Tài liệu Writing the short film 3th - Part 39 pptx
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APPENDIX B
SHORT SCREENPLAYS
The following five short screenplays present a cross section of student work
at New York University. All the scripts have been produced and exhibited.
Four of the scripts were written in the undergraduate program and one in
the graduate program. One is the product of a collaboration. We chose these
scripts for their quality and diversity in subject matter and approach.
These five screenplays offer a great range of subjects. In Another Story, Lisa
Wood Shapiro offers a parable that is abstract and speaks to issues of mem-
ory and tolerance. Karyn Kusama in Sleeping Beauties also offers a parable,
this time about memory and awakening sexuality.
Christian Taylor, in his script The Lady in Waiting, explores stereotypes and
lost opportunities. Susan Emerling, in her script The Wounding, explores the
issue of sexual abuse in the life of a young girl. All four of these films deal
seriously with the lives of the women who are their major characters. Finally,
Anais Granofsky and Michael Swanhaus, in Dead Letters Don’t Die, write
about loss and the capacity of love to help renew life.
All of these screenplays are serious, but none could have succeeded on
that alone. Charisma and creative solutions to characterization, to providing
catalytic action, and to bringing about resolution are hallmarks of each of
these screenplays. They offer models of the short film script and can provide
the reader with appropriate examples of the format used in scriptwriting.
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Short Screenplays 259
ANOTHER STORY
by Lisa Wood Shapiro
FADE IN:
1. EXT. THE BACKYARD OF A COUNTRY COTTAGE—DAY
THROUGH THE LIGHT WE SEE THE FRAME OF
BRANCHES A SMALL COTTAGE WITH A LARGE PICTURE
WINDOW. WE CAN SEE TWO LITTLE GIRLS PERCHED IN
THE LOWER CORNER OF THE WINDOW.
ANNA
I hate rain.
MERYL
I really really really hate rain.
ANNA
(whispering, after a long pause)
I hate rain . . .
2. INT. LIVING ROOM OF COTTAGE—DAY
The rain is creating a HYPNOTIC RHYTHM on the roof.
Two little girls are sitting on a cushion-padded bench with
their elbows on the window sill. The taller girl is about
seven years old with long blond hair; her name is ANNA.
The short girl is just a year younger with long flowing
golden hair; her name is MERYL. Through the doorway
into the small kitchen is NIVY. She is a handsome woman
in her late sixties/early seventies. She is stylishly
dressed, with intricate silver earrings. WE CAN HEAR
THE CRACKLE OF THE FIRE IN THE FIREPLACE. The
fireplace casts a warm glow over the living room, which
is oak paneled with an Oriental rug tossed on its
hardwood floor. Nivy is making hot chocolate.
MERYL
(carefully computing her words)
I hate school . . .
(pause)
(CONT.)
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MERYL (CONT.)
I hate liver,
(giggling)
I hate bedtime . . .
Anna throws Meryl a hard look.
ANNA
I hate bees . . . I hate spelling . . . I hate liver.
MERYL
(interrupting)
I already said liver.
ANNA
(emphatic)
I can say it too.
MERYL
You always do that, Anna. Always!
Anna looks hurt as she watches Meryl. Meryl just stares
out the window.
ANNA
(slightly mumbles)
All I said was liver.
Nivy pours the boiling water into the mugs.
ANNA
Meryl . . . oh Meryl . . .
Meryl doesn’t look over.
ANNA
(excited)
I hate that girl Yuki with the funny eyes . . . Meryl
look . . . who am I?
Meryl finally looks over. Anna has pulled her eyes into a
very distorted look. She pulls them into slants. Meryl
laughs.
260 Writing the Short Film
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