Screenplay

 

SCENE 1: EXT. ENTRANCE TO THE WOODS- DAY

Caroline and Emma stand at the entrance gate of the woods.

CAROLINE (V.O.)

It didn’t make sense that I be there. I mean Emma got detention all the time but there I was. At that point, I wasn’t scared. I knew I hadn’t done anything wrong. It wasn’t fun. It made me look notorious.

Dale, a teambuilding supervisor approaches.

DALE

You guys are here for the outdoor bonding session, right?

CAROLINE

It’s detention.

DALE

I was told outdoor bonding session. Your teacher was very specific, this is not a punishment but merely an opportunity for you two to work through your differences. Okay, register. You know the drill when your name is called just say yes. Caroline?

Shot of the railings of the fence. Caroline steps into shot and stands facing the camera as if she is in a prison line-up.

CAROLINE

Here.

DALE

Emma?

Emma steps into shot and stands next to Caroline, facing the camera in the same way.

EMMA

Here.  

DALE

Just the two of you then? Let’s get going!

SCENE 2: EXT. FOREST- DAY

Dale leads the way through the forest, Emma and Caroline reluctantly follow.

EMMA

I can’t believe we have to do this.

CAROLINE

Well maybe if you hadn’t copied my exam we wouldn’t have to

EMMA

I didn’t copy your exam

CAROLINE

Well, our answers were the same and I didn’t copy yours

Emma childishly mimics Caroline, and they stop speaking.

SCENE 3: EXT. AREA IN FOREST- DAY

DALE

Alright guys are we having fun, feeling good?

Cut to students looking miserable

DALE

Right, I can tell you guys are raring to go so I’ll get right to it. Your first activity is orienteering. You’ll start from this clearing here and you’ll finish back at the lodge where we started. You have a map and a compass each, so you’d have to be really stupid to get lost. Understood?

Cut to students looking miserable.

DALE

Good!

Dale throws two maps and two compasses on the ground.

DALE

Now shoo! Go on, go!

SCENE 4: MONTAGE OF THE GIRLS WALKING THROUGH THE FOREST- the girls bicker over directions, Emma tries to eat berries off a bush but Caroline pulls her away, they get caught in brambles, other shenanigans. The montage abruptly ends when the two girls hear a scream. They turn to each other in fear and run in the direction of the scream.  

SCENE 5: EXT. CLEARING- DAY

CAROLINE

Oh my god.

On the ground in the clearing is Dale’s bloodied Hawaiian shirt, tufts of fur, a smashed compass and a few pools of blood.

EMMA

Dale’s dead!

CAROLINE

Woah, slow down he might not be dead!

EMMA

He’s dead! He’s been killed by something in the forest! Oh my god! It’s going to come for us next!

CAROLINE

Calm down! We need to get a plan together.

EMMA

You’re right. We should stay here and wait for help

CAROLINE

Stay here? No let’s try and make it back to the lodge.

EMMA

You want to go out there? Into the forest?

CAROLINE

Yes! There’s no guarantee that help is coming. If we leave now, we can make it back to the lodge before it gets dark and tell someone there.

EMMA

There is no way I’m leaving this clearing. Who knows what’s lurking out there?

CAROLINE

I’m not going to leave you here, but I really think we should go back.

EMMA

I’m sorry Caroline but that’s not happening.

CAROLINE

Fine. We’ll stay.

Emma takes off her jacket, lays it on the ground and makes herself at home.  

SCENE 6: EXT. CLEARING- NIGHT

The two girls lie on the ground in silence. Emma has her phone taped to her head like a make-shift head-torch.

EMMA

Caroline?

CAROLINE

What?

 

EMMA

Wasabi pea?

Emma holds out a bag of wasabi peas

CAROLINE

Thanks

Caroline takes some peas and eats them. The only sound is that of the crunching peas.

EMMA

Caroline?

CAROLINE

What?

EMMA

You were right. We should’ve gone back to the lodge when we had the chance…and I copied your exam

CAROLINE

I knew it!

EMMA

I’m sorry

CAROLINE

It’s okay

EMMA

I think you should be in charge from now on. Tomorrow we can try and get back to the lodge…if we make it through the night

CAROLINE

Don’t be stupid, of course we’ll make it through the night

An owl hoots in the distance and the girls wrap their coats tighter around them.

SCENE 7: EXT. CLEARING- MORNING

The two girls wake up on the forest floor, spooning

SCENE 8: MONTAGE: same style as the first montage but much shorter.

SCENE 9: EXT. LODGE- MORNING

Emma and Caroline stand outside the lodge.

EMMA

We were this close the whole time?

Caroline glares at Emma

EMMA

Sorry

CAROLINE

Thanks for letting me be in charge in the end

EMMA

That’s okay. I knew you were right I was just being stubborn

CAROLINE

Can we just call it a day and move on now?

EMMA

Yes please

The two girls hug. As they are hugging, Dale approaches behind them.

DALE

Well, done guys you made it!

The two girls scream and turn around

CAROLINE

What the hell?

DALE

You guys completed the orienteering challenge, congrats!
EMMA

What? You died! You were killed by an animal!

DALE

Do I look like I was killed by an animal?

EMMA

The blood and the fur in the forest! We thought you were dead!

CAROLINE

Why would you make us think that you died?

DALE

All part of the experience. I always say that nothing brings people together like extreme adrenaline and perceived life-threatening circumstances

CAROLINE

So, you faked your own death all in the name of teambuilding?

 

DALE

Absolutely! And it clearly worked! I am so glad that you girls have made up, it really brings warmth to my heart.

The girls stare at Dale in stunned silence.

SCENE 10: INT. DARK OFFICE (After credits?)

The camera pans around the dingy room. we see: a clothes rack of eccentric shirts, bottles of ketchup and large bags of fake fur. Dale sits behind a desk eating monster munch, watching a computer screen with a video of the two girls panicking in the forest, laughing hysterically.

THE END

Comments

Post a Comment

Popular posts from this blog

Echo

  ECHO How does this compare to the other short films we have studied? - It is relatively long for short film  - There is no clear resolution  - There are no attempts to sway the audience in terms of their relationship with Caroline  What are the themes of this short film? - honesty, acceptance, grief, family  What is your response to the main character? How does this change? - The initial response to Caroline is pity as she appears to have lost a family member - However, this then changes once we learn that she has been making it up - This changes again once it becomes clear that she has in fact experienced a tragedy and is coping with it in an unorthodox way  How is the film structured - what knowledge do we have and when? How does this affect our viewing experience? - Structured around the phone calls with each call revealing a new detail to the audience  Is there a distinct beginning-middle-end? - Distinct segments which are signposted by each phon...
Read more

The Fly

THE FLY When and where is this set - how and when is this established? - the film has a 70s/80s aesthetic that is created by the costume but it is not necessarily  clear what time period the film is set in  - The location of the film is established as East London by the accents and by the surrounding buildings When is the beginning, middle and end? - beginning: up until the fly is introduced, middle: up until the man punches the mirror, end: onwards from the punching of the mirror  Eyeline is particularly important - why? How is it established and maintained? - Many of the shots are POV shots of the driver which situates the viewer with him  - The camera angle also gets progressively higher as the tension rises  We are invited to compare and contrast the drama inside and outside the bank. How? What is the effect? - The viewer is not permitted to see the action in the bank but can hear screams, shouting etc. which provides some information  Identify how soun...
Read more

The Arrival

  The Arrival 'The Arrival' is a short film which centers on a young woman named Anna as she waits in a café for the father of her unborn child. The narrative follows Anna's internal monologue as she agonizes about her future with or without this child. The overall colour palette of the film is muted and de-saturated with the café being mostly red and brown and Anna's cream jumper. Anna's make-up is limited and her hair is in a practical style to create the feeling of her being just an everyday person.  The film opens with an obscured long shot of Anna through the dirty window in the café door. The door is then opened and the camera inches closer and closer in a single shot as the film progresses and her thoughts unravel. The lighting is harsh and bright against the more shadowy areas of the room which creates a contrast which mirrors Anna's internal conflict. The mise-en-scene plays a large role symbolically as the clock on the back wall reminds Anna of her lif...
Read more