Post by wetpaint on Nov 30, 2006 11:41:35 GMT -5
I think the Princess Bride is a great movie, but have always wanted to do a remake that would follow the original spirit of the book much better. Here is the beginning of my screenplay:
CUT IN FROM BLACK:
EXT. COURTYARD – DAY
The frame where the movie is playing is surrounded by a very thick border of black, so that we are using only about half the screen’s capacity. Sort of like widescreen letterbox, but on all four sides.
We see a YOUNG MAN running about in between the various PILLARS in the open COURTYARD. He appears to be trying to get a look at something, but he doesn’t want it to see him. He quickly ducks behind a PILLAR, and presses himself against it, as if HIDING from SOMETHING. He PEERS around the pillar, before quickly drawing his head back again.
As we watch the YOUNG MAN running about and hiding behind pillars, we hear:
GRANDPA
(VO)
The year Buttercup was born, the most beautiful woman in the
world was a French scullery maid named Annette.
As he says “Buttercup was born,” we see for an instant a mother holding her baby, BUTTERCUP, but then we’re back to the COURTYARD. This flash of a scene is shown on the FULL SCREEN, not the LETTERBOX SCREEN.
The camera suddenly PANS RIGHT, and we can see what the YOUNG MAN was looking at: a wall, with a small window cut in it. Through the window we watch young girl, ANNETTE. She is very pretty, despite being dressed in a SERVANT’S GARB. She quietly HUMS to herself as she washes pots and pans in a large basin filled with water and WHITE BUBBLES. There is an ENORMOUS STACK of DIRTY DISHES surrounding her.
EXTREME CLOSE UP:
The YOUNG MAN’S FACE. He grins softly, as he stares at ANNETTE.
CRANE SHOT:
INT. KITCHEN - DAY
Camera SWIRLS in between and all around the HUGE STACKS of DIRTY DISHES, and ANNETTE’S HUMMING becomes a little bit LOUDER.
EXT. COURTYARD – DAY
The YOUNG MAN moves closer to the WINDOW. More YOUNG MEN enter the courtyard, and perform the same DUCKING & WEAVING that the first was doing. As we watch them all crowd around the WINDOW, intercut with shots of ANNETTE cleaning the dishes, we hear:
GRANDPA
(VO)
Annette worked for the Duke and Duchess
De Guiche, and it did not escape the Duke’s notice
that someone extraordinary was polishing the pewter.
We PAN ACROSS THE ROOM TO REVEAL:
There is another window on the other side of the KITCHEN, which LOOKS INTO the PARLOR. From this window, the DUKE is watching ANNETTE with the same look in his eyes that the YOUNG MEN have.
GRANDPA
(VO)
But…
*laughs*
The Duke’s notice did not escape the notice
of the Duchess.
We ZOOM OUT TO REVEAL:
There is yet another WINDOW at the end of the PARLOR, and there the DUCHESS is watching the DUKE watching ANNETTE. She has a GRIM SCOWL on her face.
GRANDPA
(VO)
The Duchess set about studying Annette,
and soon found her adversary’s tragic flaw.
The DUCHESS turns away suddenly, CAPE ASWIRL, and STOMPS down a RED-CARPETED STAIRCASE.
EXTREME CLOSE UP:
A bar of chocolate.
GRANDPA
(VO)
Chocolate.
A HAND reaches into the frame and GRABS the BAR of CHOCOLATE.
GRANDPA
(VO)
Armed now, the Duchess set to work. The Palace
de Guiche turned into a candy castle.
INT. HALLWAY – DAY
In SLOW MOTION, the DUCHESS runs down the hallways of the PALACE, dropping a trail of chocolate bars everywhere she goes.
ANNETTE runs after her, always just a corner behind, picking up each CANDY BAR and shoving them into her MOUTH.
GRANDPA
(VO)
Annette never stood a chance.
INT. KITCHEN - DAY
We see Annette standing in her kitchen, now gigantically, surreally fat. Her mouth is covered in chocolate, and in her hand is the last CANDY BAR. At her feet we see a MOUNTAIN of CANDY WRAPPERS.
GRANDPA
(VO)
She seemed happy enough, though. She
eventually married the pastry chef, and the two led a
happy life together, full of chocolate.
As he says this, we see a QUICK MONTAGE of:
EXTREME CLOSE UP:
ANNETTE’S FACE. She is SMILING.
CUT TO:
INT. CHURCH – DAY
ANNETTE and a man in a CHEF’S HAT stand next to each other, being married.
CUT TO:
EXT. ROAD – DAY
A CARRIAGE moves down the road. We have a back view of it, and can read its bumper sticker, which says “JUST MARRIED!!”
CUT TO:
INT. KITCHEN – DAY
ANNETTE and the CHEF are smiling and pulling a CHOCOLATE CAKE out of the OVEN.
CUT TO:
EXT. COURTYARD – DAY
The YOUNG MEN turn FORLORNLY away from the WINDOW, shaking their heads.
END MONTAGE.
GRANDPA
(VO)
The year Buttercup turned ten, the most beautiful
woman in the world lived in Bengal.
As he says “Buttercup turned ten,” we flash to a scene of a girl, BUTTERCUP, sitting in front of a birthday cake with ten candles on it, surrounded by smiling friends and parents. Then the shot changes to:
INT. PUB – NIGHT
An INDIAN WOMAN in a GOLDEN BIKINI is dancing to fast music. Men with large BEERS in front of them LAUGH RAUCOUSLY and watch her dance.
GRANDPA
(VO)
She was nineteen the year the pox plague hit.
The girl survived, even if her skin did not.
INT. HOUSE – DAY
The INDIAN WOMAN lies in a CANOPY BED, covered in bumps and scars and rashes.
CUT TO:
INT. PUB – NIGHT
MEN sit with their BEERS. They shake their heads in a DISAPPOINTED manner.
MAN
A shame..
CUT TO:
EXT. BALCONY – DAY
A beautiful girl, ADELA, stands on the balcony. Below her is a crowd of 104 SUITORS.
GRANDPA
(VO)
When Buttercup was fifteen, Adela Terrell was easily the
most beautiful woman in the world.
As he says “Buttercup was fifteen,” we flash upon BUTTERCUP, at fifteen, walking in a large, grassy hill, while wearing a long, wispy dress. Then it’s back to the balcony.
GRANDPA
(VO)
One day, one of Adela’s 104 suitors told her that she was perfect.
INT. BATHROOM – DAY
ADELA is examining herself in the bathroom MIRROR.
GRANDPA
(VO)
It took her several hours for her to complete her
examination of herself, but by that time it was quite clear to
her that the young man had been quite correct in his
assessment; she was, through no particular
fault of her own, perfect.
As GRANDPA is talking about ADELA, she is making odd faces in the MIRROR and pulling at her cheeks. When GRANDPA says the last word, “Perfect,” she abruptly stops and SMILES SWEETLY.
EXT. GARDEN – DAY
ADELA is strolling casually through the garden. It is an amazing garden, full of EXOTIC PLANTS. It makes a nice background to this BEAUTIFUL WOMAN’S afternoon STROLL.
ADELA
Oh, how lucky I am to be perfect! I’m rich and sought after and
sensitive and young and-
EXTREME CLOSE UP:
The upper part of ADELA’S FACE. She FURROWS her BROW for a moment, and the image FREEZES, and becomes GRAYSCALE with a BROWNISH TINT.
GRANDPA
(VO)
Hang on. Young? She would always be rich, and always
be sensitive. But how was she going to manage
to always be young? And if she wasn’t young, then
how could she be perfect? And if she wasn’t perfect,
then, well, what else was there? What
else, indeed?
Back to color, and we
CUT TO:
INT. BATHROOM – DAY
ADELA is examining herself again, running her fingers through her hair, and looking distressed.
GRANDPA
(VO)
She had begun to fret. The first worry lines
appeared within a fortnight, the first wrinkles
within a month, and before the year was out,
creases abounded.
As he says this, ADELA’S face becomes WRINKLY before our eyes. She is like a GRAPE becoming a RAISIN.
CUT TO:
EXT. BALCONY – DAY
ADELA stands on the balcony, as before, but she is now incredibly WRINKLED. Her CROWD of SUITORS all SHAKE THEIR HEADS and FORLORNLY WALK AWAY. We HOLD, watching them all leave, until there are none left. The LAST SUITOR hangs on the edge of the frame for a while before teetering, flailing his arms, and then falling off the frame. His LEGS still hang slightly in though. ADELA lingers for a MOMENT, then walks back INSIDE.
HOLD on the empty BALCONY.
GRANDPA
(VO)
Buttercup, at fifteen, knew none of this.
If she had, she probably wouldn’t have cared.
FRAME abruptly cuts into the black border around it. The ROLLING STONES’ song, START ME UP begins playing loudly. In fancy lettering, movie title appears, set in red against the black: “S. MORGENSTERN’S THE PRINCESS BRIDE”
CUT TO:
INT. BEDROOM – EARLY MORNING
We are now using the full screen, no more black border. START ME UP is still playing.
BUTTERCUP is brushing her hair in a FULL-LENGTH MIRROR. She doesn’t spend too much time on this, then begins holding up various DRESSES against herself. She moves around the small bedroom, getting dressed, brushing her teeth, etc.
LOW ANGLE ON:
BUTTERCUP walking down a narrow STAIRCASE.
FRONTAL SHOT:
BUTTERCUP eating BREAKFAST of hot PORRIDGE. It is steaming unrealistically, and with every bite quickly shoveled into her mouth, she exclaims: “OW!” It sounds like: “owowowowowowowowowow!”
CUT TO:
EXT. STABLES – MORNING
The large door opens. A beam of LIGHT is shed upon the barn. START ME UP pauses.
CLOSE UP:
A pile of straw. The BEAM of LIGHT falls upon it. Suddenly, the pile shakes, and a BOY stands up from underneath it. He is HANDSOME, with long hair, and looks to be about SIXTEEN.
HOLD ON:
BUTTERCUP’S silhouette in the doorway.
CLOSE UP:
BUTTERCUP’S face. She sees the BOY.
BUTTERCUP
(dreamily)
Farm Boy!
The BOY looks up.
BUTTERCUP
(curtly)
Clean the stall.
She leads the HORSE out of the stall. FARM BOY’S eyes linger on BUTTERCUP.
FARM BOY
As you wish.
CUT TO:
It's just a beginning, but thoughts, anyone?
CUT IN FROM BLACK:
EXT. COURTYARD – DAY
The frame where the movie is playing is surrounded by a very thick border of black, so that we are using only about half the screen’s capacity. Sort of like widescreen letterbox, but on all four sides.
We see a YOUNG MAN running about in between the various PILLARS in the open COURTYARD. He appears to be trying to get a look at something, but he doesn’t want it to see him. He quickly ducks behind a PILLAR, and presses himself against it, as if HIDING from SOMETHING. He PEERS around the pillar, before quickly drawing his head back again.
As we watch the YOUNG MAN running about and hiding behind pillars, we hear:
GRANDPA
(VO)
The year Buttercup was born, the most beautiful woman in the
world was a French scullery maid named Annette.
As he says “Buttercup was born,” we see for an instant a mother holding her baby, BUTTERCUP, but then we’re back to the COURTYARD. This flash of a scene is shown on the FULL SCREEN, not the LETTERBOX SCREEN.
The camera suddenly PANS RIGHT, and we can see what the YOUNG MAN was looking at: a wall, with a small window cut in it. Through the window we watch young girl, ANNETTE. She is very pretty, despite being dressed in a SERVANT’S GARB. She quietly HUMS to herself as she washes pots and pans in a large basin filled with water and WHITE BUBBLES. There is an ENORMOUS STACK of DIRTY DISHES surrounding her.
EXTREME CLOSE UP:
The YOUNG MAN’S FACE. He grins softly, as he stares at ANNETTE.
CRANE SHOT:
INT. KITCHEN - DAY
Camera SWIRLS in between and all around the HUGE STACKS of DIRTY DISHES, and ANNETTE’S HUMMING becomes a little bit LOUDER.
EXT. COURTYARD – DAY
The YOUNG MAN moves closer to the WINDOW. More YOUNG MEN enter the courtyard, and perform the same DUCKING & WEAVING that the first was doing. As we watch them all crowd around the WINDOW, intercut with shots of ANNETTE cleaning the dishes, we hear:
GRANDPA
(VO)
Annette worked for the Duke and Duchess
De Guiche, and it did not escape the Duke’s notice
that someone extraordinary was polishing the pewter.
We PAN ACROSS THE ROOM TO REVEAL:
There is another window on the other side of the KITCHEN, which LOOKS INTO the PARLOR. From this window, the DUKE is watching ANNETTE with the same look in his eyes that the YOUNG MEN have.
GRANDPA
(VO)
But…
*laughs*
The Duke’s notice did not escape the notice
of the Duchess.
We ZOOM OUT TO REVEAL:
There is yet another WINDOW at the end of the PARLOR, and there the DUCHESS is watching the DUKE watching ANNETTE. She has a GRIM SCOWL on her face.
GRANDPA
(VO)
The Duchess set about studying Annette,
and soon found her adversary’s tragic flaw.
The DUCHESS turns away suddenly, CAPE ASWIRL, and STOMPS down a RED-CARPETED STAIRCASE.
EXTREME CLOSE UP:
A bar of chocolate.
GRANDPA
(VO)
Chocolate.
A HAND reaches into the frame and GRABS the BAR of CHOCOLATE.
GRANDPA
(VO)
Armed now, the Duchess set to work. The Palace
de Guiche turned into a candy castle.
INT. HALLWAY – DAY
In SLOW MOTION, the DUCHESS runs down the hallways of the PALACE, dropping a trail of chocolate bars everywhere she goes.
ANNETTE runs after her, always just a corner behind, picking up each CANDY BAR and shoving them into her MOUTH.
GRANDPA
(VO)
Annette never stood a chance.
INT. KITCHEN - DAY
We see Annette standing in her kitchen, now gigantically, surreally fat. Her mouth is covered in chocolate, and in her hand is the last CANDY BAR. At her feet we see a MOUNTAIN of CANDY WRAPPERS.
GRANDPA
(VO)
She seemed happy enough, though. She
eventually married the pastry chef, and the two led a
happy life together, full of chocolate.
As he says this, we see a QUICK MONTAGE of:
EXTREME CLOSE UP:
ANNETTE’S FACE. She is SMILING.
CUT TO:
INT. CHURCH – DAY
ANNETTE and a man in a CHEF’S HAT stand next to each other, being married.
CUT TO:
EXT. ROAD – DAY
A CARRIAGE moves down the road. We have a back view of it, and can read its bumper sticker, which says “JUST MARRIED!!”
CUT TO:
INT. KITCHEN – DAY
ANNETTE and the CHEF are smiling and pulling a CHOCOLATE CAKE out of the OVEN.
CUT TO:
EXT. COURTYARD – DAY
The YOUNG MEN turn FORLORNLY away from the WINDOW, shaking their heads.
END MONTAGE.
GRANDPA
(VO)
The year Buttercup turned ten, the most beautiful
woman in the world lived in Bengal.
As he says “Buttercup turned ten,” we flash to a scene of a girl, BUTTERCUP, sitting in front of a birthday cake with ten candles on it, surrounded by smiling friends and parents. Then the shot changes to:
INT. PUB – NIGHT
An INDIAN WOMAN in a GOLDEN BIKINI is dancing to fast music. Men with large BEERS in front of them LAUGH RAUCOUSLY and watch her dance.
GRANDPA
(VO)
She was nineteen the year the pox plague hit.
The girl survived, even if her skin did not.
INT. HOUSE – DAY
The INDIAN WOMAN lies in a CANOPY BED, covered in bumps and scars and rashes.
CUT TO:
INT. PUB – NIGHT
MEN sit with their BEERS. They shake their heads in a DISAPPOINTED manner.
MAN
A shame..
CUT TO:
EXT. BALCONY – DAY
A beautiful girl, ADELA, stands on the balcony. Below her is a crowd of 104 SUITORS.
GRANDPA
(VO)
When Buttercup was fifteen, Adela Terrell was easily the
most beautiful woman in the world.
As he says “Buttercup was fifteen,” we flash upon BUTTERCUP, at fifteen, walking in a large, grassy hill, while wearing a long, wispy dress. Then it’s back to the balcony.
GRANDPA
(VO)
One day, one of Adela’s 104 suitors told her that she was perfect.
INT. BATHROOM – DAY
ADELA is examining herself in the bathroom MIRROR.
GRANDPA
(VO)
It took her several hours for her to complete her
examination of herself, but by that time it was quite clear to
her that the young man had been quite correct in his
assessment; she was, through no particular
fault of her own, perfect.
As GRANDPA is talking about ADELA, she is making odd faces in the MIRROR and pulling at her cheeks. When GRANDPA says the last word, “Perfect,” she abruptly stops and SMILES SWEETLY.
EXT. GARDEN – DAY
ADELA is strolling casually through the garden. It is an amazing garden, full of EXOTIC PLANTS. It makes a nice background to this BEAUTIFUL WOMAN’S afternoon STROLL.
ADELA
Oh, how lucky I am to be perfect! I’m rich and sought after and
sensitive and young and-
EXTREME CLOSE UP:
The upper part of ADELA’S FACE. She FURROWS her BROW for a moment, and the image FREEZES, and becomes GRAYSCALE with a BROWNISH TINT.
GRANDPA
(VO)
Hang on. Young? She would always be rich, and always
be sensitive. But how was she going to manage
to always be young? And if she wasn’t young, then
how could she be perfect? And if she wasn’t perfect,
then, well, what else was there? What
else, indeed?
Back to color, and we
CUT TO:
INT. BATHROOM – DAY
ADELA is examining herself again, running her fingers through her hair, and looking distressed.
GRANDPA
(VO)
She had begun to fret. The first worry lines
appeared within a fortnight, the first wrinkles
within a month, and before the year was out,
creases abounded.
As he says this, ADELA’S face becomes WRINKLY before our eyes. She is like a GRAPE becoming a RAISIN.
CUT TO:
EXT. BALCONY – DAY
ADELA stands on the balcony, as before, but she is now incredibly WRINKLED. Her CROWD of SUITORS all SHAKE THEIR HEADS and FORLORNLY WALK AWAY. We HOLD, watching them all leave, until there are none left. The LAST SUITOR hangs on the edge of the frame for a while before teetering, flailing his arms, and then falling off the frame. His LEGS still hang slightly in though. ADELA lingers for a MOMENT, then walks back INSIDE.
HOLD on the empty BALCONY.
GRANDPA
(VO)
Buttercup, at fifteen, knew none of this.
If she had, she probably wouldn’t have cared.
FRAME abruptly cuts into the black border around it. The ROLLING STONES’ song, START ME UP begins playing loudly. In fancy lettering, movie title appears, set in red against the black: “S. MORGENSTERN’S THE PRINCESS BRIDE”
CUT TO:
INT. BEDROOM – EARLY MORNING
We are now using the full screen, no more black border. START ME UP is still playing.
BUTTERCUP is brushing her hair in a FULL-LENGTH MIRROR. She doesn’t spend too much time on this, then begins holding up various DRESSES against herself. She moves around the small bedroom, getting dressed, brushing her teeth, etc.
LOW ANGLE ON:
BUTTERCUP walking down a narrow STAIRCASE.
FRONTAL SHOT:
BUTTERCUP eating BREAKFAST of hot PORRIDGE. It is steaming unrealistically, and with every bite quickly shoveled into her mouth, she exclaims: “OW!” It sounds like: “owowowowowowowowowow!”
CUT TO:
EXT. STABLES – MORNING
The large door opens. A beam of LIGHT is shed upon the barn. START ME UP pauses.
CLOSE UP:
A pile of straw. The BEAM of LIGHT falls upon it. Suddenly, the pile shakes, and a BOY stands up from underneath it. He is HANDSOME, with long hair, and looks to be about SIXTEEN.
HOLD ON:
BUTTERCUP’S silhouette in the doorway.
CLOSE UP:
BUTTERCUP’S face. She sees the BOY.
BUTTERCUP
(dreamily)
Farm Boy!
The BOY looks up.
BUTTERCUP
(curtly)
Clean the stall.
She leads the HORSE out of the stall. FARM BOY’S eyes linger on BUTTERCUP.
FARM BOY
As you wish.
CUT TO:
It's just a beginning, but thoughts, anyone?
