Tag: script

On Fire | Script Conversion 2

INT. OFFICE BUILDING – DAY

Elevator doors open. Young Ryan’s tie is straight. His jacket is a bit too big. He steps into the lobby.

Uncomfortable seating, sleek design, open spaces and glass walled conference rooms. Young Ryan sees HARRISON TRAEGER (50s) through a wall. Traeger’s sleeves are rolled up, and he’s inspecting blueprints.

RECEPTIONIST (O.S.)

Can I help you, Sir?

Young Ryan turns and steels himself with a breath. He steps forward.

YOUNG RYAN

Hi. Yes. I’m here for an interview?

INT. WILMORE WELLNESS CENTER LOBBY – DAY

A wall poster reads HEALING BEGINS WITH JESUS over an image of open hands.

Another poster: WHOLENESS. EMPOWERMENT. FREEDOM WITH THE BODY OF CHRIST under an image of a distraught woman with beseeching arms in the air.

A door stenciled: DR. MORRIS LAHEY M.D., P.C., E.T.C.

Ryan sitting on a bench beside the door. Eyes glazed. Scratching his cast.

The door opens and DR. LAHEY (50s) appears.

DR. LAHEY

Ryan Dolan?

Ryan is slow to acknowledge. Dr. Lahey leaves the door open, disappearing into his office.

INT. TRAEGER’S OFFICE – DAY

A window overlooking the city. A desk with a pile of blueprints. A wall of photographs of old, grand buildings.

Traeger with a folder in his hands.

TRAEGER

This is good work, Ryan.

YOUNG RYAN

Thank you, Sir.

TRAEGER

You still have a lot to learn.

Are you willing to learn?

YOUNG RYAN

Absolutely. Yes, Sir.

TRAEGER

(with a smile)

Good. Welcome aboard.

A handshake.

INT. DR. LAHEY’S OFFICE – DAY

The doctor scribbles. He doesn’t look up as Ryan quietly enters and takes a seat.

A FOLDER on Lahey’s desk has Ryan’s PICTURE clipped to the inside cover. There are red slashes throughout the typed report below.

The doctor turns his attention to the folder and CIRCLES something before giving Ryan a glance.

DR. LAHEY

Mr. Dolan, I will not

beat around the bush.

Ryan is silent.

DR. LAHEY (CONT’D)

Yes, I see. They have you…

medicated.

Ryan is silent.

DR. LAHEY (CONT’D)

Yes. Well. As I said,

no beating around the bush.

Your attempted suicide.

(gestures toward cast)

Depression. Psychosis.

Ryan is silent.

DR. LAHEY (CONT’D)

These are the initial diagnoses.

Our goal here is to work through your…

(checks file. scowls.)

Issue.

Ryan smirks and scratches his cast.

The doctor takes notes.

DR. LAHEY (CONT’D)

We will reevaluate after three days.

Ryan is silent.

DR. LAHEY (CONT’D)

Protocol to include medication, group

therapy and observation.

Ryan is silent. Lahey jots more notes.

DR. LAHEY (CONT’D)

(exasperation)

Very well. Have a seat in the hall.

Someone will be along shortly.

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On Fire – Script Conversion 1

RYAN (V.O.)

I am two people.

INT./EXT. CHURCH VAN – COUNTRY ROAD – OVERCAST DAY

Unbroken stretches of Georgia pine. The van’s a billboard for WILMORE FIRST BAPTIST.

RYAN (34), a lone disheveled man in the middle row, stares out the window in a daze. He mindlessly scratches the CAST on his forearm.

The DRIVER fiddles with the radio. LYNYRD SKYNYRD plays.

RYAN (V.O.)

I am now. And I am then.

INT./EXT. RYAN’S CAR – I75 – SUNNY DAY

That same Skynyrd TUNE, and YOUNG RYAN (24) sings along, tapping the beat on the steering wheel. He’s wearing a pressed shirt and a loose tie.

Atlanta’s on the horizon

INT./EXT. CHURCH VAN – INSTITUTION GATE

The sign reads: WILMORE WELLNESS CENTER

The van comes to a stop as the GATE GUARD approaches, happy to see DRIVER.

GATE GUARD

Hey, Pete! How’s that boy of yours?

PETE (DRIVER)

Tom, I tell ya, I ain’t never

seen him throw this good.

TOM (GATE GUARD)

Amen to that, brother.

We’ll need him this year.

PETE

I hear ya. I’ll let him know

you’re rootin’ for him.

TOM

We’ll put him on the prayer list, too.

PETE

We could use all the help we can get.

TOM

Everybody could, ain’t that true?

(gesturing)

This the guy, I guess?

PETE

(undecipherable)

Ryan isn’t paying attention to the men anymore. He sees

CENTER GROUNDS

BALDY wearing a grey-blue jumpsuit. Baldy is standing at a side door, leaning and smoking, and staring across 30 yards straight into Ryan’s soul.

VAN

Ryan scratches his cast.

CENTER GROUNDS

The propped open door swings wide. ORDERLY 1, looking like an angry mountain, gestures to Baldy, who flicks his cigarette into the grass and heads inside.

VAN

The GATES open.

Scenes – Caroline 1

FADE IN:

INT. CAROLINE’S TRAILER – NIGHT

SERIES OF CLOSE UPS

Gaudily framed family photos. Great-Granny. Grampa. Mom. Daughter. No father needed.

A ripped signed Aerosmith poster tacked to the wall.

A refrigerator covered in kindergarten art and holiday cards.

A pink wall covered with crayon doodles.

Dolphin tchotchkes littering an entertainment center.

An ashtray full of butts on a fingerprint-smeared glass coffee table.

INT. CAROLINE’S TRAILER – LIVING ROOM – NIGHT

Light from the kitchen casts shadows.

On the sofa sits DAVID (20s), bare-chested. Rigid spine. Knees bouncing another hole in his jeans. He bites his thumb nail.

Eyes flick to a DOLPHIN CLOCK.

11:30.

David huffs and stands. Three steps to cross the room, fingers separating the blinds so he can see

Nothing. There’s nothing to see. He drops his hand, shaking his head. He turns toward the hall.

INT. CAROLINE’S TRAILER – HALLWAY – NIGHT

Quiet steps leading to soft pink LIGHT spilling from a doorway.

INT. CAROLINE’S TRAILER – APRIL’S ROOM – NIGHT

David peeks into the room to find APRIL (6) softly snoring, clutching a stuffed animal.

He pulls the door nearly shut.

INT. CAROLINE’S TRAILER – KITCHEN – NIGHT

11:47 reads the clock on the stove.

David leans against the counter, distracting himself with his phone.

11:48.

He trades his phone for a pack of cigarettes. He lights one while checking the scene through the window.

EXT. CAROLINE’S DRIVEWAY – NIGHT

A clean white pickup pulls in fast, headlights bright and clear, LEDs flashing purple to green along the undercarriage.

BASS thumps.

INT. CAROLINE’S TRAILER – KITCHEN – NIGHT

11:52.

David watches through the window. Takes a relieved drag from his cigarette.

EXT. CAROLINE’S DRIVEWAY – NIGHT

The truck’s passenger door opens.

Electronic MUSIC spilling into the night. GIGGLING follows.

                    CAROLINE

          Okay!

               (more giggles)

          Oh my GOD, STOP!

               (a delighted squeal)

One long, bare leg is joined by another. The giggles introduce us to CAROLINE (20s) as she finally manages to pull herself out of the truck. She’s dolled up in country chic. Blonde hair high with product. Tank top showing bra straps. Short skirt.

She’s carrying her shoes with her small purse.

CAROLINE

          Okay, Weirdo!

She SLAMS the truck door.

HONK

She slaps the hood of the truck as she stumbles past it.

Dogs BAY at the hubbub.

                    CAROLINE

          SHHH!

               (laughing)

          Asshole!

She tiptoes her way through the grass to her trailer, fumbling through her purse.

INT. CAROLINE’S TRAILER – KITCHEN – NIGHT

11:59 on the clock.

A smoldering cigarette butt in the ashtray on the counter.

INT. CAROLINE’S TRAILER – BEDROOM – NIGHT

David, in bed, pulls the sheet over his jeans.

Caroline makes a RACKET opening the front door.

David reaches for the lamp on the nightstand and turns it off.

BLACK