INT. SANCTUARY – VATICAN – ITALY – DAY Father Rossi stands next to a tall marble altar. His face shifts with emotion. He turns to, Moe who stands nearby with, Deuce and Tony. FATHER ROSSI “I, am your father.” SANCTUARY – NEAR ALTER – IN FRONT OF POPES THRONE Moe appears perplexed, upset. He looks […]
INT. SANCTUARY – VATICAN – ITALY – DAY Father Rossi stands next to a tall marble altar. His face shifts with emotion. He turns to, Moe who stands nearby with, Deuce and Tony. FATHER ROSSI “I, am your father.” SANCTUARY – NEAR ALTER – IN FRONT OF POPES THRONE Moe appears perplexed, upset. He looks at, Father Rossi. MOE “Are you’re shitting me?!!!” FRONT OF SANCTUARY – POPES THRONE Pope sits on his throne, bug-eyed, hands clasp his cheeks, eyes fixed on Moe. He turns to Father Rossi. POPE “Damn Honeypot!” Deuce & Tony, slack-jawed step back with a look of disbelief. DEUCE “Ew!” Tony turns to, Deuce, appears inquisitive. TONY “What’s a, honeypot?!” POPE’S THRONE Pope sits, head down, appears to be in thought. POPE “We have a problem.” ALTER AREA Father ROSSI; stands with both hands clasped, appears sad. He stares at Moe, dries his teary eyes. He turns to the, Pope. FATHER ROSSI “Monsignor… I guess maybe I should resign?” Pope, sits on his throne, appears angry. He turns, looks down at Father Rossi with a condescending look. POPE “No bitch! You’re fired!” EXT. BEACH – CAPE COD – MASSACHUCETTS – DAY THIRTY FIVE YEARS LATER Moe, beach-blown brown hair, wears a blue short-sleeve shirt, looks handsome, fit. He lays on his tummy, head up, rests on his elbows. He turns left, see’s attractive Women in bikinis. He turns right, see’s attractive Women in bikinis. O.S.(off screen) Sound of, “ocean breeze, seagulls chirp.” MOE “Yup, my Dad was a priest. Now he’s my best friend.” EXT. COMMON – WALTHAM – MASSACHUSCETTS – DAY DREAM SEQUENCE Moe, dark brown hair, coffee-mug in hand, sits on the grass, smiles. Charlie, his Son, sits to his right, admires the sandwich in his hands. Grandfather,(Father Rossi) coffee-cup in hand sits next to Charlie. They all appear happy. V.O. (voice over) MOE “He’s a good Dad, and Grandfather. My son, Charlie loves him.” INT. PAWNSHOP – ALBUQUERQUE – NEW MEXICO – DAY Deuce, shaved head, stands behind the counter, looks at heavy male patron opposite him, beams a smile. V.O. MOE “Deuce owns a pawnshop in New Mexico. He’s a great guy, just a few bad habits.” INT. MESSAGE PARLOR – WALTHAM MASS – DAY Tony holds a shirtless man with one arm, messages him with the other arm. He looks happy. V.O.(voice over) MOE “Tony’s a message therapist at a men’s salon. He found his calling.” INT. KITCHEN – MOE’S HOUSE – BOSTON MASS – DAY Moe, stands at the counter next to, Charlie and Morgan. They knead dough, appear happy. MOE “Morgan, my amazing wife, our son, Charlie. I’m so blessed.” V.O. (voice over) MOE “I never found my Mom. But I found my, Dad; and we are best friends. He answered a lot of my questions. He said; “Mom was a bright light, beautiful, funny and smart, with an apatite for life.” They only spent one weekend together, 48 hours! He said it felt like they were a couple. He loved her, but he was a priest and couldn’t give her what she wanted. It’s his biggest regret. I don’t know if my, Mom is alive, or where she maybe? I hope she found what she was looking for. Me, I’m whole now, at peace and very happy.” THE END Creator screenwriter; Mario Martin aka….Script Dick. email; thescriptdick@gmail.com Follow; SCRIPT DICK on all social media’s Peace, respect, understanding, kindness and love to all.
Concept, number one in the 12 step screenwriters algorithm
Concept number one in the 12 step screenwriters algorithm by Scriptdick My approach to Concept is always….. What if? Imagination does it’s finest work when asked this question Wikipedia Concepts are defined as abstract ideas. Look for a (feeling) of inspiration when in Concept mode (thinking, feeling, imagination; (take notes.) If the writer is not […]
Concept number one in the 12 step screenwriters algorithm by Scriptdick My approach to Concept is always….. What if? Imagination does it’s finest work when asked this question Wikipedia Concepts are defined as abstract ideas. Look for a (feeling) of inspiration when in Concept mode (thinking, feeling, imagination; (take notes.) If the writer is not enthused by their Concept no matter what it is. It will show up in the writing, flat, boring. Develop your concept to the point you’re inspired and know this is a story that must be told. Passion is Power (inspiration) HIGH concept is popular in screenwriting? Why? Commercial viability ( High concept means different. This means better chances of getting your movie made & getting paid.) (Based on audience demand.) Think of high concept ideas as stories that lead with their concept, rather than character or style. David Wappel What about LOW concept? Low concept is a story that puts focus on the world and characters surrounding the plot, instead of the plot itself. This means that a low concept screenplay is typically a CHARACTER driven story. Which means it’s all about the, CHARACTER, hence the Protagonist Is high concept more in demand & desirable than low concept? Box office analytic s reveal audience appetite; High concept leads in Views and Sales. Remember we’re creators. We’re born to write. Write the story you’re passionate about. Most Important to remember When You begin this journey it will posses you. Your story will become real. You will get to know your characters and the story; Oh ya, they’re real people. Your story is waiting for you Conceptualize Write
Seventh in the 12 step screenwriters algorithm by Scriptdick My Favorite Action Lines are only what the audience sees on the screen. Action Lines are the physical actions that take place in a scene. When on a movie set and the scene is about to take place. On location, stage, lighting, sound, actors, props, makeup, […]
Seventh in the 12 step screenwriters algorithm by Scriptdick My Favorite Action Lines are only what the audience sees on the screen. Action Lines are the physical actions that take place in a scene. When on a movie set and the scene is about to take place. On location, stage, lighting, sound, actors, props, makeup, wardrobe, list goes on. Director’s ready to shoot the scene. Here’s what you will hear on the set from the director every time “Quiet on the set! Cameras role! Sound! ACTION!!” the movement(action)takes place now Moments prior to the Directors call; (the stage is set) All of the essential elements to create a real true to life humane experience are in place. Note, Sound gets a separate line in the formatting. Sound always opens with a header that is; OS which means, OFF SCREEN Why is that? What is on the screen can only be things that are seen. Sound can only be heard. That’s why the OS off screen header is used in the screenplay. The reader is informed of the sound; just like in the film or television show. Sound is heard not seen. Action lines are seen. Action Lines are where the majority of the movie is created. Action Lines are what the Audience actually sees taking place on the screen….Period Elements that must never be in the Action Lines Audio Sound Dialogue Fantasy Hyperbole Thoughts Opinions Reading a screenplay should be like watching the actual movie where physical things happen. There’s movement and that movement must be written exactly as the writer see’s it in their imagination and written properly on the page. The unbreakable RULE SHOW the Action don’t TELL the Action Action Lines are the PHYSICAL ACTIONS taking place NOW in the Present Moment of the scene. Example; Mike stands face to face with Christi. Mike looks over his shoulder, appears cautious. He turns back to Christi, leans in, kisses her on the lips. Christi squirms, looks startled, slaps Mikes face. If the Action Taking place is (Past tense) or (Future tense) Add a simple HEADER first showing the audience these Actions took place in the past, or they will be taking place in the future. There’s a lot to talk about with Action Lines. If you have any questions drop me an email. I’d love to discuss them with you. thescriptdick@gmail.com
#screenwriters 3 Boys “I found the whorehouse.”
INT. TRUCK (MOVING) HIGHWAY – ITALY – DAY Dex, drives, both hands on the wheel, looks up at the sign over the highway, it reads, “Roma.” He turns to his right. Moe, Tony and Deuce sit next to him. He nudges Moe, turns to the highway, points with his chin to the sign up ahead. […]
INT. TRUCK (MOVING) HIGHWAY – ITALY – DAY Dex, drives, both hands on the wheel, looks up at the sign over the highway, it reads, “Roma.” He turns to his right. Moe, Tony and Deuce sit next to him. He nudges Moe, turns to the highway, points with his chin to the sign up ahead. Moe follows Dex’s chin-line to the sign over the highway. He studies it, turns to, Dex. MOE “Rome?” EXT. ROADWAY – COUNTRYSIDE – ITALY – DAY O.S.(off screen) Sound; “Diesel engine idles.” Dex, parked roadside, sits behind the wheel of his truck, looks at, Moe, Deuce and Tony on the sidewalk nearby. He smiles, waves to them. DEX “Arrivederci, mio tre amigos!” He turns, looks ahead, both hands on the wheel, shifts a gear. The truck lurches forward, drives off. O.S.(off screen)Sound; “Diesel engine accelerates away.” EXT. SKY – COUNTRYSIDE OVER A RIVER – ITALY – DAY Moe, Deuce & Tony in the basket of a hot-air-balloon amongst many colorful hot-air-balloons. MOE’S HOT AIR BALOON – BASKET Moe, stands in the basket, Tony and Deuce next to him. He looks down at the country side below with the appearance of wonder in his eyes.. O.S.(off screen) SOUND; Fire & Air whoosh. Deuce, stares up at the burner with a look of wonder. It shoots long flames up into the balloon. DEUCE “Pissa!” V.O.(voice over) TONY; “Guys, I don’t feel so good!” Moe reaches out into the sky with an open hand. He appears relaxed, at peace. V.O.(voice over) MOE; “Guys! Look at all of this! It is so amazingly beautiful!” He looks down at patches of green farmland. A group of hot-air-balloons below trail them. V.O.(voice over; TONY; “I think I’m gonna die!” Deuce, stands in the center of the basket, turns to Tony. DEUCE “Pussy!” V.O. (voice over) MOE; “Dog! Don’t you be talking to my boy like that!” V.O.(voice over) TONY; “Ya, dog. Watch your flytrap.” V.O.(voice over) DEUCE; “Arf! Arf! Arf!!” V.O. (voice over) MOE; “Watch your flytrap?!” V.O. (voice overs) “Laughter.” MOE, DEUCE, & TONY SKY – OVER VATICAN – ROME – ITALY – DAY Vatican courtyard surrounded by a massive dense old world city. VATICAN COURTYARD Moe’s hot-air-balloon descends into Vatican courtyard amongst many hot-air-balloons INT. VATICAN – SANCTUARY – ROME ITALY – DAY Pope, sits on a throne in gold attire. Ten Priest dressed in priestly garb sit right & left of him. O.S.(off screen)”Gregorian chants.” CHOIR AREA – RIGHT OF THE ALTAR A Group of Gregorian chanters sit in stacked seats, open hymnals in hand, they chant. O.S.(off screen)SINGERS “Gregorian chanters!” CHOIR AREA – NEAR GREGORIAN CHANTERS O.S.(off screen) “Altar-Boys; sing in unisons.” Tony, dressed in Altar-Boy attire, stands up front, sings with a group of Altar-Boys. V.O. (voice over) MOE; “Sing, Tony! Sing!” BACKROOM Deuce stands at the top of stairs, his eyes widen. he studies art work hung on the walls. WALLS He studies a painting of an Angel with sword in hand, stands on a shirtless irreverent mans back. Next to it is a picture of, Jesus who ascends up into heaven surrounded by angels. MOMENTS LATER Deuce, a wears mask and gloves, both hands on a painting, removes it from the wall. V.O.(voice over) TONY; “Nice work, sticky fingers!” Deuce turns, looks over his shoulder. DEUCE “Huh?” Tony stands opposite side of the room, appears stoic. V.O. (voice over) DEUCE; “Asswhole! You scared the shit out of me!” TONY “How are you gonna get that out of here?” SANCTUARY – CONFESSIONAL BOOTH FATHER ROSSI; Late thirties, handsome, looks fit. Head bowed, eyes closed, hands clasped. V.O.(voice over) MOE; “I was given up for adoption at birth. I got a postcard from her, my, Mom when I was five. So now I’m looking for her. That’s why I’m here. She’s a hooker, you know a prostitute. The postcard came from a whorehouse in, Kansas city, in America!” Father Rossi lifts his head, opens his eyes, turns towards the confessional screen. FATHER ROSSI “I know where, Kansas is.” CONFESSIONAL BOOTH – MOE’S SIDE Moe, has a discerning look about him. He turns the confessional screen. MOE “Have you been there, Kansas city?” CONFESSIONAL – FATHER ROSSI’S SIDE Father Rossi sits in the confessional, stares away, appears nervous, distant. FATHER ROSSI “The church has a parish in Kansas.” VISSION in Father Rossi’s mind. WHOREHOUSE KANSAS CITY V.O.(voice over) MOE; “I went to Kansas with my two best friends looking for her. I found the whorehouse. Now I’m here.” VISSION – FATHER ROSSI’S MIND PICTURE OF MOE’S MOTHER V.O.(voice over) MOE; “The Boss lady at the whorehouse told me my, Mom got pregnant by a priest from Rome, and that she followed him back to Rome. Sounds like she loved him. That’s why I’m here, Father, Rossi. I’m looking for my, Mom. Maybe I’ll find my, Dad, too.” Father Rossi, wide-eyed, sits back, appears nervous, contemplative. FATHER ROSSI “Dear child, life is complex.” FLASH BACK 15 YEARS AGO INT. STRIPCLUB – MISSOURI – KANSAS – NIGHT MOE’S MOM, 20’s, white, naked, shapely, brunette, hair in a bun, pole dances. V.O.(voice over) FATHER ROSSI; “What is behind us, is in the past, unchangeable. Strive to understand, forgive all.” V.O.(voice over) Moe; “Father Rossi, have you been to, Kansas?” CONFESSIONAL – PREIST SIDE Father Ross appears stressed, eyes shut bows his head. FATHER ROSSI “My work requires travel; I’ve been all over the world.” CONFESSIONAL – MOE’S SIDE Moe stares away, appears to be in thought. He turns to the confessional screen. MOE “So you have then.” CONFESSIONAL – PRIEST SIDE Father Ross sits head bowed, appears contemplative, remorseful. SILENCE BACK ROOM By the doorway; FATHER PASTA ROZOUL, Old, large, enters. He looks at Deuce with the painting in hand. He scowls angrily, charges at Deuce. FATHER PASTA ROZOUL ” Sprco Ladro!” “Dirty thief!” Deuce drops the painting, turns to, Father Pasta Rozoul, appears startled. DEUCE “Holy Shit!” SANCTUARY – PAPLE THRON AREA POPE, in gold attire sits on a throne, sternly looks down at, Moe, Tony and Deuce. POPE “Three boys. And, you appear to be nice boys. But why? Have you no conscience?” Moe, Tony and Deuce stand side-by-side in front of the Pope. They appear resolute. V.O.(voice over) POPE; “Why would you steal from the house of, God?!” Two young Clergyman, soldier like stand at the altar in focused alert prayer. V.O.(voice over)POPE; “Children; where are your mothers, where are your fathers?” Tony looks up at the altar area, he appears confident. He turns to the, Pope. TONY “Moms?! Dads?! That’s precisely why we’re here your honor??! I mean, your, Pope-ness??! Sir!” Moe appears frustrated. He looks up at the Pope on his throne surrounded by many high priest. MOE “We did not come here to steal.” Deuce crosses his eyes, makes a goofy face. DEUCE “Really?” Moe glances over at Deuce who makes funny faces. MOE “My friend can’t help himself. He’s compulsive.” V.O.(voice over) TONY; “He means, gifted! He steals better than anyone!” Moe appears focused, looks up at the Pope, turns to Father Rossi, right of him in the sanctuary. MOE “I came here to find my, mother. And now, my father.” SANCTUARY TOWARDS THE BACK Father Rossi stands with his hands in his pockets, appears concerned, distant, looks away. Watch for the next and final chapter of, “3 boys” coming soon. Does Moe find his birth mother and father? They’ve come a long way to find them and the tension is high. Created and written by, Mario Martin; aka Script Dick. @ www.scriptdick.com
What is the 12 step screenwriters algorithm?
What is the 12 step screenwriters algorithm? The 12 essential elements of screenwriting. Concept Plot Genre Characters Throughlines Formatting Action-lines Dialogue Tone Structure Pacing Production value Why should I use it? These 12 elements are essential for a complete comprehensive screenplay. How do I use the algorithm? There is no rule as […]
What is the 12 step screenwriters algorithm? The 12 essential elements of screenwriting. Concept Plot Genre Characters Throughlines Formatting Action-lines Dialogue Tone Structure Pacing Production value Why should I use it? These 12 elements are essential for a complete comprehensive screenplay. How do I use the algorithm? There is no rule as to the order of application, however, order is recommended. Start with Concept step one High Concept stories are most sought after, but not always the best. Concept is a personal choice with unlimited possibilities. That in of itself is empowering and can be trepidatious when you consider the scope of people a great story can reach, influence, entertain and have a shelf-life of forever. Screenwriters are expected to know their concept really well as it helps to fully develop story. Step 2 Plot the problem What is the problem in the story? How does the Protagonist overcome it? That is the Plot. Plot is revealed in the 1st act, dealt with in the, 2nd resolved in the 3rd act. It is said there are seven basic plots in screenwriting. Man against man Man against nature Man against himself Man against God Man against society Man caught in the middle Man and woman These are the frame work to create the plot at its core. Once you have determined the plot that best tells your story it becomes part of the “overall story,” the 4th throughline. Genre step 3 Genre is Category Williams argues that all narrative feature length films can be categorized as one of eleven ”super genres” (Action, Crime, Fantasy, Horror, Romance, Science Fiction, Slice of Life, Sports, Thriller, War and Western). When a screenwriter breaks down Genre into category it becomes abundantly clear there are many more potential (categories) Genre’s to choose from. As society evolves, so does Genre; hence more categories. Simple enough but complex in the application. There is much to consider when choosing and creating the Genre. Genre is revealed in all 12 essential elements. We’ve just touched on 3 of the 12 elements in the screenwriters algorithm. As you can see a screenplay has many moving parts with much to consider for great storytelling. There are other rules and principles that apply to the craft of screenwriting. Contact, Mario, aka; “Scriptdick,” to further discuss the algorithm and the development of your screenplay. <img decoding="async" class="alignnone size-full wp-image-95" src="https://script.milira.net/wp-content/uploads/2022/01/download.jpeg" alt="" width="255" height="197" srcset="https://www.scriptdick.com/wp-content/uploads/2022/01/download.jpeg 255w, https://www.scriptdick.com/wp-content/uploads/2022/01/download-194x150.jpeg 194w, https://www.scriptdick.com/wp-content/uploads/2022/01/download-24x19.jpeg 24w, https://www.scriptdick.com/wp-content/uploads/2022/01/download-36x28.jpeg 36w, https://www.scriptdick.com/wp-content/uploads/2022/01/download-48x37.jpeg 48w" sizes="(max-width: 255px) 100vw, 255px" /> <img decoding="async" class="alignnone size-medium wp-image-97" src="https://script.milira.net/wp-content/uploads/2022/01/01bmw-k1300-r-300x232.jpeg" alt="" width="300" height="232" srcset="https://www.scriptdick.com/wp-content/uploads/2022/01/01bmw-k1300-r-300x232.jpeg 300w, https://www.scriptdick.com/wp-content/uploads/2022/01/01bmw-k1300-r-768x593.jpeg 768w, https://www.scriptdick.com/wp-content/uploads/2022/01/01bmw-k1300-r-194x150.jpeg 194w, https://www.scriptdick.com/wp-content/uploads/2022/01/01bmw-k1300-r-24x19.jpeg 24w, https://www.scriptdick.com/wp-content/uploads/2022/01/01bmw-k1300-r-36x28.jpeg 36w, https://www.scriptdick.com/wp-content/uploads/2022/01/01bmw-k1300-r-48x37.jpeg 48w, https://www.scriptdick.com/wp-content/uploads/2022/01/01bmw-k1300-r.jpeg 800w" sizes="(max-width: 300px) 100vw, 300px" /> The 12 step screenwriters algorithm Gold standard for screenwriting www.scriptdick.com thescriptdick@gmail.com
Intro to Screenwriting for Film and Television
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Lorem ipsum dolor sit amet, consectetur adipiscing elit. In mollis sagittis sem ac porta. Sed commodo ligula vitae mollis tristique. Maecenas egestas semper mauris. Duis tempus blandit ultrices. Proin elit nulla, viverra id suscipit quis, tristique a dolor. Sed dapibus, orci ac luctus tincidunt, massa erat porttitor odio, non imperdiet dui risus et elit. Information overload Vivamus dictum ultrices tortor. Ut imperdiet, enim in suscipit dignissim, mauris massa pellentesque augue, quis ultricies sem tortor et velit. Sed commodo ligula vitae mollis tristique. Maecenas egestas semper mauris. Duis tempus blandit ultrices. Proin elit nulla, viverra id suscipit quis, tristique a dolor. ‘Designing For Sustainability, Tim Frick, 2014′ Lessons Learnt: Best Practice Morbi congue odio vel luctus aliquam. Morbi accumsan sapien at lorem ultricies aliquam eu eu nisl. Suspendisse. Maecenas sit amet ligula auctor neque aliquam placerat et ac neque. Proin risus eros, fringilla eu suscipit dignissim, dignissim.
Genre Essentials: Unlocking the Power of Monomyth
INT. THERAPIST OFFICE – BOLOGNA – ITALY – DAY Moe, sits on a couch, appears pensive. THERAPIST, female, short brown hair, sits on a chair opposite Moe, clipboard and pencil in hand. Moe reaches into his pocket, extracts his postcard, holds it up for Therapist to see. MOE “To answer your question, I was […]
INT. THERAPIST OFFICE – BOLOGNA – ITALY – DAY Moe, sits on a couch, appears pensive. THERAPIST, female, short brown hair, sits on a chair opposite Moe, clipboard and pencil in hand. Moe reaches into his pocket, extracts his postcard, holds it up for Therapist to see. MOE “To answer your question, I was adopted at birth. This postcard is all I know about my birth Mother. We’ve never met or talked. I’ve never seen a picture of her and have no family contacts, nothing. But let me finish the Cop story.” THERAPIST “Please do.” MOE “So there he is coming at me, the Cop! I turn the waiter next to me, ask him how to say, “coach,” in, “Italian!” The Cop’s now at my table, I look up, smile and say; “Allenatore!” That’s, “Coach,” in Italian. He went from being angry to happy and started mingling with everyone. We walked away.” THERAPIST “Stupefacente!” MOE “Huh?” THERAPIST “It means, “Amazing,” in Italian. Moe nods. MOE “I thought so.” THERAPIST “I mean, you are, “stupefacente.” Moe sits expressionlessly, shrugs. Therapist smiles politely, glances down at her clipboard, looks up at Moe. THERAPIST “Tell me more about your mother?” Moe appears taken aback, looks up at, Therapist. MOE “Really?! I just told you I’ve never met my mother! All I know is this postcard! Which is nothing!” EXT. MAINE STREET – BOLGNIA – ITALY – DAY V.O.(voice over) MOE: “I was thinking a shrink might help me figure out my next step? But, when she said, “tell me about your mother.” After I had just finished telling her that I’ve never met my mother! I got up and left!” Moe, Deuce and Tony stand tight knit, look cool. They observe people walk, ride bikes, mosey from venders to cafe’s. Tony turns to, Moe. TONY “Douchebag!” MAIN STREET V.O.(voice over) DEUCE; “It’s hot as balls out!” People slowly mosey-about, ride bikes, converse. EXT. DOWNTOWN CROSSING – BOLOGNA – DAY Moe, walks, wears sunglasses, Tony by his side, Deuce next to him. They walk through an intersection. Tony appears uncomfortable. He turns to Moe. TONY “My ass is chafed!” Moe walks, gives Tony an inquisitive look. MOE “Again?!” Deuce turns to Tony, appears curious. DEUCE “What’s going on back there?!” STREET CROSSING (subtitle) AN HOUR LATER Moe walks across the street, Deuce to his right. Tony, behind them, walks with, LUIGE, an Italian teenage boy. Moe looks away, appears distant. MOE “That’s when I knew.” SIDEWALK Deuce turns to, Moe. DEUCE “That’s when you knew what?!” Moe, stops, arms crossed, looks down. MOE “That I’m gonna find her. As soon as I left that therapist office. Not because of what she said, but what I felt!” V.O.(voice over) TONY; “Guys! Luige and me are gonna go grab a sandwich!” Moe and Deuce turn, observe Tony who holds hands with, Luige, looks happy. TONY “You want one?! Deuce glares at Tony and Luige. DEUCE “Why are you guys holding hands?!” Tony turns, pecks Luige on the cheek. Luige smiles. Tony turns to Moe and Deuce. TONY “Cuz I like him, cheeseballs!” Luige nods politely to, Moe and Deuce. LUIGE “Arrivederci!” Tony and Luige exit. (subtitle) LATER Moe sits on sidewalk, back against a building, appears melancholy. Deuce, down on a knee, appears troubled. Moe turns, looks up at him. MOE “Tony’s not like other boys.” DEUCE “Tony’s gay!” Moe nods. MOE “Ya, it’s the way he’s wired, I guess? Who am I to judge?” Deuce appears to be in thought. He pokes Moe on the shoulder, appears coy. Moe flashes a curious look. MOE “What?” DEUCE “More chicks for us! Right?!” He winks. Moe smirks, nods, turns away, stares expressionlessly. Deuce observes him. MOE “Why do we do what we do?! Why?! Why am I trying so damn hard to find her!? Why?!” Deuce looks at Moe, appears sympathetic. DEUCE “I can’t explain that shit! Probably the same reason we’re here with you, dog! All I know is when my best friend is hurting, whatever it takes man!” Moe sits, appears to ponder, turns to, Deuce. MOE “You’re right. When I find her. I’m gonna look into her eyes and say; I love you, Mom.” He appears tired, sigh’s. MOE “I’m exhausted.” SIDEWALK Girl #1, blond hair, short dress, long smooth legs. Girl #2, brunette, short dress, athletic physique. They walk side-by-side, pass Moe and Deuce who sit on the sidewalk. V.O.(voice over) MOE; “Suddenly, I’m revived!” V.O.(voice over) DEUCE; “Hamana-hamana-hamana!” Moe and Deuce turn. Their eyes follow Girls 1 & 2. Moe takes a deep breath. MOE “Hey, gorgeous!” SIDEWALK – CLOSE BY Brunette, Girl #2 stops, turns, looks at Moe. Their eyes lock. Moe, locks eyes with Girl #2. He appear smitten. JUST THEN Moe gets punched in the jaw. His face contorts. He looks dizzy, falls over. SIDEWALK Moe, lays on the sidewalk, covers his head. Two Teenage Boys punch and kick him. JUST THEN Moe jumps to his feet, kicks Teenage Boy to his right in the face. MOE “Parties over, spaghettis & meatballs!” Moe, in white T-shirt fights several Teenage Guys. Deuce, in a boxers stance, throws punches, roundhouse kicks. A crowd of People gather, observe Moe & Deuce fight a group of Teenage Boys. STREET Moe & Deuce surround several Teenage Boys, exchange punches. Moe and Deuce tear the T shirts off of the Teenage Boys as they wrestle and fight, leave them shirtless. STREET (subtitle) MINUTES LATER Six shirtless Teenage Boys stand side-by-side, bruised, dirty, look tired. MIDDLE BOY, tall, dark hair, looks at, Moe and Deuce. MIDDLE BOY “We-a quit-a!” Teenage Boys exit. EXT. COUNTRY ROAD – BOLOGNA – ITALY – DAY (subtitle) THE FOLLOWING DAY Moe, Deuce to his left, Tony to his right, walk side-by-side on a vacant country road. MOE “That’s how hippie’s traveled in the sixties.” TONY “Hitchhiking?” MOE “Uh-huh! They didn’t steal cars,” He turns to, Deuce. MOE “Like some people I know!” Deuce laughs, covers his mouth, turns to Moe. DEUCE “I like to think of it as being, resourceful!” Tony walks, looks uncomfortable. TONY “Oh man! My…..” Moe turns to, Tony, gives him a pathetic look. MOE “…. Ass is chafed! We know!” JUST THEN O.S. Off Screen; SOUND; “Truck horn blast!” Moe, Deuce and Tony turn around, look down the road. Eighteen-wheel tractor-trailer approaches in the distance. V.O. (voice over) MOE; “Stick your thumb out!” Tony, Moe and Deuce stand on the side of Country road, thumbs out. COUNTRY ROAD Eighteen-wheel tractor-trailer slows down, pulls over onto the shoulder of Country road. V.O. (voice over) MOE; “Stupefacente, (amazing) It worked!” SHOULDER OF COUNTRY ROAD Eighteen Wheel truck, parked on shoulder of Country road. COUNTRY ROAD SHOULDER O.S. Off Screen, SOUND; “Diesel engine idles.” Moe, Deuce & Tony, stand next to parked truck, look up, wave thumbs at the closed truck door. PARKED TRUCK Drivers-door open. DEX, thirties, smiles, broadly, white teeth, bearded, sits behind the wheel turned in his seat, looks down at, Moe, Deuce and Tony. Moe stands, arms crossed, appears confident, Deuce and Tony behind him, looks up at Dex. DEX “A-a! Where-a, you-a, boys-a, go-a?!” MOE “The Vatican!” DEX “Sante-Merda! (holy shit!) Anch’io!” (me too!) Entrare!” (get in) EXT. COUNTRY ROAD – BOLOGNA – ITALY – DAY O.S. Off Screen, SOUND; “Diesel truck engine accelerates, shifts gears.” Eighteen Wheel Truck enters tarmac, rolls onto highway, departs from shoulder of Country road. V.O. (voice over) MOE; “And that’s when I knew what I had felt was real. “Light was shinning.” That’s when I felt a validation of my quest! I saw this journey we were on; those who’ve been with us, those who’ve observed our adventures were inwardly rooting for us. It felt like they saw themselves in us, living through us, as we floundered forward discovering ourselves and this life. Vicariously, subtly, mysteriously, the human spirit. That connection inspired us onward, knowing that our destiny was nigh.” THE END Of this act. We are half way into the 3rd act with two more acts to go we see, Moe and his dearest of friends are now so close to finding, Moe’s Mother, and maybe his Father. Stay tuned for the next act coming your way soon. Created and written by, Mario Martin, aka, Script Dick. www.scriptdick.com www.scriptdick@gmail.com
EXT. COURTHOUSE PARKING LOT – CYPRUS – ITALY – NIGHT Deuce, wears a mask, squats down by passenger door of a parked car. reveals a screwdriver. He pry’s it into the key cylinder, pops it out. Moe, stands nearby, watches, appears disturbed. Deuce opens the door. Tony, stands next to Moe, watches with a look […]
EXT. COURTHOUSE PARKING LOT – CYPRUS – ITALY – NIGHT Deuce, wears a mask, squats down by passenger door of a parked car. reveals a screwdriver. He pry’s it into the key cylinder, pops it out. Moe, stands nearby, watches, appears disturbed. Deuce opens the door. Tony, stands next to Moe, watches with a look of admiration. TONY “Woo-hoo!” Deuce turns to Moe and Tony, sighs. DEUCE “My first stolen car!” Tony looks at Deuce, reveals a smile. TONY “Deuce, you’re like a real thief!” Deuce postures, smiles, appears shy. DEUCE “I know!” Moe glares at Tony, turns to Deuce, tosses his hands in the air. MOE “We just got out of jail! We’d still be there if the judge hadn’t taken pity on me!” Deuce turns, crosses his arms, looks at Moe affectionately. DEUCE “This is the fastest way to get you to your, Mom!” Moe studies Deuce, appears confused. MOE “But you can’t even drive?!” DEUCE “I know. But you can!” INT. CAR (moving) HIGHWAY – CYPRUS – ITALY – NIGHT Moe in the drivers seat, both hands on the wheel, looks ahead, drives. Deuce, sits in passenger seat, expressionless, looks ahead. V.O.(voice over) TONY; “Moe? Where’d you learn to drive?!” Moe looks up in the rearview mirror. MOE “You-tube!” BACKSEAT Tony reaches over, grabs his seatbelt, buckles it. He looks out the window. TONY “Rome is two thousand one hundred and twelve miles from here.” He looks up front at Moe who has both hands on the wheel, looks straight ahead, drives. Tony looks over, up into the rearview mirror. REARVIEW MIRROR Police cruiser, lights flash, approaches quickly. V.O.(voice over) TONY; “Oh no! No-no! Their coming after us!” O.S.(off screen) Sound; Police siren. BACKSEAT Tony, looks up into rearview mirror wide-eyed. REARVIEW MIRROR Police cruiser, lights flash at the rear of their car. O.S.(off screen)Sound; Police siren blares! MIRROR DRIVERS SIDE Moe looks at the outside mirror through the window. Police cruiser pulls along side, lights flash. Moe turns, looks straight ahead, focused on the road, drives with one hand on the wheel. O.S.(Sound) Siren fades away. Police cruiser, lights flash whooshes by, speeds away. FRONT PASSANGER SEAT Deuce laughs to to himself, turns to, Moe, looks at Tony in the backseat. DEUCE “Ha! I got immunity! We’re invisible!” V.O.(voice over) TONY; “You sure do brother!” DRIVERS SEAT Moe drives, one hand on the wheel, looks serious. MOE “Don’t be bragging about doing bad shit, drawing attention to yourself. You did it, let it lay.” FIVE HOURS LATER – DAY Moe, one hand on the wheel, looks straight ahead, drives. He turns to his right. Deuce asleep in the passenger seat. His lips move . DEUCE “Kiss…kiss….I kissed her…..” V.O.(voice over) TONY; “Snores.” Moe drives, looks up into the rearview mirror. REARVIEW MIRROR BACKSEAT Tony, sleeps, mouth open, lays against the door, moves his lips, appears to be dreaming. TONY “I….like…. boys.” FRONT SEAT Moe, drives, glances at the postcard on the dashboard. V.O.(voice over) MOE; “Maybe I’m bad? Maybe that’s why she gave me away?” Moe drives, looks up at the sign ahead. He flicks the directional up. O.S.(off screen)Sound; directional flicker. EXT. RESTUARANT – BOLOGNA – ITALY – DAY Illuminated sign hangs over the entrance way to a restaurant. V.O.(voice over) MOE; “There you go, Tony! They named this place after you!” Moe, Tony and Deuce stand at the entrance, smile broadly. Tony and Deuce fist pound. TONY “Spaghettis and meatballs, oh-boy!” Moe looks at Deuce and Tony. He appears happy. DEUCE “Friends eat for free?!” INT. RESTUARANT – BOLOGNA – ITALY – DAY WAITER, carries a tray in one hand, towel over his opposite arm, stands straight, approaches Moe, Deuce and Tony’s table. V.O.(voice over) MOE; “How far is Rome from here?!” Waiter stops, turns to Moe, appears friendly. WAITER “Is-a….four-a….hour-a….drive-a,.. a Maybe…a five…a?!” JUST THEN Waiter looks to his left. He appears surprised, points to the window next to, Moe, Deuce and Tony’s table. MOE’S TABLE Tony and Deuce turn right, look out the window. Both go slack-jaw. VIEW OUTSIDE WINDOW Italian police investigate the car Deuce stole parked across the street. TABLE Waiter turns to, Moe, Deuce and Tony with professionalism. WAITER “Not-a…to-a… worry dear-a guests…a. This’s…a safe…a place….a!” Moe spins around, looks towards the entrance way. ENTERANCE WAY POLICE OFFICER, bald, older, has a white goat-T. He looks angry, aggressive, pushes patrons out of his way. MOE’S TABLE Moe’s sits, appears calm, focused. He watches the Police officer approach. He takes a deep breath, exhales. He turns to, Deuce and Tony who look horrified. MOE “Both of you go to the bathroom, hide, then find a way out. I’ll catch up. Go!” Deuce and Tony exit. MOMENTS LATER Waiter stands next to Moe’s table, pours wine into a glass. Moe sits at the table alone, watches the Police officer approach. He turns to the Waiter next to him. MOE “How do you say, “coach” in Italian?” Waiter, pours wine into wine-glass, looks at Moe, smiles. WAITER “Allenatore!” JUST THEN Police officer stands over Moe, opens his mouth like he’s preparing to talk. Moe looks up at Police officer with a deadpan questioning look. MOE “Allenatore?!” To be continued. Writers comment 3 Boy’s is in the third act. Moe is ever so close to Rome with the hope of finding his birth Mom and possibly his Dad, a Vatican priest. Stay tuned and see how, Moe works this out. Next act to be released soon. Scriptdick, founder screenwriter, Mario Martin. Screenwriter, script consultant podcaster, blogger. Follow and like on, Facebook, Instagram, Twitter, Linkedin, TicTok, Tumbler, YouTube.