Mac Guff In Excerpt
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- Words: 1,105
- Pages: 6
1 2 3 4 5 6 7 8
MacGUFFIN
9 10 11
-----------------
12 13 14
Screenplay
15 16 17
by
18 19 20
ADAM SCHRECK
21 22 23 24
Copyright 2004-2007, Adam Schreck
25 26 27 28 29
ALL RIGHTS RESERVED
2
2
29
FADE IN
30
INTRO -- CREDITS OVER
31 32
Actual footage of Chechen rebels taking Moscow theatre hostage Oct. 23, 2002.
33 34
CUT
35
CHROMA - INTERTITLE - “Today”
36
INT.
37 38 39
About 500 people are held hostage by a group of heavily armed terrorists, many who remain masked. The group has been there for some time.
40 41
Through a headset nestled in one of the terrorist’s ears, a voice coolly orders:
42 43 44 45 46
CINEMA – NIGHT -– THE PREMIERE OF “MACGUFFIN”
VOICE (MUFFLED) Do it Tarif. One of the terrorists walks over to a group of ten hostages removed from the others. He approaches a middleaged woman.
47 48
TERRORIST (TARIF) Stand up.
49
The woman rises weakly, tears in her eyes.
50
The terrorist shoots her in the chest.
51
INT.
52 53 54
WILL MILAN, a trim white man in his late 50s, stands behind the board, wearing a headset. He is compact, calculated, contained.
55
A camera ZOOMS on the body of the woman just shot.
56 57 58 59 60 61 62 63
CONTROL ROOM -- NIGHT
MILAN Number five, wide. JACK, a twenty-something sitting at the editing board, punches up a shot of the large group of hostages. MILAN Now, slowly, slowly… The camera creeps into an EXTREME CLOSE UP of a girl, BECCA SHARP, with an angelic face.
64
MATCH CUT
65
INT. CASTING ROOM -- DAY
66
Slow pullback from Becca, who sits in front of Milan.
3 67
3
TITLE - “Six months ago.”
68 69 70
MILAN I don’t doubt your ability Becca. (Sighs quietly.) You’re sixteen?
71 72
Yes.
73 74
Alright.
75
(Beat.)
76 77
This is big you know. You’re the youngest. I don’t need to tell you…
78 79
I know.
BECCA MILAN
BECCA
80 81
INT.
82 83 84
CONTROL ROOM MILAN (Under breath) Come on sweetie, come on…
85
His eyes are glued to a monitor framing Becca’s face.
86
INT.
87 88 89
Becca’s eyes well with tears. She rises to her feet, and as she lurches towards one of the terrorists, begins screaming hysterically.
CINEMA
90 91 92 93 94 95
TERRORIST (TARIF) What the fuck? Are you crazy? Sit down! Now! Becca continues toward the terrorist and they come together in an awkward grapple.
96 97
INT.
98
All eyes are on Becca.
99 100
CONTROL ROOM MILAN (Under breath) Perfect.
101
INT.
CINEMA
102 103
Becca and the terrorist stuggle. The terrorist pushes her and Becca falls to ground, hard.
4 104 105 106
4 TERRORIST Let this be a lesson to anyone else who can’t control themselves.
107 108
The terrorist strafes Becca with machine gun fire. A horrified hush falls over the captives.
109
INT.
110
HEMING, another editor, turns to Milan.
CONTROL ROOM
111 112
Wow.
113 114 115
MILAN Yeah, I didn’t know about her but, yeah. Beautiful.
116 117 118 119 120 121 122 123 124
HEMING
As Milan is talking, an altercation is shaping up on the monitors. A SECOND TERRORIST, still masked, is now addressing the FIRST TERRORIST. SECOND TERRORIST – UNKNOWN (ON MONITOR) Why did you do that? FIRST TERRORIST (TARIF) To send a message. INT. CINEMA
125 126
SECOND TERRORIST What message, Tarif?
127 128
TARIF – TERRORIST Shit! I told you no names!
129 130
Names?
SECOND TERRORIST
131 132 133 134 135 136 137 138 139 140
MILAN (MUFFLED) (over headset) No, no! It’s one of the other ones! INT. CONTROL ROOM MILAN Ariel! Stop this right now! ARIEL, an unconventionally striking redhead, with an age that’s hard to place, is instantly on a walkie-talkie. ARIEL (over walkie)
5 141 142 143 144 145
5 Shari! Shari!! Do you see this?!? Stop it!
Ariel’s taut voice tightropes above the controlled tones of the Second Terrorist; both are overheard in the control room, the action takes place simultaneously.
146 147 148 149
TARIF You don’t need to remind me of reasons, I put this together. Remember?
150 151
MILAN Good cover Tarif. Go with that.
152 153 154 155 156 157 158 159 160 161 162 163
INT. CINEMA SECOND TERRORIST Put what together? This?! This is nothing, a feint, a sham. Three other terrorists wearing headsets move toward the Second Terrorist, as they do so, two other terrorists without headsets level guns at those approaching. The three terrorists with headsets hesitate. TARIF What? What are you talking about? Have you lost it already? We haven’t been here twelve hours yet.
164 165
INT. CONTROL ROOM
166
Milan and the others stare speechlessly at the monitors.
167 168 169 170 171 172 173 174 175 176 177 178 179
INT. CINEMA SECOND TERRORIST No, I haven’t lost it. In fact, I’d bet that I’m the only one who really knows what’s going on right now. INT. CONTROL ROOM ARIEL (Quietly) Will… INT. CINEMA TARIF Stand down. I’m in charge of this operation.
6
6
180 181
SECOND TERRORIST Not anymore.
182 183
The second terrorist sprays Tarif with a stream of bullets, instantly killing him.
184
INT.
185
ANGLE ON MILAN, EYES WIDENING
CONTROL ROOM
186 187
MILAN Oh, no.
188
INT. CINEMA
189 190 191
The lights are cut. The cinema descends into darkness and chaos. A fire fight breaks out, pierced by screams of and the sounds of bodies falling.
192 193 194 195
MATCH CUT Zoom out from a chaotic fire fight on screen to Milan, who sits in a chair on his outside deck watching dailies from “MacGUFFIN,” currently in production.
196 197
EXT.
198 199 200 201 202 203
Milan’s top executives, Ariel, MIRANDA, JACK, and TONY are with him. MIRANDA, Milan’s daughter and possibly next in line to run his company, is a headstrong brunette in her late 20s. JACK is a patient, short, 40-something white male; TONY is a balding, slightly overweight black gay man in his late 40s.
204 205 206 207
A PATIO OVERLOOKING THE OCEAN, POOLSIDE - TWILIGHT
MIRANDA Looks good to me, what’s your concern? INTERTITLE - “A year ago.”
208 209
MILAN Yeah, it’s good. It’s always “good.”
210 211
Not always…
212 213 214 215
MILAN Touche. (Beat.) Don’t you get tired of it? We’ve been doing this for so long…it’s so pat, so routine.
216 217
TONY
TONY And?
MacGUFFIN
9 10 11
-----------------
12 13 14
Screenplay
15 16 17
by
18 19 20
ADAM SCHRECK
21 22 23 24
Copyright 2004-2007, Adam Schreck
25 26 27 28 29
ALL RIGHTS RESERVED
2
2
29
FADE IN
30
INTRO -- CREDITS OVER
31 32
Actual footage of Chechen rebels taking Moscow theatre hostage Oct. 23, 2002.
33 34
CUT
35
CHROMA - INTERTITLE - “Today”
36
INT.
37 38 39
About 500 people are held hostage by a group of heavily armed terrorists, many who remain masked. The group has been there for some time.
40 41
Through a headset nestled in one of the terrorist’s ears, a voice coolly orders:
42 43 44 45 46
CINEMA – NIGHT -– THE PREMIERE OF “MACGUFFIN”
VOICE (MUFFLED) Do it Tarif. One of the terrorists walks over to a group of ten hostages removed from the others. He approaches a middleaged woman.
47 48
TERRORIST (TARIF) Stand up.
49
The woman rises weakly, tears in her eyes.
50
The terrorist shoots her in the chest.
51
INT.
52 53 54
WILL MILAN, a trim white man in his late 50s, stands behind the board, wearing a headset. He is compact, calculated, contained.
55
A camera ZOOMS on the body of the woman just shot.
56 57 58 59 60 61 62 63
CONTROL ROOM -- NIGHT
MILAN Number five, wide. JACK, a twenty-something sitting at the editing board, punches up a shot of the large group of hostages. MILAN Now, slowly, slowly… The camera creeps into an EXTREME CLOSE UP of a girl, BECCA SHARP, with an angelic face.
64
MATCH CUT
65
INT. CASTING ROOM -- DAY
66
Slow pullback from Becca, who sits in front of Milan.
3 67
3
TITLE - “Six months ago.”
68 69 70
MILAN I don’t doubt your ability Becca. (Sighs quietly.) You’re sixteen?
71 72
Yes.
73 74
Alright.
75
(Beat.)
76 77
This is big you know. You’re the youngest. I don’t need to tell you…
78 79
I know.
BECCA MILAN
BECCA
80 81
INT.
82 83 84
CONTROL ROOM MILAN (Under breath) Come on sweetie, come on…
85
His eyes are glued to a monitor framing Becca’s face.
86
INT.
87 88 89
Becca’s eyes well with tears. She rises to her feet, and as she lurches towards one of the terrorists, begins screaming hysterically.
CINEMA
90 91 92 93 94 95
TERRORIST (TARIF) What the fuck? Are you crazy? Sit down! Now! Becca continues toward the terrorist and they come together in an awkward grapple.
96 97
INT.
98
All eyes are on Becca.
99 100
CONTROL ROOM MILAN (Under breath) Perfect.
101
INT.
CINEMA
102 103
Becca and the terrorist stuggle. The terrorist pushes her and Becca falls to ground, hard.
4 104 105 106
4 TERRORIST Let this be a lesson to anyone else who can’t control themselves.
107 108
The terrorist strafes Becca with machine gun fire. A horrified hush falls over the captives.
109
INT.
110
HEMING, another editor, turns to Milan.
CONTROL ROOM
111 112
Wow.
113 114 115
MILAN Yeah, I didn’t know about her but, yeah. Beautiful.
116 117 118 119 120 121 122 123 124
HEMING
As Milan is talking, an altercation is shaping up on the monitors. A SECOND TERRORIST, still masked, is now addressing the FIRST TERRORIST. SECOND TERRORIST – UNKNOWN (ON MONITOR) Why did you do that? FIRST TERRORIST (TARIF) To send a message. INT. CINEMA
125 126
SECOND TERRORIST What message, Tarif?
127 128
TARIF – TERRORIST Shit! I told you no names!
129 130
Names?
SECOND TERRORIST
131 132 133 134 135 136 137 138 139 140
MILAN (MUFFLED) (over headset) No, no! It’s one of the other ones! INT. CONTROL ROOM MILAN Ariel! Stop this right now! ARIEL, an unconventionally striking redhead, with an age that’s hard to place, is instantly on a walkie-talkie. ARIEL (over walkie)
5 141 142 143 144 145
5 Shari! Shari!! Do you see this?!? Stop it!
Ariel’s taut voice tightropes above the controlled tones of the Second Terrorist; both are overheard in the control room, the action takes place simultaneously.
146 147 148 149
TARIF You don’t need to remind me of reasons, I put this together. Remember?
150 151
MILAN Good cover Tarif. Go with that.
152 153 154 155 156 157 158 159 160 161 162 163
INT. CINEMA SECOND TERRORIST Put what together? This?! This is nothing, a feint, a sham. Three other terrorists wearing headsets move toward the Second Terrorist, as they do so, two other terrorists without headsets level guns at those approaching. The three terrorists with headsets hesitate. TARIF What? What are you talking about? Have you lost it already? We haven’t been here twelve hours yet.
164 165
INT. CONTROL ROOM
166
Milan and the others stare speechlessly at the monitors.
167 168 169 170 171 172 173 174 175 176 177 178 179
INT. CINEMA SECOND TERRORIST No, I haven’t lost it. In fact, I’d bet that I’m the only one who really knows what’s going on right now. INT. CONTROL ROOM ARIEL (Quietly) Will… INT. CINEMA TARIF Stand down. I’m in charge of this operation.
6
6
180 181
SECOND TERRORIST Not anymore.
182 183
The second terrorist sprays Tarif with a stream of bullets, instantly killing him.
184
INT.
185
ANGLE ON MILAN, EYES WIDENING
CONTROL ROOM
186 187
MILAN Oh, no.
188
INT. CINEMA
189 190 191
The lights are cut. The cinema descends into darkness and chaos. A fire fight breaks out, pierced by screams of and the sounds of bodies falling.
192 193 194 195
MATCH CUT Zoom out from a chaotic fire fight on screen to Milan, who sits in a chair on his outside deck watching dailies from “MacGUFFIN,” currently in production.
196 197
EXT.
198 199 200 201 202 203
Milan’s top executives, Ariel, MIRANDA, JACK, and TONY are with him. MIRANDA, Milan’s daughter and possibly next in line to run his company, is a headstrong brunette in her late 20s. JACK is a patient, short, 40-something white male; TONY is a balding, slightly overweight black gay man in his late 40s.
204 205 206 207
A PATIO OVERLOOKING THE OCEAN, POOLSIDE - TWILIGHT
MIRANDA Looks good to me, what’s your concern? INTERTITLE - “A year ago.”
208 209
MILAN Yeah, it’s good. It’s always “good.”
210 211
Not always…
212 213 214 215
MILAN Touche. (Beat.) Don’t you get tired of it? We’ve been doing this for so long…it’s so pat, so routine.
216 217
TONY
TONY And?
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