Wednesday, 27 November 2013

New Version of the Script

With the duel completely filmed, I had to organize filming the beginning and the end; the main character is in the 'real' world before he gets lost in his fantasy and returns to reality afterwards. However, after going through the end with my teacher, the weakness of the ending became evident and it wasn't an ending that really worked. I couldn't explain why it was a western and what the point of it was, so upon discussing this with one of my other teachers, we came up with a new ending, which changes my perspective of the protagonist and the story as a whole. Now it ends with the relevation that Simon has actually killed people, his isolation and obssession with westerns has led him to commit murder, but it is through his eyes we see it - the 'fantasy' western duel. Providing us with a twist and giving the duel more depth, I think this version of the script is a lot stronger and gives us more of a character for Simon and a sinister twist that is also genre defying and intriguing.

With this new script, I'm going to enter the shooting with a lot more in mind for Simon's motivation and feelings. I have some changes to make as well, so this script will go through a few more drafts, before I shoot.


            INT. BEDROOM - DAY
          SIMON is sitting in his bedroom, transfixed by the television.
          On it plays a scene from "The Good, the Bad and the Ugly."
          Simon is sat on his bed drawing in a notebook. On his wall
          are pictures of Clint Eastwood, westerns and cowboys. There
          are cowboy hats and guns hung up in his room.
          Simon moves over to the window and looks outside.
          EXT. GARDEN - DAY
          SIMON leaves his house and exits through the garden. He
          steps out of the gate and looks back at his house before
          heading down the street.
          EXT. STREETS - DAY
          SIMON walks down an empty street, paying no attention to the
          world around him.
          EXT. FOREST - DAY
          SIMON crunches through the forest, trampling on leaves and
          stepping on twigs.
          He breaks out of the forest onto an open field with the sun
          pouring over him and a clear sky ahead.
          EXT. FIELD - DAY
          SIMON treks across the empty field, stopping momentarily to
          take in his surroundings.
          SIMON is sitting on the ground, with his back against the
          tree. His bag leans beside him and he takes a bite from an

          He begins to draw in his notebook, every now and then
          looking up.
          He draws gunslingers and cowboys as he flicks through his
          A shadow passes over his face.
          A man, CARSON, towers over SIMON. His companion, LENNY,
          approaches from the side and positions himself slightly
          behind. He looks down at Simon
          Simon looks up and meets the man's gaze. He looks at
          Carson's gun then down to the side and picks up his Stetson,
          where his bag once was. He is now wearing a shirt and a
          Simon walks around them, breaking eye contact and keeping
          his back to them. He puts his hat on as he walks. Carson and
          Lenny turn to watch him. Lenny looks at Carson.
          Simon walks into the field and turns around. Carson and
          Lenny approach him at a distance. Lenny looks at Carson then
          back at Simon.
          Simon steps backwards, broadening the gap between him and
          the two gunmen. Carson steps to the side, Lenny checks his
          footing and follows suit, walking in the opposite direction.
          Carson holds Simon's gaze.
          Lenny shakes as he prepares his hand near his holster. Simon
          and Carson remain silent. Simon glances over to Lenny and
          looks at his gun. Lenny looks down to see his hand shaking
          and looks up to Carson.
          The three stand still. Suddenly, Lenny fumbles and draws his
          gun. Simon cooly draws his gun, shoot Lenny from the hip. He
          doesn't take his eyes off of Carson. Lenny drops to the

          Simon puts his gun back in his holster. They circle each
          other slowly. They stop. Lenny cries out in pain on the
          ground and Simon shoots him again, not aiming.
          Simon and Carson stand with their hands near their guns.
          Everything is silent as they wait. The tension is broken as
          Carson pulls out of his gun, but Simon shoots first and
          Carson staggers backwards.
          Simon puts the gun back in his holster and walks over to the
          body of Carson. He looks down at it with a menacing glare.
          The body is still.
          EXT. OPEN FIELD - DAY
          Simon is stood looking down towards the camera, where the
          body was before. His notebook in his hand. He walks off.
          Simon is lying down on the grass. His note book lies open on
          his chest. He sits up and looks into the notebook. We see
          drawings of the two gunslingers from his dream. He closes
          the book and gets up and goes on his way.
          INT. HOUSE - DAY
          Simon arrives home and heads up to his room. He slumps in
          his bed and points his finger up in the air like a gun.
          Simon enters the kitchen and sits down at the table with his
          notebook. His mam enters and walks over to the radio.
                    Have you heard this, Simon? It's
                    been all over the local new this
                    morning, y'know?
          She turns on the radio and the voices crackle into life.

                              RADIO NEWS PRESENTER
                    Breaking news, early this morning,
                    police found the bodies of two men
                    in a field, shocking residents of
                    nearby estate.
          The voice fades off and mutes as Simon looks blankly at the
          radio then towards his notebook, which is on the table, is
          open on his drawings of the two gunslingers from his

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