LEGION-David Press

PAGE ONE.

1.1:

A black panel. Perhaps there's a way to tease a shadow lurking behind blackness. A tease of...the Shadow King? 

V/O CAPTION: What are you seeing, David? 

1.2: 

We're looking at a car smashed up against a tree. The front window is broken and there's a shadow of a person slumped over the wheel. Let's not make it too gory okay? Let's have the car be a 2009 Ford Crown Victoria. 

NO DIALOGUE.

1.3: 

We're in the car now and it hasn't crashed into the tree. There are two passengers. One is a woman wearing all white, EMMA FROST, and the other is a young girl--possibly her daughter--in a similar outfit. 

V/O CAPTION: David?

1.4:

Now a glitch. Same shot, but this time let's have the girl in the passenger turn into DAVID HALLER. The one as designed by Sienkiewicz. His hair is almost touching the top of the car. 

NO DIALOGUE.

1.5:

From David's perspective: He's flying through the windshield, shattered glass all around him. 

SFX: KRRSSH! 

1.6:

Still from David's perspective: he's looking at a giant pile of rocks that, presumably, he's about to be dashed across, because he's flown out of the window. 

V/O CAPTION: It's okay. 

1.7 CUT TO:

A hospital room where we see David on a bed and sitting next to him is a PSYCHIATRIST complete with Moleskine notebook and perfectly tailored suit. 

SHRINK: It's just a dream, David.

CAPTION  (V/O): In other news, known Mutant refugee Emma Frost died today in an apparent car accident. 

END

Page Turn-"Terminal"-David Press

PAGE ONE.

1.1:

A wide shot of a man sitting at the airport. Take it from behind his head looking out at the tarmac and various commercial air line buses waiting for passengers. His head is bowed, looking at a phone.

NO DIALOGUE.

1.2:

He's looking down at his iPhone screen. It's an Instagram feed. Show a photo of a plate of food or something. 

NO DIALOGUE.

1.3:

THE MAN stares up at the television screen just over his shoulder. It's red and blue with intense graphics displaying News Alert. A salivating ANCHOR stares out at the MAN and the empty terminal. 

ANCHOR

We bring you urgent news today to say that the President-Elect has been shot. 

1.4: 

A SECRET SERVICE AGENT is standing over the shoulder of the MAN who is now being identified as MITCHELL WARREN, ESQ.--he's an entertainment lawyer. 

AGENT

Mr. Mitchell Warren? 

WARREN

...Yes?

AGENT

Please come with me. 

END.

Batman Beyond - "Driver"-David Press

PAGE ONE.

1.1: 

Imagine we're a bird way above the future GOTHAM CITY and the shadows of light that shine up into the night sky there's a black hole in the shape of a the flying BATMOBILE. 

MCGINNIS  (CAP)

This used to be the time of my life. Now it's just the same thing every day. 

1.2:

A better shot of the Batmobile as it edges between skyscrapers. Let's try to mask Darwyn Cooke's design sensibilities here with the sharp lens flares all around the buildings, bouncing off the edges of the Batmobile. 

MCGINNIS  ( CAPTION)

I've been Batman for five years now, and I feel like I should have graduated by now. That's what Bruce used to say: 

1.3:

We're in the cockpit. Red and black, with TERRY MCGINNIS driving, draped in the colors. He's older here, let's say this is about five or so years after the original animated series ended, and I know there's no way to show this here but imagine him with some stubble--like he hasn't shaved in weeks. He's no longer a teenager--he's now in his mid-twenties. 

MCGINNIS 

"Do you know why school is structured to four years?"

(CONT)

No.

(CONT)

"Because that's how life goes-we graduate every four years and end up a freshman all over again."

1.4:

From behind Terry's head: we see the skyscrapers and the other flying cars looping around the futuristic Gotham City. 

MCGINNIS 

But a year after he's been gone, there's just this. Driving endlessly.

END.

Invader Zim-"Zim's Day Off"-David Press

PAGE ONE.

1.1:

We're looking at the work bench of ZIM. His back is to us, all kinds of cork screws and other things are flying in every direction while electricity erupts around the room. Zim is talking to himself, laughing maniacally. 

ZIM

Oh come on! Connect, you blapperzorg disguised as dog poop!

(CONT)

Yes. YES!

1.2: 

Similar to previous but this time, Zim raises the device over his head. The device is a FITBIT--and it's crackling with Kirby molecules and a purple energy field. 

ZIM

My TeleBit is complete! 

1.3 INSET:

On ZIM'S EYE, his eyebrow is cocked and he has that crazy look in his eye.

ZIM

Now I will rule ze art world! 

1.4:

A bubble of PURPLE ENERGY and Kirby Krackle materializes in the JACKSON POLLACK wing of the Museum. 

SFX (OFF, TO THE RIGHT)

POOF!

1.5:

He pulls the Pollack off the wall while his TeleBit is still crackling with energy. 

ZIM

Mine!

1.6 CUT TO:

ART HISTORY CLASS where Zim--as his alter ego--is putting the finishing touches on the piece he just stole. His TEACHER is a kind of an aging hippy with a white beard and a long pony-tail, sporting some bifocals, perhaps you can tease the fact that he's wearing a tye-dye t-shirt.

TEACHER

That is remarkable!

ZIM

Why thank you! 

END

Discovery-The History of Rudolph-David Press.

I'm playing with Scrivener these days so apologies if the formatting comes through a little wonky.

PAGE ONE.

1.1: 

We're looking in through the windshield of a silver Ford Focus. In the Driver's Seat is a burly sixty-something-year-old wearing a Russian General's hat. We can see the hammer and sickle gold emblem in the center of the hat, and a very thick winter coat. The DRIVER has a white beard, and he is so wide that he takes up the front half of the little vehicle. He's listening to the radio. 

Obviously the radio is a little radio balloon. 

1. RADIO

I'm Tom Ashbrook, today On Point we're asking the question: what is your favorite Christmas Song? 

(cont)

Is it Rudolph the Red Nosed Reindeer? Or Jingle Bells? 

1.2: 

We're looking at the radio that's tuned to 90.5FM. Perhaps the shot can be wide enough  can pan up to the dashboard so we can see the day and time and temperature in the car. The temperature should read -5 Fahrenheit. 

2. RADIO / ASHBROOK

Today we the grandson of the original writer behind Rudolph the Red-Nose Reindeer. 

(CONT)

Jeffrey May welcome to On Point. 

3. MAY

Thanks for having me. 

4. ASHBROOK

Our pleasure. So your grandfather was the original creator of the song. 

1.3: 

On the face of the Driver. He looks like if Santa Claus was a Rugby Player. His nose is a little red from the condensation of the 

5. MAY

That's right, Robert May was a junior copywriter for Montgomery Ward during the Great Depression, and he created the song as a part of his contract.  

6. ASHBROOK

And he took the assignment because his wife was dying? 

7. MAY

Yes, Tom. He wanted to create a story to comfort his children. 

(CONT)

His daughter liked the reindeer at the Chicago zoo and Eureka!

8. DRIVER

Eureka, Indeed.

END

Christmas Story-Yard Santa-David Press.

PAGE ONE.

1.1:

            CLARK GRISWOLD is at the end of his driveway. He’s dressed in winter gear, with a snow shovel down at the ground pushing fresh accumulation to the edge of the driveway. The pile of snow has been pushed there by large neighborhood SNOW PLOWS.

NO DIALOGUE.

1.2:

            A SNOW PLOW drives by just as Clark pushes the pile to the edge of the driveway. The plow showers Griswold with snow.

NO DIALOGUE.

1.3 INSET:

            Clark’s face is screwed up—he’s pissed.

NO DIALOGUE.

1.4 CUT TO:

            Clark is standing in the middle of his yard. He’s stepping down on a pump that will inflate a GIANT SANTA CLAUS. One of those obnoxious yard ones like this one: http://www.airartinflatables.com/wp-content/uploads/2016/08/Inflatable-yard-christmas-santa-claus-3.jpg.

Clark is really struggling to blow it up. He’s hunched over and grunting while he presses down hard on the pedal that will expand the Santa Claus.

NO DIALOGUE.

1.5:

            The inflatable Santa bursts apart, sending Clark flying back towards the gutter, about to disappear off panel.

NO DIALOGUE.

1.6:

            He’s on his back in the snow pile, spread-eagled, like he’s making a snow angel.

NO DIALOGUE.

1.7:

The snow plow comes around again and dumps more snow on him, burying everything except his head in snow.

1. GRISWOLD:                         I give up.

Sidekicks--"Hipster Caped Crusaders"--David Press.

PAGE ONE.

1.1:

            A black panel or screen with nothing to show. The caption can hang near the bottom of the panel. When suddenly…

1. CAPTION:                            I gave up being a crime fighter about a year ago.

1.2:     

            A SPOTLIGHT shines down to show a stage and there stands a band. The band is Batman as the lead singer, flanked on either side by Nightwing and Red Robin on lead guitar, Red Hood on Bass and Batwoman playing drums.  

2. CAPTION:                            Instead I opened up to love and started a band.

1.3-7:

            A series of panels spotlighting each one of them and their attire. Try to stretch these panels across the second tier. Since it’s a tight space, let’s just have five skinny panels featuring the characters from the chest up.

I’m thinking what might work is Batman is wearing a blue cardigan with a black shirt and grey tie. Nightwing is wearing a hoody with his Nightwing symbol on it and has his hair done up in a man-bun. Robin is dressed in a Letterman’s Cardigan (those things that people received in the 1950s before they got their Letterman’s Varsity Jacket because Robin is still in high school. Red Hood is wearing a leather jacket and a red ski mask—he looks a little bit like a Snowboarder, and Batwoman is wearing the same mask as she usually does with a side cape and fingerless gloves as she drums hard on the kit.

            I think we can stretch the caption across the bottom of this tier. I’m probably pushing it here, but I’d rather take the gamble and see what I can learn from it than play it safe.

3. CAPTION:                            There’s one catch about opening the Bat Cave as a rock club: you have to keep it secret still.

1.8 CUT TO:

            Alfred standing outside of the Batcave. He’s the bouncer—he’s holding the rope out to get into the Bat Cave, which is the old style Bat Cave entrance from Batman ’66. He’s checking DEATH CERTIFICATES. A sullen TEENAGER stands next to him. The kid looks like he hasn’t slept in weeks.

4. ALFRED:                              When did your parents die?

5. KID:                                      Sob. Two months ago.

Musicals-Eleanor Rigby-David Press

PAGE ONE.

1.1:

            We’re looking at an OLD WOMAN standing by a window in a CHURCH. The church is decorated with flowers, streamers, and rice on the floor. There’s just been a wedding in the church. The woman is ELEANOR RIGBY.

1. CAPTION:                         Eleanor Rigby picks up the rice where the wedding has been.

1.2 CUT TO:

            A JAR by the window, there’s a set of TEETH in there.

2. CAPTION:                         All the lonely people, where do they all come from?

3. CAPTION:                         Where do they all belong?

1.3 BACK TO:

            The church and the wedding. Take this from the perspective of Rigby as she watches the BRIDE AND GROOM get into a limousine and all of wedding guests cheering them on—showering them with rice and flowers.

4. CAPTION:                         Father McKenzie, writing the words of the sermon no one will hear.

1.4:

            Father McKenzie—a fairly young priest in the sense that his eyes shine with idealistic opportunity. He’s standing at the altar of the church, reciting from his sermon. Eleanor Rigby is the only person in the church.

5. CAPTION:                         No one comes near.

1.5 INSET:

            Same as previous. Eleanor Rigby teeters over and dies right there in the church pew.

NO DIALOGUE.

1.6:

            On Father McKenzie’s hands—he’s wiping dirt from them down towards the glass coffin with Eleanor Rigby in it.

6. CAPTION:                         Eleanor Rigby was buried along with her name. No one was saved.

1.7:

            McKenzie walks towards us, and away from the gravestone that features Rigby’s birth date and death date, no epitaph.

            The credits can hang at the bottom of the page.

7. CAPTION:                         All the lonely people, where do they all belong?

8. CREDITS:                          Written by John Lennon and Paul McCartney, performed by The Beatles.