Pitch #4

Oh, this is what happens when you have an active mind. You're always thinking of a good story to tell. (Well, this is also the result of watching too many movies as well, but whatever.) Recently, I started a new screenplay which I pray to God I hope I'll finish, and, being the slight braggart that I am, I'm going to share with you what it's about. The title: Greatness Thrust Upon Them.

Set in 1946 London, Greatness Thrust Upon Them chronicles the rehearsal of a play. (A fictional one, mind you.) The looming complications lie not within the script; they're within the people working on the play. (I'm also including whom I've mentally cast in these roles.)

THE CHARACTERS

Alfred "Alfie" Fletcher The director. He has a charismatic air to him that makes actors eager to work with him. He always keeps his cool even when working with the most stubborn of actors. (Played by: Ian McKellen)

Richard Avery An actor. Everyone he has previously worked with despised the experience because of his indifferent behavior (and his drinking), but they all agree that he's a very good actor even though he keeps appearing in bad plays. (Played by: Benedict Cumberbatch)

Maurice Kingston An up-and-coming actor who is looking for his big break. He has recently discovered that the world of theater isn't as cracked up to be, but he still remains optimistic about his career. (Played by: Tom Hiddleston)

Stephen McDonald A Scottish playwright who is a twitchy shadow of his former self because his last few plays were flops. He's constantly smoking to calm down, but the nicotine has no effect on him anymore. (Played by: David Tennant)

Olivia Whitfield The young leading lady. She is the living definition of perfectionist and has garnered a notoriety for her persnickety behavior on every play she's worked on. It comes as no surprise that she's verbally sparring with Richard constantly (with Alfie breaking up their fights). She also has taken a shine to Maurice. (Played by: Carey Mulligan)

Elizabeth Humphreys A veteran actress and Alfie's muse. She has seen everything that is likely (and sometimes unlikely) to happen during a production so nothing surprises her anymore. She is also the only one during rehearsals that stays under control and doesn't fight with anyone else. (Played by: Emma Thompson)

Jane McDonald Stephen's wife. Because of her husband's behavior, the life within her has drained. It's when she attends one of the rehearsals that she notices Richard, the complete opposite of Stephen, and a glimmer of hope reappears for her. (Played by: Samantha Morton)

So what do you think?

Pitch #3

I have been writing a lot of short stories recently. A few of them are related to Hollywood and the movie industry (no surprise). The one I'm currently working on I'll share the plot and characters with you. It's entitled Dying Embers.

Set in the mid-1930's, the story revolves around a burned-out silent film star whose career ended from the advent of talkies and a scandal involving an aspiring actress. Three of his friends, also actors, try to keep his spirits up, but his life starts crashing down on him.

THE CHARACTERS

• Charles "Chuck" DeVola, the lead character. Although he was acquitted in his trial, his career was sentenced to death. In his heyday he was known as the romantic lead, but in reality he has a fear of commitment.
• Ruth Malone, a fellow actress. She is known for playing the manipulative woman on the silver screen but in real life, she is very pleasant. She is close friends with Chuck.
• Clive Yorke, one of Hollywood's biggest stars. A Fairbanks-esque leading man, he has an ego almost as big as his popularity. But he also has a gentle side to him, especially towards women.
• Fiona Norwood, a striking leading lady. A temptress on screen, she is actually an one-man woman. The one man is Clive, whom she marries after a brief courtship.

If this was turned into a movie, who would you cast?

Sample Dialogue #2

ou might be seeing a bit of my sample writing from time to time. I just want to show it off, but it won't be confined to just bits from the pitch like last time.

INT. THE GILDED LILLY - EVENING (1958)


Janet sits in a booth, looking around for Max. She fears that he has dumped her. Then Max shows up, clad in a tuxedo. Janet gets up to greet him.

JANET

Hello, Max.

MAX

Oh, hi, Janet. Wow, you look great.

JANET

(smiling)

Thank you. So do you. Our booth's over here.

They walk over to the booth.

MAX

I would've been here earlier, but my car gave out on me when I got home from work.

JANET

Oh, it's all right.

MAX

(sitting down)

Boy, this is a nice place. How did you find out about it?

JANET

Oh, Roy brought me here on our anniversary.

MAX

Did you order drinks?

JANET

Yes, they'll be coming soon.

MAX

Does Roy know about this?

JANET

(dry)

Know about what?

MAX

You going out with me tonight.

She remains quiet as their drinks arrive. Janet nearly gulps down her entire drink.

MAX (CONT'D)

(hard tone)

Does he, Janet?

JANET

Why are you asking?

MAX

I'm just wondering.

JANET

No. I left before he came home from work.

MAX

(softer)

That wasn't so hard to answer, was it?

The music gets down to a slower pace.

MAX (CONT'D)

(offering hand)

May I have this dance?

JANET

(accepting hand)

You may.

They walk onto the dance floor. Janet rests her head on his chest, enjoying the moment.

MAX

(whispering)

You have no idea how much I'm in love with you.

He kisses Janet on the lips. They stop dancing and Janet almost storms back to the booth.

MAX (CONT'D)

What, Janet? What did I say?

JANET

(sitting down)

Max, you know I'm married.

MAX

I know that, Janet. And can I tell you something? I don't care.

JANET

I'm going home.

She takes out a ten dollar bill from her purse, tosses it on the table and gets up to leave.

MAX

(going after her)

Janet, wait.

JANET

(slightly irked)

What?

MAX

Look, I'm sorry for what I said. I just...wasn't thinking.

JANET

(calmer)

Apology accepted. Would you like a lift home?

MAX

Sure, thanks.

They walk out.

DISSOLVE TO:

INT. JANET'S CAR - MID-EVENING (1958)

Janet is driving while Max sits on the passenger side.

MAX

Thanks again for driving me back.

JANET

No problem.

MAX

I wish Mary was like you. I mean, she was nice for the first few months of our marriage, but then I saw her true nature. She drank a lot. So much so, she could barely keep the house clean. She also let herself go. It took me a lot of nerve to finally admit to her that I wanted to leave her. But the day she killed herself was the day I wanted to tell her.

(beat)

You know...you're the only person I've told that to.

JANET

We're here.

MAX

We are?

(looks out window)

I'll be damned. We are.

(looks at Janet)

Would you like to come inside for a minute?

JANET

(turning off car)

Sure.

DISSOLVE TO:

INT. MAX'S LIVING ROOM - MID-EVENING (1958)

The lighting is dim in the room. Soft music is playing. Max and Janet are sitting on the couch facing each other. Janet runs her finger over the rim of her martini glass.

MAX

When did you realize that Roy was cheating on you?

JANET

I noticed that he started acting differently when this Dave fellow joined the agency. I didn't think much of it when he was gone for an entire night. But my suspicions came true when Nancy --Roy's secretary and a friend of mine--called me earlier this week to tell me the extent of this so-called friendship between the two. I was absolutely devastated from what I heard.

MAX

Do you think you'll leave him?

JANET

I don't know, maybe.

He takes the glass from her hand and sets it on the table. He kisses her lightly on the nose.

MAX

I'm here for you.

JANET

Don't stop.

He continues kissing her. His mouth goes to her neck. She lets out a content sigh and closes her eyes. Her eyes shoot open when she hears a zipper being pulled down. She lightly pushes Max away and reaches for the zipper on the back of her dress.

JANET (CONT'D)

I'm sorry, Max. I'm not looking for that kind of relationship.

MAX

No, I'm sorry. I got a little carried away.

JANET

(getting up)

I should get going.

MAX

(keeping her down)

Just stay for a little while longer.

He gets up to change the record. Janet gets her glass and finishes off her drink. A slow jazz piece swells up. Max goes to Janet's side of the couch.

MAX

(offering hand)

May I have this dance?

JANET

(accepting hand)

You may.

They dance slowly to the music. Like earlier, Janet rests her head on Max's chest, enjoying the moment.

DISSOLVE TO:

INT. FOYER - LATE EVENING (1958)

Janet quietly steps inside, trying not to wake Roy. She slips off her shoes.

ROY

So where have you been?

She jumps up and drops her shoes. She sees Roy in his bathrobe standing before her, a displeased look on his face.

ROY (CONT'D)

Well?

JANET

(lightly laughing, picking up shoes)

Oh, Roy, you scared me half to death!

ROY

(harder tone)

Where were you?

JANET

I just decided to live it up a little, that's all.

ROY

I see. And how did you get...

(pointing at Janet's neck)

...that?

He is pointing at a very noticeable mark on her neck. She covers it with her hand.

ROY (CONT'D)

Are you seeing someone else?

JANET

No!

(beat)

But I know that you are.

Roy's look softens. The jig is up.

ROY

How did you find out about that?

JANET

Nancy called earlier this week and told me.

(upset)

Why would you cheat on me, Roy? And with a man no less.

ROY

It feels right, Janet.

JANET

(forced bravado)

Look, either this Dave guy is out of your life or I am.

She storms up the stairs.

INT. BEDROOM - LATE EVENING (1958)

Janet places her shoes by the door and slips off her dress. She sits down at her vanity and wipes off her makeup. She takes off her earrings and notices the hickey. She suddenly starts to cry, her body convulsing. She quiets herself and gets into bed, only to bury her face into her pillow.

Roy walks into the room to find Janet in bed crying. He gets in bed beside her and tries to comfort her.

JANET

(crying)

Go away...

ROY

Janet, I'm really sorry.

JANET

Leave me alone...

ROY

How can I make it up to you?

JANET

Leave me alone...

ROY

Is that what you want, Janet?

She doesn't respond, only sobs.

ROY (CONT'D)

(quiet)

Okay, I'll do that.

He kisses her cheek, gets out of bed and leaves. Janet calms down, her eyes red and raw. She gets out of bed and goes to the phone on the dresser. She dials and waits for call to go through.

MAX (O.S.)

Hello?

JANET

Max, it's me.

MAX (O.S.)

Janet?

JANET

Yes, I need to tell you something.

MAX (O.S.)

What?

JANET

(crying)

I love you...

MAX (O.S.)

(calm)

Oh, Janet, don't cry. It's going to be okay.

JANET

Max, I'm in love with a man I've only known for a few weeks! And I'm married! How is it going to be okay?

MAX (O.S.)

It will, Janet. Believe me.

JANET

Okay, okay...

MAX (O.S.)

I love you, Janet.

JANET

(tearing up)

I...love you too, Max.

She hangs up and cries. She walks into the bathroom. She turns the faucet and splashes water on her face. She notices Roy's razor and picks it up. She holds it above her wrist, but throws it down. She crumples to the floor and hugs herself, now a complete wreck.

JANET (CONT'D)

(weak)

Oh God, help me...

Sample Dialogue

You know that pitch I wrote a few weeks back? As I thinking of what to have it be about, I thought if I wrote dialogue for it, it would be easier. Well, sure enough, it was. So here's a scene from it.

Just as she finishes clearing the table, the doorbell rings.

HELEN (O.S.)

(singsong)

Yoo-hoo, Janet. Are you in there?

JANET

Just a second, Helen.

She walks into:

INT. FOYER - MID-MORNING (1958)

Janet stops in front of the mirror, touches up her hair and continues to the door.

EXT. GRAYSTON HOUSE DOORWAY - MID-MORNING (1958)

JANET

(opening door)

Hello, Helen!

She looks over and realizes that Helen isn't alone. She is with a man who's in his early thirties. He has dark hair and eyes and a thin beard. He is sensibly dressed in a dark gray pinstripe suit.

JANET (CONT'D)

(noticing man, quiet)

Hello.

He nods.

HELEN

(to man)

This is Janet Grayston. She is a close friend of mine who has a life I just envy.

JANET

Aren't you going to introduce me to this gent, Helen?

HELEN

Oh, where are my manners? Silly me. Janet, I'd like you to meet Max Kovan. He just moved here.

MAX

(holding out hand)

Pleased to meet you.

JANET

(shaking hand)

Likewise. Please, come in.

INT. FOYER - MID-MORNING (1958)

Helen and Max walk in. Janet points to the living room couch.

JANET (CONT'D)

Can I get you two some coffee?

MAX

Yes, thank you.

HELEN

Yes, please.

JANET

Just be quiet, okay? Roy's sleeping.

MAX

Roy?

JANET

(going into kitchen)

My husband.

HELEN

They've been married for five years.

MAX

Ah.

Janet comes in a with a two-thirds full coffee pot and two mugs.

JANET

(pouring coffee)

So, Max, you just moved here?

MAX

(accepting mug)

Yeah, I'm living down the street.

HELEN

Where the Schwartzes used to live.

JANET

Where are you from?

MAX

New York. I wanted to go someplace with a slower pace and I remembered Virginia when Mary and I passed through here once.

JANET

Mary?

MAX

She's my wife. Well, was my wife.

HELEN

Divorce?

MAX

Death.

JANET

Oh, I'm sorry to hear that.

MAX

Thanks.

HELEN

When did she die?

MAX

About a year ago.

JANET

Do you have any children, Max?

MAX

No, do you?

JANET

No. What's New York like? I haven't been there.

MAX

Well, it's a fast city and you have to be quick otherwise you aren't going to have any place to go.

JANET

You said you moved here because you wanted to take things at a slower pace, right?

MAX

That is correct, yes.

HELEN

You should this place during the autumn. The leaves changing colors are just gorgeous.

MAX

I'll keep that in mind.

HELEN

(looking at clock, getting up)

Well, I should get going. I have errands to run.

MAX

(getting up)

I should go too. There are a couple of job openings I'm interested in.

INT. FOYER - MID-MORNING (1958)

Janet follows them to the door. Max stops and turns around.

MAX (CONT'D)

Oh, and Janet?

JANET

Yes?

MAX

(light smile)

Thank you for your hospitality. You're a very kind woman.

He takes Janet's hand and kisses it, prompting her to blush. He leaves and Helen whispers:

HELEN

Isn't he something?

JANET

(quiet, dry)

Yeah...

Helen leaves. Janet, still blushing, smiles brightly from Max's kind words.

Let me know if you want to read more of what I've written for this. I wrote a lot.

Movie Pitch #2

So those evil geniuses (genii?) over at Anomalous Material had the Hollywood Fantasy Draft come back for a second round. Having participated in Round 1, I decided to do it again. Rules are the same as last time but this time around, you could choose actors and directors that have passed on (which, judging by my casting, I took full advantage of).

So here is my pitch for the Otto Preminger-directed Desire of the Soul.

The Logline

Life seemed perfect for them until two strangers entered their lives.

The Characters

• Rock Hudson is Roy Grayson, a Virginia suburbanite with an ideal life, a steady job at an advertising agency and a stable marriage. However, recently his life has gotten more secretive.
• Doris Day is Janet Grayson, Roy's wife. She is a housewife who has grown bored with her daily and married lives.
• Montgomery Clift is Dave Mareau, a new co-worker at Roy's agency. He appears that he wants to know Roy, but it soon becomes something else...
• Tony Curtis is Max Kovan, Roy and Janet's new neighbor. He is a young widower who has moved from New York City to start a new life.
• Thelma Ritter is Helen Jordan, Janet's close friend. Janet goes to her when something is troubling her. She is also the one who introduces Janet to Max.
• Lee J. Cobb is Trevor Watson, Roy's boss. He is the one who introduces Roy to Dave.
• Lee Remick is Nancy Baker, Roy's secretary. She is the one who discovers the extent of Roy's friendship with Dave.

The Outline

Theme: The main theme is infidelity. It will become a tad more clear once you read the outline.

Setting: Virginia, 1958

Prologue: We get a glimpse of Roy and Janet's morning routine: Roy heads off to work while Janet cleans the house and has friends over for gossip. Both get bored after their tasks are done, more so for Janet. It is also revealed that their marriage is in a bit of a slump.

Act One: Trevor introduces Dave to the agency's employees. Being polite, Roy asks Dave to go out for a drink after work. At the bar, Roy notices that Dave is making passes at him, embarassing Roy. The day after the incident, Dave's interest in Roy has only intensified. Roy avoids his advances, but Dave tells him that he'll give in sooner or later. And later that night, Roy does.

Act Two: Roy returns home after his fling with Dave, lies to Janet about his whereabouts and goes upstairs to get some sleep. It is here we are introduced to Max, courtesy of Helen and her neighborly nature. Janet is attracted by Max's charm, but doesn't show it. It's also here where Roy and Dave's illicit relationship is discovered by Nancy.

Act Three: It's here where Janet and Max start seeing more of each other. Helen continuously asks Janet if she and Max are more than just friends, but Janet vehemently denies it. But during one of their meetings, Max admits to Janet that he's in love with her. Upon returning home, Janet is questioned by Roy about her whereabouts. Janet lies about who she was with and furiously brings up what Nancy had told her. She cries when she's alone, upset over two affairs: Roy's and her own.

Epilogue: Max proposes to Janet while Dave drunkenly breaks it off with Roy. Roy professes his love to Janet as a means of apologizing for his actions, but Janet belittles him for his dishonesty and announces she is leaving him for Max. The final image is Roy staring at Janet's wedding ring in his hand.

So what do you think? Would you see this?

Movie Pitch

For the past couple of weeks over at Anomalous Material, there has been a Hollywood Fantasy Draft. Basically you choose actors and a director you want for your fictional movie. Now I gotta pitch the movie. The rules/requirements for the pitch are:

~You should immediately develop the basic idea, the logline for your movie: The logline is one or two sentence that summarize the concept of your movie. For example: “Are you interested in a story about a man who lives in the Statue of Liberty?” (A real and successful logline)
~You should have a firm grasp of your main characters and their roles in the story.

~You should be able to explain why so and so is going to play so and so.
~You should begin to develop some basic outline or treatment for your story.

Here I go. This is the pitch for my fictictious film Truth and Lies (which, I may add, is directed by Martin Scorsese).

The Logline

What if everything you thought you knew about someone was a lie?

The Characters

• Meryl Streep is Patricia Malloy, a woman who comes home one night to discover her husband has been murdered.
• Sean Penn is Malcolm Hyde, the private investigator Malloy hires to infiltrate the mob family she believes was responsible for her husband's murder. After some smooth talking, he becomes an associate for the family.
• Marisa Tomei is Connie Hyde, Malcolm's wife. She has supported his previous work, ranging from drug trafficking to political scandals. But this job is more dangerous than what he has done before.
• Ralph Fiennes is Sammy Giardano, the boss of the family Hyde infiltrates. His personality is charming, but behind closed doors he's a different man.
• Stanley Tucci is Mick Lombardi, Giardano's consigliere. He has a hidden hatred for Giardano since he was to take over the business when the former boss stepped down, but he hides it with an admiration for him.
• Emile Hirsch is Louie, Giardano's son. He is deeply suspicious of the new associate for his father. He tries to convinces Giordano that something's up, but he and his suspicions are shrugged off.
• Jake Gyllenhaal is Joey Sullivan, Giardano's top hitman. He has a sadistic streak once he starts a hit; it disappears when his victim is truly dead.
• Peter Sarsgaard is Bruno Contielle, Giardano's underboss. He is likeable throughout the family due to his good looks and friendly personality.

The Outline

Theme: The main theme is deception. I'll explain more once I get to the outline of the movie.

Prologue: Patricia comes home after a long day of work to find her husband beaten and shot to death. Absolutely stunned, she wants answers and she wants them now. She finds out her husband has been borrowing money from Giardano.

Act One: Appalled by the shoddy police investigation, Patricia hires Malcolm. He agrees to help her, since he is curious on the workings of Giardano's business. Upon first arrival, Malcolm is welcomed by Giordano and Bruno. Malcolm wins over Giardano and becomes an associate. Malcolm also gets acquainted with Mick.

Act Two: Here we are introduced to Louie. He appears to be a nice kid, but he is very suspicious of Malcolm. Since no one else will listen to him, he confides in Joey about it. Joey is like an older brother to Louie, so he thinks that Louie might be right.

Act Three: Malcolm is getting close to booking Giardano. Louie's suspicions on him has only intenstified. He orders Joey to kill Malcolm, which he gladly agrees to do. Joey manages to beat Malcolm up, but it's Joey who gets killed. Shocked by Joey's death, Louie decides to take matters into his own hands. He shoots Malcolm in the back several times before Bruno shows up and subdues him.

Epilogue: Malcolm survives, but is left paralyzed. When he's recovering in the hospital, Bruno visits him and explains everything. Like Malcolm, he is a cop who has infiltrated Giardano's business to try to take him down. Giardano had bribed the police to not thoroughly investigate Patricia's husband's murder (he was killed for not paying back Giardano the thousands of dollars he had borrowed). Giardano, Louie and Mick get arrested for numerous charges. Mick agrees to testify against Giardano, which shocks him. At his sentencing, Giardano says that he never would've suspected that Malcolm and Bruno were involved with the police.

So what do you think? Would you pay to see this?