was in class. He persuades them to agree with him, and then tries to work out a plan that will end any threat of America being taken over.
Charles: Mrs. Smith was being so unreasonable in class today. She wants to throw all of America's values out the window.
Lance: It is literally us against the world, plus another world. it's time for us to join the rest of the world.
Tanya: most Americans have accepted the fact that this country will be taken over eventually.
Charles: Americans shouldn't just give up without a fight. I have a plan.
Lance and Tanya: OK.
Charles: We need to find a way to get one country to revolt with us.
Tanya: OK...
Charles: We need to talk with our government.
Lance: I like that idea.
Tanya: I still don’t understand.
Charles: We can’t do it alone. We need to be prepared.
Tanya: So what are we going to say to the government?
Charles: We will convince them to win back the trust of other countries.
Lance: I’m in.
Tanya: This is our last chance.
Charles: Let’s go down swinging.

Scene 4: Back to the other planet. They are discussing their concerns with America's unwillingness to give in to their demands. The leaders of this planet decide that they need to travel to America themselves and take over the government.

#1: What should we do to finish America off?!?
#2: We need to go to America, take over the government, and do everything ourselves.
#1: Alright. Tomorrow we attack America.
#2: I will inform America an attack is coming unless they surrender.

Scene 5: Charles and his friends are having second thoughts on their method of defeating the enemy.

Lance: Can we still execute this plan?
Charles: Yes.
Tanya: How? We are about to be attacked?
Lance: We have to surrender!
Charles: We will surrender. But that doesn’t mean we will lose.
Tanya: Huh?
Charles: We can still be free.
Lance: How?
Charles: We will rebel. If they kill us so be it.
Tanya: That’s crazy.
Lance: That sounds like an American loss.
Charles: No. It will be a win. We will win. To die for a noble cause is a win.

new and improved script

http://webpages.scu.edu/ftp/mburrill/script%20for%20fat%20man.html

Revised Screen Play

Here is my revised screen play. For this revision, I decided to make the dialogue shorter in some areas, while still retaining the speeches that are in the movie itself. I additionally made the dialogue much more lax in nature. For example I made the characters say goin instead of going. I believe that it gives it a much more human feel to it. All in all, I actually made the movie more concise in parts and more elaborate in others. For the scene descriptions and scenes themselves, I elaborated on them and gave more camera angles and such. Here is a link to my final revision of my script.

Final Script

I was unable to get onto my scu web page because of technical problems. Below is my script in size 4 font as to not clog the blog. To view copy, paste, and enhance the size in word or any other processor.

Closer to Danger, Farther from Harm

Near-future. The scene has an eerie warehouse look. There’s a lot of metal but everything is clean, cold, calculated. The hallways are white and boring with little to no decorations.

Fade-in to a long hallway with singular lights every ten yards. There is no one in the hall and the camera is slowly being pulled backward down it. The it turns and is dragged backward into the room before turning to view, from the side, Miller, a boy of about 18 standing in front of a mirror, appearing to get ready for the day. He wears a white jumpsuit and has amber hair that is cut perfectly to a short length. The camera then moves behind him to show the wall that had been visible over his shoulder. On it is a clock at 7:40 am and a schedule that reads “Daily Progress Work 9:00 am”.

Cut to scene in a workshop. Walls are again white and table plain except for the wood that Miller is sawing with a chainsaw. Others are doing similar tasks at surrounding tables and dressed to match perfectly. He seems bored with the work but continues to do it anyway. Moderators wearing blue jumpsuits walk behind Miller every so often inspecting the work. After about ten seconds the entire frame begins to shake and Miller looks up in confusion. A voice is heard over a pa system.

Voice: Security breech in sector 6! Security breech in sector 6! All available personnel required immediately!

The blue jumpsuited people in the room all run out the door.

Nervous coworker: Do you think there’s a radiation leak?

Miller: No, we’ve been safe inside the Combine for our entire lives.

Another coworker: Then what do you think it was?

Another coworker: Probably just some kids in the work sector.

Cut to areal view of a lunchroom with metal tables and chairs as well as about 40 people in white jumpsuits seated and eating. Miller sits across from a blonde boy of about equal age. Cuts to a dialogue shot.

Miller: Hey, Toby, did u feel that shaking today during progress hours?

Toby: Yeah, I was stationed in sector six, too.

Miller: What happened?

Toby: Earthquake I think. Then, all of a sudden the constraints in the wall gave out and a piece fell in. No one was seriously injured…but…Miller we, we saw outside…

Miller: What?! What was it like? Could u breath?

Toby: It was light, like SO light…and there was a cool breeze. There was none of the burning and charring that the leaders talk about. The colors were so beautiful and it seemed almost…peaceful.

A blue jumpsuited leader comes and stands behind them.

Leader: Lunch time is over, return to you schedule.

Cut to a shot of Miller leaving his room, the clock is at 8 am again. He almost immediately runs into a crying girl in the hallway.

Miller: Trish, what’s wrong?

Trish: I can’t find Michael; I’ve been looking for him all morning.

Miller: Come on we’ll go ask the leaders where he’s stationed.

Trish: I did, they won’t say anything except, “Those who were exposed to radiation have been quarantined. It’s for our safety”.

Miller: Oh, no! I wonder if Toby’s with them…relax Trish I’m sure its nothing.

Miller approaches a nearby leader.

Miller: Where are the sector six workers?

Leader: Those who were exposed to radiation have been quarantined. It’s for your safety.

Miller: Well can I talk to them? I don’t have to go near them.

Leader: No, Those who were exposed to radiation have been quarantined. It’s for your safety.

Frustrated Miller walks away. As he walks down the hall we hear his voice in a monologue.

Millers Voice: Sketchy, too sketchy. Toby’s the only friend that’s put up with my nosiness and rule breaking. He’s been there since I can remember and I owe it to him to get to the bottom of this. I need to break into the leader’s sector and see what they’re keeping from us.

Miller looks up and notices he’s at the entrance to the leader’s sector. The camera zooms out to notice a cart being pushed in and Miller slips through before the doors close. Inside he walks down a hallway as an authoritative voice rises in the background. He pauses outside the room from which it is coming.

Voice of Authority: We cannot let this ruin all that we have built.

Another Voice: We have nothing to tell the people. They ask about their

brethren and we have no answer.

Voice of Authority: We must continue to tell them that they are sick. We must keep up the façade that we are trying to cure them of radiation poisoning. If they knew they were already dead there would be mass despair and unrest. The people will quiet over time, as they always have.

Yet Another Voice: This is exactly why we shouldn’t have eliminated them in the first place!

Voice of Authority: Enough! We needed to protect our people from the dangers of the outside world. We cannot let them become savages as the modern world promotes. That’s the reason we started the Combine in the first place. We will have order no matter how many must be sacrificed! We must do all that is necessary to protect our children.

Meanwhile, Miller listens to all this with a shocked expression. He is brought almost to tears before realizing he should get out of the area. As he hurries down the hall, the camera is shadowed by a blue back and the Authoritative Voice is heard once more.

Voice of Authority: Stop!

He approaches Miller at the entrance to the sector.

Head Leader: What are you doing in here?

Miller: I wasn’t paying attention and took a wrong turn, er sorry.

Head Leader: Well hurry along you don’t want people to think your snooping around.

Miller hurries out into the hallway and the scene fades out.

In the darkness.

Miller’s Voice: Great, now they know I’m onto them. How can I save everyone here when it’s only a matter of time until I disappear like the rest of sector 6? The only choice I have left to get out of here and find help on the outside…

Camera refocuses on Miller standing across from three boys and two girls of similar age. We recognize one girl as Trish.

Boy 1: I don’t know man, this is all just a lot to swallow.

Girl 1: Yeah, you can’t just barge in here and start feeding us all sorts of conspiracy garbage.

Miller starts to pace nervously.

Miller: Listen, I was born and raised here too. I know how hard this is to take in but I heard them talking with my own two ears. Why would I try to get you in trouble for…

Boy 2: Nothing! That’s exactly what’s going on here…nothing!

Boy 3: Yeah, I’m sure they’ll have Toby and the rest of them fixed up in a few days and everything will go back to normal. The adults aren’t doing anything drastic like this…do you even know what’s out there?

Miller: No, which is why I wont take any of you with me. If I go, and I am going, it’s going to be a solo mission.

Boy 1: Then why tell us? Do you want us to feel guilty and try to stop you?

Girl 1: Hasn’t there been enough excitement for a while?

Miller: It’s because I need your help.

Boy 2: Ah, here’s the kicker!

Miller: (pleading) Please! The only way we can even see if I’m right is to get out there and let me take a look and the only way that I can do that is with your help.

Trish steps forward face to face with Miller.

Trish: (through little sobs) I’ll help you Miller. If what you say is true and Michael is really gone, I know this is what he’d want me to do. Don’t worry about them they’re in too. Even you Jake!

Trish shoots a fiery glance at Boy 2.

Jake: Alright, alright…what do we need to do?

Miller: First, I need you three guys to get in a little trouble for me…

Scene fades out as Miller discusses his plan with the group.

Fade in to the hallway in front of Miller’s Progress Sector. Two blue jumpsuited leaders stand in front of the entrance. Boys 1 and 3 are walking from one direction as Jake is walking from the other with an armful of books. He is bumped by the two boys as they pass by each other and the books fall everywhere.

Jake: Hey watch where your going asshole!

Boy 1: I barely even touched you. Nice bobble butterfingers.

Boy 3 begins to laugh as the leaders notice what is happening. Jake pushes Boy 1.

Jake: Do you want to go you little slime ball?

Boy 3:Hey! Don’t touch him!

Boy 3 pushes Jake back and the leaders start to hurry over. Just as they leave their post Miller is seen slipping around the corner into the sector.

Leader 1: Hey! You there, stop what you’re doing!

Leader 2: Boys, get control of yourselves!

The scuffle continues for about 10 seconds as the leaders attempt to break it up. After about 8 seconds Miller is scene sneaking back out of the room with chainsaw in hand.

Fade out.

Fade in to the room from the previous scene, with only the four boys present now.

Miller: That was perfect guys; I was in and out before anyone even noticed.

Jake: That was my kind of distraction. You’ll never have to ask me twice to put Phil in his place.

Phil (Boy 1) : Oh, you wish! Vince and I just didn’t want to whoop you before Miller had time to grab the saw.

All the boys laugh.

Vince: So, what’s the plan now Miller?

Miller: The girls should be about done inviting everyone to the dance party in sector 7 tonight. Hopefully it will be loud enough to mask me cutting through the temporary barriers they put up in sector six so that I can slip out.

After that I guess just wish me luck.

Jake: How will we even know if you did it or not?

Miller: If I get out there you’ll know I’m coming back. Hopefully I can arrive with the cavalry in a day or two. In the meantime stick together in public places. No doubt they will check the cameras and know we talked, so just take care of yourselves ok?

Phil: Don’t worry about us; at least we know they’re coming unlike the last group.

A moment of silence passes over the group as they think of their fallen friends.

Miller: Alright, lets go get ready for tonight. Just act like yourselves and try to bump the music up to 11. I’m going to go hide out in sector 6 until I hear the party going. I’ll see you guys on the other side.

Fade out.

Fade in to Miller alone in a work sector similar to his own. This one has caution tape walling off some unpainted wood that is clearly covering the hole to the outside. As he sits waiting with the chainsaw techno music slowly increase in volume in the background. It sounds like Miller is almost inside the party himself. He begins sawing at the hole. For about 30 seconds and makes it almost complete. Just then, the door slides back and the Head Leader rushes in.

Head Leader: Stop! Get back here!

Just as The Head Leader runs towards him Miller jumps out of the new hole and disappears into the night.

Fade out.

Fade in to view Miller’s face with a shocked expression. The camera backs out and slowly begins to pan around him at the same time. It reveals Miller looking off the edge of a cliff down on the sprawl of a city (perhaps Las Vegas). From behind a cop car pulls up to Miller and a voice is heard.

Cops Voice: Son, are you alright?

Fade out.

SCREENPLAY REVISED

HERE IS A LINK TO MY REVISED SCREENPLAY

http://webpages.scu.edu/ftp/aako/REMIXLBIMG/Screenplay.html

Final Script

Here is the link to my final screenplay.

Script

Final Script

Here is a link to my website with my final script. I edited out a couple of unnecessary lines and such throughout it. It is a tad bit shorter now but not too much.

Final Script

http://webpages.scu.edu/ftp/mho/Second%20Life/Script.html

Final Script

No Service

Final Edit of Screenplay

Screen is black, quote comes up that reads “One does not establish a dictatorship in order to safeguard a revolution; one makes a revolution in order to establish a dictatorship”

Four years later, Van, now 21, sitting by herself at Dolores Park looking pensive, a little sad. Sits there for a while, leans against a tall statue of Marcus. She gets up, walks away out of the shot.

Van: He was a hero when he brought the DHS down
Darryl: no one thought Marcus would turn into the tyrant that he is today.
Jolu: When he started turning into a dictator no one knew what to do.
Darryl: I’m starting to think that it’s time to bring him down
Van: and I know exactly how to do it.

Early afternoon, on the wharf, Van sitting by herself, Jolu and Darryl join her, they start to discuss how to bring Marcus down. As they talk more people join them and the full resistance group is shown.
Van: I know how to bring Marcus down.
Darryl: How?
Van: By taking down the X-net
Jolu: If we take down the X-net, we take down his entire empire.
Extra1: Jolu, you can make the ultimate X-net virus.
Extra2: And Darryl, you can figure out how to get it to her!
Van: Great planning, we can do this.
Van’s apartment. Van and Jolu at one computer programming. People keep coming to them giving excuses about not being able to give Marcus the virus until Darryl brings up Ange, how she could possibly be help, that even though they haven’t talked in a while, ever since her and Marcus had broken up that she’d probably be willing. They contact her and she agrees.

Extra1: I would give Marcus the virus… but there’s so many risks involved…
Extra2: And I’ve got kids and a family, I can’t lose that.
Darryl: Ange will do it.
Van: What?
Darryl: Ange will do it. I just got in contact with her. She’s in.
Jolu: Bring her here tomorrow.
Darryl: Done
Next day. Late afternoon. Ange walking up to Van’s house, a particularly humble looking place, not very attention grabbing. Knocks and is let in. Van quickly debriefs her as Jolu finishes the virus. Once it is done they hand it off to Ange and tell her what to do. They give her a gun just in case anything goes wrong and tell her to go the next day. She complies and goes on her way..

**Ange knocks on the door, gets let in by Van**
Van: Thanks for coming Ange, you’re helping a lot of people.
Ange: Just doing what I can.
Van: What you’re doing is very dangerous, so we’re going to supply you with protection **hands over gun**
Ange: A little more dangerous than I thought.
Van: Marcus is more than dangerous now.
Jolu: **walks into the shot** Here it is, I just finished it. **Hands over virus to Ange** It should be able to fully wipe out every part of the X-net everywhere.
Ange: And all I need to do is just get it onto his computer?
Van: Yup. Run it on there, and it should be able to work. Then you just need to worry about leaving.
Ange: Consider it done.
Van: Thank you, Ange. You’re doing everyone a great help.

Show Ange walking into a massive skyscraper, obviously Marcus’s headquarters. The building appears to be relatively empty, which is what leaves Ange feeling particularly anxious. She walks to Marcus’s office, which is vacant. She quickly rushes to the computer and downloads the X-net virus. Once the virus has run its course, Ange goes to leave in which she encounters Marcus. He realizes what she’s done and tries to kill her but she pulls out the gun Van gave her and shoots Marcus, who falls down dead. She quickly leaves the building and calls Van and tells her it’s over.

Ange: Dang, the place is pretty empty…
**Walks through building into Marcus’s office**
Ange: Wow, this is gonna be easier than I thought.
**Walks to Marcus’s computer and starts to download the virus.
Ange: would you like to install… yes. Looks like I’m done.
**Starts to walk towards door but Marcus comes in and stops her**
Marcus: It’s been a while Ange.
Ange: Ma.. Marcus. Hi.
Marcus: Do you think that wiping out the X-net is going to do anything? I can just make another one, a better one.
Ange: You’ve gone down a bad path Marcus, you need help.
Marcus: I don’t need anything. If I need anything right now, it’s for you to get out of my office whether you want to or not. **Lunges at Ange in an attempt to kill her. Ange pulls out her gun and shoots him**
Ange: You don’t need anything, anymore
**Runs out of the vacant office building**
Ange: **On cell phone** Van? It’s done.

Van’s apartment. Darryl, Jolu, and Van watching the news, extras walking around the apartment. Ange walks in and everyone congratulates her on a job well done, camera pans out and scene goes to black and you can only hear the news reporter talking about Marcus’s death.

News reporter: There seems to have been a shooting at the headquarters of international superpower Marcus Yallow…
**Ange storms in, everyone stands and gathers around her**
Van: You did it, I can’t believe you did it
Darryl: Everyone is safe because of you, Ange.
Jolu: Thank you so much.
**camera pans out, everyone huddling together as the News reporter becomes the only voice**
News reporter: I’ve just received word of the death of Marcus Yallow, and thus an era ends, as well as a new era emerges…

Van sitting at Dolores park looking happy. Jolu, Darryl, Ange, and the Extras come up to her, and they all greet each other warmly. They look into the distance and all go walking together, off the screen.

Van: What happened needed to happen. As Lord Acton would put it, “Power corrupts, and absolute power corrupts absolutely.”

final script!

Dangerously in Love

Final Script

Here is the link to my final script :).

Monday, May 9, 2011

Link to final script

http://webpages.scu.edu/ftp/kwendland/Spring%20Qtr/screenplay.html

FINAL SCRIPT.

Script City

Closer to Danger, Farther from Harm

Near-future. The scene has an eerie warehouse look. There’s a lot of metal but everything is clean, cold, calculated. The hallways are white and boring with little to no decorations.

Fade-in to a long hallway with singular lights every ten yards. There is no one in the hall and the camera is slowly being pulled backward down it. The it turns and is dragged backward into the room before turning to view, from the side, Miller, a boy of about 18 standing in front of a mirror, appearing to get ready for the day. He wears a white jumpsuit and has amber hair that is cut perfectly to a short length. The camera then moves behind him to show the wall that had been visible over his shoulder. On it is a clock at 7:40 am and a schedule that reads “Daily Progress Work 9:00 am”.

Cut to scene in a workshop. Walls are again white and table plain except for the wood that Miller is sawing with a chainsaw. Others are doing similar tasks at surrounding tables and dressed to match perfectly. He seems bored with the work but continues to do it anyway. Moderators wearing blue jumpsuits walk behind Miller every so often inspecting the work. After about ten seconds the entire frame begins to shake and Miller looks up in confusion. A voice is heard over a pa system.

Voice: Security breech in sector 6! Security breech in sector 6! All available personnel required immediately!

The blue jumpsuited people in the room all run out the door.

Nervous coworker: Do you think the Radiation has begun to leak in?

Miller: No, we’ve been safe inside the Combine for our entire lives. They have procedures that would alert us before a leak.

Another coworker: Then what do you think it was?

Another coworker: It’s probably just some children that got into the work zone.

Cut to areal view of a lunchroom with metal tables and chairs as well as about 40 people in white jumpsuits seated and eating. Miller sits across from a blonde boy of about equal age. Cuts to a dialogue shot.

Miller: Hey, Toby, did u feel that shaking today during progress hours?

Toby: Yeah, I was stationed in sector six, too.

Miller: What happened?

Toby: There was this loud rumbling and the ground started shaking, I think it was an earthquake. Then, all of a sudden the constraints in the wall gave out and a piece fell in. No one was seriously injured…but…Miller we, we saw outside…

Miller: What?! What was it like? Could u breath?

Toby: Yeah, it was light, and there was a cool breeze. There was non of the burning and charring that the leaders talk about. The colors were so beautiful and it seemed almost…peaceful.

A blue jumpsuited leader comes and stands behind them.

Leader: Lunch time is over, return to you schedule.

Cut to a shot of Miller leaving his room, the clock is at 8 am again. He almost immediately runs into a crying girl in the hallway.

Miller: Trish, what’s wrong?

Trish: I can’t find Michael; I’ve been looking for him all morning.

Miller: Come on we’ll go ask the leaders where he’s stationed.

Trish: I did, they won’t say anything except, “Those who were exposed to radiation have been quarantined. It’s for our safety”.

Miller: Oh, no! I wonder if Toby’s with them…relax Trish I’m going to get to the bottom of this.

Miller approaches a nearby leader.

Miller: Where are the sector six workers?

Leader: Those who were exposed to radiation have been quarantined. It’s for your safety.

Miller: Well can I talk to them? I don’t have to go near them.

Leader: No, Those who were exposed to radiation have been quarantined. It’s for your safety.

Frustrated Miller walks away. As he walks down the hall we hear his voice in a monologue.

Millers Voice: Toby’s the only friend that’s put up with my nosiness and rule breaking. He’s been there since I can remember and I owe it to him to get to the bottom of this. I need to break into the leader’s sector and see what they’re keeping from us.

Miller looks up and notices he’s at the entrance to the leader’s sector. The camera zooms out to notice a cart being pushed in and Miller slips through before the doors close. Inside he walks down a hallway as an authoritative voice rises in the background. He pauses outside the room from which it is coming.

Voice of Authority: We cannot let this ruin all that we have built.

Another Voice: We have nothing to tell the people. They ask about their

brethren and we have no answer.

Voice of Authority: We must continue to tell them that they are sick. We must keep up the façade that we are trying to cure them of radiation poisoning. If they knew they were already dead there would be mass despair and unrest.

Yet Another Voice: Exactly why we shouldn’t have eliminated them in the first place!

Voice of Authority: Enough! We needed to protect our people from the dangers of the outside world. We cannot let them become savages as the modern world promotes. We will have order no matter how many must be sacrificed! We must do all that is necessary to protect our children.

Meanwhile, Miller listens to all this with a shocked expression. He is brought almost to tears before realizing he should get out of the area. As he hurries down the hall, the camera is shadowed by a blue back and the Authoritative Voice is heard once more.

Voice of Authority: Stop!

He approaches Miller at the entrance to the sector.

Head Leader: What are you doing in here?

Miller: I wasn’t paying attention and took a wrong turn, er sorry.

Head Leader: Well hurry along you don’t want people to think your snooping around.

Miller hurries out into the hallway and the scene fades out.

In the darkness.

Miller’s Voice: Great, now they know I’m onto them. How can I save everyone here when it’s only a matter of time until I disappear like the rest of sector 6? The only choice I have left to get out of here and find help on the outside…

Camera refocuses on Miller standing across from three boys and two girls of similar age. We recognize one girl as Trish.

Boy 1: I don’t know man, this is all just a lot to swallow.

Girl 1: Yeah, you can’t just barge in here and start feeding us all sorts of conspiracy garbage.

Miller starts to pace nervously.

Miller: Listen, I was born and raised here too. I know how hard this is to take in but I heard them talking with my own two ears. Why would I try to get you in trouble for…

Boy 2: Nothing! That’s exactly what’s going on here…nothing!

Boy 3: Yeah, I’m sure they’ll have Toby and the rest of them fixed up in a few days and everything will go back to normal. You can’t go running around like a lunatic in the meantime and put us all in danger…do you even know what’s out there?

Miller: No, which is why I wont take any of you with me. If I go, and I am going, it’s going to be a solo mission.

Boy 1: Then why tell us? Do you want us to feel guilty and try to stop you?

Girl 1: Hasn’t there been enough excitement for a while?

Miller: It’s because I need your help.

Boy 2: Ah, here’s the kicker!

Miller: (pleading) Please! The only way we can even see if I’m right is to get out there and let me take a look and the only way that I can do that is with your help.

Trish steps forward face to face with Miller.

Trish: (through little sobs) I’ll help you Miller. If what you say is true and Michael is really gone, I know this is what he’d want me to do. Don’t worry about them they’re in too. Even u Jake!

Trish shoots a fiery glance at Boy 2.

Jake: Alright, alright…what do we need to do?

Miller: First, I need you three guys to get in a little trouble for me…

Scene fades out as Miller discusses his plan with the group.

Fade in to the hallway in front of Miller’s Progress Sector. Two blue jumpsuited leaders stand in front of the entrance. Boys 1 and 3 are walking from one direction as Jake is walking from the other with an armful of books. He is bumped by the two boys as they pass by each other and the books fall everywhere.

Jake: Hey watch where your going asshole!

Boy 1: I barely even touched you. Nice bobble butterfingers.

Boy 3 begins to laugh as the leaders notice what is happening. Jake pushes Boy 1.

Jake: Do you want to go you little slime ball?

Boy 3:Hey! Don’t touch him!

Boy 3 pushes Jake back and the leaders start to hurry over. Just as they leave their post Miller is seen slipping around the corner into the sector.

Leader 1: Hey! You there, stop what you’re doing!

Leader 2: Boys, get control of yourselves!

The scuffle continues for about 10 seconds as the leaders attempt to break it up. After about 8 seconds Miller is scene sneaking back out of the room with chainsaw in hand.

Fade out.

Fade in to the room from the previous scene, with only the four boys present now.

Miller: That was perfect guys; I was in and out before anyone even noticed.

Jake: That was my kind of distraction. You’ll never have to ask me twice to put Phil in his place.

Phil (Boy 1) : Oh, you wish! Vince and I just didn’t want to whoop you before Miller had time to grab the saw.

All the boys laugh.

Vince: So, what’s the plan now Miller?

Miller: The girls should be about done inviting everyone to the dance party in sector 7 tonight. Hopefully it will be loud enough to mask me cutting through the temporary barriers they put up in sector six so that I can slip out.

After that I guess just wish me luck.

Jake: How will we even know if you did it or not?

Miller: If I get out there you’ll know I’m coming back. Hopefully I can arrive with the cavalry in a day or two. In the meantime stick together in public places. No doubt they will check the cameras and know we talked, so just take care of yourselves ok?

Phil: Don’t worry about us; at least we know they’re coming unlike the last group.

A moment of silence passes over the group as they think of their fallen friends.

Miller: Alright, lets go get ready for tonight. Just act like yourselves and try to bump the music up to 11. I’m going to go hide out in sector 6 until I hear the party going. I’ll see you guys on the other side.

Fade out.

Fade in to Miller alone in a work sector similar to his own. This one has caution tape walling off some unpainted wood that is clearly covering the hole to the outside. As he sits waiting with the chainsaw techno music slowly increase in volume in the background. It sounds like Miller is almost inside the party himself. He begins sawing at the hole. For about 30 seconds and makes it almost complete. Just then, the door slides back and the Head Leader rushes in.

Head Leader: Stop! Get back here!

Just as The Head Leader runs towards him Miller jumps out of the new hole and disappears into the night.

Fade out.

Fade in to areal view that pans around Miller walking down a long road with dense forestry on either side. Camera is too far to see his face but the white jumpsuit is unmistakable. In the distance a car approaches. Once it is close enough you can tell that it is a modern police vehicle. As it pulls up to Miller it slows and a voice is heard.

Cops Voice: Son, are you alright?

Fade out.