Writing for the Screen (ep.2) #2G1S

vertical-poster-2-2g1s-copy

SPOILER ALERT

Do watch the show first, before bothering with the script.

US  | UK | DE | JP

In episode 1 I mentioned ‘drunk cam.’ Here’s what it looks like:

Those shots are at 16 frames per second, maximum shutter and then slowed down so it doesn’t play back too quickly at 24 fps. Later in the episode there is a very surreal 12 fps sequence.

I had to make an irreversible decision at that final scene. Do I simply shoot the whole thing with drunk cam? What if it’s too smeared and hard to tell what’s being filmed? I did all sorts of tests ahead of time, and I was torn about 18, 16, 14 fps. When we filmed and there was no time to screw around anymore it dawned on me that we HAD to separate the aesthetics from other shows. That’s one area where we can shine. We certainly can’t compete in other aspects, having no budget. The drunk cam was warranted and important stylistically.

Those custom frame rates are enabled on my DSLR because of Magic Lantern firmware hack. I should also mention that for maximum flexibility with the color grading to shoot as flat as possible, no sharpening, saturation or contrast added in camera.

Onto episode 2…

Episode Two is the meat of the show and the longest webisode: 8 minutes. The first was 4, and the third is about 7 minutes.

Here we really meet the girls, and I had to establish their relationship.

It’s deceptive how a basic two-person dialogue scene can be a challenge with no crew and the wrong microphones. Mics are expensive. The sound could definitely have been better, and I struggled with it endlessly. Be assured I tried twenty different versions of audio tweaks, at least. I let the music carry through in the background just to distract from listening too closely to the words.

In episode two it is all from Carrie’s POV. Recall that I went with Aronofsky’s subjective filmmaking style, but now I upped the ante and added another rule. Angie’s episode was all shoulder mounted, moving and fluid. Carrie needed to be the opposite: locked down camera on a tripod, immobile. Let’s get all pretentious and just say that Carrie is trapped inside the frame. This second style choice made filming even more difficult, but I stuck with it.

This episode took the longest, spread out over a couple of months, but hopefully now includes some funny dark moments.

One complication was that the actresses tended to behave oppositely to the intent. Carrie (Emmi Partridge) needed to lead the insane charge forward, but when you put Emmi and Timmie together in a room Timmie is almost always the dominant one, taking the initiative. With rehearsals we made Carrie the more deliberate character and had Angelica along for the ride. After all, episode two is strictly from Carrie’s POV, and she is the criminal mastermind who needs to solve the problem.

2G1S

Episode 2.2

Joe

Carrie’s POV”

DRAMATIC MONTAGE: Sweeping ORCHESTRA.

1. ANGELICA’S BEDROOM (NIGHT + DAY)

– CARRIE. Closer/lower/right, closer/lower/right… end up at eyeline to–

– POV: knife in back

–A pool of blood.

–Carrie has a range of moments…

–Hears a POLICE SIREN. Jumps up.

–Peeks out window.

-Checks window locks.

–A boiling pot of water.

–Watching the corpse.

–CLOSE on the knife.

–Angelica sleeps.

–Playing with the dead cell phone.

–Drawing on her arm.

PREVIOUS DAY:

2. INT. CARRIE’S BEDROOM

Paint brush strokes.

ANGIE enters in a stunning dress, hair, make-up. Carrie at her easel paints, unseen.

ANGIE

Hey Carrie. How do I look?

A moment to take it all in.

CARRIE

Mmm. Turn around.

Angie spins around.

CARRIE

Too hot.

ANGIE

Can you get the back please?

Carrie covers her painting with a cloth.

CARRIE

You sure you want to go tonight?

ANGIE

Ya. Why wouldn’t I?

CARRIE

I don’t know. I thought we could do something.

ANGIE

We hang out every night Carrie.

CARRIE

I know.

ANGIE

You could come with me. Come on. Live music. Hot boys.

CARRIE

As delightful as that sounds… If I’m late for this class again, I’m gonna get kicked out.

ANGIE

Okay. I’ll see you later.

CARRIE

Wait. Wait. Come back. Promise me you’re gonna be careful. What’s that you’re wearing?

ANGIE

You like?

CARRIE

I do.

ANGIE

My new perfume. See you later.

She rushes out.

CARRIE

Just be careful. You know how you get?

ANGIE

Yes mom.

CARRIE

Watch your drink! There’s freaks and psychos…

Returns to her painting, she’s copying a photograph from her computer screen of Angelica.

LATER:

3. CARRIE’S BEDROOM CONT’D – NIGHT

Dark. Carrie awakens from the SOUNDS.

ANGIE (O.S.)

What are you doing? Stop!

Carrie jumps up. Listens at wall.

JAMES (O.S.)

Give it to me, bitch!

She freaks out, runs out to:

4. KITCHEN – NIGHT

Grabs a steak knife, sneaks back to Angie’s door…

(HALLWAY)

ANGIE (O.S.)

No. Rape! Help!

Carrie sneaks in the door…

(BEDROOM)

Sees James on top of Angie on the bed and raises the knife high in the air. Big stabbing motion. Empty-handed she runs out again.

(KITCHEN)

Grabs a second knife and returns to the doorway.

(BEDROOM)

Carrie in doorway. James on the floor. Angie barfs at the side of her bed and passes out. Carrie stands alone watching as James chokes and dies.

MORNING:

5. ANGELICA’S BEDROOM – DAY

Angelica sleeps. A hand enters frame, grabs her and shakes.

CARRIE

Angie wake up!

ANGELICA

You scared me. What do you want?

CARRIE

Look.

Angelica sees the corpse, inspects the body―FREAKS THE FUCK OUT!

CARRIE

I don’t know how he got in. The windows are all locked. Did you let him in?

ANGELICA

What did you do?

CARRIE

Did you let this sick creep in???

ANGELICA

I don’t know. Maybe. I guess. Is he?

6. KITCHEN – DAY

A knife cracks an egg, drops it to the SIZZLING PAN.

CARRIE

How many do you want?

Angelica flopped down on the table. Chinchilla.

ANGIE

Two.

CARRIE

You want toast?

ANGIE

Yes please. We have to call the police.

Carrie’s pills.

CARRIE

And say what? You invited him in so I could stab him in the back? They’ll think we both did it.

ANGIE

Carrie! I don’t know! What do we do?

Carrie plates the breakfast, brings it over.

CARRIE

Just eat. Eat. We’re gonna take care of this. Like on TV.

ANGIE

This isn’t fucking TV! Are you crazy!

7. INT. HOME DEPOT – DAY

The two shop for goggles, garbage bags, shovel, axe…

CARRIE

What kind of saw blade is good for going through really hard… uh, wood. The hardest wood?

A HOME DEPOT WORKER assists.

HDW

Like oak? This one here is good.

CARRIE

Harder. Like what’s the hardest one? Teak?

HDW

Oh I’m not sure. I could ask my department manager?

ANGIE & CARRIE

No!

CARRIE

That’s okay. This is totally fine.

She puts the circular saw blade in the cart. They shop on…

8. INT. ANGELICA’S BEDROOM – DAY

The girls assess the body.

CARRIE

You want to grab that leg? And?

Angie is squeamish.

ANGIE

I have to change out of these clothes. Oh my God.

CARRIE

Yeah. Yeah. We can do this.

Angie nods and leaves the room.

CARRIE

Asshole!

She kicks the corpse.

9. INT. BATHROOM – DAY

They struggle to lift James into the bath tub. Then they strip down his shirt and pants. Angie backs away. Carrie exits to grab tools.

Carrie examines the circular saw.

She carries it toward the bath and James, past Angie.

She kneels down and struggles. Too heavy.

CARRIE

Ange? I think you’re gonna have to help.

ANGELICA

What? No. Uh uhh.

CARRIE

I can’t do it by myself. It’s not a little piece of wood.

She examines James, looking for somewhere to cut, picks up arm.

ANGELICA

I can’t.

CARRIE

We’re both in it!

Angie whimpers.

ANGELICA

Can’t we just call the police?

CARRIE

No. Come here.

Angie scoots forward.

CARRIE

It’s frickin heavy.

The SAW SPINS, and they jump.

ANGELICA

Oh my God. We’re going to hell.

CARRIE

Look. He’s already dead. We can’t hurt him. He’s in a better place now.

Angie closes her eyes and turns away.

SAW. Blood blasts onto both of them.

END.


joegiambrone.us

My Posts | Reblogs |  Films  Transfixion
Hell of a Deal  |  Love Matters

FacebookTwitterWordpressTumblr

Advertisements

One thought on “Writing for the Screen (ep.2) #2G1S

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s