Post 8 - Script

Scene One - Opening

Black screen

VOICEOVER

When I was nineteen, I decided to kill my best friend

FOREST

(Cut to AARON with a knife. He stabs down and blood splatters his face)

VOICEOVER (CONT’D)

Some people might say I’m crazy, and they’re probably right

(Back to AARON stabbing an unknown figure. He stops, falling back and dropping the knife as realisation dawns on his face. He runs)

Scene Two - The mirror

BATHROOM

(AARON staggers into the bathroom, covered in blood and shaking violently. He looks pale and sick. He goes over to the sink and places a hand on either side, looking down and breathing heavily. He looks up slowly, seeing that his face is splattered with blood. He stares at his reflection, disgusted with himself. He puts a hand to his mouth, noticing that it too is covered in red. He begins to frantically scrub at his hands, Lady Macbeth style. When he is unsuccessful, he moves to sit on the closed toilet seat, completely losing all composure)

Scene Three - Flashbacks

BEDROOM

(AARON goes over to his desk. Upon it are a number of picture frames. He picks one up. Inside are him and LEO, smiling. We cut to this moment as the picture comes to life. The two boys are sat together on a sofa, messing around and taking photos. They look impossibly happy. We cut back to AARON, smiling sadly at the picture. We then cut to a flash of the argument, the two shouting at each other. It cuts back to AARON and he shakes his head, trying to clear the memory from his mind. He quickly puts the picture down on its front)

Scene Four - Trying to cope

BEDROOM

(AARON is on the floor, leant against his wall. He has a bottle of beer in one hand, and the other holds his head. He puts some music on to try and raise his spirits, attempting to dance and drown his sorrows. It doesn’t work. He remembers listening to this with LEO, dampening his spirits further. We see him doing something on his phone and then holds it to his ear. We hear LEO’s voicemail and AARON looks even sadder. He throws his phone, sinking down the wall to the floor)

Scene Five - The first time AARON sees him

BEDROOM

(AARON gets up from his bed opening the door. A vision of LEO is behind, looking at him silently. AARON freezes, eyes wide in shock and horror. His guilt has built up so much that he has created this form to haunt him. AARON quickly shuts the door and turns, resting against it. He screws his eyes shut and places a hand on his forehead, trying to calm his breathing)

Scene Six - Alex

Alex

(AARON puts on his coat and heads out the door)

STREET

(AARON is walking down a lane near his house. He has his hands in his pockets and his hood is up. He spots ALEX from across the road and tries to avoid eye contact. She smiles and comes over)

ALEX

Hey!

(He tries to ignore her, and she looks confused)

ALEX (CONT’D)

Aaron?

AARON

Hi

ALEX

Your dad’s looking for you

AARON

Yeah, I figured

ALEX

Did your dads have a fight again?

AARON

Yeah, David’s gone to Venice this time and Paul’s staying in some dingy hotel, I think

ALEX

Is David taking his meds?

AARON

NO, I don’t think he’s coming back this time

ALEX

God

AARON

Yeah

ALEX

Hey, have you seen Leo anywhere? He was supposed to meet me last night, but I never heard from him. Don’t suppose you know where he is?

AARON

No, sorry, haven’t seen him

ALEX

I’m worried; it’s not like him to just disappear

(AARON needs to get out of there)

AARON

Well, I’ll let you know if I see him around, tell him to get his lazy arse to your house

ALEX

Thank you; I don’t know what he’d do without you

AARON

Crash and burn

(He walks away, trying not to cry)

Scene Seven - Talking with Leo

GARDEN

(AARON is sitting on the edge of a step, his hands clasped together between his knees)

AARON

I’m sorry

(We cut to a wide, showing that Leo is next to him on the step)

LEO

I know, doesn’t change the fact that I’m dead

AARON

What do you want? Want me to hate myself? Because I do

(LEO pulls out a packet of cigarettes and offers one to AARON. He shakes his head)

AARON (CONT’D)

Those things will kill you; you know?

(They look at each other, AARON flashing LEO a smile. They laugh. The laughter dies down and they look sad again)

Scene Eight - The dream

FOREST

(We begin with a close up on AARON. He looks furious, a mad look in his eye. It cuts down to his hand, holding a huge knife and shaking angrily. The camera goes behind him and in the distance, we can see LEO. We see again the shot from the beginning. The screen goes black and we hear, ‘if I can’t have him, no one can’. AARON jolts awake in bed. It was a nightmare. His face cracks. He looks up, eyes focussing on the figure in front)

Scene Nine - Calling the police

KITCHEN

(AARON is pacing back and forth, the phone in his hand. He looks distressed, about to decide something that will change his life forever. He dials 999)

AARON

Hello? I need to report a murder

(He looks into the camera. It cuts to Leo, nodding. AARON nods back, having done the right thing)

END FILM

Comments

Post a Comment

Popular posts from this blog

The Ellington Kid

Narrative Equilibrium – Two boys are sitting in a café, one has a burger, the other just has chips. Disruption – One boy notices that the other has a burger and begins to tell him the story. Recognition – The boy realises that the other is implying that the boy who got stabbed the other day is in the burger. Attempts to Repair – He spits the burger out. New Equilibrium – He tells him it was just a joke, but the camera pans to a worker who is sharpening knives and has a smirk on his face, leaving the audience to decide for themselves if it was true or not.  The boy who was stabbed is the princess as he is the one who needs saving. The villains are the boys who stab him and come to finish him off. It may seem like the café workers are the heroes at first, but it turns out that they may also be the villains as well.  Lighting The café needs to be lit as that is the reason the boy goes in, as he knows there...
Read more

Operator

Narrative   Equilibrium – A lady works as an emergency operator. Disruption – She gets a call. Recognition – She learns there is a fire in someone’s house. Attempts to Repair – She calms the woman down and instructs her on what to do whilst telling the fire department where she is. New Equilibrium – The lady is safe and she moves onto the next caller. Gemma is the damsel in distress, trapped by the fire and in need of saving. The operator is the hero, helping her to safety. The fire is the villain.  Lighting The light is created by the computers on the operator’s desk and a small lamp. This creates both a calming contrast to the terrifying situations that they have to navigate, but also creates an ominous glow. It makes it seem like an interrogation light, adding pressure onto the operator, signifying that it is all down to her to save this woman and her child.  Costume, Hair and Makeup ...
Read more

Mark Kermode - Rom Coms

1. Which episode of Mark Kermode Secrets of Cinema did you watch? Rom Coms  2. Apply Daniel Chandler's theory of conventions of content to this genre. 3. What ideas does Kermode discuss in this documentary? - The couple will meet in a way that makes them remember each other, known as the 'meet cute'  - There will usually be a partner or person that stands in the way of the couple being together - Near the third act, the couple will usually break up or have a rocky patch - Traditionally, the rom com was boy meets girl, but has evolved over the years to things like boy meets boy, girl meets girl, girl meets fish, boy meets fish - At the end, the couple will usually face a decision as to whether they stay with the other person, and then we get the classic running across town or through an airport scene - Usually, they are lighthearted and fun, but occasionally they can be quite dark - The theme of death is often very present - Musical numbers and dream sequences ...
Read more