Unit 22: Scripting for Media Products: 2018

Monday, 4 June 2018

LO2: Treatment

The target audience for our radio show is males, C2DE between the ages of 25 - 40. A stereotypical person with these demographics enjoys cutting to other people about football which is why we have made our script very informal and chatty. This would mean that it has a peer to peer mode of address between the presenters. It obviously links to the hobbies and interests of our target audience as they will all like to watch or play football or else they wouldn't be listening to a football station. In terms of people we could get on the show we would want to advertise speaking to either past or present football players or managers. Past players could include people who often present football on TVs such as Ian Wright, Alan Shearer and Gary Lineker. Current players could include Wayne Rooney, Harry Kane and Raheem Sterling. The noises that we use on the show will also appeal to the target audience as they will include noises that can typically be heard at a football match. The backing track will be crowd noises to give it the feel of a football game. The whole feel of the short film is for it to feel like a football game experience. Other noises include whistles, bass being kicked and the post being hit.

The content will attract the audience as they can listen to full-time scores and other peoples opinions when driving/travelling home from games. It will also feature controversial topics such as transfer rumours and news from the week just past as well as score predictions for next weeks fixtures. These topics can be discussed using the social media side of the advertising as well as on the talk show.

To market the show we would make a social media page or use print adverts such as billboards or posters. The social media could help to reach the younger side of the target audience and for print adverts, they can reach everyone whether they are in or outside of the target audience. It can also be advertised at football matches as people in our target audience will be there.

Audience Profile

Mark is a 28-year-old, lower-middle-class assistant manager at a local hotel. He earns around £32,000 a year so he has an average amount of disposable income, most of which is spent on football-related activities like match tickets and travel as he has loved everything about football since he was a child. He spends around £30 a month on football-related activities, not including his annual season ticket to his local football club, which costs him £350 a year. He owns his own car, only a hatchback but it is relatively new. He also has a fiancé, so is saving a lot of his spare money for a wedding.

When he was younger he used to dream of being a professional footballer, he received a football shirt with Alan Shearer's name on the back for his birthday one year and wore it whenever he went to play at his local park. As he grew up he realised he wouldn't make it as a professional footballer; however, he never lost his love for the beautiful game. This is where Onside FM comes in. Mark hasn't spent as much money on football-related activities over the past few months as he is saving money for his wedding, so to keep up to date with all the goings-on in the football world he wants to make sure he is getting his information from a reliable source. He remembers seeing an advert for Onside FM, he remembers how it enticed him to listen to the show, so he decides to tune in.

Friday, 1 June 2018

LO4: Evaluation of the Script

The Brief

You have been asked by local community radio station, Sheffield Live! to create a new and original radio show or drama.

You will create the first 5-10 minutes of the new radio show/ drama and include:

Presenters/ voice actors
News bulletin
Feature/ interview/ narrative
Jingle/ theme music
Bedding music/ sound/ effects
Original advert
Competition/ social media links

I believe our script successfully met the brief as it followed all the conventions of a traditional sports show, whilst also adding a local twist, making it fit to use on Sheffield Live!. We featured original adverts from companies that are local to the radio station and also from larger companies with the same target demographic as Onside FM. As I have stated in my codes and conventions work my script includes all of the sections included above, meaning it fits with the usual format of a talk radio show.

Several drafts of the script were made to ensure that the final version was as close in quality and format to a professional script as possible. I have included examples of some of the feedback we received on our first draft, below.

In total, we wrote two different drafts before we were happy with our script. The main issue with our first draft was how the text was separated. There wasn't enough back and forth conversation between the presenters, each presenter could be talking for around thirty seconds without a break. This ruined the flow of the show and made it hard to listen to so we decided to split the paragraphs up between the presenters as we thought this would keep the listeners' attention more. Secondly we needed to add our news section and our adverts into the script. Our first draft also wasn't formatted correctly and didn't feature any timings, so we corrected this in our second draft.

Our second draft, corrected the paragraphing issues from the first draft, we also formatted it to look like a professional script with timings. However, the news section we added was "unnecessarily long" so we needed to shorten this in our final version. There were also some issues with how some of the "transfer rumours" section was worded which made the script hard to follow and again negatively altered the flow of the show.

In our final version, we corrected the wording of the script and split up the paragraphs more so it flowed well. At this point, the script had been formatted correctly so it looked like a professional script. The final script can be seen below.

In conclusion, I feel that this final version of the script fits all the requirements stated in the brief. I feel it is clearly aimed at our target demographic and caters to them well. We didn't include a competition/giveaway in our radio script; however, I feel that this is the only element of the brief we did not complete. Despite this, I feel that myself and Josh have created a professional looking script that could be used to create a radio show.

LO3: Production of the script

The script we have written is for a football talk show aimed at 26-40-year-old football fans who seek an intelligent debate on the footballing world. The show features sections devoted to Saturday's results, upcoming fixtures and the latest transfer rumours. The script was written by both myself and Josh. I wrote the introduction, the "today's results" section and the national news section. Josh wrote the "transfer rumours" section and the outro.

The ordering of the show will feel familiar to the audience as it follows a similar schedule to other popular talk/sports radio shows. This gives the listeners a comfortable reassurance as it follows the codes and conventions of its genre. The sections of our programme are divided by music and advertisements that are aimed specifically at the target demographic for Onside FM. This is a crucial convention of this genre of radio broadcast that must be met as if it is not followed it may make listeners feel that Onside FM has not been created to a professional standard which may make them decide not to listen

As I previously mentioned, Onside FM is aimed at football fans between the ages of 26 and 40. They are likely to be from the C2DE categories of the NRS social scale as football is traditionally seen as a working-class sport. The audience is likely to be mostly men, as traditionally, football was seen as a sport for men. Despite this our show will cater to both genders as in a modern society such as ours, we should aim to be as inclusive as possible; especially where football is involved as the female side of the game has grown rapidly in recent years. We chose this target audience because we wanted Onside FM to feature a more refined discussion about football compared to its competitors. We felt that people younger than our assigned target demographic wouldn't be able to relate to our style of broadcasting.

The show features sections devoted to News, Sport and a large discussion section which gauges the listener's opinions on topics that are likely to be of interest to them such as global transfer rumours.

The script was written by both myself and Josh I wrote the first half of the script (Introduction, Today's Results and National News) and Josh wrote the second half (Transfer Rumours, Outro)

The writing in the script is meant to align with the different codes and conventions of the sections for which they compare to. This means that the Transfer rumours discussion section is written in an informal manner, meaning that it gives the impression of the hosts talking to each other in a peer to peer fashion. This relatable tone makes the audience feel more included in the conversation and therefore more likely to join in the discussion online by using the Onside FM Twitter handle (@OnsideFM or #OFMTransfers to get involved with the transfer rumours discussion).

LO2: Production Plan to Support the Writing of the Script & Assets List

Meeting Minutes

04/11/17

Complete treatment documents

11/11/17

Write match analysis and news headlines

18/11/17

Decide what music and adverts to use

25/11/17

Finalise script and add timings

Assets

Referee Whistle: https://www.youtube.com/watch?v=Da_M2crWscM

Crowd Noise: http://www.mediafire.com/file/ni75bfkb9uy5hx0/small+football+crowd+by+FNC.mp3

Ball Kick: https://www.youtube.com/watch?v=E-XcRTSstu8

Blur - Parklife: https://www.youtube.com/watch?v=YSuHrTfcikU

Oasis - Cigarettes & Alcohol: https://www.youtube.com/watch?v=SaeLKhRnkhQ

Tuesday, 29 May 2018

LO2: Planning a script for a radio show

Onside FM, Touchline FM, Football First. We have chosen these names as they are all related to football (Onside is a football term, the touchline is the white line all around the pitch)

Stay onside for the latest football news (uses the term from the name of the program in the slogan - catchy), The latest news on the beautiful game, Putting football first (Directly using the name of the program).

Our programme would be aired from 5pm every Saturday and occasionally late on Tuesdays if there have been any weekday matches. 5pm would be an ideal time to Broadcast on a Saturday as this is just after all the football matches will have finished so people will likely be driving home in their cars which is where people listen to radio the most.

The genre will be football/general sport

Press conferences, post-match interview, live commentary, fan opinions

Ian Wright, Lee Dixon, Lynsey Hipgrave

As our average listener is around 30 years old we will play 90's music and some indie rock (e.g. Step On - Happy Mondays, The Only One I Know - Charlatans, Supersonic - Oasis, Disco 2000 - Pulp)

Nike, Adidas, Puma, Lucozade, Trainline (as fans will use trains to travel to away games)

Style & Content

The name of our radio show will be Onside FM. The style of my radio programme is a football related talk show. We have chosen this name as "onside" is a term that is mostly connoted with football. The slogan will be "stay onside for the latest football news". This again relates to football as, in a match, footballers must stay onside to avoid committing a foul. Our show would be aired from 5pm on Saturdays and occasionally at 7pm on Tuesdays. This is the ideal time to broadcast a football show as the majority of matches played on a Saturday will finish just before 5 o'clock, so if people want to call in to discuss the football the match will still be fresh in their mind. The occasional Tuesday night shows would be broadcast when there are matches being played. The show would start at 7pm to discuss the games that kick off at 19:45. The presenters could be ex-footballers, commentators or others who have a history in the football industry as the high levels of football-related knowledge they have will make for a more interesting show. As the average age for our listeners will be around 30, we will play music from the 90's as this is the types of music they will be able to relate to most (e.g. Oasis, Blur etc.).

Narrative/Running Order

17:00 - Introduction to show

17:02 - Call-ins

17:15 - News

17:17 - Weather

17:18 - Ad break

17:20 - Presenters read through the results from that day

17:23 - Presenters read through the top 4 league tables

17:25 - Presenters discuss the top and bottom of the top 4 league tables

17:35 - Presenters discuss the "big games" of the day (local derbies, teams that need to win etc.)

17:45 -

Wednesday, 9 May 2018

LO2: Conventions

We will leave a pause after every fixture that is read out. This is simply to give the listener time to process the score that was just read out. If we read them out too fast then they will lose track but if they are read out too slow then the flow of the programme will be lost.

Presenter names only really need to be mentioned in the introduction or the show or the jingle to give new listeners a reminder of the name of the show or presenters so they might tune in again.

Below is the running order which we will base the timings of the show on. This will make the sections long enough to fit everything that we want in to the show, but it will still make the show flow nicely.

17:00 - Introduction to show
17:01 - Fixtures, basic score news
17:02 - Song
17:03 - News
17:05 - Transfer rumours
17:07 - Song

The show will mainly consist of dialogue as it is a football talk/discussion show. It will feature a few songs but only short snippets of them. The adverts will also help to break up sections of dialogue that may be too long with out them. This links to the timing section as the flow would be effected negatively without them and will seem to long. This may cause people to get board and change the channel.

The music will fit the target audience for our show, 25-40 year old males C2DE. This includes 90s Alternative and Brit pop. This includes bands such as Oasis and Pulp.

The sound effects that we will be using will be related to the genre of radio show we are making. They will include football noises such as whistles being blown, the crowd cheering, the post being hit and a ball being kicked.

The Jingle will be "All sports, all the time, OnsideFM stay onside for the latest news". This is both tells the audience the genre of the programme in a catchy way with a saying that can create a brand and be recognised and linked to the station when it is said. The main purpose of the jingle is to be recognisable and create a brand for the station. The rest of jingle will incorporate catchy music that is typical of jingles so that they get stuck in your head and you remember them as well as the relevant football noises such as a final whistle to symbolise the end of the jingle.

The station will have player and manager interviews (pre and post game) as well as gusts that will change every week that are relevant to football or haven in the news e.g. a manager or player that has done something relevant recently. There will also be a phone in feature where fans can give their opinions on current football events. This will make the show more personal to the listeners.

Our news segment will consist of both sports and regular news as well as local and national news. I feel that it is necessary to include both because the football that will be being discussed on the show will be from all over the country (national) so it will make sense for the station to cover national news as well. However, were normal news has a sports section, as we are a sports radio station we will replace that with a "todays scores" section where a presenter will read out scores from games that have already taken place or are currently taking place from that day.

The adverts that we have chosen will be relevant to our C2DE, male, 25 - 40 year old target audience. This is obviously because the adverts will be pointless if they don't appeal to the stations target audience. Things that typically appeal to football fans include alcohol, sports wear brands and transport companies. Alcohol as they often have a drink before, during or after a game. These brands could include Fosters, Amstel, Carling, Carlsberg etc. Sports wear brands are popular for men who are in to style and how they look. This is also good as they are often advertised by their favourite stars from their club or from football in general. These include Nike, Adidas and Puma. Transport is important for fans who enjoy travelling to away days or even those who can't drive and need public transport to get places. These include train companies or bus companies including First or Stagecoach.

Tuesday, 27 February 2018

LO1: Task 2 - Language & Angle of the Article

Mode of address is the way in which a media text 'talks' to its audience; this may be formal and informative, or more casual and catchy.

The script for the 2016 film "Deadpool" is in parts informal and also a direct mode of address. This is because at various points in the film the main character (Deadpool) talks to the audience directly as if he were having a conversation with them. This is a peer to peer mode of address. In fantasy films like Deadpool, this is often called "breaking the fourth wall". Of course like most films an indirect mode of address is also used.

In the script for Grand Theft Auto V, an indirect mode of address that is both formal and informal is used. The script is always indirect as it never addresses the player directly. The formality of the mode of address changes (although it is mostly informal) as 'chatty' language is used by the majority of the characters (peer to peer mode of address). However, on certain missions throughout the game, more formal phrasing and specific terminology are used (names of weapons, vehicles etc.) which makes part of the script a formal mode of address. The tone of the text also varies greatly throughout the game depending on what character you are playing as.

In the script for series 1 episode 1 of the BBC drama "Broken" an indirect mode of address that is mostly formal is used. The script is always indirect as it never addresses the audience directly unlike Deadpool. The formality of the mode of address changes as it is often informal due to the drama being set in a parish in the north of England (a large amount of regional dialect).

LO1: Task 2 - Style & Type

A single stranded narrative structure focuses on one central character. Deadpool is an example of a film that uses this narrative structure as almost all the scenes include him and he narrates the entire movie.

A multi-stranded narrative structure has more than one central character. The video game "Grand Theft Auto V" uses this narrative structure as it has three main playable characters. You could also argue that it followed a linear narrative structure as the story is told in order of events that happen in the game.

A linear narrative structure is told in the order of events. The 2017 "JUMANJI" remake used a linear narrative structure as the plot developed based on the events of the films.

A non-linear narrative structure is the opposite of a linear narrative structre, it is told in an order different to that of the sequence of events. A good example of this is breaking bad as a segment from the end of an episode is sometimes played at the start to create intrigue.

Radio shows have a running order of stories and features that will be told using the 5 W's (who, what, when, where, why). An example of this is Hallam FM's Big John at Breakfast show.

All of the scripts I chose to analyse are fictional. A non-fictional script would be used for a documentary like "Bowling For Columbine" for exmple, or perhaps the news section of a radio show such as BBC Radio 2.

LO1: Task 2 - Three Act Script

A three act script is made up of three sections; a beginning, middle, and end. It is the format for all scripts that contain a narrative. The narrative in a three act script doesn't have to be resolved; this is done for a number of reasons. If the product is part of a franchise, an unresolved storyline could pave the way for a sequel, which would in turn make the produciton company more money. An unresolved stroyline helps to create suspense as it leaves the audience with a sense of wonder. It could also be a styalistic choice like in the film "V for Vendetta" when the main character dies before the revolution begins and the film ends. A three act script consists of three elements: setup, confrontation, resolution. It is often longer than a script for a TV show (one that doesn't use a three act script e.g. Breaking Bad).

LO1: Examples of Different Scripts

Film - Deadpool (2016)

https://archive.org/stream/pdfy-1CeJQ_gog6XPXRwe/Deadpool%20Movie%20Leaked%20Script_djvu.txt

I'm kinda lonesome back here.
- Little help...
- Just... I have to keep my hands on the wheel.
Excuse me!
- Dopinder.
- Pool. Dead.
- Nice!
- Smells good, no?
Not the daffodil daydream. The girl.
Yes. Gita. She is quite lovely.
She would have made me
a very agreeable wife. But...
Gita's heart has been
stolen by my cousin, Bandu.
He is as dishonorable
as he is attractive.
Dopinder, I'm starting to think there's
a reason I'm in this cab today.
- Yes, sir, you called for it, remember?
- No, my slender, brown friend. Love...
... is a beautiful thing. When you find it,
the whole world tastes like daffodil daydream.
So you gotta hold on to love. Tight!
And never let go. Don't make the
same mistakes I did, got it?
Or else the whole world tastes
like Mama June after hot yoga.
Sir, what does Ms Mama June taste like?
Like two hobos fucking in a shoe filled with piss.
I can go all day, Dopinder. The point is it's bad.
Why the fancy red suit, Mr. Pool?
Oh, that's because it's Christmas day, Dopinder,
and I'm after someone on my naughty list.
I've been waiting, 1 year, 3 weeks, 6 days and---
14 minutes to make him fix what he did to me.
- And what did he do to you, Mr. Pool?
- This shit.
Boo!
- They won't disappoint.
- They'd better not!
- What about next month's shipment?
- There won't be one.
You're not the only
one with a war to win.
That won't do.
See, we've had this small
disruption to our supply trade.
We'd appreciate your patience.
Okay...
We'll deliver in full
the following month.
Pleasure doing business with you.
Fucking mutant!
Shit! I forgot my ammo bag!
- Shall we turn back?
- No time. Fuck it. I got this.
9, 10, 11, 12 bullets.
Or bust. Right here!
That's $27.50.
I never carry a wallet while I'm
working. Ruins the lines of my suit.
- But how 'bout a crisp high-five?
- Okay.
Merry Christmas!
And a convivial Tuesday
and April to you, Pool!
Oh! Oh, hello!
I know, right? Whose balls did I
have to fondle to get my very own movie?
I can't tell you, but it does rhyme
with "Pulverine". And lemme tell you...
He's got a nice pair of
smooth criminals down under!
Anyway. I got places to be.
A face to fix. And, oh!
Bad guys to kill.
Maximum effort.
Cock shot!
Rich! Corinthian leather!
I'm looking for Francis!
Have you seen this man?
Yanking, yanking!
I've never said this, but don't swallow.
Shit. Did I leave the stove on?
Now, breaking news.
A multi-car collision turned shots fired
on the crosstown expressway this morning.
Gridlock has kept police from the scene.
Residents are advised to remain in their homes.
The assailant appears to be
armed, dangerous, and wearing a...
Red suit. Deadpool.
Negasonic! Come. We have mission.
Colossus, wait up.
I've given Deadpool
every chance to join us.
But he'd rather act like
a child. A heavily armed child.
When will he grow up and see
benefits of becoming X-Man?
Which benefits, the matching unitards?
The house that blows up every few years?
Please. House blowing up builds character.
You ate breakfast, yes? Breakfast
is most important meal of day.
Here. Protein bar. Good for bones.
Deadpool may try to break yours.
Hey!
Wait! You may be wondering
why the red suit.
Well that's so bad guys
can't see me bleed.
This guy's got the right idea.
He wore the brown pants.
Fine! I only have 12 bullets, so
you're gonna have to share!
Let's count 'em down!
Shit, motherfucker!
Ten! Shit.
Nine! Fuck.
Eight. Shit-fuck!
Bad Deadpool.
Seven. Good Deadpool!
Someone's not counting.
Six!
Four...
Gotcha!
Right up main street!
Three, two! Stupid!
Worth it.
I'm touching myself tonight.
Francis! Francis!
What the shitbiscuit!
Where you at, Francis?
You're not Francis!
Really? Rolling up the sleeves?
You're probably thinking, "my boyfriend said this was a
superhero movie but that guy in the red suit just turned
that other guy into a fucking kebab!"
Well, I may be super. But I'm no hero.
Anyhow, technically, this is a murder. But some
of the best love stories start with a murder.
And that's exactly what this is:
a love story. And to tell it right,
I gotta take you back to long before
I squeeze this ass into red spandex.
Look, would it help if I slow it down
for you? I didn't order the pizza.
Is this 7348 Redledge Drive?
- Are you Mr. Merchant?
- The Mr. Merchant who didn't order the fucking pie!
- Who placed the call?
- I did!
Pineapple and olive? Sweet and salty!
The fuck are you? The fuck
are you doing in my crib?
- Is that bread crust? Don't move!
- God, I hope not.
Look, is this about that
poker game? I told Howie...
- Just take whatever you want.
- Thanks!
Sir, before you do anything to him,
do you mind if I get a big tip?
- Jeremy, is it? Wade Wilson.
- Yeah.
That is a no go on the tip-aroo, Jer.
I'm not here for him.
I'm here for you.
- I dodged a big-time bullet on that one!
- Not, out of the woods yet.
You need to seriously ease up on the
bedazzling. They're jeans, not a chandelier.
P.S. I'm keeping your wallet.
You did kind of give it to me.
- Just look, man, can I have my---
- I will shoot your fucking cat.
I don't really know what that
means, I don't have a cat.
Then whose kitty litter did I just shit in?
Anywho...
Tell me something. What situation
isn't improved by pizza?
Do you happen to know a Megan
Orflosky? Get that right? Orflovsky?
'Cause she knows you. Jeremy...
I belong to a group of guys who
take a dime to beat a fella down.
And little Megan, she's not made of
money, but lucky for her, I got a soft spot.
- I'm.....
- A stalker.
Threats hurt, Jer. Though not
nearly as badly as serrated steel.
- So keep away from Megan. Cool?
- Yes, sir.
- And we're done.
- Wait, we are?
Totally done. You should've seen your face!
- I didn't know what to do, I was so scared...
- Soft spot, remember?
Even look in her general direction again and you will learn
in the worst of ways that I have some hard spots, too.
That came out wrong.
Or did it?
Megan.
You've heard the last
of Jeremy. He's sorry.
No friggin' way.
Should've brought my roller blades.
Show these kids how it's done.
And that's why we do it.
But mostly the money.
Hey. Think you can
fuck up my step dad?
If I can give the guy a pavement
facial, it's 'cause he's earned it.
Hey, wait.
- You're my hero.
- No, no, no, no, no. That, I ain't.
Nope. Never will be.
- Fuck you, Wade.
I'm just a bad guy who gets
paid to fuck up worse guys.
Welcome to Sister Margaret's.
It's like a job fair for mercenaries.
Think of us as really fucked up tooth fairies
except we knock out the teeth and take the cash.
You'd best hope we never
see your name on a gold card.
(Buck! Liefeld.)
- Hey, Wade!
- Wade Wilson. Patron Saint of the Pitiful.
- What can I do for you?
- I'd love a blowjob.
- Oh, God, me too.
- The drink. With snuggle. But first...
- Hey, I ain't taking any babysitting money,
make sure that gets back to Miss...
- Orlovsky?
- You sure?
- Hmm.
For a merc, you're pretty warm-blooded.
Bet you let the kid off easy, too.
He's not a bad kid. Just a little light stalking. I was way
worse when I was his age, travelling to exotic places...
Baghdad, Mogadishu, Jacksonville,
meeting new and exciting people. And then..
Killing them. Yeah, I've seen your instagram.
So what were special forces doing in Jacksonville?
That's classified. They
have wonderful TGIFridays!
Alright, kahlua, baileys
and whipped cream.
I give you, a blowjob. I'm---
- Why do you make me make that?
- Kelly, Kelly, Kelly, Kelly...
Take that over there to Buck, please and
tell him it's from Booth. Little foreplay.
- Remind me what good will come of this?
- I don't take the shits, I just disturb them.
What you want?
- Cheers. To your health.
- Fuck you.
That's a new stool.
Stay the fuck down.
Alright, move, move, move, move.
Buck, go rest.
He's still breathing.
Nobody wins today. Nice try, Wade.
You got me. I picked Booth in
the dead pool. Who did you pick?
- You know, Wade, about that....
- No. You did not bet on me to die.
You bet on me to die. Wow. Motherfucker,
you're the world's worst friend.
Well, joke's on you. I'm living to 102.
And then die. At the city of Detroit.
Sorry. I wanted to win money.
I never win anything.
- Whatever. Soldiers of fortune, drink's on me!
- Yeah!
Domestic! Nothing imported.
Woah, woah, woah. Baby...
Are you sure you wanna
shoot your whole wad?
Tight.
- Vanessa.
- Wade.
What's a nice place like
you doing in a girl like this?
I'd hit that.
Buck, you'd best apologize
before--- yeah. That.
- Say the magic words, fat Gandalf.
- I'm sorry.
- Breathe through the nose.
- I don't have a filter between my brain and my...
Okay, hey. Hakuna
his tatas, he's sorry!
- Get outta here. Go cast a spell.
- Hey, hands off the merchandise.
Merchandise, huh. So you...
- Fun fuzzies for money?
- Yup.
- Rough childhood?
- Rougher than yours. Daddy left before I was born.
Daddy left before I was conceived.
- Ever had a cigarette put out on your skin?
- Where else do you put one out?
- I was molested.
- Me, too. Uncle.
- Uncles. They took turns.
- I watched my own birthday party through the keyhole
of a locked closet which also happens to be my...
Your bedroom. Lucky. I
slept in a dishwasher box.
You had a dishwasher. I didn't even know sleep. It was
pretty much 24/7 ball kegs, brownie mix and clown porn.
Who would do such a thing?
Hopefully, you. Later tonight?
What can I get for 275 dollars
and a yogurt rewards card?
Baby, about 48 minutes of
whatever the fuck you want.
And a low-fat dessert.
Did she just put a gift
card in your mouth?
It's time to put
balls in holes.

FADE UP ON: 

An EXTREME CLOSE-UP of what look like BRIGHT-ORANGE TREE- 
RINGS, filling the screen* 

JUICE NEWTON lifts our collective spirits with her power 
ballad 'ANGEL OF THE MORNING ' as we begin our*.. 

. • * CREDIT SEQUENCE . 

We slowly PULL BACK to reveal that the 'rings' are actually 
the glowing COILS of an automobile's CIGARETTE LIGHTER. 

The camera SWINGS around the lighter to reveal that it's 
HOVERING, FROZEN, in MID-AIR... 

...next to the face of a MAN who appears to be violently 
COUGHING. 

The FROZEN man is FLAILING in mid-somersault. His LOCATION 
isn't clear until,.. 

...the camera pulls back FURTHER, out the WINDOW of a 
CADILLAC ESCALADE, also in MID-AIR... 

...FROZEN UPSIDE-DOWN, MID-FLIP . ^ 

The camera circles the ESCALADE and EXPLORES an outrageous 
ACTION SCENE that has been FROZEN IN TIME * 

NOTE: OUR CREDITS HANG IN THE AIR, AT ODD ANGLES, THREE 
DIMENSIONALITY, INTEGRATED INTO THE SCENE. 

We're on a FREEWAY OVERPASS at morning RUSH HOUR. 

We SEE: 

A MAN SMASHING through the Escalade's SUN-ROOF... 
...SHARDS of GLASS encircling his head like mosquitoes... 
...and DROPS of BLOOD SPATTERING in CLOSE-UP, 

ANOTHER MAN catapulting through the air ABOVE the Escalade... 

...his ANKLE entangled in a SEAT-BELT protruding from the 
open passenger door. 

A MOTORCYCLE tumbling in front of the Escalade's GRILLE, 
METAL PARTS exploding OUTWARD, CHAIN whipping through space. 

A motorcycle RIDER soaring through the air, eyes WIDE inside 
his helmet, still firing a SUB-MACHINE GUN... 

Created with 

.PDF* 



nt nitro"* professional 

download the frw trial online at fiftwpof.com/prcifeBEi ona I 



. . .FLAME exploding from its barrel... 
...SHELL-CASINGS spilling everywhere... 

...SLUGS whizzing through the air TOWARD the Escalade, but 
more specifically... 

...toward a tangled jumble of RED FABRIC inside. 

The camera swoops toward the fabric, which clings to the 
limbs of ANOTHER MAN, AS S -OVER -KETTLE inside the S.U.V* 

We see his arms. Legs. 

And at last* * . MASK. 

Eyes trimmed in BLACK. 

DEADPOOL . 

JUICE NEWTON belts out her final heartfelt note, and we... 
. . . END CREDITS . 

DEADPOOL (V*0*) 
I know, right? You have no idea 
what the fuck's going on right now. 
So let me take you back to the dewy 
slopes of. . * 

SMASH CUT TO: 

INT. /EXT. SUPER-MAX PRISON - DAY 
Title: 48 Minutes Ago 

Tight on a pair of black SHIT-KICKERS, escorted through a 
series of CELL and SECURITY DOORS , which SWING and SLIDE OPEN 
and CLOSED AGAIN. 

At last, the black boots walk OUTSIDE into SUNLIGHT. 

Etched into the blinding white fortress behind: 

'No punishment has ever possessed enough power of deterrence 
to prevent the commission of crimes.' - Hannah Arendt 

'Until NOW.' 

The boots strut toward an automotive buffet of Escalades and 
Ducatis in the parking lot... all part of a CONVOY waiting to 
pick up this V.I. P. PRISONER on his first day of freedom. 

Created with 

n nitro PDF "professional 

d own bed the foa» trial ortlhra at nitropdf.com/profeBEional 



3. 




One of the Escalade's doors swings open. VELVET 
UNDERGROUND'S 'I'M WAITING FOR THE MAN' booms from inside. 

We're behind the boots as they stop walking. The camera 
rises up the prisoner's back as the hands of PRISON GUARDS 
UNLOCK the CUFFS restraining his wrists. 

The camera continues to rise, high into the air. The 
prisoner STRETCHES his arms and struts across the lot TOWARD 
the convoy. 



EXT. /INT. TAXI CAB - DAY 

A TAXI CAB proceeds along a CITY FREEWAY* 

Inside the cab, DEADPOOL, in full DRESS REDS, is WEDGING 
himself through the Plexiglas opening between the back seat 
and front. 

The two KATANAS strapped to Deadpool's back don't cooperate, 
catching on the Plexiglas, stalling him mid-torso. 



The CAB DRIVER grabs Deadpool's hand and pulls him through to 
the front. Deadpool's head rests upside down on the bench 
seat as he maneuvers his legs through. 



The cabbie turns the helping hand into a HANDSHAKE. 



CABBIE 

Dopinder . 

DEADPOOL 
{still upside-down) 
Pool . Deadpool . 



Dopinder looks like Aziz Ansari's and Dev Patel's love child. 
He is young, thin, bearded, brown.** and today 9 remarkably 
and ironically UNAFFECTED by this lunatic in his cab. 



DEADPOOL 
Uh, little help here? 




DEADPOOL 
Kinda lonely back there. 



DOPINDER 



Why the fancy red suit, Mr. Pool? 



DEADPOOL 



Christmas Day, Dopinder. 



(glances at watch) 
Waited one-thousand-eight-hundred- 
twenty- two days for this shit.

1 Looking down from two miles above the surface of the Earth it's impossible not to be impressed by the sheer grandeur and splendour and power of the natural world.
Ten years ago, in a television series called Planet Earth, we revealed many of those wonders, but today, much has changed.
We can now show life on our planet in entirely new ways.
Bring you closer to animals than ever before.
And reveal new wildlife dramas for the very first time.
But that's not all.
Our planet has changed too.
Never have those wildernesses been as fragile and as precious as they are today.
At this crucial time for the natural world, we will journey to every corner of the globe to explore the greatest treasures of our living planet and reveal the extreme lengths animals go to to survive.
Finally, we will explore our cities to see how life is adapting to the newest habitat on Earth.
This is Planet Earth II.
There are hundreds of thousands of islands, each one a world in miniature, a microcosm of our living planet.
The struggles to survive on these remote lands reflect the challenges faced by all life on Earth.
The tiny island of Escudo off the coast of Panama.
Home to the pygmy three-toed sloth.
This is a male and life here suits him well.
Mangroves provide all the leaves he can eat and there are no predators to worry him.
Island life may seem idyllic but it comes at a price.
There are only a few hundred pygmy sloths in existence.
And he needs a mate.
(SCREECHING) That's an enticing call from a female.
Somewhere out there.
And this, for a sloth, is a quick reaction.
(FEMALE SCREECHES AGAIN) The problem is, there's deep water between them.
So what should any red-blooded sloth do? Swim, of course.
Could this be her? He does his best to put on a turn of speed.
But she's not the one.
She already has a baby and she won't mate again until it leaves her in about six months' time.
Even life on a paradise island can have its limitations.
(MORE SCREECHING) But at least she can't be far away.
The world's entire population of pygmy sloths is isolated on a speck of land no bigger than New York's Central Park.
The size of an island has a huge influence on the fate of those cast away there.
The island of Komodo in Indonesia.
Home to dragons.
Ten feet long and weighing an impressive 150 lbs, these are the largest living lizards on the planet.
It's unusual to find large predators on islands.
Yet, for four million years, the Komodo dragon has dominated here.
It might seem there wouldn't be enough food to support such giants on this relatively small island.
But reptiles, being cold-blooded, need only about a tenth of the food a carnivorous mammal would.
A single meal will last a dragon a month.
There are so successful that their only serious competition comes from others of their own kind.
And there are some 2,000 of them here.
This giant, however, isn't looking for food he's looking for a mate.
Female dragons come into season only once a year.
She's receptive.
So far, so good.
But he's strayed into someone else's patch.
Another huge male thinks he is the king here.
Space being limited on islands, dragon territories overlap and that creates continual conflict.
In dragon society, size is everything.
But if rivals are closely matched, the outcome can be uncertain.
Muscular tails strike with the power of sledgehammers.
And their serrated teeth are as sharp as steak knives.
Each tries to topple his opponent.
Defeated.
Only the most powerful dragons win the right to mate.
The limited food and space on small islands can often lead to intense competition.
But some islands are immense.
More like miniature continents.
And these provide opportunities for life to experiment and evolve.
Madagascar is one of the biggest islands and also one of the oldest, having split away from Africa over 120 million years ago.
With time and isolation, its animals have adapted to take advantage of every available niche.
The island now has some 250,000 different species, most found nowhere else on Earth.
These are not monkeys, but lemurs.
From a single ancestor, about 100 different types have evolved.
The largest, the indri, seldom comes down from the branches.
The much smaller ringtails wander in troops across the forest floor searching for food.
And tiny bamboo lemurs eat nothing except bamboo.
With few competitors, lemurs have been free to colonise almost every environment on the island.

Read more: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=planet-earth-ii-2016&episode=s01e01

TV Script - Broken

http://downloads.bbc.co.uk/writersroom/scripts/Broken-Ep1-JMcGovern.pdf

Read more: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=planet-earth-ii-2016&episode=s01e01

The oceans seemingly limitless, invoke in us a sense of awe and wonder and also sometimes fear.
They cover 70% of the surface of our planet, and yet they are still the least explored.
Hidden beneath the waves right beneath my feet, there are creatures beyond our imagination.
With revolutionary technology, we can enter new worlds and shine the light on behaviours in ways that were impossible just a generation ago.
We've also recognized an uncomfortable fact.
The health of our ocean is under threat.
They're changing at a faster rate than ever before in human history.
Never has there been a more crucial time to reveal what is going on beneath the surface of the seas.
In this first episode, we will journey across the globe from the warm waters of the tropics to the coldest around the poles.
To bring us a new understanding of live beneath the waves.
This is Blue Planet II.
The surface of the ocean conceals the many creatures that live beneath but not all.
Bottlenose dolphins.
They're extremely intelligent.
And with this intelligence comes playfulness.
They surf.
And as far as we can tell, they do so for the sheer joy of it.
But to properly appreciate their true character, you have to travel with them into their world.
A pod of bottlenose dolphins is visiting a coral reef in the Red Sea.
For the youngsters, there are things to be learned here.
The adults lead a calf to a particular bush-like coral called a Gorgonian.
And here, the adults behave rather strangely.
They deliberately rub themselves through the fronds.
Their calf seems reluctant to do so.
By watching his elders, he may be realizing that this is something he ought to do.
Gorgonia fronds, in fact, are covered with a mucous that can have anti-inflammatory and antimicrobial properties.
So maybe the adult dolphins are doing this to protect themselves from infection.
The dolphins' intimate knowledge of the reef is spurring us to search for new medicines here, too.
Tropical coral reefs occupy only a tenth of one percent of the ocean floor.
But their shallow warm waters and stable year round conditions, support some of the most crowded and varied communities to be found anywhere in the oceans.
And there are new discoveries to be made on every one of them.
One creature on Australia's Great Barrier Reef is challenging our understanding of fish intelligence.
A tusk fish.

Read more: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=blue-planet-ii-2017&episode=s01e01

Game Script - GTA V

https://www.grandtheftwiki.com/Prologue_(GTA_V)/Script

Brad Snider: Get down there!

Michael Townley: Alright, everybody pays attention, no one gets hurt.

Trevor Philips: Aarrgh! Open the door, or they'll get worse than hurt!

(Michael points a gun at a security guard)

Trevor Philips: Hey, hey, ah! Come on!

(The security guard opens the door)

Security Guard: Just don't do any...

Trevor Philips: Ah! Let's go! Shut up! Shut the fuck up!

(Michael moves towards the security guard)

Michael Townley: Hands behind your back.

(Michael searches the security guard)

Security Guard: C'mon mister, we're giving you everything you want.

(An employee goes to trigger the alarm)

Michael Townley: Don't even think about it.

(Michael kicks the security guard in the back)

Female Employee: I'll do it. I'll do it... Oh God.

(Brad heads through a door while Trevor pushes the female employee into an office)

Trevor Philips: Sit tight. I'll handle the plastic.

Michael Townley: Don't blow yourself up!

(Michael aims his gun at the hostages)

Michael Townley: Listen up.

Trevor Philips: In the back! Come on!

(The hostages begin moving into an office)

Male Employee: What's he doing? He's going to kill us in here.

Trevor Philips: Hurry!

Male Employee: Leave us alone.

Second Male Employee: We didn't do shit to you.

(Brad returns and Trevor shuts the office door)

Trevor Philips: All set. Phone it in.

(Michael gets his phone out)

Michael Townley: I'm making the call.

(Michael uses his phone to detonate the explosives blowing the vault open with the trio moving towards the vault)

Brad Snider: Alright! We going to do this, huh?

Trevor Philips: Haha! Show me the money!

Michael Townley: Slow and steady, T. Slow and steady.

(Michael enters the vault collecting the money and is joined by Trevor)

Trevor Philips: There's enough here for us all to enjoy!

Michael Townley: Depends on how you look at it.

(Michael begins to leave the vault as Trevor waits at the vaults door)

Trevor Philips: What's the hold up?

(Michael and Trevor leave the vault)

Trevor Philips: Coming out, B.

(Michael and Trevor leave the vault and Michael is held at gunpoint by a second security guard)

Second Security Guard: Give it up! I got him!

(The second security guard takes Michael's mask off)

Second Security Guard: I saw your face. I'll remember you.

Michael Townley: You forget a thousand things every day. How 'bout you make sure this is one of 'em?

Second Security Guard: I see it in his eyes. He's crazy.

(Trevor shoots the second security guard, killing him)

Michael Townley: Fuck! You didn't have to do that!

Trevor Philips: Let's get going. There'll be time for grieving later.

Michael Townley: Yeah, you got that right.

Trevor Philips: Come on!

(Michael, Trevor and Brad head toward an exit with Michael and Brad taking cover)

Michael Townley: I'm setting the charges. They're on a timer, so brace yourselves!

(Michael plants the explosives, which detonate)

Trevor Philips: Fan-fucking-tastic.

(Michael, Trevor and Brad head towards their planned escape exit)

Michael Townley: Oh fuck. You hear that? Sirens. Fuck the cops. T, hit the shutter switch.

(Trevor presses the shutter switch causing the shutters to rise)

Trevor Philips: What's this? Local resistance?

Michael Townley: It ain't supposed to go down like this.

Trevor Philips: It never is. Come on. Go.

(Michael, Trevor and Brad begin shooting at the police officers)

Michael Townley: What the fuck is this?