#first screenplay

[ampresandian]

My (unofficial) PJO season 2 episode 5 script part 4/4 (part 1 | part 2 | part 3)

The last part! Thank you for reading I just couldn't get the vision for this episode out of my mind and had to write it down.

Images of script and copied text (bc I'm lazy and don't want to write out alt text) under the cut, just in case I didn't tag enough spoiler warning or people aren't interested <3

Annabeth Tries to Swim Home

CUT TO: INT. DARK VICTORIAN HOUSE – NIGHT. 

Continuation of first scene/flashback. CYCLOPS is grinning at YOUNG ANNABETH menacingly. Behind him, the fire rages, and LUKE, THALIA, and GROVER are tied up in the corner. Annabeth’s attention is taken up by the large monster speaking to her. 

CYCLOPS: (in her father’s voice) Annabeth. How nice of you to join us. Now, Annie, don’t you worry. 

Annabeth draws her knife. As he speaks, the Cyclops approaches her. 

CYCLOPS (CONT): I love you, Annabeth. You can stay here with me. Don’t worry. You can stay forever. 

He reaches out for her. Annabeth stabs him in the foot, keeping hold of her knife as he reaches forward and grabs the door in shock. She runs around him towards her friends. 

The Cyclops rips the door of its hinges and throws it across the room with a roar. 

Annabeth reaches the older kids. 

THALIA: Annabeth! Thank the gods you’re okay.

YOUNG ANNABETH: (determined) Hold still.

Annabeth cuts the ropes around Thalia’s arms and legs. Thalia takes up her sword and stands defensively in front of the others. 

THALIA: Cut them free, Annabeth. I’ll hold him off. 

Annabeth turns to Luke and Grover as the Cyclops roars behind her. She saws at their ropes as Thalia goads and fights the monster. 

THALIA (CONT): Come on, ugly! Can’t you take me?

She slices at him with her sword. Now free, Luke can barely stand, Grover supporting him. They all turn to watch Thalia defending them against the monster. 

Suddenly, the Cyclops roars, and Thalia’s sword can be seen buried in his eye. As he rears back, she pulls it out, turning to her friends. 

THALIA (CONT): Come on. We have to go.

Annabeth leads the way through the house, back the way she came through the servants kitchen into the orangery. They escape through a side door, standing in the storm. 

Sirens and howls can be heard, the sounds of the monsters they have been running from closer than before. 

THUNDER rumbles as they look around desperately in the dark. Grover sniffs. 

GROVER: Come on. This way.

They walk away from the house. The Cyclops roars again from within. 

CUT TO:  EXT. POLYPHEMUS’ ISLAND – DAY.

SHEEP hooves/underbellies walk across the screen as POLYPHEMUS calls them. Under one of them hangs PERCY. 

ANNABETH: (invisible) Just don’t let go! 

Polyphemus drags aside the boulder sealing the cave. He addresses each sheep as they pass. 

POLYPHEMUS: (patting each sheep) Hasenpfeffer! Einstein! Widget! Widget? Heavier, huh? 

WIDGET stops in front of him, Percy clinging to her wool. 

POLYPHEMUS (CONT): Soon you will be big enough to eat! Go on, Widget!

WIDGET enters the cave, followed by the rest of the flock. 

ANNABETH: (invisible, from outside) Hey, ugly!

POLYPHEMUS: (looking around wildly) Who said that?

ANNABETH: Nobody! 

POLYPHEMUS: Nobody! I remember you!

ANNABETH: You’re too stupid to remember. But Nobody remembers you!

Polyphemus throws a boulder, aiming for the invisible Annabeth. 

ANNABETH (CONT): Your aim hasn’t improved!

POLYPHEMUS: Come here! Let me kill you!

ANNABETH: You can’t kill Nobody! And you’ll have to come find me!

Polyphemus yells, running down the hill to find Annabeth. Percy drops off Widget, glancing back outside at the island and the Cyclops before moving further into the cave. 

CONT: INT. POLYPHEMUS’ CAVE – DAY.

Percy moves through cavernous hallways, turning a corner into a dead-end room of sheep memorabilia. He backs out, going back the other way and turning right instead of left. 

He turns corners through a set of “rooms,” something that might be a bedroom, a room full of bones, and another room full of sheep memorabilia. He turns a corner and trips, catching himself against the cave walls with his hands. 

Righting himself, Percy looks around, breathing heavily. He looks back and forth, choosing a hallway and running into another room, full of wool and smelling of sheep. He covers his nose as he looks around the room, faced with three separate doorways. 

Percy makes a choice, going through the left opening. Down the hallway, he finds a room with a spinning wheel and loom. GROVER and CLARISSE are inside, trying to undo Clarisse’s ropes. 

CLARISSE: It’s no good. You’ve been working at it for hours!

They spot Percy. 

CLARISSE (CONT): You’re supposed to be blown up!

PERCY: Yeah, good to see you too--

GROVER: (hugging Percy) You came!

PERCY: Yeah, of course, dude. Now, Clarisse, hold still. 

Percy takes Riptide out of his pocket and cuts Clarisse’s ropes. 

CLARISSE: (rubbing her wrist) Where’s Annabeth?

PERCY: You’re welcome. She’s outside. 

CLARISSE: Great, come on.

PERCY: Wait. Was... It was just you in your lifeboat?

CLARISSE: Yeah. Everybody else... I didn’t even know you guys made it.

Percy looks down at his sword. 

PERCY: Okay. 

GROVER: Come on, guys. We need to go help Annabeth. 

They move back through the cave, Grover guiding them. As they come back into the first room Percy ran through, they hear a loud crash.

Annabeth screams. 

POLYPHEMUS: I got Nobody!

Percy, Grover, and Clarisse move to the doorway, peeking through to the main room. Polyphemus is standing at the doorway, holding his arm up. He shakes his fist, and ANNABETH’S CAP flutters to the ground, revealing Annabeth, hanging upside down from his hand. 

FADE OUT. THE END

[filmbroandy]

big thing about the terror is how it treats every single death as a massive tragedy. from the death of david young in the first episode through every horror that follows every death scene is given enormous weight in the narrative, it never once feels like anyone is expendable despite most of the cast really not mattering that much. it's such a good choice to make tonally in a show about how these people are simultaneously tools of british colonialism and victims of the indifferent imperial machine.

[devoutlywished]

IT’S HIM. IT’S YOUR FATHER.

twin peaks 2x16, arbitrary law / original spider-man screenplay by david koepp / spider-man (2002) dir. sam raimi / twin peaks: fire walk with me (1992) dir. david lynch / spider-man novelization by peter david

[cctinsleybaxter]

Artists who admit to not knowing small details about their characters and worldbuilding have inadvertently given better advice than any character design post on social media tbh. as fun as it is to come up with what your guys would order from a restaurant or the contents of their backpack or their favorite color I've run into very few people who can leave that stuff in a story (or even leave it offscreen as paratext) without it being distracting and poorly written because it's rarely in service of the narrative. a lot of that is def just down to personal taste, but it feels more like designing characters for a TTRPG

[astralsi]

hi everyone! i havent been simming much due to work + a bloated mods folder that im too lazy to clean out JHDSHJDF but when i do it's mostly making unfinished builds, a semi? realistic simself and spinning eve around in various outfits

(ps if u for some reason wanna hear more from me i also post a lil on @heartrrot sometimes)

[lets-steal-an-archive]

TJ MIKELOGAN's HALLOWEEN 2024 EVENT

DAY 17: POC in Horror

"Black Horror" as defined by Means Coleman, Robin R. (2023). Horror Noire: A History of Black American Horror from the 1890s to Present, 2nd ed.

The PDF version of Horror Noire is free via OAPEN Online Library of Open Access Books <https://library.oapen.org/handle/20.500.12657/93113>

Read the screenplays:

Blacula (1972)

Tales From the Crypt: Demon Knight (1995)

Eve's Bayou (1997)

Beloved (1998)

Vampire in Brooklyn (1995)

Scary Movie (2000)

Get Out (2017)

The First Purge (2018)

Us (2019)

Candyman (2021)

Master (2022)

Nope (2022)

[dappercritter]

This is going to disappoint a lot of Transformers fans but I still think TF One looks pretty good actually

[buffythevampirelover]

This should come as no surprise as I haven’t been posting much recently, but I’ve decided to go on hiatus until late October/start of November! I’ll be back to post about NaNoWriMo as I plan to participate! I don’t have another Tumblr so I’m kinda just disappearing off the app but I hope you’re all doing well and that autumn treats you well! <3

[haley-harrison]

My man Eric was really gonna have him do an "I've been expecting you, Mr Bond" 😂😂😂

[kyonite]

not reblogging this post because it's absolute dog shit but I don't want to be mean to someone in the tags of their own post. but I am begging some of y'all to understand that filmic language such as "camera movements" and "cuts" is just another more visual way to describe what our brains do when we picture scenes.

when I'm reading I do picture hard cutaways to someone's eyes when the paragraphs surrounding them are split up.

That's why they're fuckin split up like that.

To draw attention to it.

Like bro you can be annoyed with ppl who don't read long paragraphs all you want, that's fine, but ignoring the very basics of "some people imagine pictures when they read or write and the use of paragraph breaks is often important in the timing of the scenes in their head" is fucking stupid.

been seeing a lot of weird anti-movie sentiment on this site recently and it's like babe what happened. You used to love movie. Did you goncharov too hard? did you accidentally build it up in your head as a bourgeoisie art form and now you feel that hating movies is praxis??

would love to know my mutuals thoughts on this!

[saturdaynightghostclub]

People who use generative AI are fucking ghouls and you may quote me on that

[foxtheroxinsanity]

That time Solid Snake and Wolverine met!

Based on this pic of David Hayter and Hugh Jackman

[cto10121]

I was re-watching Movie Eclipse and Bella’s ending monologue struck me, especially when she affirms that her decision to become a vampire was “not all about” Edward.

Bella: I’ve always felt out of step. Like literally, stumbling through my life. I’ve never felt normal. Because I’m not normal. I don’t wanna be. I’ve had to face death and loss and pain, in your world. But, I’ve also never felt stronger...more real, more...myself. Because it’s my world, too. It’s where I belong.

Edward: So, it’s not just about me.

Bella: No, sorry.

So nice of the screenwriter to take Meyer’s careful notes on the love triangle and plunk them nigh artlessly in her script. But this mess of an adaptation still does a bad job of portraying this for these reasons:

The movies all but removed Bella’s “abnormality.” Bella being emotionally (and perhaps physically) neglected by her mother and even by Charlie, her parentification, doesn’t exist in the movie. Movie Bella doesn’t cook or clean for Charlie and her relationship with Renée is so wholesome and squeaky clean it’s sickening. Without this backstory, Movie Bella’s attraction to Edward and vampirism in general makes no sense. She is just a normal girl and her home life is fine. Edward even wants her to keep her human life and friends. Why go full vamp?

The movie never portrays Bella as “out of step” in the human world or at the La Push. At times she seems to mourn its (future) loss more keenly than in the books (especially that scene with her mother), whereas Book Bella decides on a proper farewell out of responsibility and obligation. The first movie does this a little better, but it still deletes many small incidents of her friends not getting Bella back (her sense of humor, her values, etc) and how boring Forks is as a small town. Nor does the screenplay have Movie Bella out of step at La Push or with Jacob. Movie Bella seems much more comfortable with Jacob even though Book Bella was genuinely irritated and downright raging at him. Only the punching is kept, and that just reads as out of character for her film self.

Bella’s longing for vampirism is canonically tied Edward, and the movie’s weak attempt at undermining this in the name of feminism is downright laughable. Sure, she would still be fascinated with the world sans Edward, but immortality would not be as strong as an allure. What the movie doesn’t realize is Edward is Bella: He is her other half. Star-crossed lovers and all. It is about the transformative nature of love that leads people into being “better” versions of themselves. Bella gains power and confidence while Edward becomes humanized and more understanding of Bella. Just because it is about Edward, it doesn’t mean it isn’t also about Bella herself.

[regulus-lantsov]

Oh my god I just love how everyone accepted that Denis Villeneuve is the standart for adaptation T°T

[filmcourage]

Screenwriting 101: How To Start A Screenplay - Andy Guerdat [FULL INTERVIEW]

Watch the video interview on Youtube here.

[suispiria]

when I blended hannibal and alison dilaurentis into a teenage girl who drives her two best friends who are obviously in love with each other to murder ppl mostly because she likes to watch ppl die but also because why would they fall in love w each other and leave her out wtf . Miss her