Deep Legend, DeYtH Banger [ebook reader computer .TXT] 📗

minute
praying to be someone else. Someone
I'm not. Anyone...
MIKE
Put down the gun, Ed. She just doesn't love
you anymore.
RIGGAN
(To Lesley.)
You don't, do you?
LESLEY
(With sympathy.)
No...
(CONTINUED)

10/29/14

/

106.

RIGGAN
And you never will...
I'm sorry.

LESLEY

For the first time, Riggan turns to face the audience. He
smiles the most beautiful insane smile.
RIGGAN
I don't exist. I'm not even here. I don't
exist. None of this matters.
Then he raises a trembling arm, and with his eyes full of
tears, he aims the gun at Mike.
Pum.

RIGGAN (CONT’D)

But he doesn’t shoot. Then he turns and aims at Tabitha
Dickinson who is sitting on the second row.
Pum.

RIGGAN (CONT’D)

Again, no shot. Slowly, Riggan raises the gun toward his own
head, suddenly a frightening explosion. Blood sprays. Riggan
falls. We stay with the shell-shocked audience. A moment of
tension, of uncertainty, until...
Bravo!

MAN

The audience, one by one, jump to their feet, applauding
wildly. The sole exception is Tabitha, who remains seated, a
dazed expression on her face. We stay with the audience a few
seconds longer.
FADE TO BLACK.
The sounds slowly vanish. After a moment of silence...
BIRDMAN (V.O.)
You won't be hearing from him
anymore.
Is he...?
He's gone.

MAN (V.O.)
BIRDMAN (V.O)

10/29/14

/

107.

INT. WAITING ROOM - HOSPITAL - DAWN
One of the old Birdman films is playing on a small television
screen that hangs on a corner. The scene ends and a Morning
Show host appears. Behind him a picture of Riggan and a
caption that reads: “Nation in shock.” A shot of a candle
vigil in Central park.
HOST
What do we talk about when we talk
about Riggan Thomson? When we come
back, more on the actor who two
nights ago shot himself during the
opening performance of his new
Broadway play...
We pan away from the TV to see that the waiting room is
filled with newsmen waiting for something to happen. There is
almost no room to breath.
We pan to see Jake emerging from an elevator, carrying a
newspaper under his arm. He walks through the dense mass of
newsmen with a serious expression on his face. We follow him
into...
INT. ROOM - HOSPITAL - CONTINUOUS
...a room. Jake peers in. Riggan lies on a bed, the bandages
on his nose cover most of his face. Sylvia is looking out the
window.
Is he...?

JAKE

SYLVIA
He’s awake.
Jake enters the room.
JAKE
(Serious.)
I thought I lost you, buddy. Thank
god you’re a horrible shot! What
the hell happened? I was watching
you up on that stage, and all of a
sudden you get that goofy look in
your eye, and you were just like-He starts to laugh.
SYLVIA
What the hell are you laughing
about? He tried to-- What is wrong
with you?
(CONTINUED)

10/29/14

/

108.

JAKE
I’m happy, okay? He’s alive. My
best friend is alive. And he is the
man of the hour!
Jake holds the New York Times up in the air.
RIGGAN
What is that?
JAKE
You did it.
SYLVIA
(Coming to them.)
You have to be shitting me... She
wrote a review?
Jake unfolds the newspaper and we see the headline of the
review: “The Unexpected Virtue of Ignorance”.
JAKE
(To Sylvia.)
Read it.
He hands her the newspaper. She begins to read to herself.
SYLVIA
I don’t believe this...
JAKE
Read it out loud!
SAM
"Thompson has unwittingly given
birth to a new form that can only
be described as supra-realism.
Blood was spilled both literally
and metaphorically by artist and
audience alike. Red blood. The
blood that has been sorely missing
from the veins of the American
theatre..."
(Beat. To a smiling Jake.)
You’re happy about this?
She hands it to Riggan.
JAKE
Happy? I’m fucking euphoric. This
is the-- This is the kind of review
that turns someone into a living
legend.
(CONTINUED)

10/29/14

/

109.

SYLVIA
He tried to-- He shot the nose off
his face!
JAKE
He’s got a new nose! And if he
doesn’t like that one, we’ll get
him another one. We can use Meg
Ryan’s guy. Who gives a shit? Turn
on the tv. There are people praying
for him all over the country.
They’re lighting candles in Central
Park. He did it. (To Riggan) You
did it! The play’s gonna run
forever. It’s gonna open in London,
in Paris... The studios will call
us again. We’ll get book offers.
SYLVIA
How do you know all that? You can
see the future?

Yes.

JAKE
(Euphoric.)

She slaps him in the face.
SYLVIA
Did you see that coming? You’re so
full of shit, Jake.
Jake needs a few seconds to recover. Then he looks at Riggan
who just sits there, in silence.
JAKE
Why aren’t you saying anything?
This is what you wanted wasn’t it?
(Riggan gazes at the
review.)
Riggan, this is what you wanted.
RIGGAN
It’s what I wanted.
JAKE
Okay, listen. You’re gonna get hit
with a “brandishing a weapon”
charge. If anybody talks to you, it
was an accident and we’re doing an
internal invest-A newsman comes into the room and takes a quick picture.
(CONTINUED)

10/29/14

/

110.

JAKE (CONT’D)
(Chasing him out.)
This is a hospital you motherfucker!
Jake rushes to the door, shoving the newsman and a few other
paparazzi out the door. Security guards. Chaos. Finally
silence. Sylvia steps up and looks Riggan in the eye.
SYLVIA
Is that what it was? An accident?
Riggan just stares at her. His calm, sad eyes peeking through
the bandages. After a moment his gaze moves over her
shoulder. Sylvia turns and we discover Sam standing in the
doorway holding a bouquet of flowers. A bit of awkward
silence, and Sylvia decides to leave them alone.
She kisses Sam on the head and exits. Sam walks the flowers
to Riggan at the bed. She lays them on his chest.
SAM
Alchemillas.
The hint of a smile on Riggan’s face.
SAM (CONT’D)
Are you actually smiling?
(She smiles.)
What’s so funny?
RIGGAN
I can’t smell them.
A moment until the smiles turn to gentle laughter. She takes
out her cell phone and snaps a picture of him.
RIGGAN (CONT’D)
What are you doing?
SAM
I’m posting this picture on your
Twitter page.
RIGGAN
Very funny...
SAM
Set it up today.
RIGGAN
You’re joking.
I’m not.

SAM
(CONTINUED)

10/29/14

/

111.

RIGGAN
Let me see the picture.
SAM
Absolutely not. You look hideous.
RIGGAN
Thanks a lot.
SAM
I’m just kidding. No, I’m not. You
look hideous.
(Working on phone.)
You already have 80 thousand
followers. In less than a day. And
I’m about to scare the shit out of
them.
RIGGAN
Let me see.
No. Done.

SAM

A moment between them. Sam picks up the flowers and kisses
him tenderly on the head. Riggan is pleasantly surprised by
that kiss.
SAM (CONT’D)
Now, I’m going to find something to
put these flowers in.
She heads out of the room. Riggan lies there for a moment,
tranquil. After a moment he reaches up and touches his
bandages. Finally, he climbs out of the bed. We follow him
into...
INT. BATHROOM - ROOM - HOSPITAL - CONTINUOUS
...the bathroom. He stands before the mirror. He stares at
his reflection for a few seconds, and slowly begins to remove
the bandages. We can see that Riggan’s nose has been
reconstructed. It is a crooked, incomplete nose, like the one
Javier Bardem has.
RIGGAN
I do look hideous.
In the reflection, Riggan sees Birdman sitting on the toilet.
They look at each other, but say nothing. Riggan puts the
bandages back on and we follow him out to...

10/29/14

/

112.

INT. ROOM - HOSPITAL - CONTINUOUS
...the room. He looks around, but Sam is gone. He ambles over
to the window, his ass hanging out of the back of his
hospital robe. He opens the window and feels the sun and the
breeze on his swollen face. We just hear the sounds of the
people standing down in the parking lot. Media trucks. Fans.
We stay with Riggan, who seems to be thinking about
something. He sees a flock of birds dancing in the sky. Then
he grabs the side of the window with one hand and begins to
step up onto the sill.
The camera pans away from him to a table that has some photos
propped on it: One of he and Sam when she was a child. One
with Sylvia and Sam. A copy of Carver’s “What we talk About
When We Talk About Love” laying on the surface.
The camera continues to pan until it comes to the door. Sam
enters with a small vase. She looks around...
Dad?

SAM

She goes to the bathroom and peers in... nothing.
Dad...?

SAM (CONT’D)

She spots the opened window and registers the sounds from
outside. Tentatively she walks toward the window. She gets
there, summons her courage and looks down. Nothing. Slowly,
confused, she tilts her head up and looks up into the sky. A
smile, filled with pride, begin to wash over her face.
SMASH TO BLACK

*

FOXSEARCHLIGHT.COM/AWARDS
Released by Twentieth Century Fox © 2014 Twentieth Century Fox

THE END

THE END

Good ScreenPlay

I ruin your day with a horrible screen play and now after so long ride... I am going to put an "END" to all and everything... which did happen in "Deep Legend"?

V For Vendetta

 

FADE IN:

In the darkness, we hear a voice, a woman's voice. Her name
is Evey.

EVEY (V.O.)
"Remember, remember, the fifth of
November, the gunpowder treason and
plot. I know of now reason why the
gunpowder treason should ever be
forgot."

Her voice has a strength that is metered by a calmness, a
deep centered peace that we can feel.

EVEY (V.O.)
Those were almost the very first
words he spoke to me and, in a way,
that is where this story began,
four hundred years ago, in a cellar
beneath the Houses of Parliament.

In the darkness, we find a lantern. Guy Fawkes, a dangerous
man who wears a goatee, is struggling with a wheelbarrow
stacked with barrels of gunpowder.

EVEY (V.O.)
In 1605, Guy Fawkes attempted to
blow up the Houses of Parliament.

The wheelbarrow bumps over the heavy stone mortar of the
cellar floor. From the dark depths, we hear the sound of
dogs.

EVEY (V.O.)
He was caught in the cellars with
enough gunpowder to level most of
London.

Guy sees lanterns coming from both sides. He tries to run as
the dogs reach him first. He grabs for his sword as dozens
of pole axes pin him against the tunnel's stone wall.

EVEY (V.O.)
Sometimes I wonder where we would
be if he hadn't failed. I wonder
if it would have mattered.

In the dim pre-dawn light, Guy is led to the gallows.

EVEY (V.O.)
I suppose the answer is in the
rhyme. More than the man, what we
must remember is the plot itself.

The coarse noose of rope is snugged up to Guy's throat. He
looks into the crowd until he finds a face, a woman's face,
staring up at him.

EVEY (V.O.)
For in the plot we find more than
just a man, we find the idea of
that man, the spirit of that man,
and that is what we must never
forget.

The lever is thrown and the woman looks down, a tear falling
down her face.

EVEY (V.O.)
This, then, is the story of that
idea, of that spirit that began
with an anarchist's plot four
hundred years ago.

Guy's body hangs in silhouette, lifeless against a red
morning sun.

FADE OUT.

FADE IN:

INT. SUBURBAN HOUSE

A young Evey sits on her