World Wide Love (2)

7/31/2019 World Wide Love (2)

1/21

WWWOOORRRLLLDDD WWWIIIDDDEEE LLLOOOVVVEEE

YYYooouuurrrLLLiiifffeee iiisss aaa PPPiiieeeccceee ooofffAAArrrttt

(The first 20 of 120 pages)

Actress Sabrina is alone, without a job, and suffering from nightmares.Only her faked profiles on internet dating sites provide excitingencounters and interesting material for the screenplay she is going towrite.Then, her life gets out of control. Deeper and deeper, she sinks into thequagmire of online dating, and, to finance her absurd lifestyle, she startsstealing money from her dates.On the web, she eventually meets Marcus, a well-known art critic andearnestly falls in love. Of course, she has no idea that he, too, lives asecret virtual life which quickly catches up with both of them.

Screenplay fora feature film

Version dated 22.08.2012Copyright Jacqueline Phelps

WGA Registration:1520712


2/21

2

1 TITLE SEQUENCE PHOTOS/ANIMATION

CLICKING SOUNDS AND CHOPPY PHRASES FROM VARIOUS PEOPLE TALKINGABOUT (THEMSELVES) ARE HEARD

IN STAKKATO TEMPOfollowed by widely different photos of various men and women (interms of age, type and photographic situation), with strangenames and words, numbers, gender symbols and signs of the zodiacpopping up around them in many colors. Underneath, repeatedpictures of the protagonists, SABRINA and MARCUS (taken from themovie).

THE STAKKATO TEMPO GETS FASTER AND FASTER UNTIL IT IS ALMOSTIMPOSSIBLE TO RECOGNIZE THE PICTURES.

IN THE END, ALL THAT CAN BE HEARD IS MICKEY MOUSE VOICES

AFTERWARDS, THE FILM TITLE LIGHTS UP IN A SHORT FLASH

2 SABRINAS KITCHEN (CREDITS) INT./MORNING

SLOW, MELANCHOLY MUSIC, E.G.SATISFATION BY CAT POWER TRACK 1

Moving from an extremely small and cluttered bright red paintedkitchen, where the early morning sun shines through slightlyfluttering, transparent curtains, slowly, a short moment across a

small, dark hallway,...

3 SABRINAS LIVING ROOM (CREDITS) INT./MORNING

TRACK 1 CONTINUED

...into a small, colorfully decorated living room/study stuffedwith (Asian) bits and pieces, various lights, pictures, photo-graphs and books (what is visible on the walls looks somewhatyellowed). Above the glass desk, there is a framed quote: Moveyour chair to the edge of the abyss and Ill tell you a story. F.Scott Fitzge-rald. The desk is littered with tobacco crumbs,

small notepads and a big stain of red wine. There is an openedlaptop computer on top of the desk (showing the homepage of afictitious internet dating service Findme!); to the left, thebook Story by R. Mckee, to the right, an overfilled ashtray, aused wine glass, and an empty bottle of red wine. From there ...

4 SABRINAS BEDROOM (CREDITS) INT./MORNINGTRACK 1 CONTINUED

.... into a small, dim, cave-like bedroom that is only separated

by a curtain of beads: An orange-violet lava lamp bubbles in thecorner; a demonic African mask made from dark ebony hangs onthe wall. On a large bed (covered with an Asian cloth, that isclose to dropping from the bed), sprawling across a brown arti-


3/21

3

ficial fur blanket, a half-dressed, slender, pale, black-hairedWOMAN/SABRINA (she looks like shes in her early thirties) issleeping. A black and white CAT/ SOPHIA nestling comfortably ontop of her. Spread on the floor, there are some clothes and anempty bottle of wine. 2 mobile phones (one old, the other onenew) are scattered on a chair next to the bed. Sabrina jerks her

arms and hands around violently several times, which doesnt seemto bother Sophia at all.

5 SABRINAS FACE INT./MORNINGTRACK 1 CONTINUED

Zoom through twitching eyelids into SABRINAs head:

6 SABRINAS FIRST DREAM MOORLANDS EXT./NIGHTANIMATIONTRACK 1 SLIDES INTO THE DREAM

It looks like an old black-and-white movie: SABRINA, wearing darksunglasses, a white head scarf wrapped around her neck - 1950-sstyle, wrapped ino a black trenchcoat, drives a dark red conver-tible (with an open top) across a foggy - soggy, gloomy landscapewith many trails, twisting and turning, covered with rampantlygrowing plants. It seems as if she is looking for an exit fromthis maze. Her headlights reveal flashes of inappropriately

bright colored road signs made from plastic, showing nonsensicalnames, words, numbers, gender symbols and signs of the zodiac.

7 SABRINAS FIRST DREAM DESERT EXT./DAY

TRACK 1 CONTINUED

REPEATED (COLORED) FADE-IN INTO FRAME 6

In a sandy, barren landscape, SABRINA (looking the same as inframe 6), in her dark-red open convertible, flees from a long,black LIMOUSINE. Against the glaring, burning sunlight, both areonly visible in the distance.

8 SABRINAS FIRST DREAM - DESERT/CLIFFS EXT./DAY

TRACK 1 CONTINUED

In a sandy, barren landscape, right in front of a cliff thatseems to drop into a deep abyss, SABRINA slams on the brakes and/ SCREAMS OUT /loudly.

9 SABRINAS BEDROOM INT./MORNING

TRACK 1 OFF

SOPHIA the cat, startled, jumps up and runs away.

10POSH RESTAURANT INT./EVENING


4/21

4

LOUD RESTAURANT NOISES

SABRINA sits at the table of a classical posh restaurant, facinga stout, moon-faced MAN (GOLDFINGER)of uncertain age (about30 45 years old). They are talking, gesticulating and laughing(with-out being heard). On the table, there is a dark red, long-

stemmed rose in a water glass. She sports an elegant, upswepthairdo, wearing a simple minidress, a lot of makeup, but no je-wellery (except for her large green emerald ring, which she prac-tically wears all the time); drinks white wine, and smokes. Hewears a conservative suit and tie, drinking whisky.

11STREET IN AN UPSCALE NEIGHBORHOOD EXT./NIGHT

SABRINA (in a short black trenchcoat, carrying a silver shoulderbag) and GOLDFINGER stroll happily, and obviously drunk, alongan elegant street with big, imposing houses, until they stop at

the front door of a new building; the man unlocks the door.

12LUXURY LIVING ROOM INT./NIGHT

In an expensively, but tastelessly decorated penthouse livingroom with swanky furniture, golden lamps etc. GOLDFINGER la-boriously /GIGGLING/ helps SABRINA take off her coat, and leavesthe room. She drops on a white leather sofa and shoves away areal fur blanket, inspecting it. There is a window wall behindher, and a patio made of white tiles, with a trashy-lookingfountain bubbling along.

GOLDFINGER (Off with a slight EasternEuropean accent)

How would you like yourcoffee?

SABRINA

A lot of cream and sugarplease!

Goldfinger returns (wearing white socks and an unbuttonedshirt), carrying a tray with two cups of coffee, cream and sugaron it, and sets it on the coffee table. He goes down on hisknees, grinning at Sabrina, crawls towards a big flat screenmonitor that rests on an anti-que console at the wall, and startssearching for music. Very quickly, Sabrina pours a white powderinto a cup of coffee, stir-ring it with her finger. In this in-stant, Goldfinger turns around again they look at each otherand Sabrina pulls her finger out of her mouth, grinning. Then,she pours quite a lot of cream and sugar into the other cup, andquickly takes a sip from it (without stirring).

SLIGHTLY CHEESY LATIN CHILL MUSIC, E.G. BAILANDO VA VON LACAINA /CAF DEL MAR - TRACK 2

Goldfinger crawls back to Sabrina; she offers him the prepa-red cup. Permanently smiling at her, he takes a few sips, absen-


5/21

5

tmindedly; then he begins to fondle her knees and cautously kissher. As he tries to reach up higher with his mouth and hands, shestops him.

SOFTLY LAUGHING

SABRINA (YAWNING)

Im much too tired for that now,Goldfinger 07...

GOLDFINGER (smiling)

007! Goldfinger 007, please!

SABRINA

Oh, Sorry, Goldfinger 007 ofcourse!

THEY BOTH LAUGH

With one hand, she caresses his head that is resting on her legs;using the other hand, she empties the contents of her purse onthe sofa.

SABRINA

Shit! But you could do me a favorand let me sleep on your sofa to-night, because imagine this!- Ithink I forgot my damn keys!

GOLDFINGER(peering at her frombelow)

But of course MEANY SWEETY, he,he, of course youll sleep in mybed! Hmm...is the coffee workingyet? By the way, youre not meanat all! Its been a nice evening,hasnt it?

SABRINA (looking around the apartment)

Oh, yes, very nice!

(and almost inaudible to herself)

I really hope that its going towork soon, my goldbear.

GOLDFINGER(with closed eyes)

What...? Lets make ourselves morecomfortable in front of the fire-

place ...You smell sooo good...


6/21

6

SABRINA (pulling him up gently)

Ive already told you that I cantdrink much, Im totally gone aftermy second glass of wine...Letsjust dance for a while, okay?Plot

Pot]

13LUXURY BEDROOM INT./NIGHT

TRACK 2 CONTINUED

SABRINA, fully dressed, with rumpled hair, gets up from a hugebed in a big, pretentiously furnished bedroom.

14LUXURY LIVING ROOM (FROM FRAME 12) INT./NIGHT

TRACK 2 CONTINUED

SABRINA tiptoes past the slightly opened door into the livingroom to check whether GOLDFINGER is still /SNORING /on thesofa. There, she rummages through the drawers of a dresser, untilshe finds an expensive camera (and some other things), which shedrops into a plastic bag. Grabs a Rolex and a thick golden ringfrom the coffee table and stuffs a big wad of bank notes from hiswallet into her purse. She walks out of the room, standing in thedoor frame (dark corridor), and / WHISPERING /calls a taxi,using her (old) mobile.

15LUXURY STUDY INT./NIGHT

TRACK 2 CONTINUED

She opens the door to a study, looks around, sits down at a swan-ky antique desk, turns on the computer, and starts typing some-thing.

16COMPUTER SCREEN MEANY SWEETY PHOTO/GRAPHIC-ANIMATION

TRACK 2 CONTINUED

On one side of the screen, there is a large PHOTOGRAPH OF SABRINA(she looks exactly the same as now), on the other side, a match-ing text. The hand symbol clicks on a button labeled Do youreally want to delete your profile? Fade out

LOUD CLICKING NOISES

17DARK STAIRCASE INT./NIGHT

TRACK 2 CONTINUED

With her boots and the plastic bag in her hand,


7/21

7

SABRINA softly closes the front door behind her and rushes downthe stairs.

18ELEGANT STREET (FROM FRAME 11) EXT./NIGHT

TRACK 2 SLOWLY FADES OUT

In a hurry, SABRINA flags down a taxi that is passing by. Shegets into it, and the taxi drives off.

19 (1.) TRAIN INT./MORNING

SLOW, MELANCHOLY MUSIC FROM FRAME 1-3 (SATISFACTION BYCATPOWER)- TRACK 1 REPEAT SHORTLY

SABRINA, asleep, leans against a window seat in a train. A CON-DUCTOR wakes her up, harshly .

CONDUCTOR

(loudly and slightly irritated)

Your ticket, please, Maam.

SABRINA

(starting up from her sleep)

What?

CONDUCTOR

The ticket!

SABRINA(confused)

Oh my God Ive completelyforgot-ten. I mean, eh, Iveforgotten my ticket at, eh, myfriends house.

CONDUCTOR (presenting a form to befilled out)

Well Im not God, but would you

mind telling me what your name is? Your ID, please.

SABRINA (still half asleep)

Sina, eh, Sylvia Sanders, just onemoment.

She rummages around in her purse and shows him an ID card.

CONDUCTOR(STARING ON THE CARD)

Sina, Sylvia, ok? You also forgot

your name, didnt you?

Sabrina fishes some crumpled bills out of her purse.


8/21

8

SABRINA (finally awake, now alsoirritated)

How much do I owe you?

20SHOPPING STREET/SHOPPING ARCADE (HAMBURG) EXT./DAY

LIGHT AND LIVELY MUSIC, E.G. JUST CANT GET ENOUGH BY ELOISA/NOUVELLE VAGUE - TRACK 3

A zestful SABRINA walks out of the door of a pawn shop andstrolls into a pet shop. Afterwards, she stands in front of ashoe store, looks at the window display, smiling, goes inside,and leaves wea-ring a new pair of high-heeled shoes.Subsequently, she enters a delicatessen store. As can be expectedon a Saturday, LOTS OF PEOPLE are milling around.]

21SABRINAS BACKYARD/HOME EXT./EARLY EVENING

TRACK 3 CONTINUED

SABRINA, sunglasses on her face and carrying several shoppingbags, turns into her small backyard garden, where SOPHIA /MEEOWING LOU-DLY /runs to meet her. She drops her shopping bagsand pets her, tenderly; then, she grabs her bags again andunlocks the front door. Sophia follows her.

22SABRINAS LIVING ROOM INT./EARLY EVENING

TRACK 3 FADES OUT SLOWLY

SABRINA puts her bags down on a wicker chair beside her smalldining table. She picks up SOPHIA and kisses her.

23SABRINAS KITCHEN INT./EARLY EVENING

SABRINA empties a small, expensive-looking can of cat food into asmall bowl and offers it to Sophia, who snuggles up to her feet.

SABRINA

So, how was your weekend, mylittle princess on the pea? Barneyhas ta-ken good care of you again,right? Oy vey! I really hope youdidnt put another mouse into thehouse! Because Ive brought somereal rich booty home for us,sweetiepie.

While Sophia is eating, and Sabrina preparing a baguette sand-wich, the phone rings.

AFTER A FEW RINGS, THE ANSWERING MACHINE GOES ON


9/21

9

ANSWERING MACHINE RECORDEDMESSAGE (Off)

Hello, this the voicemail of Sa-brina Sanders, and I have no ideawhen Ill be personally available.

But if youre Hollywood, pleasecall my agency The Actors Lea-gue, or my mother, Vera Sanders.Theyre both listed in the phonedirectory and seem to be urgentlywaiting for it. But no kidding please dont be frightened andleave a message after the beeeep.Ill call you back right away.

ANSWERING MACHINE - RECORDING(Off an elderly female voice)

When are you going to stop thisstupid nonsense? Ive told you,how many times ... youre evenworse than your father! Anyway, Ihope youre okay, Im doing okaymyself, in case you care. Hmm...if anything happens, YOU can alsocall ME for a change. So, bye-bye.

SABRINA(putting lettuce on herbaguette sandwich)

Well, sweetiepie, another monthhas passed! Oh sweetiepie, timeflies, doesnt it? But you dontreally ca-re, do you?

24SABRINAS LIVING ROOM INT./EARLY EVENING

Holding her baguette sandwich in one hand, a bottle of champagnein the other, SABRINA enters her living room, shedding her high-heeled shoes and presses the button of an old CD player on ashelf.

SLOW, LASCIVIOUS MUSIC THAT IS BEING REPLACED BY STRANGERHYTHMIC, MUSIC, WHICH KEEPS GETTING LOUDER. E.G.: 1. THIS IS

NOT A LOVE SONG BY MELANIE PAIN/NOUVELLE VAGUE, 2. TOO DRUNK TOFUCK VON CAMILLE/NV(- FROM FRAME 23) = KEEP PLAYING TRACK 4

Sabrina sits down at her desk. She turns on her computer; whileit is booting, she eats and takes some big swigs from the bottle.SOPHIA jumps on the desk and lies down next to the laptop, /pur-ring/ at her favorite place a small red satin pillow. Sabrinaquickly types something into her keyboard and stares at thescreen, fascinated.

25SABRINAS 1. COMPUTER SCREEN PHOTO/GRAPHIC-ANIMATION

TRACK 4 CONTINUED


10/21

10

Top left: a large PORTRAIT PHOTO of SABRINA: A few thick, darkcurls jump into her squinting eyes, her cherry red, laughingmouth revealing gleaming teeth.

Above the photo, it says: Sixth Sense//35//feminine symbol//signof scorpio

Underneath:

OCCUPATION: Healer

HOBBIES: Cooking (preferably out of my witches kitchen),theater, literature, movies, movies, movies, and music, music,music!

HABITS: Dying my hair and feeding cats.

PERSONAL STATEMENT: Life is not what we live; its what we

imagine to live (possibly by The Doors, or Jim Morrison,respectively).

And now some other stolen words, dear Internet friends:Imagination does not mean thinking up something. It meanscreating something from the things. (This wonderful phrase waswritten by Thomas Mann the quotation marks for the thingswere written by me).

STATUS: Ex girlfriend

SEARCHING: Lets see whats available here...

Bottom left: two BUTTONS with LABELS: If you want to know moreabout me / send me a message.

From right above, an annoying, unsolicited commercial keeps pop-ping up, spreading like a FOG across the entire screen, whichstops abruptly or is deleted by the hand symbol.

Right center a red button is blinking labeled:

18 new messages for you !!! There is red hand with a temptingfinger next to it.

Bottom right there is a table with several pseudonyms or PHOTOS,showing who has clicked on the Sixth sense... profile, when,and how many times.Underneath, there are diverse statistics: asympathy score voting for her profile, when she joined thecommunity etc. The tempting fingeris being zoomed in (untilthe entire screen shortly turns red).

26SABRINAS 2. COMPUTER SCREEN GRAPHIC-ANIMATION

WEIRD MUSIC (= 2ND SONG) - TRACK 4 CONTINUED

One colored inbox mask appears, with many multicolored emails,some of them blinking. The hand symbol clicks on the blinking

mail from Stolen-Goodies_RE: Rendezvous:


11/21

11

LOUD CLICKING NOISES

27SABRINAS 3. COMPUTER SCREEN PHOTO/GRAPHIC-ANIMATION

WEIRD MUSIC IS REPLACED BY LIGHTLY FLOATING MUSIC, E.G.

MARIAN BY ALEX /NV (= 3.RD SONG ON TRACK 4) = KEEP PLAYINGTRACK 4

A funny picture of a man Stolen Goodies appears, bald, and wea-ring dark sunglasses,; he sits behind bars, wearing a black andwhite striped shirt. Above the photo, it says: Stolen Goodys//39// mas-culinity symbol//sign of Libra (next to the text of theemail, respectively, the voice-over Stolen Goodies text fromframe 28). Zoomed into the photo:An electric flash racingthrough one or several wires.

28STOLEN GOODIES ROOM INT./EVENING

FLOATING MUSIC ( = 3RD SONG) - TRACK 4 CONTINUED, SOFTL

A well-built man (Stolen Goodies), around 40, bald, wearingdark-rimmed glasses and a black shirt, stands in front of araised transparent computer table with a flat screen showing alarge photo of SABRINA (from frame 25). He is typing into akeyboard. The wall behind him is smooth as glass it looks likeit is covered with white tiles; the light is subdued (one canfeel the cool breeze of a purist design).

STOLEN GOODIES (Voice-over)

Thank you for asking, Sophia...What can I say about our rende-zvous? I really liked it at first.I thought you were sweet and char-ming...until about the fifthglass, when things somehow got outof control...I couldnt reallyhandle the rest of the evening, toput it mildly. THAT IS WHY I left,of course! ... so how are you?

29SABRINAS BACKYARD GARDEN EXT./EVENING

FLOATING MUSIC(=3RD SONG)-TRACK 4 CONTINUED, SOFTLY / LOUDTYPING NOISES

In the garden SOPHIA jumps around a MOUSE, all excited, andpushes it around with her paws.

TYPING NOISES SOFTENING

SABRINA( SMILING, OFF)

Very good, John, thank you. Whatdid I say that was so awful?


12/21

12

STOLEN GOODIES (Off)

Say?? Very funny, really. At leasta blackout could be SOME excusefor your behavioryou slapped me!!

SABRINA (Off)

Really?? Oh, wait a minute, somereal shit is happening right now!

TYPING NOISES OFF - TRACK 4 FADES OUT SLOWLY. QUICK STEPS, ADOOR IS OPENED NOISILY; LOUD CLAPPING OF HANDS.

(screaming) Sophia! Dammit! Leavethat critter alone...Do you hearme!!!

30SABRINAS BACKYARD GARDEN/HOME EXT./EVENING

THE DOOR IS BEING SLAMMED SHUT; HYSTERICALLY SOUNDING ROCK MUSICSTARTS, E.G. PRIVATE IDAHO BY B52 - TRACK 5

SOPHIA, with the mouse between her teeth, races towards the catdoor in the garden door leading directly into SABRINAs apartment(-living room).

SABRINA (Off)

Oooh shit!!!!!!!!!

31SABRINAS LIVING ROOM INT./EVENING

CAT DOOR NOISE - TRACK 5 GETS LOUDER

SOPHIA, as she slips through the cat door with the slightlyBLOOD-COVERED MOUSE between her teeth; SABRINAs FOOT pulls backbefore she gets ready to slam it against the door.

32SABRINAS APARTMENT INT./EVENING

TRACK 5CONTINUED

Holding the mouse between her jaws, SOPHIA triumphantly runsaround the entire apartment in slow motion.

SABRINA fiercely sucks at an asthma inhaler. Then, / SCREECHING /Sophia drops the mouse at Sabrinas feet. Sabrina, still standingin her living room, is paralysed. The mouse disappears in thekitchen (behind the oven) in a flash.

SABRINA

(desperate first, then increasinglyfurious)

O shit, o shit, oh shit,


13/21

13

I am so tired of this ... okaylisten, youll spend the wholenight alone in the toilet!...dammit, at least you could killthe creatures?? ... Well of coursenot! You let them live for me,

yeah, as a special present. Thankyou very much in-deed!! And how amI supposed to get rid of thisgarbage? I cer-tainly will notkill the mouse for you. (nowlaughing hysterically -) You...youare just a loser!

33SABRINAS BATHROOM INT./NIGHT

TRACK 5 CONTINUED, SOFTLY RUSTLING NOISES

In the shower tray, framed by a plastic curtain with goldfishdesigns, SOPHIA furiously fights with a hairband that is tiedto lush black bangs; some blood sticking to her white paws.

RUSTLING NOISES OFF SLOW TYPING NOISES START

STOLEN GOODIES VOICE (Off)

Hellooo Sophia is everything allright with you? Are you stillthere? Why are you still blinking?Did you fall asleep? Man, youre

such a weirdo I believe we bet-ter stop this...well, good night!

34SABRINAS BEDROOM INT./MORNING

TRACK 5 OFF LOUD PURRING

The bedroom is totally demolished (there is a living mousetrapon the floor). SABRINA lies straddled across the bed, half dres-sed; SOPHIA is sleeping upon her, peacefully.

TELEPHONE RINGING

35SABRINAS LIVING ROOM INT./MORNING

SABRINA sits at her desk, yawning, holding her mobile phone, andstill only half dressed.

FEMALE VOICE/NICOLE (Off high andchirpy)

Sorry, couldnt call you any soo-ner! Just came in! Its about awild party carnival scene whereyou mainly need to improvise, butthats something you know how todo anyway, right? Lots of fun,


14/21

14

lots of booze, and, well, youknow. Ill mail the briefing toyou. Oh, and they have a few morequestions, Ill send them atta-ched, please fill that out beforeyou go. Got that? And, this time,

please, keep your personal com-ments for yourself, in everyonesinterest!!

SABRINA (sliding her hand across herhair, bored)

Pay?

FEMALE VOICE/NICOLE (Off)

Oh, right, 500 per day of shoo-ting, and 500 for the buyout. Got

that?

36CASTING OFFICE WAITING ROOM INT./DAY

MELANCHOLY MUSIC, E.G.TROUBLED WATERS BY CAT POWER -TRACK 6

SABRINA, sleeping, sits in a harshly lit, white room, makinglight, jerky movements with her ams and hands. She is wearing acolorful short glitter dress, black fishnet stockings and highheels. Her hair is loose curled, her make-up, luxurious, glit-tering.

THE LOUD NOISE OF A VACUUM CLEANER WAKES HER FROM HER DREAM THEMUSIC GETS QUIETER

SABRINA looks around, alarmed: she discovers a garishly pink,curly carnival wig hanging from a coat hook. Spontaneously, sheputs on the wig and looks at herself in a mirror, where she seesa wall clock (which shows a few minutes after five).

SABRINA

I dont believe this...

She turns to the back wall, quickly stares at the clock, pullsher purse and her trenchcoat from the chair and runs out of theroom, with the wig on her head.

37CASTING OFFICE RECEPTION COUNTER INT./DAY

TRACK 6 SLOWLY FADES OUT

The RECEPTIONIST behind the counter puts on her coat and sur-prisedly looks at SABRINA, who is approaching the counter.

RECEPTIONIST

What are YOU doing here at thistime?


15/21

15

SABRINA

Thats exactly what I wanted toask YOU why isnt there anyoneto meet me? The casting wasscheduled for 2.30, right?

RECEPTIONIST

But my intern told you! The di-rector has already picked the 1oclock team... Somehow, we..wehavent been able to reach you onthe phone... Anyway, I told thegirl to meet you in the waitingroom! Also, I had been wonderingwhy...

SABRINA

(stunned, interrupting her)

Well, talking about wondering,I...I...dont believe this. Youvegot to be kidding. You had me fillout a 4-page document before Icould even come in, then let mewait here for almost 3 hours, justto tell me that you forgot tocancel the appointment, or rath-er, that you just plain forgotthat Im here ??

RECEPTIONIST

Well, actually, if anyone forgot,it was my intern of course Imvery...

SABRINA (interrupting - loud)

What do you mean if? And I dontgive a shit whether you - or yourstupid intern forgot about me!!

RECEPTIONIST (appeasingly)

Well, thats enough, maam!... Butof course I can understand yourfeelings ... but its not as bad asit sounds, well usually do a fol-low-up spot, and well make sureyoure in it, I promise! For thecasting, I mean ... of course Icant decide the other stuff.Okay?

Now, Sabrina tears the wig off her head and throws it on thecounter.


16/21

16

SABRINA

You can shove your follow-up spotup yours...! I dont want to dealwith people that dont have anyrespect! And I still decide

whether its bad for me or not!

Then, she violently shoves the wig over a bouquet of flowers pla-ced in a vase on the reception counter. Furiously, she walks outof the room and slams the door shut behind her.

38CAF/WINDOW EXT./EVENING

STREET NOISES

SABRINA sits at a small bistro table with a cup of coffee and afolder on top. Her hair is tightly combed back into a pony tail;

otherwise, she looks the same as in the casting agency (Frame 36,37). Lost in thought, she chews on her pen, looking out the win-dow on to the street.

39CAF INT./EVENING

CAF NOISES AND MELANCHOLY MUSIC FROM FRAME 36/CASTING OFFICE(TROUBLED WATERS BY CATPOWER)-TRACK 6 REPEATS SOFTLY

SABRINA sits at her small bistro table, writing.

40CASTING OFFICE - RECEPTION COUNTER INT./DAY

CAF NOISES OFF - TRACK 6 CONTINUESSOFTLY

FADE-IN FRAME 39

In slow motion SABRINA, wearing a mega-sized, curly carnival wig,arrives at the reception counter of the casting office and loudlyargues with the RECEPTIONIST / ONLY INCOMPREHENSIBLE WORDS/.Then she tears the wig off her head and pulls it over thereceptionists head in a violent jerk, covering her eyes.

41CAF FRAME 39 CONTINUED INT./EARLY EVENING

CAF NOISES - TRACK 6 FADES OUT SLOWLY

Smiling, SABRINA reads what she has written, corrects somethingand shortly looks at her mobile. Then she gets up and leaves.

42SEMINAR ROOM INT./EVENING

SABRINA sits at a table that has been arranged into a closed U-shape with other tables. She has wiped off her glittery makeup;her black trench coat is hanging from her shoulders. She is sur-


17/21

17

rounded by 10 PEOPLE OF VARIOUS SHAPES AND COLORS. She listens,almost de-votedly, to a somewhat elderly LECTURER standing infront of a clipboard. There is a folder on the table in front ofhim, with the book Story by Robert McKee on top. Shortly afterthe following monologue begins, the torsos/faces of the partici-pants are shown: picking their noses, yawning, lost in thought,

typing into their mobiles, etc., until the camera returns to thelecturer towards the end of the speech.

LECTURER

Aristotle approached the issue ofhistory and meaning as follows:How is it that we react to thesight of a dead body in the streetin one way, but in a different wayif we read about death, or watchit in the theater? Its because in

life, ideas and emotions go theirseparate ways. Reason and passioncircle around different spheres ofour humanity, rarely coordinatedand usually at cross purpose. Ifyou see a dead body in the street,you have a surge of adrenalin:Oh my God, hes dead! Maybe youdrive away, terrified. Maybe LATERyou think about the meaning of thedeath of that stranger, about yourown mortality, life in the shadow

of death. Maybe you talk to frien-ds about it. These reflections maychange you inwardly in a way thatwill make you respond to your nextconfrontation with death in a new,maybe more emphatic way. So, yourintellectual life prepares you foremotional experiences that lead tonew perceptions, which, in turn,result in a different chemistryfor new encounters. Both areas in-fluence each other BUT THE ONE

PRECEDES THE OTHER! And while lifeseparates meaning from emotion,art unifies them. A story is atool that allows you to createsuch epiphanies at will, the phe-nomenon that is known as AESTHETICEMOTION. The CONCURRENT meeting oftoughts and emotions. You willmost likely forget the dead personin the street eventually, but thedeath of Hamlet will haunt youforever. Life alone, without the

art that is shaping it, leaves youin confusion and chaos. The ae-sthetic emotion establishes harmo-


18/21

18

ny between what you know and whatyou feel; it lends you a heigh-tened consciousness and the cer-tainty of your place in reality.In short: A well told story givesyou exactly that which you cannot

get from life: Meaningful emotio-nal experience in present time!

He packs up his documents.

LECTURER

So, next time well talk about thespecifics of storytelling in filmsome more; role design and thepro-blem of screen dialogue andmonolo-gue will be our topics.

Thank you for listening, and havea nice evening!

After that, he gives a short wink to the camera!

43SABRINAS LIVING ROOM INT./NIGHT

SLOW, LANGUISHING MUSIC E.G. IN A MANNER OF SPEAKING BYCAMILLE /NOUVELLE VAGUE - TRACK 7

SABRINA sits in front of her computer, red-eyed. There is analmost empty bottle of red wine on the table, and a filled glass;

smoke from a cigarette is rising from the ashtray. She wearsscruffy jogging pants, a long white mens shirt and an old car-digan; her hair has been sloppily tied into a bun. Rapt inthought, she types on the keyboard.

44SABRINAS 4. COMPUTER SCREEN PHOTO-GRAPHIC-ANIMATION

TRACK 7 CONTINUED

A PHOTO of a tanned, elegantly dressed, distinguished middle-agedMAN beaming at her through unobtrusive glasses. The text abovethe photograph says: St. Martin//47//masculinity symbol//sign ofsa-gittarius (next to it, the email text, respectively, VoiceOver -St.Martin text from frame 45). Into the photo: Electriclightning flashing through one or more wires.

45ROOM ST.MARTIN INT./NIGHTTRACK 7 CONTINUES SOFTLY

A YOUNG, VERY FAT MAN (ST.MARTIN), twentyish, sits at a dingywooden table in a dark, dust-covered room, typing into a filthycomputer keyboard, a matted scarf around his neck, his greasyhair hidden beneath a baseball cap. There are dirty dishes on the


19/21

19

table, as well as pizza boxes, various bags of chips, torn-upchocolate wrappers and a used bottle of Coke. A joint is fumingin the ashtray.

ST. MARTIN (Voice-over a young,croaky voice)

Regarding: RealityDear Sabrina, although this is asbeautiful as a dream, I very muchregret not being able to return toGermany, and maybe, to you. I can-not leave this project, even for aa few days however, I promise toinvite you to wherever you want,if you want ... but as long as youinvite me to share your life, Iwont disappear, I promise! Becau-

se, look around you: Is it reallythe computer in front of you, thechair youre sitting on, is itreal? Or is it the sensation oftouching the computer, while itsslowly booting up and your exci-tement rises in expectation ...maybe thats whats really real... not the objects, but yourperception of them inside you?Talk to you soon, Your Martin.P.S.: Good luck for your audition

this weekend!

46SUCCESSIVELY EMERGING MOSAIC PICTURE -46.9.(+PHOTOS/ANIMATION)

TRACK 7 FADES OUT SLOWLY. ALL IMAGES VERY RHYTHMIC MUSIC, E.G.EVER FALLEN IN LOVE BY MELANIE PAIN /NV - TRACK 8

46.1. ST. MARTINS ROOM (FROM FRAME 45) I/N

Fully dressed, ST.MARTIN sleeps on a grubby mattress on thefloor next to his desk. VARIOUS PICTURES OF WOMEN are lined up

next to each other on his computer screen, WITH SABRINA amongthem. Through the picture of the woman from frame P 46.2:

46.2. DINING ROOM (TO THE RIGHT OF FRAME 46.1) I/N

A middle-aged NORMAL WOMAN, with her eyes closed, her headresting on a ordinary table between a computer screen, showinga big photograph of the man on the following picture (46.3), anda plate with food that has half been finished, with a fork stuckin it vertically. Shortly there-after, a SMALL LAUGHING CHILD ap-pears and pats the woman on her back. Through the photo of theman, into an:

46.3. OFFICE (TO THE RIGHT OF FRAME 46.2) I/N


20/21

20

A middle-aged MAN wearing a suit and loosened tie joins in, as hemasturbates in front of the flickering screen. In the dark, emptyoffice, an ocean of highrises is glimmering through the windows:

46.4. STUDY (BELOW FRAME 46.3) I/N

Sitting at a desk littered with paper, newspapers and magazines,a distinctive looking middle-aged man (Marcus), his head leaningfor-ward, smiles into his computer screen that is directlyadjoined to Sabrinas picture (respectively, the back of hercomputer screen !). He is wearing glasses, jeans and a T-shirt, asmall goatee, and dark blonde hair down to his shoulders. Acrosshis screen, into Sabrinas living room:

46.5. SABRINAS LIVING ROOM (RIGHT, NEXT TO FRAME 46.4) I/N

SABRINA, holding a bottle of champagne, wearing nothing but the

mens shirt, barefoot, her hair loose, dances in front of hercomputer and raises her glass to the screen. She starts turningfaster and faster, until, AT THE END OF THE SEQUENCE OFINDIVIDUAL FILMS (46.9), LAUGHING, SHE DROPS DOWN ON THE FLOOR,WITH HER ARMS SPREAD. But first, the trip continues through thechampagne glass on the table into a:

46.6. BATHROOM (TO THE RIGHT OF FRAME 46.5) I/N

In a dark bathroom, a MAN, IN HIS 70S, with a fringe of hair, andwearing an undershirt, sits on the toilet, slapping his thighs,

laughing loudly (inaudible). He has a laptop on his knees, thescreen showing the woman in the following picture (46.7). A MOUSYWOMAN in her nightgown opens the door and looks at the man,aghast, without the man noticing anything. Through the screen,into a:

46.7. CORRIDOR (BELOW FRAME 46.6) I/N

Moving in a strange Rhythm, a 50-YEAR OLD, PLUMP BLONDE, in sexylin-gerie, poses in front of a mirror in the corridor. She isholding an opened laptop computer with its screen turned towardsthe mirror, showing the picture of a young man from frame 46.8;

she smiles at him through the mirror image:

46.8. LIVING ROOM (TO THE RIGHT OF FRAME 46.7) I/N

A circa 20-year old man, wearing pyjamas, sits In a big darkliving room at a computer table, eyes fixed on the computerscreen, and hitting the keys like a maniac. Through his screen:

46.9. BEDROOM (TO THE RIGHT OF FRAME 46.8) I/N+PHOTOS/ANIMATION

TRACK 8 FADES OUT BABBLING VOICES, GETTING LOUDER AND LOUDER,

PLUS TYPING AND CLICKING


21/21

21

Appears the image of a YOUNG GIRL with her hair dyed blue, cry-ing, sitting on a water bed inside a stylishly decorated bedroom.Her tears fall through the keyboard of a transparent laptop intothe waterbed and turn into PHOTOS OF VARIOUS PEOPLE all of themalone, in different computer situations. The pictures clusteraround the films with everything rotating faster and faster ar-

ound Sabrina, becoming irrecognizable, until finally the entiremosaic picture consists of nothing but small colored dots.

TRACK 8 FADES OUT BABBLING VOICES, GETTING LOUDER AND LOUDER,PLUS TYPING AND CLICKING

47SABRINAS BATHROOM INT./DAY

ELECTRO POP, E.G. UND ICH DREH (-AND I TURN) BY 2RAUMWOHNUNG TRACK 1/CD 2

SABRINA stands in her bathroom, in front of a mirror hung abovethe sink, which is framed by a gaudy-looking string of lights,applying her make-up. The bathroom is painted turquoise and de-corated with various ocean symbols (starfish, fishes, shells).She is wearing a tight fitting purple suit without blouse orshirt underneath, her hair smooth, and loose. Finally, she putson dark-rimmed glasses, makes a stupid face in front of themirror, and traces her lips with a cherry-red lipstick.

48SABRINAS BACKYARD/HOUSE EXT./DAY

TRACK 1/CD 2 CONTINUEDSABRINA races out the backyard gate in her black trenchoat, wear-ing her silver shoulder bag.

49 (2.) TRAIN INT./EARLY EVENING

TRACK 1/CD 2 CONTINUED

SABRINA, tired, looks out the train window into the landscape ru-shing past.

50CENTRAL TRAIN STATION - BERLIN EXT./EVENING

TRACK 1/CD 2 FADES OUT SLOWLY FAINT TYPING NOISES

SABRINA walks along the platform. She rides down the escalatorand runs out of the train station into the illuminated city.

SABRINA (Voice-over)

Dear Martin,youre rightwho knowswhats real? And maybe its a goodthing that we only know each otherin this reality. But I absolutelydont want you to disappear frommy life! Im in a hurry now. Morenext time. Your Sabrina

World Wide Love (2)

Documents

Transcript of World Wide Love (2)