Cinematography and Editing Practice:
J~R
Saturday, December 26, 2009
Sunday, December 20, 2009
Another Shade of Black
Wrote this about 3 years ago...Thinking of reworking it and filming it.
Another Shade of Black
By
Jacob Ruby
CHAPTER ONE - FADING MEMORIES
BLACK
The sound of RAIN falling on glass is heard before the gruff
VOICE of a MAN over takes it.
INT. JOHN’S CAR - NIGHT
Looking out the front windshield, wipers periodically emerge
from the bottom and clean the drops of rain.
The man is sitting in the drivers seat SMOKING and observing
the POLICE outside of the house.
They work frantically putting danger tape around the house.
John pulls out a NOTEPAD and begins to write in it.
EXT. JOHN’S CAR - CONTINUOUS
John steps out of the car and drops his cigarette.
He walks slowly toward the house but suddenly stops, bends
down to the ground and picks up a shard of GLASS.
John pulls out a plastic baggy and puts the tiny shard in
it. He then continues towards the house.
The OFFICER guides him through the front door.
INT. JONES HOUSE - CONTINUOUS
They shake out the wetness, John pulls out his notepad.
John doesn’t acknowledge and continues to write.
INT. BEDROOM - NIGHT
Inside of the room there is a knocked over LAMP that is
still on, creating an ominous lighting effect within the
room.
THE BODY lays face down on the ground.
There are TWO other officers studying the body.
EXT. ROAD - NIGHT
John’s car passes quickly.
INT. JOHN’S CAR - CONTINUOUS
EXT. ROAD - NIGHT
John’s car again passes quickly down the road.
INT. INTERROGATION ROOM - NIGHT
John steps slow but forceful into the cold interrogation
room, and takes a seat.
Across from him sits a very ATTRACTIVE LADY.
John takes his time, he pulls out his notepad opens it and
gets ready to write.
John taps the bottom of his cigarette pack and holds the
pack to her so she can pull one out.
John flips back a page in his notepad.
A SERIES OF QUICK CUTS INCLUDING John walking down the
precinct hallway, getting into his car, driving.
INT. JOHN’S CAR - NIGHT
INT. BLUES BAR - NIGHT
John sits down at the bar, orders a drink, and observes the
others there, musing over that night. John notices a WOMAN
CRYING.
Moving through the bar and passing the crying woman, she
looks back at John, turning to a booth sits a MAN smoking
and waiting.
Frank looks over at John who is now sitting with the crying
woman.
John puts some money on the table and they leave together.
Frank then looks over towards the Jukebox. A JAPANESE GIRL
leans on the Jukebox looking in at the record playing.
EXT. BLUES BAR - NIGHT
John and the woman leave in his car while another comes in
to view.
INT. BLUES BAR - NIGHT
A figure limps through the front door, he looks over at
Frank and approaches.
Joey thumps down across from him and lays the briefcase he
was carrying on the table.
INT. JOHN’S CAR - NIGHT
BEAT
BEAT
John looks over at her. He sees how fragile she is.
BEAT
John looks back to the road.
EXT. JOHN’S CAR - NIGHT
The car speeds down the road and off into black of night.
EXT. BLUES BAR - NIGHT
Frank BURSTS through the back door of the bar.
He finds a near-by parked car, breaks in, and drives off.
INT. FRANK’S CAR - NIGHT
Frank looks in the rear view mirror and sees HEADLIGHTS, a
follow.
EXT. FRANK’S CAR - NIGHT
Frank pulls over to the side of the road underneath a street
light.
INT. FRANK’S CAR - NIGHT
Frank sees the headlights pull up close behind him in the
rear view mirror.
He sees the driver and the passenger in the mirror now. The
driver puts a cell phone to his ear, a second later Franks
phone rings.
Frank looks over at the bloody handle of the briefcase and
picks up the phone.
EXT. FRANK’S CAR - NIGHT
The two in the car get out and stand side by side waiting
for Frank.
Frank waits a moment, steps out of the car and immediately
pulls out TWO PISTOLS. He FIRES at both of the men.
He HITS both in the chest as they pull out there guns, one
of them gets a couple of SHOTS off and they DROP.
Frank hunched over in the view of the headlights.
He grabs for his chest as BLOOD runs down his hand onto his
gun.
Frank falls to the ground.
INT. JOHN’S APARTMENT - NIGHT
John and the crying woman come in, she sits on the couch.
John goes into the kitchen and prepares the drinks.
CUT BETWEEN JOHN AND THE WOMAN, the woman PALMS something
unseen.
JOHN
(Half yell)
I’m sorry, you’ll have to forgive
me I forgot your name.
ANGLE ON what May was palming in her hand, she opens her
hand to reveal a WEDDING RING.
ZOOM INTO the ring getting closer and closer.
DISSOLVE:
EXT. BLUES BAR - PARKING LOT - NIGHT
A figure stumbles towards the Blues Bar.
INT. BLUES BAR - CONTINUOUS
The figure is Frank, he staggers inside the bar and makes
his way over to the Jukebox where his girl is.
A quarter drops into the slot. The old machine comes to life
with its moving mechanical arm and lights.
Frank puts a cigarette in his mouth and lights it.
Frank looks down at the briefcase and then back up at the
Jukebox girl.
The Jukebox girls looks at him in shock with sympathy and
takes it.
Frank sits at the booth across from a now very pale Joey.
Frank closes his eyes.
CHAPTER TWO - NONE OF THAT JAZZ
J~R
Another Shade of Black
By
Jacob Ruby
CHAPTER ONE - FADING MEMORIES
The sound of RAIN falling on glass is heard before the gruff
VOICE of a MAN over takes it.
MAN (V.O.)
People are always telling me I have
a bad memory, maybe it’s because I
don’t want to remember my past,
maybe it’s because I haven’t yet
found a memory worth
saving...Perhaps tonight I’ll find
it.
FADE IN:People are always telling me I have
a bad memory, maybe it’s because I
don’t want to remember my past,
maybe it’s because I haven’t yet
found a memory worth
saving...Perhaps tonight I’ll find
it.
INT. JOHN’S CAR - NIGHT
Looking out the front windshield, wipers periodically emerge
from the bottom and clean the drops of rain.
The man is sitting in the drivers seat SMOKING and observing
the POLICE outside of the house.
They work frantically putting danger tape around the house.
MAN (V.O.)
My names John Riley, this was the
start of it all, the end of my
career, the end of my life. I was
the sap assigned to this case, this
murder that took place tonight. A
call was placed only a few hours
ago by the victim’s wife. I pray
for a suicide.
My names John Riley, this was the
start of it all, the end of my
career, the end of my life. I was
the sap assigned to this case, this
murder that took place tonight. A
call was placed only a few hours
ago by the victim’s wife. I pray
for a suicide.
John pulls out a NOTEPAD and begins to write in it.
JOHN (V.O.)
Carrying around a notepad is
important to any detective, but
especially to one that is always
forgetting even the simplest of
details.
Carrying around a notepad is
important to any detective, but
especially to one that is always
forgetting even the simplest of
details.
EXT. JOHN’S CAR - CONTINUOUS
John steps out of the car and drops his cigarette.
He walks slowly toward the house but suddenly stops, bends
down to the ground and picks up a shard of GLASS.
JOHN (V.O.)
Glass?
Glass?
John pulls out a plastic baggy and puts the tiny shard in
it. He then continues towards the house.
OFFICER
Can I help you sir?
John flashes his badge.
Can I help you sir?
John flashes his badge.
JOHN
Detective John Riley, I understand
there’s been a murder.
Detective John Riley, I understand
there’s been a murder.
OFFICER
Yes, Right this way sir.
Yes, Right this way sir.
The OFFICER guides him through the front door.
INT. JONES HOUSE - CONTINUOUS
They shake out the wetness, John pulls out his notepad.
OFFICER
Sir?
Sir?
John doesn’t acknowledge and continues to write.
JOHN (V.O.)
Locks intact...No windows
broke...No signs of forced entry.
Windows...Windows...What am I
forgetting...something...about
windows?
OFFICER
Sir?
JOHN
Yes, Sorry...Just something I need
to do...
OFFICER
Yes well as you may know a 911
emergency call was placed around
midnight by the victims wife, she
was panicked only saying “he’s
trying to kill me” repeatedly.
JOHN
Self defense?
OFFICER
It’s a possibility but not likely.
JOHN
Why not?
OFFICER
No evidence of a struggle, besides
one knocked over lamp, the house is
in perfect condition. And also how
the victim was killed...
JOHN
What?
OFFICER
Well, you better take a look for
yourself.
Locks intact...No windows
broke...No signs of forced entry.
Windows...Windows...What am I
forgetting...something...about
windows?
OFFICER
Sir?
JOHN
Yes, Sorry...Just something I need
to do...
OFFICER
Yes well as you may know a 911
emergency call was placed around
midnight by the victims wife, she
was panicked only saying “he’s
trying to kill me” repeatedly.
JOHN
Self defense?
OFFICER
It’s a possibility but not likely.
JOHN
Why not?
OFFICER
No evidence of a struggle, besides
one knocked over lamp, the house is
in perfect condition. And also how
the victim was killed...
JOHN
What?
OFFICER
Well, you better take a look for
yourself.
INT. BEDROOM - NIGHT
Inside of the room there is a knocked over LAMP that is
still on, creating an ominous lighting effect within the
room.
THE BODY lays face down on the ground.
There are TWO other officers studying the body.
OFFICER 2
Mr. David Jones, 46 year old white
male - His wife’s name May Jones 44
year old white female...both with
clean records...just everyday
average people.
JOHN
And just an everyday average
murder.
OFFICER
As you can see the hands are
stabbed with a knife, possibly for
some symbolic purpose, this of
course was most likely done after
death, the only gunshot is in the
back just below the right shoulder.
OFFICER 2
We believe this was a crime of
passion.
JOHN
(Chuckles)
Really?
OFFICER 2
Yeah, why?
JOHN
Well if it was a crime of passion
and not premeditated it’s the
cleanest I’ve seen. No signs of
struggle, no excess bullets, hardly
any blood...No I believe this
person knew exactly what they were
doing. Why do you say it was a
crime of passion?
OFFICER 2
The only suspect we have is a
colleague of his. She says they
were lovers. Also his wedding band
is missing we believe the murderer
took it.
JOHN
What about his wife, where is she?
The two officers look at each other.
Mr. David Jones, 46 year old white
male - His wife’s name May Jones 44
year old white female...both with
clean records...just everyday
average people.
JOHN
And just an everyday average
murder.
OFFICER
As you can see the hands are
stabbed with a knife, possibly for
some symbolic purpose, this of
course was most likely done after
death, the only gunshot is in the
back just below the right shoulder.
OFFICER 2
We believe this was a crime of
passion.
JOHN
(Chuckles)
Really?
OFFICER 2
Yeah, why?
JOHN
Well if it was a crime of passion
and not premeditated it’s the
cleanest I’ve seen. No signs of
struggle, no excess bullets, hardly
any blood...No I believe this
person knew exactly what they were
doing. Why do you say it was a
crime of passion?
OFFICER 2
The only suspect we have is a
colleague of his. She says they
were lovers. Also his wedding band
is missing we believe the murderer
took it.
JOHN
What about his wife, where is she?
The two officers look at each other.
OFFICER
She’s missing.
She’s missing.
EXT. ROAD - NIGHT
John’s car passes quickly.
INT. JOHN’S CAR - CONTINUOUS
JOHN (V.O.)
Things weren’t adding up, the
officers were right, everything
committed to evidence points to a
crime of passion, but why did the
victims wife call saying “he is
trying to kill me”, it obviously
could have been a cover up
considering she was missing. This
makes her the prime suspect, no
this was much to clean of a job in
my opinion, there was something
else going on here and I was going
to figure out what it was.
Things weren’t adding up, the
officers were right, everything
committed to evidence points to a
crime of passion, but why did the
victims wife call saying “he is
trying to kill me”, it obviously
could have been a cover up
considering she was missing. This
makes her the prime suspect, no
this was much to clean of a job in
my opinion, there was something
else going on here and I was going
to figure out what it was.
EXT. ROAD - NIGHT
John’s car again passes quickly down the road.
INT. INTERROGATION ROOM - NIGHT
John steps slow but forceful into the cold interrogation
room, and takes a seat.
Across from him sits a very ATTRACTIVE LADY.
John takes his time, he pulls out his notepad opens it and
gets ready to write.
JOHN
There was a murder tonight.
There was a murder tonight.
ATTRACTIVE LADY
So I hear.
So I hear.
JOHN
You wouldn’t know anything about
that though, would you?
You wouldn’t know anything about
that though, would you?
ATTRACTIVE LADY
You got a cigarette?
You got a cigarette?
JOHN
...Yeah, sure.
...Yeah, sure.
John taps the bottom of his cigarette pack and holds the
pack to her so she can pull one out.
JOHN
Now, What do you know?
Now, What do you know?
ATTRACTIVE LADY
(Smiles)
You got a light?
(Smiles)
You got a light?
John lights the cigarette.
JOHN
Answer the question Miss...
Answer the question Miss...
John flips back a page in his notepad.
JOHN
Caprice Vickers.
MISS VICKERS
From what I’ve heard, it sounds
like a jealous wife killed her
cheating husband. Poetic justice if
you ask me.
JOHN
Cheating with you as I understand
it.
MISS VICKERS
Yes once or twice, nothing that
could be called love.
JOHN
Sometimes all it takes is once or
twice you know.
MISS VICKERS
So it isn’t true all you coppers
are hard nose realist with no
ideals.
JOHN
After being in this line of work
for so long ideals are the only
thing that keeps me going. Now
Miss. Vickers where were you
tonight around eleven?
MISS VICKERS
Taking a shower, I’m staying at the
California Hotel on sixth street,
my apartment building is being
fumigated for pests until tomorrow.
JOHN
I see, having car troubles as well?
MISS VICKERS
Yeah, but how did you know?
JOHN
It looks as though you got a bit of
motor oil on you coat.
MISS VICKERS
Oh, you’re very observant Mr...
JOHN
Riley, John Riley.
MISS VICKERS
Yes...Mr. Riley...you’re very
observant.
JOHN
Well I would hope so Miss it’s...
Caprice Vickers.
MISS VICKERS
From what I’ve heard, it sounds
like a jealous wife killed her
cheating husband. Poetic justice if
you ask me.
JOHN
Cheating with you as I understand
it.
MISS VICKERS
Yes once or twice, nothing that
could be called love.
JOHN
Sometimes all it takes is once or
twice you know.
MISS VICKERS
So it isn’t true all you coppers
are hard nose realist with no
ideals.
JOHN
After being in this line of work
for so long ideals are the only
thing that keeps me going. Now
Miss. Vickers where were you
tonight around eleven?
MISS VICKERS
Taking a shower, I’m staying at the
California Hotel on sixth street,
my apartment building is being
fumigated for pests until tomorrow.
JOHN
I see, having car troubles as well?
MISS VICKERS
Yeah, but how did you know?
JOHN
It looks as though you got a bit of
motor oil on you coat.
MISS VICKERS
Oh, you’re very observant Mr...
JOHN
Riley, John Riley.
MISS VICKERS
Yes...Mr. Riley...you’re very
observant.
JOHN
Well I would hope so Miss it’s...
MISS. VICKERS
...your job.
JOHN
Yes, well I think I’ve heard
enough, you’re obviously just an
innocent bystander in this
investigation, I’d like to thank
you for your time Miss. Vickers.
...your job.
JOHN
Yes, well I think I’ve heard
enough, you’re obviously just an
innocent bystander in this
investigation, I’d like to thank
you for your time Miss. Vickers.
MISS. VICKERS
It’s been a pleasure Mr. Riley.
It’s been a pleasure Mr. Riley.
JOHN
I have your phone number in case I
need to ask any more questions.
I have your phone number in case I
need to ask any more questions.
MISS. VICKERS
I’ll be looking forward to your
call.
I’ll be looking forward to your
call.
A SERIES OF QUICK CUTS INCLUDING John walking down the
precinct hallway, getting into his car, driving.
INT. JOHN’S CAR - NIGHT
JOHN (V.O)
Of course I knew better, She played
off the interview way to cool, her
whole tone was cold, as cold as
that investigation scene, she was a
shade of black just a bit too dark.
It wouldn’t be long before I’d get
the tap on her- but first it was
time to get to the bar and review
what I had.
Of course I knew better, She played
off the interview way to cool, her
whole tone was cold, as cold as
that investigation scene, she was a
shade of black just a bit too dark.
It wouldn’t be long before I’d get
the tap on her- but first it was
time to get to the bar and review
what I had.
INT. BLUES BAR - NIGHT
John sits down at the bar, orders a drink, and observes the
others there, musing over that night. John notices a WOMAN
CRYING.
JOHN (V.O)
Because of my memory,
my...condition, I have found that
not many women want to be around a
person that is always forgetting
their name. But it doesn’t make me
feel bad because I will soon forget
and make a new friend.
Because of my memory,
my...condition, I have found that
not many women want to be around a
person that is always forgetting
their name. But it doesn’t make me
feel bad because I will soon forget
and make a new friend.
John looks back at the woman crying.
JOHN (V.O)
She can feel my glare but is
resisting to look back. She doesn’t
want her heart broken again- well
not so soon. If she looks back
maybe I’ll go over, everybody needs
a shoulder to cry on, especially in
a town like this.
She can feel my glare but is
resisting to look back. She doesn’t
want her heart broken again- well
not so soon. If she looks back
maybe I’ll go over, everybody needs
a shoulder to cry on, especially in
a town like this.
Moving through the bar and passing the crying woman, she
looks back at John, turning to a booth sits a MAN smoking
and waiting.
MAN (V.O)
My names Frank Mars, tonight must
be my hundredth time on the job, a
job as simple as waiting for a
package at the specified location,
Here, and delivering it to
another... And would you believe
I’m making two thousand or more
bones for a job so simple...Sure
I’ve run into my share of trouble
but in this line of work if you
don’t see any snags in the follow
through within your forth time
delivering get ready for the fifth
cause your well over due.
My names Frank Mars, tonight must
be my hundredth time on the job, a
job as simple as waiting for a
package at the specified location,
Here, and delivering it to
another... And would you believe
I’m making two thousand or more
bones for a job so simple...Sure
I’ve run into my share of trouble
but in this line of work if you
don’t see any snags in the follow
through within your forth time
delivering get ready for the fifth
cause your well over due.
Frank looks over at John who is now sitting with the crying
woman.
John puts some money on the table and they leave together.
Frank then looks over towards the Jukebox. A JAPANESE GIRL
leans on the Jukebox looking in at the record playing.
FRANK (V.O)
I have listened to this song a
million times, it always comes on
when I’m here, I look over at the
jukebox, it’s always the same
dime playing it too, I tell myself
one day when I’m not on the job
I’ll have to complement her on her
taste in music and buy her a drink,
but sometimes she’s not always here
so I throw in a quarter for good
ol’ Frank and the Jukebox girl, I
listen and then I sit down a while
and wait for the drop off.
I have listened to this song a
million times, it always comes on
when I’m here, I look over at the
jukebox, it’s always the same
dime playing it too, I tell myself
one day when I’m not on the job
I’ll have to complement her on her
taste in music and buy her a drink,
but sometimes she’s not always here
so I throw in a quarter for good
ol’ Frank and the Jukebox girl, I
listen and then I sit down a while
and wait for the drop off.
EXT. BLUES BAR - NIGHT
John and the woman leave in his car while another comes in
to view.
INT. BLUES BAR - NIGHT
A figure limps through the front door, he looks over at
Frank and approaches.
FRANK
Joey? Joey what’s the matter?
Joey? Joey what’s the matter?
Joey thumps down across from him and lays the briefcase he
was carrying on the table.
FRANK
My God you’re bleeding.
My God you’re bleeding.
JOEY
(Breaths heavily)
Oh...don’t worry about that I...I
was delivering...
(Breaths heavily)
Oh...don’t worry about that I...I
was delivering...
FRANK
Joe lets get you to a hospital.
Joe lets get you to a hospital.
JOEY
No...There’s no time...Get the
package...
No...There’s no time...Get the
package...
FRANK
The package will get there.
Frank continually looks toward to Jukebox girl as if she
will ease his pain somehow.
The package will get there.
Frank continually looks toward to Jukebox girl as if she
will ease his pain somehow.
FRANK
But you need help.
But you need help.
JOEY
It’s Ok...Just go, I’ll stay here
awhile.
It’s Ok...Just go, I’ll stay here
awhile.
Joey breathes his last breathe
FRANK
Joey, Joey!
Joey, Joey!
FRANK (V.O)
Joey was dead and I had no idea who
it was that shot him, what I could
be sure of was some one wanted this
package and was ready to kill for
it. Fear suddenly set in, what if
Joey was followed? The goons that
did this to him could be right
outside. I couldn’t take the chance
to move him to my car or they might
spot me. I’d have to take the back
way out. You did good Joey, you did
real good, but now it’s my
turn...I’m almost looking forward
to running into the guys that did
this to you, if I do I’ll make sure
they pay.
Joey was dead and I had no idea who
it was that shot him, what I could
be sure of was some one wanted this
package and was ready to kill for
it. Fear suddenly set in, what if
Joey was followed? The goons that
did this to him could be right
outside. I couldn’t take the chance
to move him to my car or they might
spot me. I’d have to take the back
way out. You did good Joey, you did
real good, but now it’s my
turn...I’m almost looking forward
to running into the guys that did
this to you, if I do I’ll make sure
they pay.
INT. JOHN’S CAR - NIGHT
JOHN
Where was it you said you lived?
Where was it you said you lived?
BEAT
JOHN
I’m sorry you’ll have to forgive
me. My memory, it’s like a black
hole...sometimes. Don’t take it
personally but after tonight I most
likely won’t even remember you. God
that sounds bad, I’m sorry.
I’m sorry you’ll have to forgive
me. My memory, it’s like a black
hole...sometimes. Don’t take it
personally but after tonight I most
likely won’t even remember you. God
that sounds bad, I’m sorry.
CRYING WOMAN
(Laughs)
No, it’s Okay.
(Laughs)
No, it’s Okay.
JOHN
So where was it you said you lived?
So where was it you said you lived?
CRYING WOMAN
I never told you.
I never told you.
JOHN
Oh, well then it’s not just me.
Oh, well then it’s not just me.
BEAT
CRYING WOMAN
I was feeling lonely tonight, it’s
not like me to just get in a car
with a stranger, I guess I did
because...well I guess I’ll trade
vulnerability just to be with
someone right now.
I was feeling lonely tonight, it’s
not like me to just get in a car
with a stranger, I guess I did
because...well I guess I’ll trade
vulnerability just to be with
someone right now.
JOHN
There’s nothing to worry about
Miss, I’m a detective.
There’s nothing to worry about
Miss, I’m a detective.
CRYING WOMAN
A detective?
A detective?
JOHN
Is that Okay?
Is that Okay?
CRYING WOMAN
Oh yeah, no it makes me feel
better, I was just thinking, my
husband use to be a detective.
Oh yeah, no it makes me feel
better, I was just thinking, my
husband use to be a detective.
JOHN
We’ll I’m happy to take you home.
We’ll I’m happy to take you home.
CRYING WOMAN
(Whispers)
Take me with you.
(Whispers)
Take me with you.
John looks over at her. He sees how fragile she is.
CRYING WOMAN
Take me with you please, I don’t
want to be alone tonight.
Take me with you please, I don’t
want to be alone tonight.
BEAT
John looks back to the road.
JOHN
Sure thing kid, sure thing.
Sure thing kid, sure thing.
EXT. JOHN’S CAR - NIGHT
The car speeds down the road and off into black of night.
EXT. BLUES BAR - NIGHT
Frank BURSTS through the back door of the bar.
He finds a near-by parked car, breaks in, and drives off.
INT. FRANK’S CAR - NIGHT
Frank looks in the rear view mirror and sees HEADLIGHTS, a
follow.
FRANK (V.O)
The Sons of Bitch’s found me, the
way I saw it was I could settle
this now or I could settle it when
I got to the drop off, either way
they were going to pay for what
they did to Joey.
The Sons of Bitch’s found me, the
way I saw it was I could settle
this now or I could settle it when
I got to the drop off, either way
they were going to pay for what
they did to Joey.
EXT. FRANK’S CAR - NIGHT
Frank pulls over to the side of the road underneath a street
light.
INT. FRANK’S CAR - NIGHT
Frank sees the headlights pull up close behind him in the
rear view mirror.
He sees the driver and the passenger in the mirror now. The
driver puts a cell phone to his ear, a second later Franks
phone rings.
Frank looks over at the bloody handle of the briefcase and
picks up the phone.
VOICE (V.O.)
Just get out nice and slow and
we’ll make a deal for the package,
we are willing to pay a grand for
every minute it’s been in your
possession.
Just get out nice and slow and
we’ll make a deal for the package,
we are willing to pay a grand for
every minute it’s been in your
possession.
FRANK (V.O.)
That’s thirty grand, a real sweet
deal and probably one I would have
taken if the bastards hadn’t shot
Joey But no amount of money changes
that now. They were going to pay
alright.
That’s thirty grand, a real sweet
deal and probably one I would have
taken if the bastards hadn’t shot
Joey But no amount of money changes
that now. They were going to pay
alright.
FRANK
Sounds good, I’m coming out.
Sounds good, I’m coming out.
EXT. FRANK’S CAR - NIGHT
The two in the car get out and stand side by side waiting
for Frank.
Frank waits a moment, steps out of the car and immediately
pulls out TWO PISTOLS. He FIRES at both of the men.
He HITS both in the chest as they pull out there guns, one
of them gets a couple of SHOTS off and they DROP.
Frank hunched over in the view of the headlights.
He grabs for his chest as BLOOD runs down his hand onto his
gun.
Frank falls to the ground.
FRANK (V.O.)
No...Just one last song.
No...Just one last song.
FADE TO:
INT. JOHN’S APARTMENT - NIGHT
John and the crying woman come in, she sits on the couch.
JOHN
Is there something I can get you,
some water, tea?
Is there something I can get you,
some water, tea?
CRYING WOMAN
Maybe something stronger?
Maybe something stronger?
JOHN
Sure.
Sure.
John goes into the kitchen and prepares the drinks.
CUT BETWEEN JOHN AND THE WOMAN, the woman PALMS something
unseen.
JOHN
(To himself)
What was her name, come on John.
(Half yell)
Ummm...Miss would you like ice.
(To himself)
What was her name, come on John.
(Half yell)
Ummm...Miss would you like ice.
CRYING WOMAN
(Loudly)
Oh, Yes, thank you.
(Loudly)
Oh, Yes, thank you.
JOHN
(Half yell)
I’m sorry, you’ll have to forgive
me I forgot your name.
CRYING WOMAN
(Loudly)
Oh, I don’t think I ever gave it,
it’s May, May Jones.
(Loudly)
Oh, I don’t think I ever gave it,
it’s May, May Jones.
JOHN
(To himself)
May...Jones...hmm...sounds
familiar.
(To himself)
May...Jones...hmm...sounds
familiar.
ANGLE ON what May was palming in her hand, she opens her
hand to reveal a WEDDING RING.
ZOOM INTO the ring getting closer and closer.
DISSOLVE:
EXT. BLUES BAR - PARKING LOT - NIGHT
A figure stumbles towards the Blues Bar.
INT. BLUES BAR - CONTINUOUS
The figure is Frank, he staggers inside the bar and makes
his way over to the Jukebox where his girl is.
JUKEBOX GIRL
You Okay Mister?
You Okay Mister?
FRANK
Play it, play that song one more
time.
Play it, play that song one more
time.
A quarter drops into the slot. The old machine comes to life
with its moving mechanical arm and lights.
Frank puts a cigarette in his mouth and lights it.
Frank looks down at the briefcase and then back up at the
Jukebox girl.
FRANK
I want you to have this.
I want you to have this.
The Jukebox girls looks at him in shock with sympathy and
takes it.
DISSOLVE:
Frank sits at the booth across from a now very pale Joey.
Frank closes his eyes.
FRANK (V.O.)
I got em’ for you Joey, I got em’
real good, to bad about my
situation though, never getting a
chance to talk to that girl, she
seemed like a real sweet kid too,
well at least I made it to listen
to our song one last time, this one
goes out to you Joey, good ol’
Frank, and the Jukebox girl.
I got em’ for you Joey, I got em’
real good, to bad about my
situation though, never getting a
chance to talk to that girl, she
seemed like a real sweet kid too,
well at least I made it to listen
to our song one last time, this one
goes out to you Joey, good ol’
Frank, and the Jukebox girl.
FADE OUT:
CHAPTER TWO - NONE OF THAT JAZZ
J~R
Thursday, December 3, 2009
Longstreth Demo Reel
Demo Reel I edited for Larry and Aaron...and which now is in the hands of the Executive Producer of the Lord of the Rings Trilogy!
J~R
J~R
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