Scene I
Scene opens:
Close up on feet in boots propped up at the end of a bed, slowly pan up the length of a human body. We hear Bagatelle in A minor playing softly on a single piano. It sounds far off, hollow. As we slowly pan away from the feet up the length of the body the music slowly swells, as if getting closer. Around the belt line we flash off the sleeping body, we see a washed out and speed ramped clip about two seconds long of a single person laying on the ground surrounded by four others the music continues but we still hear the sounds of the scene muted, but audible. They kick him, spit on him, laugh at him, etc. We flash back to the sleeping body. The music still continues as we continue panning up his torso. Around the neck we flash to a similar scene to the one before, this time the laying body is dowsed in gasoline, we flash out just as one of the standing figures drops a lighter. The music ends just as we come to rest on a close up on the figure’s face, he is an adolescent male. One brief moment of silence before his eyes snap open, straight into the camera.
Scene opens:
Close up on feet in boots propped up at the end of a bed, slowly pan up the length of a human body. We hear Bagatelle in A minor playing softly on a single piano. It sounds far off, hollow. As we slowly pan away from the feet up the length of the body the music slowly swells, as if getting closer. Around the belt line we flash off the sleeping body, we see a washed out and speed ramped clip about two seconds long of a single person laying on the ground surrounded by four others the music continues but we still hear the sounds of the scene muted, but audible. They kick him, spit on him, laugh at him, etc. We flash back to the sleeping body. The music still continues as we continue panning up his torso. Around the neck we flash to a similar scene to the one before, this time the laying body is dowsed in gasoline, we flash out just as one of the standing figures drops a lighter. The music ends just as we come to rest on a close up on the figure’s face, he is an adolescent male. One brief moment of silence before his eyes snap open, straight into the camera.
Voice-over
(dead pan)
That was how I died.
(dead pan)
That was how I died.
His eyes close as the scene fades out
Scene closes
Scene II
Scene opens
High school scene. Nothing too fancy, just a bunch of people milling around in a hallway, very cliché. Camera moves about a foot above head level of the milling students along the hallway. We eventually land on the same boy we saw sleeping earlier. He’s sitting in the cafeteria eating lunch. Our voice from before starts talking, as he introduces each character we flash to a still shot which will be described later.
Voice-over
This is where I go to school. I’m a senior this year…was a senior…am a senior. This is yesterday, you won’t really understand what happens tonight unless you see this part. There are a few people that you should probably be familiar with. Meet Fergus. [still frame shows a very fit teenager dressed in camo proudly holding up a deer’s head, his face is obscured by face-paint] Fergus hates everyone, not that anyone is too fond of him either. He once got in a fight and broke the arm of Marcus. [still frame shows an obvious athlete down in a push-up position, his shirt bears the school mascot and the word "FOOTBALL."] Marcus, school celebrity. He never forgave Fergus and made sure his life was a living hell from than on. Fergus made up for it by stalking Marcus’ sister, Alice. [still frame shows cheerleader hanging midair] Just kidding, that sort of family only exists in bad movies. [still switches to a girl sitting in the bleachers surrounded by other girls, all smoking. Very chic, they think.] The true-blue American-bitch. I never got what Fergus saw in her but she loathed him and it made for some entertainment. Oh, and while we’re on this shot, meet Beth. [shot pans slightly to the girl on Alice’s right] Alice’s best friend and guard dog. Beth was the only girl to ever voluntarily speak to Fergus. Shortly thereafter she became the first girl Fergus ever had to fight. Fergus won. Beth and Alice killed his dog in retaliation. Crazy bitches. Oh, and lets not forget Duke. [still shot shows a teenager in jeans and a wife-beater leaning up against a red convertible.] Frank J. Duke, Marcus’ best friend since childhood and his version of Beth. A sadist of finest caliber. He too had had a run-in with Fergus. He won. Broke three of Fergus’ ribs.
Switch back to the hallway scene. Still focused on the boy from scene one. Rotate camera around him so we see the scene unfolding in front of him. He is sitting at a table with three other boys.
Voice-over
Oh, and that’s me at the table there
Marcus enters tailed by Duke.
Marcus
(mid-sentience when he enters)
…and she was asking for it besides.
(Duke laughs, nonverbal agreement)
(Marcus shifts attention to the boys sitting at the table)
Hey…You. Get the fuck outa my chair.

5 comments:
this is interesting. not the best screenplay ever, but its alright. the whole "i'm dead and looking back on my life" point of view is kind of worn out, but if it works for you, go for it. it's just a little cliche. i like the end part, if your planning on continuing it i suppose you still have a chance to make it better. good luck with that!
...Ouch.
For the love of God Debbie. Shut it unless you've got something to say.
Actually, I was going to say that the beginning sounds very 'Clockwork Orange'-esque. Not that you deserve to be compared to Anthony Burgess.
But hey, Good things happen to Bad people.
I was thinking "Heathers."
Voice over narration, huh? 9see Friday's film clip).
I was intriguiged by this. Great potential--not the subject matter I expected you to cover (high school) but everyone has to pay the mortgage I suppose.
Who would you cast?
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