#1 EXT. NIGHT. ESTABLING SHOT (WS) CHICAGO
Some good night time shots of THE NEST. A large neon sign flashes THE NEST and the marquee tells the latest performer, tonight’s show… ARTIE “BIG MONEY” WILKINSON AND HIS BAND FEATURING JACKANNE SUMMERS. The neon sign buzzes as cars zoom past on the busy street below. Neon lines the peaks and curves of the building glowing onto the slanted roofs and designs of the dance club.
#2 INT. NIGHT. (WS) THE NEST
Slow pan on the dance club as lavish guests waltz in though the entrance wearing sequined dresses and tuxedos. This is a lavish dance club in Chicago where jazz is served, shaken NOT stirred, until 4 am. The swing band is cranking out a saucy tune, SONG OF INDIA, played up beat with a New Orleans jazz style.
The club is made up of two floors. The lower, main floor, is the location the stage and the dance floor. And the upper level, lined with iron railing, creates a horseshoe shape around the side of the club, facing towards the stage.
The room is loud with music, the sound of shoes tapping as people dance and other guests chating, telling jokes, gossip, local news. The occasional laugh. Waiters stroll around with trays of wine or cheeses. Dodging guests, avoiding an accident, as though it’s an art.
A saxophone breaks into a solo, jazzing it up, wailing away note by note. The dancers keep up with the music. They dance the Jitterbug, the Lindy Hop, and the Susie Q.
Some guests sit at the bar listening to the bar tender tell a joke, they laugh. The bartender tells another joke as another guest sits down and he serves him a glass of scotch. The mood of the room is very light. The band finishes the number and the guests clap with approval.
The spotlights fade down and the band begins a slower number, MOONLIGHT SERENADE. The dancers slow dance now and the room is a bit more quiet. But not THAT quiet.
A man with adventuring gear strolls into the room. He wears a fedora, and carries a suitcase. He ‘sticks out like a sore thumb’. He is INDIANA JONES. He walks up to the podium at the front of the club. THE HOST standing at the podium looks at Indy with suspicion.
Table for one?
I need to speak with Mr. Shannon. It’s important.
He’s very busy right now.
A line is beginning to form and the guests are getting impatient. The host sees this.
Very well. This way.
#3 INT. NIGHT. (MS) OUTSIDE JACK SHANNON’S OFFICE
The Host leads Indy around the walls of the club to a staircase. The host leads Indy up a staircase and to a glass door. JACK SHANNON-CLUB OWNER
The host knocks on the door.
You have a guest.
Send him in.
The host opens the door for Indy. Indy walks in and the host closes the door behind Indy.
#4 INT. NIGHT. (WS) JACK SHANNON’S OFFICE
How’r ya doin Pal?
Jack (sighs) It’s been forever, hasn’t it?
Please, sit down.
Indy drops his suitcase next to a large chair. He sits down.
Nice little place you got here.
Yeah, well, it gets the job done alright (pause) so what are you doing in this dive?
I need to borrow a piece I gave you. Remember back in Greece? ’23, A goat’s horn. You didn’t sell it did you? It’s impor…
Suddenly the door to Jack’s office flies open. A group of gansters appear along with a man in a grey pin stripped tree-piece suit, a rose in his lapel, and darkened glasses. He is R. L. Simth. An Italian. He excels at his jobs, finding and killing threats to his local Chicago mob. He is a well-known, smooth talking, gangster. He sneers at Indy and Jack.
JACK SHANNON and INDY are suddenly grabbed from behind. Two large guards in all black suits and do-rags are the ones who grabbed them. They continue to hold them.
Sorry to interrupt, gentlemen. The Horn, now.
INDIANA (to Jack, sarcastically)
Smith walk’s in Indy’s direction.
Of course. R. L. Smith.
He puts out a hand for Indy to shake… nothing.
Please hand it over now, Dr. Jones.
The horn, Dr. Jones, the one Mr. SHANNON here just gave to you. You’ll politely give it to me now, and then you two can get back to your tea party.
The thugs laugh.
He kicks the thug behind him
This is our chance Jack! GO! GO!
#5 INT. NIGHT. (WS) THE NEST
Indy and Jack run out of Jack’s office, down the staircase and off to the front entrance. But more soldiers are rushing in, blocking the exit. Smith opens fire on Indy and Jack from the second floor.
Guests begin to scream and run to the nearest exit blocked by soldiers. The soldiers chase Indy and Jack past a waiter, carrying a large tray of the finest wines. The waiter trips crushing the ornately decorated glass wine bottles. Wine is everywhere. Smith runs down toward Indy and Jack, now cornered. He trips on the wine giving the pair a chance to escape.
The dancers are fleeing toward the exit and slipping on the wet floor. But the band is still playing.
Indy and Jack, once again, head for the exit. But a large thug blocks the way. Only the darkest grin covers his pudgy face. Indy turns around another thug is running directly towards him. Trapped. Indy dives out the running thug’s way. The thug, not being able to stop collides into the other thug with a gruesome “smack”.
Indy in jack run into an alcove, making their next escape attempt. “Click” Indy snaps around. A goon is standing their holding two Thomson sub-machine guns. Once again, Indy is starring certain death right in the face.
#7 EXT. NIGHT. (WS) CHICAGO
The thug flies out a window on the outside of the club.
They climb outside the window and onto the fast back alley of 1920s Chicago. The pair drive off in Jack’s coupe. But Smith and company follows in a black sedan.
The chase is on. As Jack’s flimsy coupe flies past billboards, and liquor crates. The sedan closely follows, spraying bullets.
NO not right left, through there!
The coupe skid’s past a corner garage. Indy spots a tight alley.
Jack! Turn into that alley up there.
The car glides into the alley. The Sedan, being large and bulky, can’t fit.
The coupe makes it to the airport, still in tact. Running out the car, as though it has a bomb on it, they make it to a beat-up three seater bi-plane, this thing’s seen some action.
JOCK!!! JOCK!!! Start the engines Jock!!
The engines start. Smith’s sedan gets to the scene just a moment late.
#8 EXT. NIGHT. (WS) JOCK”S PLANE
That was cuttin’ it close Jock!
I thought you wouldn’t make it.
I always make it Jock, always.
INDIANA (To Jack)
Well Jack, by now I guess they have the horn.
The last two i can't post b/c i was mistaken and I I haven't finshed the 3rd screenplay of mine yet, and the other one Simon's is too long to post. If I could get an email then I'll send it to you Junior, you can PM or post it here.
Once again, I'd love to see all of these made if we can get it here are the films of the two scripts here to give a you a breakdown. They are lego animations
[quote=lao che & sons]The last two i can't post b/c i was mistaken and I I haven't finshed the 3rd screenplay of mine yet, and the other one Simon's is too long to post. If I could get an email then I'll send it to you Junior, you can PM or post it here.
Once again, I'd love to see all of these made if we can get it here are the films of the two scripts here to give a you a breakdown. [\quote]
I enjoyed the films, I thought they were cool.
I don't see any issue in turning the scripts into short comics. The breakdown process will be quite easy as it is kind of laid out in the film.
I will take a full look at them later see what amendments might be need to conform to comic layout.
I left some of our notes in italics with an asterisk* so you could see the changes made.
PANEL 1: full page ws of the stone chamber (credit sand title included)
(for a second I thought you mean't credits in the sand, which bizarrely I thought was a good idea!) Full page fine, with focus on brauner
INT. ICE CAVE - STONE CHAMBER - DAY
PANEL 2: long panel with a mid-shot of Brauner and a close-up of Indys reaction in the forground. This would lead nicley into the next panel
It is clear that the allies are aware of our existence with them having sent two of their operatives.
PANEL 3: close up of Indy face
We didn’t come for you.
PANEL 4: MS of Brauner with the back of indy in view
And what did you come for? Perhaps this?
PANEL 5: diagonal panel: CU Brauner
*I would have him say something politely in german to one of the soilders. I would like the emphasis of Brauner changed, less of someone who revels in his evil but someone who uses it as a last nessesity, in fact he'd rather not use it at all but the overall arc could be that he needs to.
Could you please escort the girl in here.
PANEL 6: Opposite Diagonal: WS of guard's sillhouettes coming out of a smaller chamber with the sillhouette of a woman being held.
PANEL 7: WS of the guards bringing Elaine out of the chamber, in this panel also are; Indy, Mac, the soldiers holging them, and Brauner.
Two more GUARDS appear from another smaller chamber. They have a woman with them... ELAINE BEAUDETTE.
PANEL 8: CU of Brauner's slightly embarrassed look
I believe you have all ready met Fräulein Beaudette.
PANEL 9: CU of Indy's eyes with a surprised and happy expression to them. I think a mid shot of Indy and Mac reaction as they both know her
*PANEl 10: MS Elaine. I would take the opportunity to do a good beauty shot of Elaine.
(with french accent)
*PANEL 11: MS of Elaine embracing Jones and Mac looking at them with a sarcastic expression.
Nice to see you too, Frenchie.
PANEL 12: MS of Brauner
Fraulein Beaudette has been aiding us with the recovery of something very special.
PANEL 13: Brauner pointing at soldiers.
(in German, to the soldiers)
Put them all away.
*I'd add "I'm sorry", and the in german "Put them away".
PANEL 14: WS of soldiers taking Jones, Mac, and Elaine to a chamber.
PANEL 15: MS of Indy, Mac, and Elaine
The soldiers take them to the other smaller chamber. Elaine, MacHale and Indy are all placed inside.
PANEL 16: Same MS but with Bars in front of them "cling"
A rigged bar door closes on them. They are confined in a make-shift prison cell.
PANEL 17: The back of Indy as Elaine hugs him
Elaine embraces Indy.
Oh Indy, you found me.
PANEL 18: CU Indy's face, I would add Indy still hugging with a surprised look on his face.
PANEL 18b: Indy pulls himself back, with a slight smile on his face.
Yes, we found you!!.
*Jones knows he's been caught in a lie.
We uhh... We--
We followed the scent of you're expensive perfume.
You didn't come for me at all did you?
Well we found you didn't we?
*I think this would be a great opportunity for Elaine to question INDY and MAC, How they knew she was here. We could have them make up a stupid story. Until Indy admits it was an accident
Are you hurt?
PANEL 19: WS of the three of them in a the prison cell now standing.
*If you follow my previous logic, the next line could be "Well, I'm fine, Rescuers" Leave out the "good to see you mac" and have mac say "all part of the service, Love!!" istead of "Hello, Love
Well, I’m fine, rescuers.
Good to see you Mac.
All part of the service, love.
PANEL 20: MS of Indy with his hands on Elaine's shoulders
What’s going on here? What did they have you do?
PANEL 21: CU Elaine
They had me translate some writing, Aramaic. Writing that warns of the horrible wrath that God himself will unleash upon humanity when the dead are resurrected... very much like what the book of Revelations describes happens on earth during the events of the rapture. An apocalyptic nightmare.
PANEL 22: Indy
Do you know what they're after?
No, but I know where they are going after this. They’re going to Jerusalem. The Mount of Olives.
PANEL 24: WS of Prison cell (full page
Mount of Olives? That’s supposedly where--
Christ incarnate will come back to Jerusalem when the --
When the end of the world begins?
Last edited by Dr. Gonzo : 08-31-2010 at 12:25 PM.