狠狠撸

UNCANNED
By
Ellie and
James Weedon

BLACK.
We hear the sound of a clock ticking. It is uncomfortably
loud. Every clog of the second hand echoes through a large,
open void.
A. INT. THE HALL – 4:00PM
The dreary, lifeless sports hall of a high school houses a
mechanically composed CIRCLE of eight plastic chairs. Harsh
LED ceiling lights poorly illuminate the centre-stage; our
subjects are not flattered by the cruel hues.
Blackness is expelled from the screen with a jump-cut. This is
conducted by the sharp, rhythmic clatter of a woman’s heels,
striding across the cheap wooden flooring. Again, echoes.
1 [CAMERA WIDE – LONG SHOT – STATIONARY ON TRIPOD AT BACK OF
HALL – SYMMETRY WITH CIRCLE OF CHAIRS IN CENTRE]
THE WOMAN is the group leader, PAULA. She is middle aged, and
suits being so. Her lips are heavily made-up in a bright pink,
her hair: short and light blonde. Her outfit is verging on
being appropriate for the situation - with a short, tightly-
fitted dress, pasted to her bare legs.
2 [CUT TO CLOSE UP OF BAG – NARROW – SHALLOW D.O.F]
PAULA takes her seat – takes time to place her bag at the side
of her chair, making as much noise as possible. She pulls out
a clipboard and a garishly coloured pen.
3 [CAMERA MID – MEDIUM SHOT – PANNING AROUND THE CIRCLE WITH A
FOCUS ON PAULA]
PAULA
[Coughing effeminately] Hey guys, so how are we doing today?
All had a good week?
CALEB almost wears a black hoodie, and finds the floor much
more interesting. 4 [JUMP CUT TO CLOSE UP OF HIS CLAMMY, BONY
HANDS.] 5 [JUMP CUT TO A CLOSE UP OF HIS EYES] He glances
around, waiting for someone else to act on the endeavour.3 [-]
PAULA (CONT’D)
6A [POV DAVID – FOCUS ON PAULA – RIG]
[She welcomes the silence with a strong smile.]
Anyone have anything they’d like to share? ... Dave?
6B [PAULA POV – FOCUS ON DAVID – RIG.] His eyes shoot
hatefully at Paula. His long, brown hair curtains his eye.
They reunite with the floor. The clock still ticks away.

PAULA
6A [-] Paula gleams at him. 7 [CLOSE UP SHOT OF CLOCK]
Nothing...? Hmmm.
8 [CAMERA ON PAULA’S LEGS – M.C.U - TRIPOD] She jiggles her
crossed legs up and down in an irritating fashion. Suddenly,
she brings her hands together excitedly.
12 [CLOSE UP OF PAULA’S FACE – RIGHT HAND OF SHOT]
PAULA
Harriet!
9 [WESTERN CLOSE-UP OF HARRIET’S SCOURNFUL EYES] she shoots at
PAULA with a hateful glance to her right.
12 [-] SMILING
PAULA
How’re those conversation skills coming along?
10 [CAMERA MID – SYMMETRICAL SHOT OF HARRIET ON HER PHONE –
TRIPOD] She looks back down and doesn’t take a break from
typing.
PAULA
11 [OVER THE SHOULDER SHOT – ELLIE - FOCUSING ON PAULA]
I see. - Well if nobody has anything they’d like to say then I
guess we could start with-
11 [FOCUS PULL FROM PAULA TO ELLIE’S ARM. DOLLY.]
1 [LONG SHOT OF HALL AGAIN]
PAULA
12 [-]
Oh, sorry!-
[Oh it’s all such a mess. Look at this mess. My hair is a
mess. My clothes are a mess.] Ellie is roughly dressed in a
dark tank top and jog pants. Her hair tied loosely back, and
she harbours a no make-up tired-eyed look.
ELLIE
13 [UNCOMFORTABLE CLOSE UP OF ELLIE’S FACE – LEFT OF SHOT]
I have something I’d like to say.

PAULA
12 [-]
Oh, okay, well that’s fine. Go ahead...
13 [-] Ellie’s eyes scan the circle.
13A [POV SHOT FROM ELLIE’S PERSPECTIVE OF THE CIRCLE – WIDE
ANGLE – TRIPOD]
ELLIE
13 [Ellie looks down at her hands]
I want to talk to you ... about life.
14 [CLOSE UP – ELLIE FUMBLING WITH HER HANDS]
13 [-]
ELLIE (CONT’D)
It’s just too difficult to be alive, isn’t it... [Glances
around the circle] ... and try to function?
14 [Straightens her hands out across lap]
ELLIE
There are all these...
15 [OVER THE SHOULDER SHOT – FOCUSED ON ELLIE – DOLLY AROUND
CIRCLE] (from black) Ellie’s hands are tight, and come
together in fists on her lap.
ELLIE
... people – to deal with.
12 [CLOSE UP OF PAULA’S AWKWARD SMILE] doesn’t know what’s
coming…
16 [PEDESTAL - CLOSE-UP SHOT OF YOUNG BOY 2] He looks up to
ELLIE as the camera slowly elevates.
10 [-] Harriet still typing away.
ELLIE
17 [MID SHOT – SYMMETRICAL – ELLIE – TRACK & DOLLY – SLOW
MOVEMENT.] Ellie’s hands are in her lap. Legs, joined at the
knee, but feet angled apart. She is slouched over – she then
looks up, around each face in the circle.

I tried to buy – a can of tuna fish - in the supermarket.
18 [BLINDING FADE IN – SUPERMARKET – HAND CARRYING EMPTY
BASKET - EXTREME CLOSE UP - SHALLOW D.O.F]
ELLIE
13 [-] Lost in visualization.
And there was this...
19 [CUT TO EXTREME CLOSE UP OF MAN’S EAR – SHALLOW D.O.F] Man
scratches his scalp.
...person. Standing right – in front – of where...
18 [EXTREME CLOSE UP – ELLIE’S HAND CLUTCHING THE BASKET]
ELLIE
I wanted to...
13 [FADE FROM BLACK - PAN OUT FROM ELLIE’S FACE]
Reach out...
20 [EXTREME CLOSE UP – ELLIE’S HAND CLUTCHING THE PLASTIC
CHAIR]
... to get the tuna fish.
13 [-]
Ellie’s eyes open on the last line. When she realises – they
flick up.
21 [CLOSE-UP – DAVID PEERING THROUGH HAIR] Breakfast club.
ELLIE
3 [DOLLIES AROUND – BEHIND YOUNG BOY 3 (STEPHEN) - FOCUS ON
ELLIE.] Ellie glances at David nervously. She looks back down
to her hands, takes a deep breath.
And I waited a while, to see if they’d move,
12 [CLOSE UP OF PAULA’S SOUR FACE.] She has a wide-eyed,
engaged expression on her face.
ELLIE
3 [SLOW MOVEMENT AROUND]
... and they didn’t.
22 [GABBIE GLANCES UP – CLOSE UP]

ELLIE
17 [CLOSER] RUSHED DELIVERY.
They were looking at the tuna fish too, but they were taking a
real long time on it,
19B [MACRO F.P. FROM MAN’S EYE TO ELLIE’S STRESSED EYES.]
18 [CLUTCHING BASKET]
reading the ingredients on each can like they were a book-
ELLIE
17 [A TAD CLOSER] Ellie is fatigued.
a pretty boring book if you ask me... but –
nobody has…
ELLIE GLANCES AROUND THE CIRCLE, HUNCHED OVER.
13B [POV – OR, SHOT PANNING AROUND CHARCTERS IN CIRCLE, FROM
MIDDLE CLOSE-UP] PAULA CLICKS HER PEN.
ELLIE
23 [EXTREME CLOSE UP – SHOT OF WATER BOTTLE BY ELLIE’S
JIGGLING FEET]
24 [EXTREME CLOSE UP – PAULA CLICKING HER PEN]
SO, I waited a long while
17 [ELLIE DEEPER IN SHOT] A strand of hair curls down from her
forehead, and she replaces it (hands shaking)
And they didn’t move. And I couldn’t get to the tuna fish
cans; and I thought about asking them to move, but then they
seemed so stupid not to have sensed that I needed to get to
the them that I had this awful fear that it would do no good,
no good at all to ask them; they’d probably say something like
[ONLY JUST CONTROLLING HER VOLUME]
“We’ll move when we’re goddam ready you nagging bitch.”
24 [-] PAULA’S CLICKING HAD STOPPED.
12 [-] PAULA BARES AN EXPRESSION OF EQUAL PARTS WORRY AND
SHOCK.
3 [TRACKING AROUND] AWKWARD GAZES.
ELLIE
And then what would I do?
14 [-] ELLIE OPENS HER HANDS IN QUESTION

17 [GETTING A LITTLE CLOSE NOW]
And so then I started to cry ... out of frustration ...
quietly, so as not to disturb anyone – and still... even
though I was softly sobbing...
This stupid person didn’t grasp that I needed to get by them,
[quickly]
And so I reached over with my fist, and brought it down real
hard on his head and screamed:
[BY THIS POINT, THE CAMERA IS RIGHT IN FRONT OF ELLIE’S FACE
AND THE FIELD DEPTH IS SHALLOW] ELLIE MAKES A TIGHT HAND
GESTURE BY HER FACE – HER EYES ARE CLOSING.
“WOULD YOU KINDLY MOVE,
[SHORT OF BREATH, SCRUNCHING, AND THEN RAISING HER EYEBROWS]
Asshole.”
ELLIE OPENS HER EYES SHARPLY AFTER THE LAST WORD. THE SOUND OF
A TUNA FISH CAN SWIRLING ON A WHITE SHOP FLOOR CAN BE HEARD.
25 [MACRO EXTREME CLOSE UP – TUNA CAN SPINNING TO A STOP]
THE CLOCK STILL TICKS AWAY.
14 [-] ELLIE’S HANDS ARE STILL, BETWEEN HER LEGS.
17 [-] ELLIE LOOKS DOWN, WIDE-EYED AND IN A TRANCE.
ELLIE
[MELLOW]
And - the person fell to the ground, and looked totally
startled. [SHAKING HEAD]
Some child nearby started to cry, and I was still crying...
13C [POV FROM ELLIE LOOKING AT LEFT SIDE OF CIRCLE.]
17 [BACKING OUT EVER SO SLOWLY]
And I couldn’t imagine making use of the tuna fish now anyway,
so I shouted at this child to stop crying – I mean, it was
drawing too much attention to me –
26 [CLOSE UP – PAULA WRITING ON CLIPBOARD] DATA SHEET – “ANTISOCIAL
BEHAVIOUR? - CHECK!” 12 [-] PAULA GLANCES UP.
ELLIE
[BRIGHTLY] Anyway,
17 [DRAWING CLOSER ONCE MORE]

I ran out of the supermarket, and I thought, [HAND STROKING
CHIN, THEN FINGER POINTING UPWARDS] I’ll take a taxi to the
Metropolitan Museum of Art [LEANING BACKWARDS, THEN FORWARDS
IN HESITATION]
I need to be surrounded by culture right now. Not tuna fish.
[ON THOSE WORDS SHE SHAKES HER HEAD AND STROKES HER BOTTOM
LIP]
17 [WE DOLLY AWAY] ON THAT NOTE A SOUND OF A CHAIR CREAKING
FORWARDS IS HEARD.
10 [MID – HARRIET] HARRIET IS NO LONGER ON HER PHONE. SHE
LEANS FORWARD AND HOLDS A PERPLEXED ESPRESSION, AND CLOSES
THE SCENE WITH A BLINK OF DISGUST.
FIN

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