continuity
DESCRIPTION
A script coordinator goes berserk when she isn't allowed to do her job, causing continuity and space-time to collapse in on themselves.TRANSCRIPT
CONTINUITYa short film by
Colby Day
Colby Day Productions, LLC252 Java Street #345Brooklyn, NY 11206
INT. SCIENCE LAB - DAY
AVERY places a beaker of green chemicals over a bunsen burner. ROARKE roars into the room, dirty coveralls, a farmer, wearing a cap.
ROARKEAvery! I think we’ve got something big on our hands here.
AVERYWhat are you -- what time is it?
She turns to look up at the clock, knocking over a mug filled with coffee as she does.
AVERY (CONT’D)Ah.
She grabs a red rag to clean it.
ROARKEForget it.
He pulls her over with him to the window.
AVERYMy data.
Roarke pulls a curtain open with a flourish.
ROARKEWe don’t have time for your data.
He points up in the sky at what looks like an APPROACHING PLANET. She holds the rag limp in her hand.
AVERYHoly...
She drops the rag to the floor.
MICHELLE (O.S.)Cut! Sorry. Sorry. Cut please.
INT. SCIENCE LAB: FILM SET - CONTINUOUS
REVERSE ANGLE: A film crew stands on the other side of cameras, monitors, wires, lights, and scrims, watching the scene’s action unfold.
The DIRECTOR, on comm, watches the monitor intently. He starts to remove headphones, he’s pissed.
DIRECTORWhat’s that? What?
The ASSISTANT DIRECTOR chimes in.
ASSISTANT DIRECTORAlright, everyone. Let’s hold please.
(to Director)What’s up?
The Director looks around.
DIRECTORWhat’s? Who called cut?
Over nestled into a bank of monitors, easily forgotten, MICHELLE raises her hand. She’s mousy, a pencil behind her ear. Notes and a clipboard.
The Director and AD make their way over.
ASSISTANT DIRECTORHey Michelle? What’s up?
MICHELLEThe time. On the clock. In the previous scene we were at 11:49... Here.
She holds a monitor out to the Director, who looks at it.
DIRECTORThat’s, alright. Fantastic.
MICHELLESorry.
ASSISTANT DIRECTORThank you Michelle. Can someone reset that clock please?
A PA resets the clock. The Director rubs his brow, tries not to look frustrated or tired or like he has a massive fucking migraine.
DIRECTORLook, I don’t --
MICHELLEI’m sorry. It’s my job.
DIRECTORWhat is?
2.
MICHELLEContinuity.
DIRECTORThank you.
He heads back over to the actors.
DIRECTOR (CONT’D)Sorry, guys.
Michelle gives the AD a “sorry” look. The AD doesn’t really have anything to give back.
ASSISTANT DIRECTORAlright, and places please everyone. Places.
DIRECTORAlright, roll sound.
BOOM OPERATORSound.
ASSISTANT DIRECTORCamera.
CAMERA OPERATORCamera.
CAMERA ONE:
The SLATE GIRL comes into frame.
SLATEScene 57D, Take 2. Mark.
SLATE.
DIRECTOR (O.S.)And... action.
INT. SCIENCE LAB: THE SCENE - DAY
AVERY puts her beaker of green chemicals over a bunsen burner. ROARKE roars in, a farmer in coveralls, wearing a cap.
ROARKEAvery! I think we’ve got something big on our hands.
3.
AVERYWhat are you -- what time is it?
She turns to look up at the clock, knocking over a mug filled with coffee as she does.
AVERY (CONT’D)Ah.
She grabs a red rag to clean it.
ROARKEForget it.
Roarke, HATLESS, pulls her over with him to the window.
AVERYMy data.
Roarke pulls a curtain open with a flourish.
ROARKEWe don’t have time for your data.
He points up in the sky at what looks like an APPROACHING PLANET. She holds the rag, NOW GREEN, in her hand, limply.
MICHELLE (O.S.)Cut! Cut!
INT. SCIENCE LAB: FILM SET - DAY - CONTINUOUS
The Director’s pissed.
ASSISTANT DIRECTORCut please.
The Director turns to Michelle.
MICHELLESorry, um, that rag, it starts red. Her rag. Sarah’s rag.
ACTRESS (AVERY)Oh shit did I grab, shit sorry.
DIRECTORSomeone switch out Sarah’s towel.
A PA switches it out. As she does this the CAMERA OPERATORS play with focus.
4.
DIRECTOR (CONT’D)Can we, are we -- How far behind are we?
ASSISTANT DIRECTORWe’re about fifty minutes from magic time.
DIRECTOROkay, Michelle?
MICHELLEYeah.
DIRECTORI do not give a fuck about continuity. Alright? You can not call cut or action on this set. That’s the director’s job. That’s me. Okay?
MICHELLESorry, I --
DIRECTORNo. No sorries. Fuck off, before I fire you. Places.
(to AD)Places!
ASSISTANT DIRECTORPlaces! Roll sound. And camera.
BOOM OPERATORSound speeds.
CAMERA OPERATORCamera.
SLATE GIRL comes on.
SLATEScene 57E, Take 3. Mark.
SLATE.
DIRECTORAlright, and.... Action!
INT. SCIENCE LAB: THE SCENE - DAY
AVERY puts her beaker of BLUE chemicals over a bunsen burner. ROARKE roars in, a farmer in coveralls, wearing a cap.
5.
ROARKEAvery! I think we’ve got something big on our hands.
AVERYWhat are you -- what time is it?
She turns to look up at the clock, knocking over a GLASS OF ORANGE JUICE.
AVERY (CONT’D)Ah.
INT. SCIENCE LAB: FILM SET - CONTINUOUS
REVERSE ANGLE: MICHELLE tries to WAVE at the director -- who waves “Fuck Off” back to her.
ROARKE (O.S.)Forget it.
Michelle turns back to the monitors, steeling herself.
AVERYMy data.
INT. SCIENCE LAB: THE SCENE - CONTINUOUS
Roarke, DRESSED IN A HOSPITAL GOWN, opens the curtains.
ROARKEWe don’t have time for your data.
INT. SCIENCE LAB: FILM SET - CONTINUOUS
REVERSE ANGLE: The Director watches the monitor, confused.
INT. SCIENCE LAB: THE SCENE - CONTINUOUS
Roarke, DRESSED IN A HOSPITAL GOWN, opens the curtains.
ROARKEWe don’t have time for your data.
Roarke points up to the sky, it is now NIGHT OUT.
The Director looks back to Michelle, who looks incredibly concentrated on the monitors.
In the sky, an approaching MOON.
6.
The Director looks to the crew, nobody seems to notice anything weird going on at all.
Avery NAILS A BRIGHT RED, holds a TISSUE limply in her hand.
AVERYHoly...
Michelle looks over at the director, smiling.
Avery drops A BASEBALL from her hand.
The Director looks sick to his stomach.
A WHITE CAT hits the ground at Avery’s feet before scurrying off.
ASSISTANT DIRECTOR (O.S.)And cut! Cut! That’s great guys.
INT. SCIENCE LAB: FILM SET - DAY
ASSISTANT DIRECTOR (O.S.)And cut! Cut! That’s great guys. We’re going into our dinner break.
PEOPLE mill off to do that. The Director is floored, in his chair. Michelle walks past him in the direction of craft services.
DIRECTORWhat the hell is going on here?
MICHELLENothing’s going on.
DIRECTORWith the, with continuity.
MICHELLEYou said you didn’t give a fuck about continuity.
DIRECTORI didn’t until, what the hell are you doing?
MICHELLEI’m not doing anything. We’re filming.
7.
DIRECTORNot right [now we aren’t], I’ve called cut.
MICHELLEYes we are.
She points to the cameras. They move seemingly on their own -- MECHANICAL FOCUS sounds.
POV: CAMERA ONE
The Camera focuses in slowly but surely on its counterpart camera.
DIRECTOR Guys, guys, hold it. Hold it.
The Director looks around, the space is entirely empty except him and Michelle.
POV: CAMERA TWO
Camera two also focuses in on its counterpart. Now we’re in a LIBRARY, still set up with a film rig.
DIRECTOR (CONT’D)What the hell?
The cameras make love with their lenses to one another. In the MONITOR we begin to see a recursive reflection of a reflection of a reflection as the two film one another.
DIRECTOR (CONT’D)What’s happening? What’s?
The Director NOW BLACK runs over to Michelle.
DIRECTOR (CONT’D)Stop this! You have to stop this!
MICHELLEYou can’t stop it. It can’t be stopped.
POV: CAMERA ONE
The Director NOW A CHILD looks into the monitor, seeing himself reflected over and over and over. CAMERAS FOCUS loudly.
DIRECTORPlease. Please.
8.
MICHELLE (O.S.)I can’t. It’s too late.
The UNIVERSE COLLAPSES IN ON ITSELF as the cameras make love to one another. ALL TIME CEASES TO EXIST.
EXT. A PLACE WITHOUT TIME OR SPACE - NIGHT
TOTAL DARKNESS.
After a few moments, A BALL of SHIMMERING LIGHT tentatively approaches another.
DIRECTOR (V.O.)What happened? To my set?
MICHELLE (V.O.)It’s over.
DIRECTOR (V.O.)Where are we?
MICHELLE (V.O.)My set.
BOTH LIGHTS DISAPPEAR.
MICHELLE (V.O.)In the beginning there was the script. And God decided the script was good.
THE BIG BANG. All space and time begins as the universe unfolds rapidly. Stars are born and die and grow and collapse.
INT. SCIENCE LAB: FILM SET - DAY
We are back on set. Everything is different. The ACTORS are ALIENS. Michelle is the director. Michelle is everyone.
MICHELLESound speed. Camera.
MICHELLE (BOOM OP) (CONT’D)Sound speeds.
MICHELLE (CAMERA OP) (CONT’D)Rolling.
MICHELLE (SLATE) (CONT’D)Scene 1, Take 1, mark.
9.
She snaps the SLATE.
MICHELLE (CONT’D)And, action!
CUT TO BLACK.
THE BEGINNING.
10.