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Raymond Scripts  

“Le3ng go”   We  open  on  a  li*le  girl  next  to  her  father  in  bed.  He  reads  her  a  story.  She  starts   to  doze  and  soon  enough  she’s  asleep  clinging  to  her  father.  He  shuts  the  book,   turns  off  the  light  and  gently  removing  her  hands,  tucks  her  in  under  the  covers.   Cut  to:  The  father  in  a  swimming  pool  now  with  his  daughter.  She  is  a  few  years  older.   He  is  teaching  her  to  swim.  He  slowly  removes  his  hand  from  under  the  li*le  girl.   She  panics  and  starts  splashing  towards  him  reaching  for  his  outstretched  arms.   She  reaches  him  and  then  he  lets  her  go  again.  In  this  manner  she  starts  learning   how  to  swim.   Cut  to:  The  li*le  girl  in  school  uniform  now  is  being  dropped  by  dad  to  the  bus  stop   across  the  street.  He  smiles,  gives  her  an  encouraging  nod  and  lets  go  of  her  hand.   Today  she’ll  cross  the  street  herself.   Cut  to:  Father  and  daughter  at  a  skaHng  rink.  Dad  is  holding  her  hand,  teaching  her   how  to  roller  skate.  As  he  lets  go  she  loses  her  balance  and  falls  down.  Instead  of   running  to  help  her,  he  lets  her  get  up  on  her  own  and  skate  by  herself  towards   him.      

“Le3ng go”  cont   Cut  to:  The  li*le  girl  is  a  young  teen  now  and  she  is  at  a  mall  with  her  father.  She  is   holding  his  hand.  Suddenly  they  pass  a  group  of  her  friends  and  she  insHncHvely   leaves  her  father’s  hand.  She’s  at  the  age  where  suddenly  it’s  not  cool  to  hang  out   with  your  parents.  He  smiles  understanding  this  is  all  part  of  growing  up.       Many  things  make  the  complete  man.  Saying  no  to  holding  on  is  just  one  of  them.    Raymond.  The  Complete  Man.  

Technology A  guy  walks  into  a  church.  It’s  a  sombre  affair  as  everyone  is  dressed  in  black.  It  seems   as  if  he’s  the  last  one  in,  as  the  place  is  packed.   However,  as  the  man  walks  by,  we  realise  that  the  people  in  the  rows  are  actually   symbols  of  the  ‘in  memory’  messages  people  have  posted  on  L,  twi*er,  etc.   There  is  a  sea  of  ‘RIP-­‐message-­‐faced’  people.  Some  are  holding  messages  like  “OMG.   Cannot  believe  Mr.  Shankar  is  no  more.”  Others’  have  old  pictures  of  a  man  with   ‘you  will  be  missed’  wri*en  under  then.  All  have  symbols  like  likes  and  tweet  birds   on  them.  Some  have  even  formed  groups  like  “Batch  of  ’98  remembers  Mr.   Shankar”  etc   Our  man  passes  by  all  of  them.  As  he  approaches  the  front,  we  see  an  old  woman  at  the  front  row.  He  goes  up  to  her  and  lightly  touches  her  shoulder.  As  she   turns  around,  the  crowd  behind  her  disappears  and  we  see  her  completely   alone  in  the  church.     The  guy  sits  down  and  starts  talking  to  her.  As  he  speaks,  we  zoom  out  to  show  the   two  of  them,  alone  in  the  huge  church.   VO:  Many  things  go  into  being  the  complete  man.   Knowing  when  to  say  no  to  technology  is  just  one  of  them.   Raymonds  The  complete  man.      

FATHER AND  KID   Film  opens  on  a  young  man  behind  the  wheel  of  a  big  car.   His  father  gets  in  next  to  him.   His  wife,  mother  and  his  kid  are  behind.   He  meHculously  adjusts  the  rear  view  mirror  for  him.   Our  man  looks  into  it  and  smiles  while  the  father  pulls  the  seatbelt  and  puts  it  for  him.   They  begin  the  journey.   The  father  then  looks  out  to  see  the  Speed  Limit  which  says  40.   The  father  stretches  his  neck  and  looks  at  the  speedometer  and  sees  that  its  fine.   Our  guy  smiles  and  does  as  told.   Further  ahead,  the  man  steers  the  car  to  the  right.   The  father,  tensed,  looks  all  around  and  finally  hits  the  lever  of  the  car  to  put  on  the   indicator  –  which   was  already  put  on  by  the  boy.   Our  guy  just  smiles  seeing  this.   They  stop  at  a  signal.    

FATHER AND  KID  (cont..)     The  father  immediately  pulls  the  hand-­‐break  lever.  

Or man  smiles  again.   They  reach  their  desHnaHon.   The  man  is  parking  the  car  between  two  others.   The  father  rolls  down  the  window,  puts  his  head  out  and  is  gesturing  animatedly.  He’s   shouHng  at  the   guy  to  be  careful.   The  father  looks  at  his  son  intensely.  We  see  that  suddenly  the  grown  man  is  a  young   boy  (around  6   years  old)  He’s  looking  at  the  Reverse  Camera  screen  and  parking  the  car.  He  just   smiles,  looks  at  his   father  and  then  at  the  camera.   Frame  freezes.   VO:  The  complete  man  is  about  many  things.   Saying  no  to  ‘growing  up  for  those  who  love  you’  is  just  one  of  them.   Cut  to  the  father  his  hand  over  his  sons  shoulder  and  walking.  The  son  is  a  fully   grown  man   again  in  this  scene.  

Raymond final scripts 09may  
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