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. 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. Short Screenplays 305 App-B.qxd 9/27/04 6:02 PM Page 305 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. 306 Writing the Short Film App-B.qxd 9/27/04 6:02 PM Page 306 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 Short Screenplays 307 App-B.qxd 9/27/04 6:02 PM Page 307 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 . . . 308 Writing the Short Film App-B.qxd 9/27/04 6:02 PM Page 308 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 . . . Short Screenplays 309 App-B.qxd 9/27/04 6:02 PM Page 309 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! 310 Writing the Short Film App-B.qxd 9/27/04 6:02 PM Page 310 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. Short Screenplays 311 App-B.qxd 9/27/04 6:02 PM Page 311 . 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. everything. 306 Writing the Short Film App-B.qxd 9/27/04 6:02 PM Page 306 IRIS Not even him? LUCY No, not him . . . They slowly get up out of the windowsill