Screenwriter Community |
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by Zachary Conan Bednar (leflambeur555@yahoo.com)
Rated: 
Genre: Drama
User Review: NOT YET
RATED
This is a script for a short film I'm making. Its influenced by the work of P.T Anderson, Danny Boyle, and even Linklater. Its a mosaic of displaced teen life in Lakeland, Florida.
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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FADE IN:
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INT. 'HERE COMES JOHNNY' - DAY |
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The camera scans a messy apartment, an apartment overrun by
obvious low rent occupants. The apartment is empty right now
though.
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The camera closes in on the door after scanning the
apartment. |
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it takes thrity seconds for Johnny to arrive. |
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Johnny busts through the door, slams it. Falls to the ground
at rapid spead. He's holding a brown paper bag, he goes
through it. |
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Que music: the Lawrence Arms: 'Recovering the Opposable
Thumb' |
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'Is there any hope for us'? |
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'Or are the rumors true'? |
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'Are we just the mulch and kindling that acrues'? |
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JOHNNY shoots heroin into his arm. |
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He's already found his hell |
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'Can We Recover From This'? |
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Fade Out |
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Title Card reads: A Film By Zachary Conan Bednar |
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Title Card reads: 'Sink, Florida, Sink' |
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Opening Credits |
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INT. OPENING CREDITS (MADHATTER) - DAY |
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The song continues as a band plays. The consists of Stevo on
bass/ vocals, Kel on Bass/ Vocals, and Will on drums. |
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they start at: 'Count on your fingers tonight....' |
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We stick with the band until right after the second chorus. |
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2.
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EXT. OPENING CREDITS (ALLEY ) - DAY |
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'Dear Mother, I'm Sorry' |
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still shot of an alley, steam rises from the cement. |
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EXT. OPENING CREDITS (LAKE) - NIGHT |
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'There was nowhere left to run' |
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Still shot into the distance, beyond the lake rest burning
bright city lights. |
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EXT. OPENING CREDITS (APARTMENT COMPLEX) - DAY |
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'We fought and fought until our bullets ran out' |
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Still shot of a beaten, and worn apartment complex. |
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INT. OPENING CREDITS (OPEN HIGHWAY) - NIGHT |
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'And they took us one by one' |
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Still shot of an open highway. |
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INT. OPENING CREDITS (PARK) - NIGHT |
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'Dear Mother, I'm sorry' |
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Still shot of the park, homeless kids and ghosts sleep upon
benches. |
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EXT. OPENING CREDITS (POLICE STATION) - DAY |
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'We had just barely begun' |
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Still shot of police station. |
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EXT. OPENING CREDITS (MADHATTER) - DAY |
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'This will be the last letter from your only son' |
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Still shot of a vacant Madhatter. |
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3.
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INT. OPENING CREDITS - DAY |
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'Recover As One' |
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The band finishes the song. |
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EXT. TWO FOR THE MONEY - DAY |
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CLICK OF A LIGHTER |
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Myke and Chris are standing infront of a pharmacy. Chris had
just lit his cigarette, and smokes it. |
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Silence. |
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Chris smokes his entire cigarette without saying a word. The
two of them are obviously nervous. |
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Myke nods his head. |
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Chris flicks his cigarette into the gutter, and
simultaneously pulls out a gun from the back of his pants. |
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Myke reveals his gun seconds later. |
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Chris and Myke run storm into the pharmacy, witht the
intention of robbing it. |
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EXT. THE NIHILISTS - DAY |
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Through the duration of this scene, Stephen and Kel walk
around downtown Lakeland on a designated path of course. the
camera always stays infront of them, giving the idea that
the two characters are forever walking towards the camera,
but never passing it by. |
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They never make eye contact with the camera as well as each
other. |
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Niether of them are really talking to anybody. its just
flowinf rapturous dialogue. |
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STEVO
With the dawn of the new
millenium, came the dawn of a new
(MORE)
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4.
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STEVO (cont'd)
America. A new American Dream. And
what a dream its proven itself to
be. The new American dream is
living for the paycheck and dying
for the green. If there's one
thing I've learned from my absent
useless father, is that I drink
too much when i should be thinkin'
harder, and if there's one thing
I've learned from my time spent of
being just another mere voiceless
brat immersed in indifferent
hormones, its that this almighty
land of the free can be your's for
a price. |
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STEVO
This country is real estate, and
we're the complimentary scenery;
twenty four hour landscaping
service, tireless worker bees.
This is no loner the nation that
once flourished in demaocracy, and
equality, its no longer run in a
justified or 'true' fashion, its a
consumer based economically
induced love triangle of an
enviornment. |
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STEVO
its not the selected few who run
make the executive decisions
around here, its the
multi-national corporate
conglomerates who base thier
biased, and irrational decisions
primarilly on thier belligerent
agenda of dollar signs in the form
of clean cut, grade A propaganda
who're running this rotting corpse
of a nation into the soilwork. |
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STEVO
Coincidentally we find ourselves
codependent on sadistically
crafted advertisements, which
dictate what we are, what we know,
and who we are. The ultimate
identity crisis is but a fraction
of what a potentially devestating
psychological brain holocaust that
the media and brainwashing
consumerism pose. |
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5.
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STEVO
its literally amazing how far one
is willing to go, how far we are
willing to push ourselves, how
much we would sacrifice our own
personal human dignity for
inanimate green federal notes that
embrace portraits of such noble
parasites as slave drivers and
crowned murderers. |
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STEVO
Fact: money controls everything.
Money may not be able to buy love,
but it instantly purchases
compatibility. |
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STEVO
We, as people, dig our graves
beneath the dotted line, our
unimpressive vague existence is
paid up front by a deposited
check. Salesman on commission
resemble sharks; primed to the
teeth, with a antagonizing ill
advised vendetta on their hands.
Coming close to drone, fuck it
all, coming close to ghost. |
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KEL
Court me, seduce me, abuse me,
refuse me, sedate me, tease me,
degrate me, rape me, deface me,
defeat me, decrease me, reduce me,
confuse me, mistreat me, make me,
break me, sell me, tell me, fail
me, mail me, shop me, return me,
deny me, defy me, postpone me,
hide me, blind me, hold me, choke
me, kiss me, kill me, love me,
hate me, leave me to die, rate me,
pass me, forget me, drug me, feed
me, walk me, clean me. |
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STEVO
Think for me, talk for me, lie for
me, be me. |
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STEVO
Love for me, buy for me. |
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6.
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STEVO
Hate for me, feel for me, see for
me, breathe for me, steal for me.
be real for me, bleed for me. |
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KEL
Wine me, dine me, preserve me,
reserve me, dessert me, hurt me,
destroy me, torture me, trick me,
deliver me, cheat for me, fuck for
me, wait for me, die for me, at
least fuckin' try for me, then
wake up the next morning and do it
all again. |
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STEVO
its a vicious cycle, one where
redemption is nowhere in sight.
One where redemption isn't even an
option. |
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STEVO
You can't save yourself, you can't
walk away, you cannot back down.
Resistance is futile. Cornered by
burning neon signs and city
lights, we walk in the shadows of
alleyways; free to think as we
please. But the city light are
burning brighter than ever, and
the safety of shadows are growing
farther and farther apart. One
day, we will gorw immune to all
the existentialism we've taught
ourselves. We'll grow out of
individuality, self expression,
and personal freedom. We'll clock
in everyday at a job we hate just
to support selfish brats and an
unfaithful spuse. A nine to five
job where you suffer through your
day, and dream of discount tags
and a petty promotion offer. You
dream of a better life, one you
can actually call a life with a
straight face. You dream of the
days you were young, and how
you've turned into you're worst
enemy. How you would despise
yourself if you knew what you
(MORE)
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7.
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STEVO (cont'd)
would live to become. You dream of
walks on the park, primetime t.v,
and other superficial ventures
that make you feel almost content
in a completely numb natutre. You
dream of a coffin with red satin,
you dream of being settled into
the earth, and forgotten. Just
another casualty of economic
evolution. You dream of a better
life, you dream of a meaningful
existence. |
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KEL
Then wake up the next morning and
do it all again. |
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The camera stops moving, the characters pass it by. |
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INT. 'THE CONTROLLED SCIENCE OF A FORGED AFFAIR' - DAY |
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JOSH and MEGAN have just finished having sex. |
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They lay under the sheets next to eachother. |
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JOSH lights a cigarette |
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JOSH fidgets about, then takes a drag. |
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JOSH puts out the cigarette in an ash tray on the bedside
stand. |
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JOSH
This? No, it wasn't. It was forced
and disenchanted. |
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8.
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MEGAN
I didn't think it was. |
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JOSH
That's only because you are still
indoctrined by the idea of love. |
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MEGAN
We *made* love, Josh. |
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JOSH
No, we fucked. There's a massive
fucking difference. But in
reality, fucking is far less
erratic than love. Fucking is more
poignant, more potent. We are all
taught to believe that once we
find that special someone our
lives will be blessed with
longevity, and with that our pain
intantly miraculously dissapears. |
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MEGAN
And you call bullshit? |
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JOSH
No, not a hundred percent. I do
think that the idea of love is
vastly more complicated than a
simple indifferent chemical
imbalance, but at the same time I
know its just not worth it. |
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Beat. |
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JOSH
I mean, haven't you ever wondered
why there are so many songs about
heartbreak? With love comes pain.
By falling in love, we open
ourselves up, we free ourselves to
vulnerability. |
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MEGAN
But its only when you're that
vulnerable and willing, that
compatibiliy forms into true love. |
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JOHNNY
Lovers are a glutton for suicide.
There;s nothing more hurtfull or
devsating than a heartbreak. |
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9.
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MEGAN
Its better to have love and lost,
than to have never loved at all. |
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JOSH
Please, don't waste that petty
shit on me, alright? Love is
committed over forged bonds and
starless skies. Heartache is
nostalgia without the
satisfaction. Love's nothing more
than a sadistically manipulated
exercise in self designed failure.
An exploitation of false
identities. Falling in love is
resorting to a warped reality
overrun by smiling crimes, and the
sinners that commit them. |
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MEGAN
You seriously think that? |
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JOSH
Yes, I seriously do. Bile is more
substantial than a love that will
never last. |
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MEGAN
But love teaches us what kind of
person we can be. |
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JOSH
All that we can learn from
something as precarious as love is
how to deviate from a rational
agenda. |
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MEGAN
So, you think its more beneficial
to liquidatea feeling rather than
preserve it? |
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JOSH
There's no purpose in attempting
to ferment an emotion. We only get
so many chances to live. |
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MEGAN
You're such a pessimist. |
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10.
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MEGAN
No, you're just straight up
narcisistic. |
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JOSH
Love is shaped by vague drastic
compromise, and the abandonment of
all logical reasoning. I say,
'deliver me from tainted
circumstance'. |
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MEGAN
You need to stop trying to
classify love. |
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JOSH
Why? I can define it, its not that
transparently diverse. |
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MEGAN
You'll never get it right. |
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MEGAN
Love does not follow a rule book,
love is love. Its passion, its a
connection, its true, its real,
its impossible to capture with
words. |
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JOSH
Do you think you've ever been in
love? |
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Beat. |
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Awkward slence. |
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JOSH relights his cigarette. |
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INT. CAR - NIGHT |
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The camera is filming from the back seat. |
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11.
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The car is parked. |
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The old guy is sitting in the driver's seat, Johnny sits in
the passenger's seat. |
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Johnny seems to be day dreaming, staring off into the
distance, trying as hard as he can to escape. |
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OLD GUY
(stern)
Hey, kid. |
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OLD GUY
The deal was twenty, right? |
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JOHNNY
Twenty five actually. |
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The olg guy sighs. |
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OLD GUY
I'm afraid i can't go any higher
than twenty. |
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JOHNNY
(under his breathe)
I'm not stupid. |
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JOHNNY
I said I'm not stupid. |
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OLD GUY
Well, I never said you were, kid.
it just, you know, twenty's my
limit. |
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JOHNNY
I'm sure you must have a five
dollars on you, everyone does. |
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OLD GUY
Well, you don't. That's not
everyone is it. |
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12.
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JOHNNY
(under his breathe)
No, its not. |
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OLD GUY
Huh? You gotta learn to speak up. |
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JOHNNY
No, its not everyone. Bu mostly
everyone does. |
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OLD GUY
You mean everyone except for you,
right? |
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OLD GUY
Lemme ask ya a question, which
would feel better in your back
pocket, a freshly printed twenty
dollar bill, or a crinkly old
dusty five? |
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Johnny attempts to bargain with the man. |
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OLD GUY
I'm sorry to rain on your purade,
but twenty's the highest I can go. |
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JOHNNY
You mean twenty's the highest
you're willing to go, right? |
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OLD GUY
Right, you're finally catching on,
kid. |
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OLD GUY unzips his pants. |
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OLD GUY
Well, let's get on with it. |
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JOHNNY hesitates. |
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OLD GUY
Go on, it won't bite ya, I swear. |
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JOHNNY lowers his head across the seats, down over his lap. |
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13.
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OLD GUY
That good, now give it a little
kiss for daddy. |
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JOHNNY goes on to give the OLD GUY a blow job. |
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The OLD GUY moans with pleasure. |
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Que Music. |
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Lou Reed: 'Perfect Day' |
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We stay in the car until the Old Guy climaxes during the
first chorus. |
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INT. CONVENIENCE STORE - NIGHT |
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Lou Reed's 'Perfect Day' is still playing. We're in the
second chorus. |
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Johnny picks out some gum. He makes it up to the register
just in time to the second chorus. Simultaneously, Myke and
Chris barge into the store. The clerk gets his pistol out
from the beneath the counter. |
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Everyone yells at each other, Johnny excluded. |
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The clerk fires a bullet into Chris' chest. |
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Out of revenge and anger, Myke fires three bullets off. Only
two hit the Clerk. One entered his shoulder, and one entered
his heart. |
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The clerk's blood sprays all over Johnny's face. |
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Myke looks over at Chris' body slouched in the corner. |
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Myke screams. |
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There is nothing hear throughout this entire scene but Lou
Reed's 'Perfect Day'. |
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MYKE jumps over the counter, and empties the rest of the
bullets in his gun into the clerk's dead body. |
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MYKE empties the register. |
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Before leaving, he gives Johnny a cut. |
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MYKE leaves. |
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Johnny slips the money into his back pocket. |
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14.
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EXT. SAVING FACE AT THE END OF IT ALL - NIGHT |
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This scene's set at a party, everyone's hammered. Tim is
sitting on the couch, talking to Skittlez. |
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They're both drunk. |
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TIM
(slurring his
words)
Shit, fuck, man. |
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TIM
Fuckin' shit, Skittlez. |
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SKITTLEZ
What the fuck do you want? |
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TIM
You know what I've just noticed? |
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TIM
Just how pathetic we are. |
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SKITTLEZ
What do you mean? |
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Skittlez looks down at himself. |
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SKITTLEZ
What? Is there something on my
shirt? |
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TIM
No, I'm talking metaphorically,
Skittlez. |
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Beat. |
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TIM
Fucking just look at us. We're
fully functional automatons. There
is nothing that special od unigue
about us, we're just shit. We're
(MORE)
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15.
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TIM (cont'd)
not an original generation, fuck,
we're not even a generation yet.
We're just... this. |
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SKITTLEZ
Fuck are your point? |
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TIM
What i'm getting at, Skittlez, is
that we are energy targetted at
the wrong aspects of teen angst. |
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SKITTLEZ
What are you talking about? |
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TIM
If you'd just shut the fuck up,
I'm trying to tell you. Look, you
and I, in our own minds are
captivating individuals, but the
fucking reality of it all is more
black and white than emotional
chaos. The reality of it is that
we've got nothing to show for
ourselbves, what do we have?
Nothing. We are a generation who
pride ourselves in apathy and
pseudo nihilism. Its completely
fucked. |
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SKITTLEZ
I still dunno what yiou're talkin'
about. |
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TIM
I'm talking about how fucking
fucked our shit is right now. |
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SKITTLEZ
Fuck fuck, shit fuckin'? |
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TIM
Fuck are you talkin' about? |
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SKITTLEZ laughs at TIM. |
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TIM
Don't fuck with me when I'm over
analytical, dude. |
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Skittlez continues to laugh. |
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TIM stands up, and starts to get louder, stumbling around. |
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16.
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TIM
Does anybody understand the point
that I'm trying to make? |
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ALLIE, who's also at the party raises her hand. |
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ALLIE
Oh,I do, Tim, you know I do. |
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Allie shakes her head. |
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TIM
Come on! Please tell me that
sombody here, anybody, knows what
the fuck I'm talking about. |
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SKITTLEZ
No one knows what the fuck you're
talking about, so sit your ass
down. |
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TIM
No, that would just add fuel to
the problem at hand. if we would
all just expand our minds as a
generation, we'd have a fucking
unstoppoable revolution on our
hands. |
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SKITTLEZ
Sit the fuck down. |
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TIM
Do you know what I'm trying to
say? |
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SKITTLEZ
No, just sit the fuck down. |
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17.
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ALLIE
I didn't know you were here,
when'd you get here? |
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SKITTLEZ
Sit the fuck down, Tim. |
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TIM
Think about it, we could be
invincible. If we all put as much
energy and motivational actions
into making a difference in this
bleek and frightening world we
wander through, as we did with
drugs, and getting fucked up all
the time, we could change the way
the fuckin' world works. If we
just cared more about life than
getting fucked up, we'd be
unstoppable as a revolution, a
movement, and a generation. |
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ALLIE
Aren't you proud of me? |
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TIM
Because I'm trying to make a
point, Allison. |
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18.
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SKITTLEZ
Nobody cares, just sit the fuck
down. |
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TIM
Just let me say one last thing, is
that cool with you? |
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TIM doesn't even bother to allow Skittlez to answer. |
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TIM
Be inspirational. Be provacative.
Be orignial. Be unstoppable. Be
something. Just be somebody. |
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TIM looks around at his drunken comrades. |
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Nobody says a word. |
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TIM sits down on the floor, and has another beer. |
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INT. AND NOW, A LOVE SONG - NIGHT |
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The camera scans a messy apartment, an apartment overrun by
obvious low rent occupants. The apartment is empty right now
though. |
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The camera closes in on the door after scanning the
apartment |
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it takes thrity seconds for Johnny to arrive. |
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Johnny busts through the door, slams it. Falls to the ground
at rapid spead. He's holding a brown paper bag, he goes
through it. |
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JOHNNY shoots heroin into his arm. |
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This is what our generation has made of itself. |
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What a vicious circle of self designed failure. |
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What a perfect day... |
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Que Music. |
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19.
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Against Me!: 'Baby, I'm An Anarchist' |
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THE END |
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