Skip to main content

FIRST SCRIPT



“UNNAMED PROJECT” 

By 
Elise Booth 

















FADE IN:  
PHONE CALL  
EXT. THE CITY CENTRE OF PRAGUE - DAY 
Establishing shots of Prague. Text overlay reads ‘PRAGUE, CZECH REPUBLIC – PRESENT DAY’. Blonde young woman, BLAIR, dressed in yellow smart/casual clothes featuring a yellow colour palette is sat/stood in front of a Clock Tower. Her mobile phone rings. The phone reads ‘Withheld Number’. She answers it.  
INT. DARK ROOM – DAY   
Split-screen revealing the caller. She is brunette young woman, ELEANOR with dark makeup and red clothing, her exact location is not revealed but she is sat in a dark-purple toned room speaking into a yellow telephone.    
BLAIR 
Eleanor. 
ELEANOR 
You were expecting me? 

Split-scene ends and the shot switches to Blair. 

EXT. PRAGUE CITY CENTRE - DAY 
BLAIR 
I always do.  

Shot switches to Eleanor. 

INT. DARK ROOM – DAY  
ELEANOR 
A have a mission for you. A special parcel for you to pick up.  

EXT. PRAGUE CITY CENTRE - DAY 
BLAIR 
You know I won’t let you down. 
FADE OUT: 



























FADE IN:  
THE CAR 
INT. - POSH EUROPEAN HOTEL - EVENING 
Tracking shot of BLAIR walking down the hotel stairs and out of the door where a smart black car is waiting for her.  
EXT. - THE STREET OUTSIDER HER HOTEL 
Close-ups and mid-shot of her outfit, she is wearing a yellow cocktail dress and yellow jacket with black heels.  
Close up shots of the door being opened for her and her stepping in. Mid shots of the car as it appears to be travelling quite fast around the city.  
INT. - SMART CAR 
Close up shots of her applying red lipstick in a compact mirror. A text appears on her phone from the withheld number. It reads ‘IS THE MEETING GOING AHEAD AS PLANNED?’ She sends a reply, ‘YES, ON MY WAY TO HIM NOW.  

FADE OUT: 













FADE IN:  
THE DATE  
INT. A HIGH-END BAR – EVENING  
BLAIR walks into the modern-noir bar, jazz music is playing and there is an man, LEONARDO, sat in a booth alone we only see him from the back. He is wearing a smart tailored black tuxedo with red accents. Extreme close-ups of his features but not yet his face. Close-ups of BLAIR’s shoes as she walks towards him. 
BLAIR 
(As she sits down at the table)  
Fashionably late  
BLAIR 
Got to keep you on your toes. I had a busy day at work – you know how it is. 
LEONARDO 
And what exactly were you working on today? 
BLAIR 
If I told you that, I would have to kill you. 
LEONARDO raises his eye. A cocktail waiter appears. 
BLAIR 
The usual please – two.  
The waiter nods and walks away. 
LEONARDO 
(Laughing) 
You’re a girl who knows what she wants. 
BLAIR 
A woman. 
Two martinis arrive at the table. They toast. 

FADE OUT: 

FADE IN:  
PARCEL PICK UP  
EXT. POSH EUROPEAN HOTEL – MORNING 
INT. HOTEL ROOM – MORNING  
An alarm goes off and bleeps, it reads 6:00. BLAIR is lay in the hotel bed, she reaches out her hand and turns off the alarm. A song plays in the background. She puts on her makeup, yellow eyeshadow, dark eyeliner and false lashes, black lipstick.  
While this is happening text messages overlay on the scene from the same withheld number. ‘IT’S PICK UP DAY, I HOPE YOU GOT ALL OF THE INFORMATION YOU NEEDED’  
EXT. OUTSIDE THE HOTEL 
Cuts to her in the same smart black car. The car zooms through the busy city traffic. Pulls up outside the town hall. She steps out and walks up the stairs.  
INT. THE TOWN HALL 
She walks through the corridors and arrives at a desk. There is a male employee dressed smartly. 

BLAIR 
I’m here to collect.  
EMPLOYEE  
For? 
She hands him a note. He raises his eye and presents her with a medium sized parcel with FRAGILE tape on it. She walks away with it. 

FADE OUT: 










FADE IN:  
THE END 
BLAIR gets into the car, as the door shuts a yellow book slams shut. The scenery changes, she is wearing less heavy makeup and in a different more casual car. It is apparent that her surroundings have been a fantasy formed from the book she was reading.  
She receives a text message, ‘HEYY, DID YOU GRAB IT? X’, she types a response, ‘YEP. MISSION SUCCESS.’. She receives a reply, ‘HAHA, YOU READ TOO MANY SPY BOOKS SIS’. Another alert pops up on her phone, it is a tinder message from the guy she met at the bar, ‘HAD A GREAT TIME THE OTHER NIGHT. DATE NUMBER TWO?? :)'  
She puts her phone down, on top of the yellow book, and drives away.  
FADE OUT: 
THE END 

Comments

Post a Comment

Popular posts from this blog

'With close reference to two scenes from 'Pan's Labyrinth', explore how cinematography and mise-en-scène create meaning.'

' P an’s L abyrinth ' is one of the most profound contemporary films. Comprising so many symbols, themes and ideas, it presents a genuine masterpiece bequeathed to the film industry by a magnificent Mexican director, Guillermo del  Toro.  Released  in 2006, it was  critica lly  lauded with 3 Academy Award wins in 2007 for Best Makeup, Art Direction and Cinematography. It is widely regarded as Del Toro's definitive film.      A key scene in the film is when Ofelia meets the Faun, as it is the beginning of her fantasy adventures and he gives her the book which inspires her to  complete  all the tasks that he sets. The scene  begins  when  the fairy  leads  Ofelia to the Labyrinth. The fairy itself changes its form to what Ofelia imagines a fairy  should look like – according to her story books. This suggests that the whole world that Ofelia is about to enter is based upon her own imaginations and p...
1 comment
Read more
  Review  'Lolita'  (1997) Arguab ly  one of  the most  controversial  films of its decade, Adrian Lyne's 'Lolita' is a captivating adaptation of the highly acclaimed  Vladimir Nabokov's  1955 novel of the same title. Comparing Lyne's adaptation to the earlier Stanley Kubrick's  'Lolita'  of   1962, I was rather  surprised  to much prefer Lyne's take on the story.   C onsidering how sexual a lot of Stanley Kubrick's films are, his version of Lolita is restrained in the sexual aspects of the story, failing to go where its story begs for it to go to. It fades to black in key sequences, and lets the audience imagine what is happening between Professor Humbert and Lolita. I feel as though  director Adrian Lyne decided  he wanted  to do another take on Nabokov’s novel, taking the detail further and really showcasing the powerful dynamic between the characters, and allowing the audience to fe...
Post a Comment
Read more
‘Crimson Peak’ (2015) Scene Analysis ‘Crimson Peak’ is a Fantasy/Mystery movie from the director Guillermo del Toro, famous for previous works such as ‘Pan’s Labyrinth’. Here I will analyse one key scene that takes part towards the start of the movie, looking at the technical and literal aspects. The scene opens with the main character, a young woman Edith (Mia Wasikowska) walking down a dim-lit gothic corridor, this use of mise-en-scène suggests that the time period of the film is late 19th century or early 20th century, and the audience receives strong connotations of horror stereotypes, giving us the impression that something scary or unnatural is about to occur.  This hyper sense of reality also complies to the norms of the directors style. Looking at the character of Edith, del Toro has chosen to present her with long golden-blonde hair. This demonstrates her femininity which can lead the audience to believe that she is perhaps fragile and delicate, meaning that we feel mor...
Post a Comment
Read more