yearzerowriters

You’ll get bored of me – A SHORT FILM SCRIPT

In Gupter Puncher/Oli Johns on May 28, 2010 at 1:02 pm

 

 

                                                    You’ll get bored of me 

                                                    A SHORT FILM SCRIPT

 

Written by: Oli Johns/ Ethan Hawke

Director: Er…me. Or my mate, Elissa. Or the security guard in my building, he’s a decent guy.

Starring: A man and a woman. The streets of HK. Martin L*wrence!

Producer: Don’t need one.

Executive Producer: Peter O Toole

Soundtrack by: The guy who did ‘Sunshine’

Crew: ??

Caterer: Someone’s mum

Bag lady: Judi Dench

 

FADE IN

EXT: LAM TIN/ NIGHT

The entrance road to a large estate. Nothing is happening.

[Is it dramatic enough?

Perhaps wait for a taxi to drive past and follow it slowly as it crawls out of the estate.

Would a taxi crawl?]

 

CUT TO –

INT: FIRST CUP COFFEE, TSIM SHA TSUI

O., the male lead, sits in a cafe, looking like shit. But at the same time, a beautiful kind of shit. Kinda like how Ethan Hawke was in ‘Reality Bites’, before he grew into the rat face.

Long shot of O. writing or reading something.

[This would have to be shot from outside the café, which is ok as the café opens out onto the street. Only problem: the camera guy would be standing in the road.

Get someone to block traffic? O Toole?]

Y., the female lead, walks past the camera and into the shop. She sits down, but we can still see O. in shot.

 

INSERT: WRITTEN NOTE [ON SCREEN]

         ‘You can’t talk to her.’

 

O. keeps his book up as a shield and looks at her. [Reading what? His own book?]

 

INSERT:

          ‘You cannot fucking talk to her.’

 

Y. pulls out a book and O. squints to see the title.

 

INSERT:

           ‘Calvino?’

 

O. puts down his book.

 

INSERT:

         ‘Fucking Calvino!’

 

NOTE: We may have to do an insane close up on this book cover…unless the name ‘Calvino’ is in large type.

Or we could do an insert shot? It’s a bit Guy Ritchie, but could work…

 

 

CUT TO –

INT: PHONOGRAPH BAR, TSIM SHA TSUI.

A MID-SHOT[?] of O. and Y., a little apart, sitting on the couch. O. is leaning towards her a little, she is straight.

There is no sound but their mouths are moving, so they’re talking.

 

INSERT [WRITTEN NOTE]:

          ‘Has he read Spinoza?’

 

They keep talking.

 

INSERT:

         ‘Has she seen Slacker?’

 

More talk.

 

INSERT:

         ‘Does he listen to the Pixies?’

 

They stop talking and look at each other.

 

INSERT:

          ‘Fuck, you’re pretty.’

 

[Yup, there’s no ‘he’ or ‘she’ on the last one, so he could be calling her pretty or the other way round…]

 

CUT TO –

EXT: LAM TIN/NIGHT

Another place in Lam Tin, more darkness and the slowly moving camera.

O., wearing no shirt, hair a fucking mess, walks in and out of shot.

[The camera’s gonna be moving just like that shot in the woods in ‘There will be blood’, where Daniel Day Lewis comes in and out of the shot, kinda like the camera is a separate character also skulking about the woods and Day Lewis is accidental.

Not sure how to do this shot…maybe walk very slowly and just try not to shake?]

 

CUT TO –

A Beach, maybe Shek-O? O. is lying with his head on Y.’s back as she reads something.

More written note INSERTS appear on screen, and some dialogue.

 

         ‘No one’s honest here.’

 

Focus on O.’s face.

 

          ‘Some people…maybe 60% honesty, but nothing more.’

 

O. sits up and looks at her.

 

                           O.

   Hey Y., do you ever test people, see if they’re honest or not?

 

Y. smiles into the pages of the book.

 

                           Y.

   No one’s honest here.

 

O. smiles back.

 

          ‘She’s lying to me.’

 

[Is the speech too shit? It’s a bit of an unrealistic response from Y. Should I give her a stutter?

Or make the dialogue subtextual? Or the other one…naturalistic? Like, she doesn’t answer my question…or overlap dialogue like Altman? Get some people to sit nearby and talk shit to each other…

Too much? Would it work?]

 

CUT TO –

INT: O.’S APARTMENT

It’s a mess in the living room. Boxes everywhere, no TV, everything wrapped in plastic and cardboard taped to the wooden floor. The place is either being renovated or someone’s gonna be murdered.

 

 

The camera focuses on the couch for a while. O. is sitting very still, asleep maybe.

Then his face moves. He’s not asleep. He’s just too fucking depressed to move.

 

INSERT:

         ‘It’s not bad. Really. I feel okay. I can move anytime I want.’

 

O. sits forward and looks at the rest of the apartment.

 

INSERT:

        ‘I FUCKING HATE DEPRESSIVES.’

 

O. rubs his face then sits back on the couch again.

 

INSERT:

        ‘I wonder what Y. is doing?’ 

 

CUT TO –

INT: O.’s ROOM

O. and Y. are lying on the bed. Y. has a shirt on, O. is topless. Or O. has a shirt on if he’s feeling fat on the day of shooting…but if he’s been swimming the few days before then the shirt’s off. Get his pants off too, Ewan McGregor style?

[Should Y. be naked too? It makes sense if they’re lovers and on a bed, but maybe a stretch too far for a short film? If she were Italian, it wouldn’t be a problem.]

Y. is facing away from O., and he has his arm on her shoulder or over her.

 

INSERT:

        ‘Don’t let her get bored of you.’

 

O. looks to the right.

 

 INSERT:

        ‘Take her to an exhibition.’

 

O. does some kind of weird expression, if possible.

 

INSERT:

         ‘But I don’t like exhibitions.’

 

O.’s face again, slightly distressed.

 

INSERT:

          ‘Fuck.’

 

O. puts his head on top of Y.’s head and strokes her hair.

 

INSERT:

         ‘Don’t you fucking get bored of me, Y.’

 

CUT TO –

INT: Y.’S APARTMENT

This one is tidier, but not by much.

Y. sits on the floor, at the feet of what must be her parents. The Dad is talking to the Mum, and neither of them is paying attention to Y. Or she’s not paying attention to them.

It looks like she is watching the TV screen, but really she’s staring at the wall.

[How can we show this? A first person POV shot of the wall, with the TV right at the edge?]

 

INSERT:

        ‘I’ll stand up in a minute, go to the bathroom, brush my teeth, wash my face then go to bed.’

 

Y. looks up at her parents, who continue not to notice her.

 

INSERT:

         ‘I don’t need to say goodnight to them. I’ll just leave.’

 

Y. returns to the wall.

 

INSERT:

       ‘I wonder what O. is doing?’

 

CUT TO –

INT: CAFE

O. and Y. sit next to each other, not talking, looking in opposite directions. Y. looks at another guy? O. looks at a waitress?

Meanwhile the camera moves slowly out, showing the scene like a moving painting.

[Like the scenes in Kubrick’s Barry Lyndon, where the characters are kinda still and the camera just frames them in a pose and then steps back slowly.]

 

CUT TO –

EXT: LAM TIN/ NIGHT

O. is somewhere in Lam Tin. Not sure where yet.

[I hope there are enough places to film.

You’ve got the estate. The Baseball pitch. The highway. What else?

KFC?]

O. is alone again, watching traffic. [Or watching people if in KFC.]

  

CUT TO –

EXT: CAUSEWAY BAY STREET/NIGHT

O. holds onto Y., hugging her in the street.

INSERT:

        ‘What the fuck does she expect me to say here?’

 

The camera moves out, showing the side of O.’s face and the side of Y.’s. Not sure what the shot is called, but I’ve seen it in loads of shitty TV shows, where you can see both faces, but the characters can’t.

[Or maybe do split screen?

Or…spin the camera around us like Mickey Bay in Bad Boys 2?

But, how does he actually do that? Is he on a little skateboard or something…and one of the crew is pulling him in circles around the room with a piece of string? I don’t know. Fuck it, keep it simple. No skateboard.]

So, we can see both faces, and they’re hugging.

 

More written INSERTS pop up.

 

        ‘It’s seven weeks already and there’s nothing new to see.’

 

Close up on O.’s beautiful hobo face. [Not too hobo, just a little]

 

        ‘She doesn’t do anything with her life, so what’s the point?’

 

O.’s face again.

 

        ‘She’s bored of me.’

 

Then switch to Y.’s face.

 

        ‘He’s bored of me.’

 

And still on her face.

 

       ‘But…why can’t he just stay fucking still sometimes?’

 

Then back to both their faces, the camera still moving out.

 

        ‘Don’t you fucking get bored of me.’

 

FADE OUT

 

FIN

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