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The Dlisassociate

by zach helm

'say doran remix 08.1 1.01

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lindsay doran three strange angels 2450 Broadway St. 5th floor suite525 - . Santa Monica, Ca. 90404 310.449.3425

IPhe f o l l o w i n g appears on s c r e e n ; Scene t o S t a r t A Movie IA E I N : ? D 13XT. T E C I T Y H
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'Phe f i l m b e g i n s with KEVIN BRECKENRIDGE, a man i n h i s e a r l y t h i r t i e s , s t a n d i n g on a b u s t l i n g s t r e e t c o r n e r i n a b u s t l i n g city. H s t a n d s dubiously i n a h i g h - p r i c e d e x e c u t i v e s u i t , e c a r r y i n q a half-wrapped sandwich i n h i s l e f t hand and a medium s o f t drlnk i n h i s right. W can s e e t h a t Kevin i s a handsome man; l a r g e , a c t i v e e y e s e t h a t s h i n e o u t of an honest f a c e . H l o o k s c l e a n and c r i s p , e a sincere smile s t r e t c h i n g across h i s face.

H s t a r e s forward, p e r f e c t l y o b l i v i o u s t o t h e r a b b l e of O H R e T E 13XECUTIVES t h a t surround him. Whereas t h e y a l l seem t o be watching f o r t h e l i g h t t o change, Kevin seems t o be s t a r i n g , a t something e l s e completely. T h i s p e a c e f u l s t a r e and h i s ingenuous s m i l e make him s t a n d o u t from h i s contemporaries.
The p e d e s t r i a n l i g h t changes t o t h e "Walkn symbol. Everyone except Kevin dashes a c r o s s t h e s t r e e t . Kevin s t a y s where he i s , s t i l l looking o f f i n t o t h e d i s t a n c e .

,R white f l a s h .
DISSOLVE TO:
'EXT. i d
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'The camera skims t h e s u r f a c e of a p l a c i d l a k e w i t h a s t r i k i n g velocity. Large, imposing mountains l i f t o u t of t h e ground on a l l t h r e e s i d e s , s p o t t e d i n b r i g h t orange s u n b u r s t s . As t h e camera sweeps above t h e l a k e a s m a l l , almost i n s i g n i f i c a n t s i l h o u e t t e becomes v i s i b l e on t h e f a r r e a c h e s of t h e water.
I t a p p e a r s t o be a s m a l l b o a t . The camera a c c e l e r a t e s , heading d i r e c t l y f o r t h e dinghy.

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Soon w can s e e t h a t t h e r e i s someone i n t h e b o a t . e Then we s e e t h a t i t ' s a man. S i t t i n g alone. Motionless

The camera suddenly s t o p s a few y a r d s away. The s i l h o u e t t e i s Kevin, s t a r i n g b l a n k l y ahead a s he d i d on t h e s t r e e t c o r n e r , s t i l l wearing h i s s u i t , h o l d i n g t h e half-wrapped sandwich i n h i s l e f t hand and medium s o f t d r i n k i n h l s r i g h t , s i t t i n g s t a t i o n a r y i n a s m a l l rowboat w i t h no o a r s , abandoned i n t h e middle o f t h i s g i g a n t i c l a k e . I n e r t , he gazes o f f i n t o t h e d i s t a n c e a s he d i d on t h e s t r e e t c o r n e r , w i t h n e i t h e r t h e means nor d e s i r e t o proceed.
A white flash.
CUT TO:

EXT. THE CITY
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CONTINUOUS
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W e r e t u r n t o t h e s t r e e t c o r n e r from t h e opening s c e n e where Kevin s t i l l s t a n d s . H i s s m i l e h a s dropped.

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