Free (now Public Domain) story ideas for you to enjoy, enlarge and exploit as you see fit.

Ideas in various stages of development that I now bequeath unto the public domain
for you to enjoy, enlarge, and exploit as you please.
Showing posts with label Long Treatment. Show all posts
Showing posts with label Long Treatment. Show all posts

Nov 6, 2015

Remnants

            When a man falls in love with a woman in his dreams, he becomes addicted to sleep and by necessity sleeping pills, and allows his waking life to fall into ruin.
            A psychological drama with elements of the romantic and fantastical, this film follows relatively few characters on their descent into despair.  The real life sequences are contained to relatively few locations and could easily be completed on a modest budget.  The dream sequences are more elaborate and would require more costly effects, but could be executed through creative cinematography, made even more acceptable by their dream nature.
            Carl is a good-looking middle aged guy who wanders into a coffee shop where he meets an attractive younger woman named Susannah.  They chat, and without overt flirtation it becomes obvious that he’s enamored.  It also becomes apparent that he doesn’t remember things, about himself and about the world.  He was married, but doesn’t remember if he’s divorced or widowed.  He remembers that he’s from a specific place, but can only piece together where or why.  In fact his entire life is like patchwork to him.  Susannah is unperturbed by this and agrees to help him piece it all together.  And he wakes up.
            Carl is married with two children and a steady, albeit dead-end job.  His wife yells that his alarm is going off, and he rubs the sleep and the memory of Susannah from his eyes as he climbs out of bed.  He looks at his wife without the life of subtle smile that subdued his face when he spoke to Susannah.  He sluggishly forces his way through work in a daze, the idea of Susannah constantly getting in the way.
            The next night Carl struggles to go to sleep, and because he wants to sleep so badly, getting there is difficult for him.  He eventually manages to pass out, but his dreams are barren.  He wanders through a scrubland searching for the coffee shop.  A bus drives past him, on a road that wasn’t there before and Susannah gets off.  Then they are hugging.  He leans back and starts to say something, but he’s distracted by the sudden arrival of a hailstorm.  Susannah hands him and umbrella, and he realizes that it’s a dream.  He says so.  She smiles cryptically.  Carl’s arms begin to itch and he starts to rub them.  He rubs and rubs until…
            He pulls the blanket off.  He sits up.  Another day.  Another mundane day of work, and he coasts through it knowing that he is addicted to the dream girl.  He goes home again, after picking up kids from soccer practice, and being a typical family man.  He can’t sleep.  He tries and tries but he can’t.
            The next day, he sits in his cubicle and begins to drift off.  A knock on the cubicle door turns him around and Susannah enters.  He starts to say something but she holds a finger to her mouth silencing him.  She sits down on his lap and puts her face close to his.  She begins to kiss him, but he hears something… the sound of hail.  He stands up and looks over the top of his cubicle.  Through a plate glass window on one side of the room, he sees the storm brewing.  Coworkers look at it too, then back at him.  “Come on,” she says, pulling him back down.  Another knock on the door of his cubicle.  His face goes scared, afraid that someone will see the girl he’s snuck in.
            And he jerks awake.  His boss scolds him and then leaves.  The phone rings and he answers it.  Susannah.  He slaps himself across the face and wakes up again.  The phone rings again and he answers it eagerly, with a smile.  It’s his wife this time and she asks him to stop and pick up her prescription on the way home.
            Carl stops by the pharmacy to fill his wife’s prescription and finds his attention drawn to the shelf of sleeping pills.  He buys a bottle of them, with the same nervousness of a teenager buying condoms.  Carl goes home and pops the pills.  He falls asleep quickly, and is checking into a hotel with Susannah.  They go up to the room and he shaves while she makes the bed from a pile of linens in the corner.  They talk all the while, and they seem to know each other well, old friends.  She finishes making the bed as he walks out of the bathroom.  She walks towards the curtains to open them, and he yells for her not to, but she doesn’t hear him.  She opens them and he sees… a sunny sky.  He collapses into a new chair in relief, and she looks at him, perplexed.  “Don’t worry, hun,” she says.  “I read the weather forecast for today.”  Then she hears it, and she turns to look behind her.  A piece of hail, but not outside, in the room.  Outside it’s still sunny.  The room fire sprinkler is on, spraying hail all over the floor.  The alarm goes off.
            And Carl’s wife wakes him up.  He’s short and angry with her, but he gets up and then apologizes.  He goes to work, and again he can’t concentrate.  We lapse into a montage of him, sleeping at work, buying more pills, getting into fights with his wife, and falling more and more in love with Susanna.  Eventually we find ourselves in a large mansion where a party is going on.  He wanders away from the crowd into a billiard room, and finds Susannah sitting on the pool table, wrapped in a flowing, gown-like towel.  They talk.  They flirt.  He climbs onto the pool table.  The kiss passionately, and he begins to unwrap her endless towel.  The phone rings, an old rotary phone on the pool table.  The ring is his alarm.  He answers it and his wife yells at him to get up.
            He wakes up and yells at her.  Pissed and angry.  He gets out of bed, slams the bedroom door, and locks it.  She yells at him from outside while he goes to the bed-stand and pulls out the bottle of sleeping pills.  He downs the whole bottle and then carefully lies down on the floor.
            He walks hand in hand with Susannah on a beach.  Hail starts to fall, no, not fall, pound down on them.  She starts to cry out in pain.  He drags her towards the sunny stretch of beach ahead, and they begin to run, never able to escape the storm.  The hail pellets begin to fill up the ocean and it rises to engulf her.  She screams as she is pulled out into the sea, at least until a large piece of hail hits her in the forehead and she goes under.  He keeps running until he reaches a pier.  He ducks under it and shivers while hail tear away chunks of the wood.  He waits for an eternity until his arms begin to itch and he pulls of the sheets, the hospital bed sheets.

            He wakes up in a hospital facility.  A nurse, Susan, tends to him, and he immediately feels the parallel between her and his dream girl.  We montage again, as he withdraws from his sleeping pill addiction, undergoes therapy, and resumes a normal sleep schedule.  His wife never visits him, and he seems to have trouble remembering all of the aspects of his former life.  He also complains regularly of a pinching feeling in his inner elbow, which he is told was likely caused by the IV he had while sedated.  One day, he confesses these fears to Susan over a cup of coffee in the hospital cafeteria, and she says that she will help him get his life together.  He remembers the parallel and looks through the window.  Sunny.  He leans across the table and she lets him kiss her.  They sit back in their chairs and he smiles.  He winces because his arm hurts.  He pinches the IV in his elbow.  His eyes become scared and desperately he leans across the table to kiss her again.  The sound of hail.

Oct 9, 2015

Out of Character

            A successful screen-writer’s playboy life-style and cold perceptions are interrupted when a girl he sleeps with threatens sexual assault charges and forces herself into his life.
            A dark introspective romantic drama set primarily in one condo and on the beach in front of it.  With only two principal characters, and minimal action, the scope of the film is modest and could conceivably be completed on a relatively small budget.  The film analyzes both the relationships of disparate people and the often inaccurate portrayal of relationships in film.
            A successful screen-writer named David stays in his beachfront Florida condo when he isn’t busy marketing scripts in LA.  When in Florida he follows a clockwork routine.  Every day he writes 5-10 pages, then watches a movie or reads a book on the beach.  At night, he goes out to one of several clubs at which he is a regular and picks up a different girl.  In the morning, he drops them off to retrieve their cars, and that is the end of it.  He is cold, and detached, and in stark contrast to the characters he creates for his scripts, which are primarily romantic comedies.
            One night he picks up a girl, Cathy, at a bar and takes her home with him.  The next morning she wakes up and looking at the posters on the wall determines that he is the writer of several of her favorite movies.  She walks out of the bedroom and finds David writing in his study.  He tells her to get her things, that they can leave immediately, and she is confused, as a one-night stand was thoroughly not her intention.  She argues with him and asks how he can write such warm things while being so cold.  He’s heard this before and tells her to get out.  She refuses and says that if he makes her leave she will call the police.  She’s 16, she says, so technically he is guilty of statutory rape.  He begrudgingly accepts this, and pulls out his wallet, but she doesn’t want money.  She wants to convince him that he’s wrong.
            And so he lets her live with him.  He writes, but is distracted by her as she constantly questions and criticizes the characters that he is writing.  As their relationship progresses, he delves further into his theories about people, that they are driven by an emotion, that this emotion shifts eventually, and that everything is in service of a driving plot or theme.  Furthermore, he posits that in reality, these drives are mundane and tangible, sex, money, etc. whereas in film, they are lofty pursuits like love, hope, and honor.  He explains that inevitably, in both life and film, the progression of relationships, and the development of people is structured and linear.
            Cathy begins to intentionally subvert his theories, as she herself believes in chance and randomness and true inexplicable complexity.  She forces him to try things he doesn’t regularly do, and prevents him from continuing his usual structured lifestyle.  One night, she convinces him to go for a walk on the beach, and purposefully leads him far enough that they cannot get back to his condo easily.  A rain-storm starts and they sleep arm in arm under a pier.  In the morning they wake and he panics.  She suggests that he is realizing that his own emotions are no longer in check, that he is becoming to organic for his theories to hold up, but he argues that, no, his drives are still money and freedom and physical happiness, and that none of these things will remain attainable if he goes to prison for statutory rape because he did something stupid like slept with a 16 year old on a beach.
            They go back to his condo, and their spat on the beach adds further development to his screenplay, which, though set in the 1800s seems to mirror their relationship in strange ways, the mutual learning that stems from the forbidden but forced romance of a lord and a peasant.  And because it mirrors the way they really are, the screenplay becomes less formulaic and more erratic.  And because of this, David’s agent becomes less and less interested in it.  He suggests that David has lost his touch and should stick with the formula that he knows.
            David flies out to meet with the agent and Cathy insists on being present.  He introduces her as his niece and they begin to discuss the script.  Both Cathy and the agent are extremely confused, as they reside on diametric opposite ends of the character spectrum and he vacillates chaotically between the two, trying hard to argue against their two mutually exclusive perspectives.  He eventually caves and agrees that he will rework the screenplay to ‘make more sense.’
            They fly back to Florida and Cathy is pissed at David for giving in.  He says that he has to because it is one of his drives, money and success.  But he concedes that his drives have become increasingly cinematic, as he feels that he has begun to fall in love with her.  She points out that this is really just the character shift that he claims is such a formula and says that she doesn’t buy it and that she is leaving.  She admits that she is in fact twenty, and that her lie was meant to manipulate him so she could see his world.  He accuses her of being formulaic as well, and she says ‘maybe so,’ after all, she has fallen in love with him as well.  He invites her to stay, and she says no, she has to go, if only to prove her point to him that things don’t always work out the way they do in movies.  As she leaves, he promises to write a script that doesn’t work that way, one that reflects life, and how people are complicated and things don’t always work. 

            And he did, and now you’ve seen it.