sleep.
5 There little Tom Dacre, who cried when his head
6 That curled like a lambs back, was shaved, so I said,
7 Hush Tom never mind it, for when your head's bare,
8 You know that the soot cannot spoil your while hair.
9 And so he was quiet, & that very night,
10 as Tom was a sleeping he had such a sight,
11 That thousands of sweepers Dick, Joe Ned & Jack
1
sleep, wakes up. Adjusts his steel-framed glasses.
Unballs the tweed jacket hes been using as a pillow. Hes
nearly sitting in the lap of the PILOT, 30s, a tightly wound
military type, as they zoom across the waves.
PILOT
Good sleep?
NORMAN
Not bad. So, where are we?
PILOT
Whered they bring you in from?
NORMAN
San Diego. Left yesterday.
PILOT
So you came Honolulu-Guam-Pago-here?
NORMAN
Yeah.
PILOT
frame.
Yo, I asked for a frame line.
Okay, can we get a frame line, please?
Les, do you have a frame line?
I think so.
Now lock it up. Were going for picture.
That was beautiful, both of you.
Just like that, stay focused.
Keep with it. No big deal.
All right, call it, wanda.
All right, and roll sound.
speed.
Roll camera.
Rolling. Scene six, take two.
Everybody settle.
And action.
Dad hit me first
sleep. As she straggles out of bed and over to her
desk, we notice a young man sleeping next to her.
The ringing continues. She moves her computer mouse
around and her screen comes to life. She click on a
telephone icon and the ringing stops. A beat later,
Sebastian appears in a window on her screen.
LINDA
Sebastian, do you know what time it
is?
SEBASTIAN (SCREEN)
You know Da Vinci never sle
STEPMOM
Ronald Bass
Second Revised Draft
Previous Drafts by:
Gigi Levangie
Elizabeth Chandler
Jessie Nelson &
Steven Rogers
INT. RACHELS BEDROOM - EARLY MORNING
A billowy white screen. An alarm clock BLARES. As MAIN TITLES
BEGIN, the lovely sleeping face of RACHEL KELLY rolls into frame.
Then out of it. Alarm keeps BLASTING. Back she comes, pulling the
sheets OVER her head. Motionless now, as we
sleeping forever.
TIGHT ON WALKER - hes in his early thirties, dark featured.
HIS P.O.V. - looking around the room. Everythings strange,
unfamiliar.
He stands, steps from the tub.
ANGLE - THE SWINGING LIGHT BULB. Walkers hand ENTERS FRAME,
stops the bulb mid swing.
ON HIS REFLECTION in a cracked wall mirror. He moves to the mirror
and looks at himself. A line of blood runs across his face, from a
frame of my revolution...
-Youre off the picture!
-What?
Each moment I spend with you,
Im losing money.
Fabrizio,
shut down this production.
What are you saying?
Youre off the picture!
Fabrizio, I dont
want to see him ever again!
Go! Go away!
-Youre afraid of this film!
-Youre not director!
-You fascist! You go away!
-Andre!
Its the young actress!
Shes gone to his head!
Finalmente. Eh?
Bullshit!
sleep.
Fran takes the coffee and struggles to her feet.
Woman: THE GUYS ON THE CREW ARE GETTING CRAZY.
A BUNCH OF EM FLEW THE COOP ALREADY.
I DONT KNOW HOW MUCH LONGER WELL BE ABLE
TO STAY ON AIR.
7 Fran staggers over to the control consoles. The technicians are
at the end of their ropes.
Technicians: (all at once)
WATCH CAMERA TWO...WHO THE HELLS ON CAMERA
TWO, A BLIND MAN...
WATCH THE FRAME...W
frame house with porch and lots of trees--a Thomas Wolfe
house...with a 1959 faded red Volvo in the driveway.
ANNIE LEAVES ON FOOT, turning onto the sidewalk of a bucolic,
old Durham, North Carolina neighborhood. In the b.g. other
people are heading the same direction ANNIE PULLS A DURHAM
BULLS BASEBALL CAP from her handbag and pulls it on her head.
ANNIE
Ive tried them all--I really
have--
(beat
frame. It
travels precariously close to the ground; its chassis
battered and swayed by the wind.
INT. COPTER
Red dials beam on the faces of two men. One carries a
rifle and searches the horizon with binoculars. The other
pilots. Their unkempt faces, their blazing eyes notate a
wildness. They bark at each other in some Scandinavian
tongue. Two men arguing like mad and desperate children.
The man w