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T206 Media & Society Production Group: Another Shymalan Production


Preliminary Research for Citizens Marshall In order to write our project we had to research a number of topics related to the story. For example, we investigated the aesthetic of mental hospitals – what do they look like? What sort of atmosphere do they create? We also researched the usual duties of orderlies at mental hospitals – what sorts of things should our characters be doing? It was helpful looking at some clips of the new version of Halloween and Shutter Island, both of which were either wholly or were partly set in a mental hospital. This gave us even more of an idea of how an orderly interacts with their patient and the services they provide. In order to develop Marshall’s habits, we looked at the symptoms and typical causes of multiple personality disorder in order to make his behavior more believable. We also drew some inspiration from an Oprah show when she interviewed some people about their extreme cases of multiple personality disorder, and found out that this type of disorder usually stems from people experiencing some very traumatic event in their childhood. This helped us develop Marshall’s father’s character, a drunken abuser who treated Marshall very badly as a child.


UNTITLED A TREATMENT FOR A SHORT FILM by ANOTHER SHYMALAN PRODUCTION October, 2010 The Present. St. Mary’s Mental Hospital. A Patient’s Room. Early Morning. ROSE, a female orderly working for St. Mary’s Hospital opens the door to a patient’s room. She has long, strawberry blond hair, a petite figure, and a soft voice. She wears a simple white frock with basic white hospital shoes. MARSHALL sits in his room with a blank stare. He has a dark brown, cropped mane with soft, innocent facial features. The floor is tan linoleum, and the window blinds are outlined with a faint orange glow of the sunshine trying to creep in. This is the place Marshall has resided for years after being transferred from the state prison. Rose greets Marshall and opens the blinds to let the light in, as he crouches in a corner, staring. After Rose leaves he blinks repeatedly and clutches both sides of his sweater. The common room of the hospital is inviting, with cushy couches and wooden paneled floors. Telephones are ringing from all of the offices, and the aroma of sausages and eggs travel across the spacious room. Marshall becomes more respondent to the patients and orderlies around him as the day goes on. He plays chess with the older patients and willingly takes his medications. Now it is evening, and the sky is quickly turning gray, with the threat of oncoming rain. Mark is back in his room, alone. Voices come by his door, and fade away almost immediately. There is no sign of happiness, or rather any other emotion on Mark’s face. He sits down stiffly on his bed, barely rumpling the sheets. As he lays his head down on his pillow, flashbacks that compile bits and pieces of his broken life start to invade his thoughts. Marshall remembers his life when he was a mechanical engineer. He sits in his office- a wide room with dark brown carpet and a big wooden desk. He sits at it, sketching a new project. The television rattles on in the background about a terrible accident that happened downtown that day. Mark looks out of big windows that allow him to see into the big workroom across from his office. He sees four policemen


approaching his office, being guided hesitantly by his secretary, MRS. RAWLINGS. The policemen enter the office without consent, and accuse Marshall of spearheading the downtown incident earlier that day, which he fiercely denies. Mrs. Rawlings clasps her arms together and avoids eye contact with Marshall. He is dragged out of the room, and his sketching pencil falls to the floor. The next memory is of being in prison. Marshall comes into a small cell, where he meets BOBBY, his roommate. Bobby is a big, hulking man— his prison jumpsuit stretches across his biceps and chest, and he sports a buzz cut. Despite his intimidating size, the two become unlikely friends. A year into his sentence, Bobby is found in the shower, murdered in cold blood. Marshall is blamed for the murder—another crime he denies adamantly. After having a psychological test, the prison administrators determine that he is too unstable, and belongs in a mental ward—St. Mary’s Mental Hospital. His last memory is of his childhood, one he cannot fully remember. He is sitting in dark closet, with a line of light thrown against the wall—then his father came the door and slams it closed, leaving him in complete darkness. The next morning, Rose shuts the door and Marshall regains consciousness as he hears another FEMALE ORDERLY outside of his door talking nastily about Marshall to Rose about him and reminds him of his father talking down to him. That night the female orderly is attacked by someone she couldn’t identify. The following morning Marshall wakes up feeling out of place. He attends therapy as usual but today his psychiatrist steps out of their session and when she does he hears her phone ring. Marshall answers the phone to hear a voice that sounds familiar but still unrecognizable. The man tells him that there’s a bomb in the basement of the building that is set to detonate at nine pm tonight. He runs around the mental hospital, warning everyone that he can about the bomb threat. Orderlies and nurses restrain him in his hysterical state and sedate him. When Marshall wakes up from his medicated state, he is strapped to a gurney in a area that is reserved for the patients that give the staff the most trouble. This room is in a shack just across the grounds from the mental hospital. Suddenly, he hears a ‘boom’ from the bomb, and pathetic cries for help in the distance. This jogs him back into a flurried run through his flashbacks.


This time he remembers the complete story behind his flashbacks—how he did commit the crime he was in prison for, how me murdered his cellmate in prison, attacking the female orderly, and the complete memory of his abusive childhood with his father. Every day after work his father would come home and get drunk only to later become very physically abusive to him and his mother. To pass the time he Marshall would curl up into a ball and think with of his favorite game as a child was “Bombers” a one player game where the objective is to throw bombs at the CPU as they chase you around a maze similar to Pac Man. Marshall would think of this game every time his father abused him. These intimate details trigger his last memory, which indicates that there was never a ringing phone in his therapist’s office, but rather when he picked up the phone he was hearing thoughts that had in his own mind. Then he recounts how he made the bomb, in a fit of rage for being committed to a mental hospital.

Marshall is back in the dark room, still restrained. The ominous sound of fire crackling barely breaks the silence coming from the mental hospital. He slowly smiles, and his eye twitches in delight.


Citizens Marshall By Another Shymalan Production Latonya Yarbro Jimmie Jones Jingdi Wu Andrew Curry


1

INT. ST. MARY’S MENTAL HOSPITAL- DAY

1

ROSE walks down the white, winding corridors of St. Mary’s Mental Hospital. She turns a corner and comes to a stop at a large, metal door in the middle of a the hallway. She knocks, hears nothing, then pulls a key out of her right pocket and unlocks the door and walks inside. 2

INT. MARSHALL’S ROOM-DAY

2

The room is completely dark, and the only light is the light spilling through the cracks of the closed shutters. MARSHALL sits in the adjacent corner from the door with his legs pulled up in front of him. ROSE Good morning MARSHALL. (Crosses the room to the window) How are you doing today? Marshall stares blankly at the opposite wall, unflinching. ROSE CONT’D. Did you sleep well? (She opens the blinds) Marshall shifts uncomfortably in his position, and continues to ignore ROSE’s conversation. ROSE CONT’D. Well, you know we have a lot of fun things planned for you today. (she turns to him and smiles) You like Bingo, right? Marshall turns his head farther away to the opposite wall. Rose leaves the room and comes back with a tray of food. She starts to sit it in front of Marshall and he SPEAKS. MARSHALL You can sit it on the table. (gives her a hesitant smile) Rose jumps at the sound of his voice. Smiling, she sets his breakfast tray on the table. MARSHALL looks away and glances at the blinds.


2. 3

INT. LAPSEY CHILDHOOD HOME (FLASHBACK)

3

MARSHALL is sitting back on a burnt orange couch watching The Brady Bunch on a small television set. A faint ray of the setting sun beams through a crack in the curtains and glows on a section of the dull brown carpet. He hears a door OPEN and SHUT in the kitchen and RUSS LAPSEY’s stumbling footsteps come down the hallway and he stops in the doorway of the front room. MARSHALL turns and looks at him in disgust, and then RUSS LAPSEY SPEAKS to MARSHALL. RUSS Whatchu lookin’ at boy? (edges closer to him) Do you want to hit me? Russ Lapsey steps backward two steps, uncoordinated. He straightens out his back and smiles mockingly. RUSS CONT’D. Well come on! (beckoning his hands) I’ll show you how big you really are! 4

INT. WELLINGTON INDUSTRIES (FLASHBACK)

4

MARSHALL sits at a white L-shaped desk surrounded by the four walls of his cubicle. Paperwork and blueprints litter his desk and fall down to the gray carpet. Blueprints are taped haphazardly on the wall next to his desktop computer along with Polaroids of his most valued projects. MARSHALL is hunched over a blueprint, sketching furiously. ABE WELLINGTON waddles furiously to MARSHALL’s cubicle and slams a first draft of a blueprint over the work MARSHALL was working on. ABE WELLINGTON Marshall, you still don’t have my final draft and its ten days past due! MARSHALL I’m working on it-- it’s almost finished. (picks up the blueprint and offers it to him) Here. ABE WELLINGTON holds the blueprint away from him at arm’s length and squints at its contents, his face crumpling up in disgust. He he stops looking at it to glare at MARSHALL at holds the blueprint in one hand. (CONTINUED)


CONTINUED:

3.

ABE WELLINGTON What is this? (pointing with his free hand) This looks nothing like the first draft! (begins crumpling up the blueprint) This is the biggest client we have ever had in the history of this company, and this is the shitty work you hand in to me? MARSHALL (looks down at his lap) Its just I’ve had a lot on my plate-(ABE WELLINGTON cuts him off) ABE WELLINGTON draws near MARSHALL’s face, about an inch away from his nose. He lowers his voice to a menacing growl. ABE WELLINGTON Always excuses. (drops the crumpled paper in MARSHALL’s lap) ABE WELLINGTON waddles out of the cubicle. MARSHALL runs his fingers through his hair and flinches. 5

INT. MARSHALL’S ROOM-DAY

5

MARSHALL turns his head back from the blinds and looks at ROSE, shaking his head. He smiles at her nervously and stands up.He walks to a sink in the shower room. ROSE follows after him. MARSHALL turns on the faucet and splashes water in his face, looking himself in the mirror. MARSHALL (talking to himself) What is happening to me? What happened last night? ROSE (speaking outside the door) Hey Marshall, let me know when you are done with your tray so I can clean your room. She begins to walk away and stops. She ducks her head in the doorway and looks at Marshall.

(CONTINUED)


CONTINUED:

4.

ROSE CONT’D. They are playing Bingo at noon in the reception hall. Are you still wanting to go? Marshall sighs and shrugs his shoulders, continuing to look himself in the mirror. He turns his head to her. MARSHALL Yeah, I’ll go. ROSE (smiles) Good. (walks away) MARSHALL. Yeah, Bingo. I need to get my mind clear. Maybe that’ll do the trick. (walks out of the shower room to his room) 6

INT. RECEPTION HALL-DAY

6

MARSHALL walks into the brightly-lit room. There are handful of round tables positioned around the room with patients at every one but one. Elevator music plays in the back ground and orderlies mill about the room checking on the patients. MARSHALL sits at the one empty table at the end of the room. BINGO ANNOUNCER stands at the podium on the small stage turning the lottery wheel and calling out numbers. BINGO ANNOUNCER G14. The next number is G14. It’s going to be a long game folks and these prizes are waiting for you! MARSHALL Let’s see G14... (scans card with his eyes and holds a marker in his hand) G...14. Nope. MARSHALL puts the marker down and sits his chin in his palm. MARSHALL CONT’D. I wonder when they’re going to release me from this place? BINGO ANNOUNCER Next number is I7. I7.

(CONTINUED)


CONTINUED:

5. BINGO WINNER BINGO! I WON! YEAA! BINGO! MARSHALL I’m out. What a waste of time. This is not my day.

7

INT. COMMON ROOM-DAY

7

MARSHALL walks into the common through the doorway of the common room. He scans the spacious room as he walks and looks at the cushy couches and squeaks his slippers across the freshly-waxed wood-paneled floor. Sun rays stream through big bay windows and illuminate the backs of the couches. Some patients sit in the couches and chairs and stare out of the window, while others are seated at round tables on the right side of the room playing board games. FRED waves MARSHALL over to come and sit with him at a drawing-board table with a chess board in front of him. FRED Hey buddy. I’m Fred. But my friends call me Chess Fred. What’s your name? (moves a pawn a space forward) MARSHALL I’m Marshall. Marshall Lapsey. (looks around for another open seat, sees none then sits down) From Rhode Island. FRED So, Marshall, how long you in for? MARSHALL (shifts his pawn) I’m not sure. FRED Whatcha in for, son? MARSHALL (clears his throat) To be honest, I’m not sure. A lot of things have happened, and I’m still trying to figure it out. Its like someone is setting me up. MARSHALL nervously chuckles and makes a move. ROSE walks to their table with a tray of medicine.

(CONTINUED)


CONTINUED:

6. ROSE Look who’s up and at ’em! (smiles at the two) I have your medication for you Marshall. MARSHALL Oh. (takes the medication and bottle of water,swallows it and sips water) Thanks.

ROSE walks away to another table and Fred watches her. He leans over the table to MARSHALL as if he is telling a secret. FRED Yeah well me too. I’m not supposed to be here-- I’ve got grandkids! (looks both ways suspiciously) Look, I don’t know why I’m telling you this, but you seem like a stand-up guy. FRED pauses, looking at MARSHALL. MARSHALL looks confused, then leans forward, nodding his head in agreement. FRED CONT’D. Lately, I’ve been hearing things at night. And this ain’t none of that psycho bullshit these doctors want you to admit to. Its someone up past lights out. My room is by the the stairs-- you know the ones leading down to the basement? Yeah I don’t sleep at night, ya know, so I hear it all the time. FRED abruptly stops the story and advances his piece. FRED Checkmate! MARSHALL Have you told any of the orderlies about it? FRED Nah. Can’t trust ’em. They’ll prolly try to put me on more meds or stick me in more therapy. And I’m not crazy.

(CONTINUED)


CONTINUED:

7.

MARSHALL Well maybe not-- what are you in for? FRED sits still and bores his eyes into MARSHALL’s. He folds his arms over each other and speaks slowly. FRED Some people were following me around-- stalking me. Tryin’ to get in my head. Saying all kinds of cruel-- sadistic things. (pauses and grins) But I took care of ’em. MARSHALL (widens his eyes) Ohhkay. Well, maybe its just the janitor or something. FRED Now I dunno who it is or what they’ve been doing, but every night for the past-(looks up in the air and counts to himself) --two weeks or so there’s been some busybody walking around through the halls and going down the stairs. MARSHALL Well I’ll keep an eye out, thanks. I’m gonna go ahead and get out of here. (stands up) Nice meeting you. Marshall walks away from the table and leaves the room. He passes by ROSE and CAROLINE who stand behind the front desk watching over the patients. 8

INT. COMMON ROOM-DAY

8

Another orderly named CAROLINE stands by a printer. ROSE comes back from passing out medicine and CAROLINE stands with her arms crossed over her belly. CAROLINE watches MARSHALL as he plays chess with FRED in disgust. As ROSE returns to being behind the front desk CAROLINE begins to speak to her.

(CONTINUED)


CONTINUED:

8.

CAROLINE You know you don’t have to be that nice to them. They’re just patients. ROSE Oh, its no biggie. CAROLINE (leans into ROSE’s shoulder) Especially that one. ROSE Which one? CAROLINE The one from Rhode Island. I don’t know his name. ROSE (looks up) Oh-- Marshall? He’s a sweetheart! CAROLINE (steps back) Sweetheart? You know what he did, right? Marshall stands up from the drawing board table and walks towards the door. CAROLINE drops her voice and watches him come their way. ROSE Yeah I do. But by being in that type of environment, you don’t know what you’re capable of. CAROLINE Well I’m just saying. I’m watching him-- and you should too. I can tell, he’s no good. Marshall is walking past the desk and overhears CAROLINE’s comments. He gives her a sideways glance and keeps on walking. When he reaches the corridor he twitches in his right shoulder slightly.


9.

9

INT. CAFETERIA-EVENING

9

MARSHALL stands up for a table in the cafeteria and walks to a trash can. The room is lit brightly from the fluorescent panels on the ceiling, which is in sharp contrast to the the darkening sky outside the windows. Rafters hang up high. Rows and rows of tables are lined up in the room and full of patients chattering and laughing. MARSHALL throws away the trash from his tray and walks from his door. 10

INT. HALLWAY OUTSIDE MARSHALL’S ROOM-EVENING

10

MARSHALL shuffles down the thick ornate carpet that lines the hallway to his room. He pushes the door open and walks in, letting it swing and shut behind him. 11

INT. MARSHALL’S ROOM-NIGHT

11

MARSHALL lays on his bed, cradling his head in his arms and looking up at the ceiling. Thunder and lightning strikes outside in the storm and the reflection of raindrops on MARSHALL’s window streaks across his face. MARSHALL blinks his eyes furiously in his drowsiness and falls asleep. 12

INT. WELLINGTON INDUSTRIES, MARSHALL’S OFFICE (FLASHBACK) 12 MARSHALL’s office is organized and blueprints are stacked in a neat pile. He is eating a sandwich and playing solitare on his desktop. On the left side of desk he has a small television with the channel set on the local news. The news says that the CEO of Wellington Industries is in a coma after his car exploded while he was in it.

13

INT. WELLINGTON INDUSTRIES (FLASHBACK)

13

TWO OFFICERS come in the front door and stop at the receptionist MRS. WALLACE’S desk. MARSHALL swivels around in his chair to see what is going on. MRS. WALLACE guides the officers down the aisle to MARSHALL’S cubicle. OFFICER #1 Are you Marshall Lapsley? MARSHALL Yes I am. How can I help you?

(CONTINUED)


CONTINUED:

10.

OFFICER #2 (TWO OFFICERS look at each other and then back at him) Marshall Lapsley, you are under arrest for the attempted murder of Abe Wellington. Anything you say can and will be used in the court of law... Two officers apprehend MARSHALL. They stand him up and put his hands behind his back and cuff him. Marshall looks back and forth at each officer. MARSHALL I--I don’t understand whats going on! (struggling) What is this?! OFFICER #2 ...you have the right to speak to an attorney. If you cannot afford an attorney, one will be appointed to you. (locks the cuffs) MARSHALL But I didn’t do anything! The two officers hold onto MARSHALL’S arms and walk him out of the cubicle. Workers stare at them as they leave through the front doors. 14

INT. RHODE ISLAND STATE PRISON-DAY (FLASHBACK)

14

MARSHALL walks along a lengthy jail hallway. Cells line each side and there are noisy prisoners scream, yell, and taunt him. MARSHALL has his feet and hands shackled together as he holds his bedsheets and toiletries. A CORRECTIONS OFFICER follows closely behind him. He uses his key to unlock the cell and MARSHALL walks inside. After entering it shuts he turns around and sees his cellmate BOBBY GRIFFIN sitting on the bottom bunk. MARSHALL Hello. BOBBY GRIFFIN stares at MARSHALL in silence. MARSHALL moves to the bunk and places his belongings on the top.

(CONTINUED)


CONTINUED:

11.

BOBBY GRIFFIN Where you from, boy? MARSHALL I’m from here, Rhode Island. BOBBY GRIFFIN Same here. (props his fist on his hip) I’ve been here in this place for some time now. All because some punk didn’t want to keep his mouth shut. We jacked a couple cars, ya know tryna make some quick cash. Gave me my third strike. BOBBY GRIFFIN stands up and rests his arm on MARSHALL’s bunk. MARSHALL tenses. BOBBY GRIFFIN CONT’D. Imma tell you like this, boy. The only way you’re gonna make it in here is to not take any shit from no one. MARSHALL Well I plan to out soon as I get this thing sorted out. I don’t need to know any survival tactics. (straightens his bedsheets) BOBBY GRIFFIN Yeah, thats what they all say. (sits back down on his bunk) MARSHALL Don’t know. BOBBY GRIFFIN Sure you do. Look, no one likes to be lied to-(cracks his knuckles) --and I’m the last one you wanna make mad, you understand? So what are you in for? Murder? (chuckles, then quickly straightens his face) Did you rape a little girl or something? MARSHALL (stops fiddling with his things) (MORE) (CONTINUED)


CONTINUED:

12.

MARSHALL (cont’d) No. Just drop it, okay? It’s none of your concern. BOBBY GRIFFIN Let’s get one thing straight. Okay. This cell was mine before you even got here-- so I’ll ask whatever I want. Ya hear me? BOBBY GRIFFIN stands up again gets in MARSHALL’s face. He grabs his bottom jaw and chin in his tight grasp. BOBBY GRIFFIN CONT’D. Now. Just stop making this hard on yourself, boy. What ya in for, man? Did you kill someone. Yeah-- prolly did, you look like one of those funny, calculating types-(releases MARSHALL’s jaw) CORRECTIONS OFFICER #1 comes to their cell and bangs his nightstick on the bars. CORRECTIONS OFFICER #1 Hey, Bobby! Knock it off or you’re gonna find yourself in the box. BOBBY GRIFFIN turns to the officer and tries to convince him that he wasn’t doing anything. MARSHALL slowly backs away to the window, twitching. 15

INT. RHODE ISLAND STATE PRISON, MARSHALL AND BOBBY’S CELL-EVENING (FLASHBACK)

15

MARSHALL is in his cell laying on his bunk after dinner. His arms are behind his head and he is staring at the ceiling. WARDEN and CORRECTIONS OFFICER #1 comes to MARSHALL’s cell and prys the bars to the side. WARDEN Get up, Lapsey. You’re coming with us. MARSHALL Um ok... (jumps off his bed) Do you mind me asking what’s going on?

(CONTINUED)


CONTINUED:

13.

WARDEN We have reason to suspect that you murdered your cellmate, BOBBY GRIFFIN. MARSHALL Wh-what do you mean? CORRECTIONS OFFICER #1 We found Bobby in the shower, dead. You know anything about that Marshall? You were the last person seen with him. (moves behind Marshall and locks cuffs around his wrists) MARSHALL I’ve been here the entire time! I’m telling you it’s not me! I didn’t do it! CORRECTIONS OFFICER #1 drags MARSHALL out of the cell, and WARDEN follows behind. 16

INT. MARSHALL’S ROOM-NIGHT

16

MARSHALL is back on his bed in St.Mary’s Mental Hospital. Lightning strikes, displaying the freckle of raindrops on the window across his head. 17

INT. LAPSEY CHILDHOOD HOME (FLASHBACK)

17

MARSHALL is a young boy, running down to the hallway closet.He scuttles in the room, panting and crying and presses his body against the closet door in an attempt to shut it before RUSS LAPSEY can get in. RUSS LAPSEY towers over MARSHALL and shrouds him in his bulky shadow. RUSS LAPSEY Get out here you little bitch! (pointing to the hallway behind him) On second thought, stay.Maybe after a couple hours in there you’ll come out and be a son I can be proud of. Marshall doesn’t make eye contact and scoots to the back of the small room. He pulls his legs up under his chin and twitches in fear. RUSS LAPSEY shuts the door, leaving MARSHALL in total darkness. The sounds of his cries can be heard outside the door.


14. 18

INT. MARSHALL’S ROOM- MORNING

18

MARSHALL is woken by ROSE coming in to make her daily wake-up call rounds. Sunlight streams in through the open blinds, brightening up the plain furniture in his doldrum room. MARSHALL finds himself in the same corner of the room, in an upright fetal position like he was the day before. ROSE straightens out the curtains that line the windows. ROSE Morning Marshall! Did you sleep well? (brushes the curtains, and sighs when MARSHALL doesn’t reply) Well to remind you, Dr. Baker will be waiting for you this afternoon for your weekly therapy session. ROSE stops fiddling with the curtains and turns towards Marshall, clasping her arms in front of her. ROSE CONT’D. He speaks very highly of you, you know? ROSE walks slowly to the door, and stops at the sound of MARSHALL’s voice. MARSHALL Thank you Rose, for being so nice to me. ROSE (places her hand on the doorframe) No problem at all Marshall. You make it easy. See you later. 19

INT. COMMON ROOM-DAY

19

MARSHALL gets dressed and heads to the common room, which is bustling with activity during social hour. The ORDERLIES seem to be moving around warily, darting their eyes back and forth at the patients. MARSHALL sees FRED at his chess table and takes a seat across from him. After sitting FRED leans in over his chess pieces and SPEAKS. FRED (whispering) Hey there, buddy. You hear about what happened last night?

(CONTINUED)


CONTINUED:

15.

MARSHALL No, no I haven’t. (gazes around the room) But something about today just seems-- off. FRED Well you know that bitch orderly, Caroline (picks up his chess piece and brandishes it around) She was assaulted last night! Marshall now leans in a little closer to the table, face gone white. MARSHALL (in shock) Really? Well, you know, she wasn’t the most kind person. But I wouldn’t think someone would take it upon themselves to hurt her at the same time... FRED Yeah! Anywho, someone tried to strangle her with a towel, a sheet, or something. Thank God she isn’t dead-- but she don’t have no recollection what happened, from what I’ve been told. FRED takes a quick swig of water. ROSE comes over to the drawing board table with a tray of medicine. ROSE Here is your medication, Marshall. ROSE hands MARSHALL a dixie cup with pills in it, and he down the medication with a quick swig from his water bottle. FRED turns his head to the right, avoiding eye contact with ROSE. ROSE CONT’D. You can go ahead and make your way over to Dr.Baker’s office-- he is expecting you. MARSHALL stands up from his chair and walks towards the doorway. FRED begins fiddling with his playing pieces and talking to himself.


16. 20

INT. OUTSIDE DR.BAKER’S OFFICE/DR.BAKER’S OFFICE-DAY

20

MARSHALL walks up to DR.BAKER’s office and knocks on the door softly before coming in. DR.BAKER waves at MARSHALL as he leans over his desk, talking on the phone, and beckons him to come in. The office is expansive, with hues of brown decorating it. A one chandelier hung over the therapist’s cushy armchair and a couch sitting catacorner from it. MARSHALL moves to the chairs and DR.BAKER hangs up the telephone. DR. BAKER Hello Marshall, how are we doing today? MARSHALL (talks him hands between his legs) Everything is fine, I suppose. DR.BAKER straightens the lapels on his suit jacket and looks for him pad and paper on his desk. He finds them and strolls over to his chair DR.BAKER Good, good! (sits down) And how are you sleeping MARSHALL I’ve been sleeping okay, I guess. Today, though, I woke up feeling a little outside myself. Maybe it’s just me trying to adapt to this environment still. DR.BAKER (nods) (Yes, it will take a while to adjust to all these recent changes in your life. But I am positive that it will get better.) MARSHALL smiles slightly. DR. BAKER scribbles something on his pad. DR. BAKER Ah! (snaps fingers) I’m sorry Marshall. I have to step out briefly and grab something from the mailroom Do you mind?

(CONTINUED)


CONTINUED:

17.

MARSHALL No, not at all. DR.BAKER All right, then I’ll be right back. Dr.Baker stands up and heads to the door DR.BAKER CONT’D. (cranes his neck around) Again, I am sorry for interrupting our session. DR.BAKER leaves the office and MARSHALL remains seated. He rocks back and forth slightly and looks around the room, waiting. He begins to twiddle his thumbs. Dr.Baker’s phone rings loudly three times. MARSHALL Aw, shoot. He’s not in here. Marshall walks to the doorway and peers down both ends of the hall, seeing Dr.Baker nowhere in sight. MARSHALL (voice echoing) Dr.Baker? Dr.Baker, your phone is ringing! (shrugs his shoulders) Marshall walks over to the phone on the desk and answers the phone. MARSHALL Dr.Baker’s office, can I help you? There is static on the line, and a long silence. MARSHALL Hello? BOMBER (breathing heavily) There’s a bomb in the building. MARSHALL What? Pardon me? BOMBER It’s in the basement. I’ve set it to detonate at nine p.m. Better warn somebody. (cackles) (CONTINUED)


CONTINUED:

18.

Marshall’s eyes widen and he clasps the phone with both hands. MARSHALL Who is this? Your voice sounds familiar. Is this some kind of sick joke??? The line goes dead, and MARSHALL sets the reciever back on the hook, shaking. 21

INT. COMMON ROOM-DAY

21

PATIENTS are sitting in the room, playing games as they would any other day. ROSE and the other ORDERLIES are behind the desk conversating. MARSHALL bursts into the room, huffing and puffing, which startles the everyone in the room.ROSE comes to MARSHALL and puts her arm around MARSHALL’s shoulders. ROSE What’s wrong Marshall? MARSHALL (taking a moment to catch his breath) There’s a bomb in the basement. ROSE Wh-what? What would make you say something like that Marshall? MARSHALL It is! The guy-- he called-- and he said he set a bomb in the building! The room has gotten very quiet. The other ORDERLIES who were behind the common room desk surround the pair. ROSE Ok, just calm down and tell us everything that happened Marshall. Where’s Dr.Baker? MARSHALL He left the room in the middle of our session. The phone rang and rang, and he wasn’t back so I just picked it up. (frantic) A guy on the other end of the line said he was going to blow the building! (CONTINUED)


CONTINUED:

19.

ROSE takes her arm off Marshall and looks at the other orderlies, then they look back at Marshall. Marshall stands there looking helpless. ORDERLY #1 Ok sir, I’m sure this is just some misunderstanding. (inches toward Marshall) Maybe you should just go and take a nap. MARSHALL (grabbing Rose) No! You gotta believe me! The orderlies react very negatively to Marshall’s actions and grab him. Marshall twists in against their attempt to restrain him. ROSE I’m so sorry Marshall! An orderly whips out a syringe and sedates Marshall. He slowly slips to the ground. 22

EXT. ST.MARY’S MENTAL HOSPITAL COURTYARD-EVENING

22

MARSHALL is pushed on a gurney across the courtyard. It is twilight, and the sky is bright pink and orange. The orderlies push Marshall to an outhouse that resembles a mausoleum. ORDERLY #1 unlocks the thick doors and holds one open to help the other ORDERLIES push the gurney in. He comes in after them and the door slams shut. 23

INT. THE BOX-EVENING

23

The light switch is flipped and a light hanging from the ceiling in the middle of the room swings back and forth over MARSHALL’s gurney. The ORDERLIES finish strapping MARSHALL down and wheel the gurney the brought him in out of the room. A door shuts in the distance. MARSHALL wakes up from his medicated state, fading in and out for some time. 24

INT. THE BOX-NIGHT

24

MARSHALL fully wakes up and restrains against his straps. Perspiration is etched across his forehead and his skin turns redder the more he struggles. He gives up and stares at the ceiling. A bomb goes off in the distance with a thunderous BOOM. The room shakes and the light above (CONTINUED)


CONTINUED:

20.

MARSHALL SWINGS back and forth violently. Cries of anguish and for help are heard in the distance. MARSHALL’s face twists in fear, then calms. 25

EXT.WELLINGTON INDUSTRIES PARKING LOT

25

The sky is dark and ABE WELLINGTON walks out of the front doors of his company. He walks to his Porsche parked in the front and gets inside. ABE WELLINGTON quickly backs out of his parking spot and speeds out of the lot. After coming to a stoplight he turns the corner. MARSHALL is parked across the street. He pulls out the wrong way and intentionally rams into ABE WELLINGTON’s car head on. 26

INT. LAPSEY CHILDHOOD HOME (FLASHBACK)

26

RUSS LAPSEY stumbles into the house and stares down MARSHALL. MARSHALL tries to get away but his father grabs him and throws him down to the floor. A struggle ensues. 27

INT. LAPSEY CHILDHOOD HOME, MARSHALL’S ROOM (FLASHBACK)

27

MARSHALL stares intently at his computer screen. He loads up a computer game called "Bombers". Through his icon he furiously throws bombs at buildings, getting a very angry look on his face and angrily tapping the keys. After defeating one level he rest his hands in his lap, breathing heavily. 28

INT. DR.BAKER’S OFFICE-DAY

28

MARSHALL walks from the door and picks the phone. There is no one on the other end of the line, save static. MARSHALL sets the phone down slowly on the hook and twitches. 29

INT. ST.MARY’S MENTAL HOSPITAL BASEMENT-NIGHT

29

MARSHALL is in the dark basement with light hanging above his head. blue prints are littered in front of him and he tweaks a gadget with a screwdriver. MARSHALL hears a noise above his head and freezes. After waiting a few seconds more he continues with his work.


21.

30

INT. THE BOX-NIGHT

30

MARSHALL is in the dark room with the overhead light swaying above his head. The sound of fire crackling breaks through the walls in the room all St.Mary’s Mental Hospital burns. MARSHALL slowly breaks into a smile, and he twitches.


ROSE (the main orderly) A.Rose wears a rose pink headband, which sets her apart from the other orderlies, who wear the standard attire. It also accentuates the rosiness in her cheeks and that of her nature.

B. She wears simple silver hoops. These are not too much, not too little, because Rose is so beautiful that she doesn’t have to do too much to look as such.

C. Rose wears a plain white scrub shirt. The bow tied to the left of the shirt is just her trying to sneak in a bit of her girly nature. These subtle hints are how she likes to not conform to the dress code and other things dealing with the quotidian work in St. Mary’s Mental Hospital.

D. A simple white skirt with pockets will suffice for the things that Rose needs as an orderly. She keeps a pen, gum, and her ring of keys handy in them.

E. Being one of the younger but more experienced orderlies in the hospital, Rose has the keys to virtually every room in the hospital.

F. Rose wears comfortable and pristine white sneakers while on the job. She opts for these rather than crocs or strappy tennis shoes because she takes small pleasures in the little things, like tying her shoes.


MARSHALL LAPSEY

A. Marshall wears a plain white T-shirt under his robe. The shirt is completely devoid of stain or wrinkle. This is a testament to how at the beginning of the movie Marshall is very meticulous about his appearance, even when he is committed to a mental institution.

C. Marshall wears sky blue scrub pants in the hospital. These are worn by all the male patients in order for them to have more comfort. But, Marshall’s are different because they have pockets, which are allowed for him because he is considered to be a well-behaved patient, and they do not have to worry about him hiding contraband in the pockets.

B. Marshall wears a plaid bathrobe in the mental hospital. It hangs down to his knees, and its bulky fit on his body makes him seem meek and vulnerable. The dreary midnight blue hue exemplifies his clouded and saddened state of mind.

D. Marshall wears the standard house slippers for men in the mental hospital, with soft soles and easy to put on.


Scene 1 1

Shot 1 2

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6 7

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Description Long shot: metal door in asylum hallway Extreme Long Shot: Looking down hallway, Rose enters frame and is approaching camera Medium shot: Rose, still walking through hallway Long shot: Rose turns corner in hallway, still approaching camera Long shot: metal door in asylum hallway, Rose walks into frame and reaches for her pocket Close up: Rose gets key from pocket Medium shot: Rose moves hand with key from pocket to door Close up: Rose puts key in door lock

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Medium shot: Rose opens door and steps inside

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15 16 17

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Long shot / Rose's Point of view: observing Marshall's room, frame centered on window on opposite side of room Long shot / two shot: Marshall's room, looking at wall with door; Marshall on the left and Rose on the Right Medium shot / low angle: Rose greets Marshall Medium shot / high angle/ over Rose's shoulder: Marshall does not respond Close up: Marshall's face Long shot / frame-in-frame: Looking in Marshall's room through window as Rose opens the blinds Medium Close up: Marshall Medium shot / low angle: Rose turns back to Marshall Medium shot / high angle: Marshall turns to wall Long shot: Rose leaves room Medium close up: Marshall sits in his room Long shot: Rose returns with tray of food Close up: Tray of food Medium shot / over rose's shoulder / two shot / high angle Rose begins to set the food in front of Marshall Close up: Marshall as he speaks Medium close up / low angle: Rose as she reacts Medium shot / high angle / Rose's point of view: Marshall Long shot / two shot: Rose turns to set tray on table

2 2 2 3

19 20 21 1

Medium close up: Tray as it is set on table Medium close up: Marshall Extreme Close up: Marshall's eyes Medium Close up / frame-in-frame: old TV showing

Elements Char1: Rose Char1: Rose Char1: Rose Char1: Rose Char1: Rose Prop: Key Char1: Rose Prop: Key Char1: Rose Prop: Key, lock Char1: Rose Prop: Key, door

Char1: Rose Char2: Marshall Char1: Rose Char1: Rose Char2: Marshall Char1: Marshal Char1: Rose Char2: Marshall Char1: Marshall Char1: Rose Char1: Marshall Char1: Rose Char1: Marshall Char1: Rose Prop: Tray Char1: Rose Prop: Tray Char1: Rose Char2: Marshall Prop: Tray Char1: Marshall Char1: Rose Prop: Tray Char1: Marshall Char1: Rose Char2: Marshall Prop: Tray Char1: Rose Prop: Tray Char1: Marshal Char1: Marshall Visual Effects: Brady Bunch


Brady Bunch in Lapsey home Extreme Close up: Young Marshall's eyes Medium shot: Young marshall on couch

3 3

2 3

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4 5

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6

3 3 3

7 8 9

3 3 4

10 11 1

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Medium shot / high angle: Marshall working as Abe slams the draft of the blueprint onto his desk

4

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Medium close up of Marshall as he reacts and turns to Abe Medium close up / low angle / over Marshall's shoulder: Abe berates Marshal Long shot / two shot : Marshal responds and hands Abe the Blueprint

4

10

Medium shot / low angle: Abe looks at the blueprint

4 4

11 12

4 4 4 4

13 14 15 16

Close up of Abe's face: Abe reacts Medium shot / low angle: Abe begins to yell and crumple the blueprint Medium close up / high angle: Marshall reacts Medium shot / low angle: Abe continues Medium shot / high angle: Marshall tries to explain Close up / two shot: Abe draws near Marshall's face

4

17

Medium shot / high angle: Abe drops the blueprint on Marshall's lap

4

18

Long shot: Abe leaves

Long shot: Door to kitchen begins to open Long shot / high angle / door's “point of view�: Young Marshall turns to look Long shot / long angle: Door finishes opening and Russ stumbles in Medium Close up: Young Marshall reacts Medium shot: Russ speaks to Young Marshall Long shot / two shot: Young Marshall on couch on left, Russ on right Long shot / low angle: Russ stumbles Medium shot: Russ threatens Young Marshall Long shot: Cubicle farm in Wellington office, looking at Marshall's cubicle Long shot / high angle: Looking into Marshall's cubicle from above Medium Close up / tracking shot: looking at mess on Marshall's desk, ending at him hunched over his Work Over the shoulder of Abe: Abe approaches Marshall's cubicle Long shot / two shot: Abe enters Marshall's cubicle

Char1: Young Marshall Char1: Young Marshall Background: Lapsey home Prop: Door Char1: Young Marshall Background: Lapsey home Char1: Russ Prop: Door Char1: Young Marshall Char1: Russ Char1: Young Marshal Char2: Russ Char1: Russ Char1: Russ Background: Office Char1: Marshall Props: Blueprint Char1: Marshall Prop: Blueprint Char1: Abe Background: Office Char1: Marshall Char2: Abe Char1: Marshall Char2: Abe Prop: Draft, Blueprint Char1: Marshall Char1: Marshall Char2: Abe Char1: Marshall Char2: Abe Prop: Blueprint Char1: Abe Prop: Blueprint Char1: Abe Char1: Abe Prop: Blueprint Char1: Marshall Char1: Abe Char1: Marshall Char1: Marshall Char2: Abe Char1: Marshall Char2: Abe Prop: Blueprint Char1: Abe


4

19

Long shot / High angle : looking at cubicle from above, Marshall reacts Medium shot / high angle: Marshall curled up in his asylum room Over Rose's shoulder / high angle: Marshall looks at Rose and smiles Long shot / high angle: Marshall stands up Long shot: Marshall walks across room to shower room

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3 4

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5 6

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8 9 10 1

Medium shot: Marshall looks at himself in mirror Medium shot / over Rose's shoulder: Rose speaks to Marshall Medium close-up of Rose: She starts to walk away, then turns back to continue speaking with Marshall Medium shot : Marshall responds Medium close-up of Rose: She smiles and leaves Medium close-up of Marshall: Talks to himself Establishing shot of reception hall

6 6

2 3

Medium shot: Marshall enters reception hall Long shot: Marshall crosses hall

6 6

4 5

Medium shot: Marshall sits at empty table Long shot: Bingo announcer turns lottery wheel

6 6 6

6 7 8

Medium shot: Announcer speaks Close up: Marshall's bingo card Medium close up: Marshall checks his card

6

9

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10

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11

Medium shot / high angle: Marshall puts down marker, talks to himself, hears next bingo number called Medium close-up: Marshall reacts as the Bingo Winner shouts Long shot: Bingo Winner stands up and jumps around

6 7 7 7

12 1 2 3

7

4

Medium shot: Marshall gets up to leave Establishing shot of common room Medium shot: Marshall enters common room Marshall's point of view / long shot : Fred beckons Marshall over Medium close up of Fred, showing chessboard

7

5

Long shot: Marshall walks over

7

6

Medium close up of Fred as he greets Marshall

7

7

Close up: Fred moves a pawn on the chessboard

Char1: Marshall Char1: Marshall Char1: Marshall Char2: Rose Char1: Marshall Char1: Marshall Char2: Rose Char1: Marshall Char1: Marshall Char2: Rose Char1: Rose Char1: Marshall Char1: Rose Char1: Marshall Extras: Patients and orderlies Char1:Bingo Announcer Char1: Marshall Char1: Marshall Extras: Patients and orderlies Char1: Marshall Char1: Announcer Prop: Wheel Char1: Announcer Prop: Bingo card Char1: Marshall Prop: Bingo card, Marker Char1: Marshall Prop: Bingo card, Marker Char1: Marshall Char1: Winner Extras: Patients and Orderlies Char1: Marshall Extras: Patients Char1: Marshall Char1: Fred Char1: Fred Prop: Chessboard Char1: Marshall Char2: Fred Extras: Patients Char1: Fred Prop: Chessboard Char1: Fred Prop: Chessboard


7 7 7

8 9 10

Medium close up: Marshall replies, and looks around Medium shot: Marshall sits down Over Marshall's shoulder: Fred speaks to Marshall

7

11

Close up: Marshall's hand picks up a pawn as he replies

7 7 7 7

12 13 14 15

Medium close up: Fred asks Marshall another question Medium close up: Marshall responds Close up: Marshall continues Close up of chessboard: Marshall makes his move

7

16

Long shot: Rose approaches Marshall and Fred at the table, carrying a tray of medicine

7

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7

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Medium shot: Rose greets Fred and Marshall, tells Marshall she has his medication Close up of tray

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Medium shot / two shot: Marshall grabs the medicine

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Close up: Marshall takes the medicine

7

21

Long shot: Rose leaves with tray

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7 7

23 24

Medium shot: Fred watches her leave and then leans over the table to Marshall Medium close up: Fred tells his story to Marshall Medium shot / two shot: Marshall leans in and listens

7 7

25 26

Medium close up: Fred continues Close up of chessboard as Fred moves a piece

7 7

27 28

Medium close up: Marshall asks Fred a question Medium shot / two shot: Fred explains

7 7 7 7 7 7

29 30 31 32 33 34

Medium close up: Marshall asks another question Medium close up: Fred explains his story Close up: Marshall reacts Medium shot: Fred continues Medium shot / low angle: Marshall stands up and leaves Long shot: As Marshall leaves he walks past Rose and Caroline

8

1

Establishing shot: area behind desk in common room. Caroline is standing and Rose returns from

Char1: Marshall Char1: Marshall Char1: Marshall Char2: Fred Prop: Chessboard Char1: Marshall Prop: chessboard Char1: Fred Char1: Marshall Char1: Marshall Char1: Marshall Prop: Chessboard Char1: Marshall Char2: Fred Char3: Rose Prop: Tray Char1: Rose Prop: Tray Char1: Rose Prop:Tray Char1: Marshall Char2: Rose Prop: Tray Char1: Marshall Prop: Medicine Char1: Marshall Char2: Rose Char3: Fred Prop: Tray Char1: Fred Char2: Marshall Char1: Fred Char1: Marshall Char2: Fred Char1: Fred Char1: Fred Prop: Chessboard Char1: Marshall Char1: Fred Char2: Marshall Char1: Marshall Char1: Fred Char1: Marshall Char1: Fred Char1: Marshall Char1: Marshall Char2: Rose Char3: Caroline Char1: Rose Char2: Caroline


8

2

handing out medicicine Over Caroline's shoulder / long shot: Caroline watches the Fred and Marshall play chess

8

3

Long shot: Caroline and Rose talk

8

4

Medium shot: Caroline leans into Rose's shoulder

8

5

Over Rose's shoulder / long shot: Caroline points to Marshall and explains his past

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8 8

7 8

8 8

9 10

8 8

11 12

Medium shot of Marshall playing Chess, as Caroline continues Medium close up of Rose as she defends Marshall Two shot / Medium shot: Caroline and Rose continue talking Medium shot: Marshall stands up to leave Two shot / Medium shot: Caroline and Rose continue talking Medium shot: Marshall walks past the women Long shot / high angle: View of Marshall walking past the two women

8

13

8 8 8 8 Scene 9

14 15 16 17 Shot 1

9

2

Two shot / Medium shot: The women look at Marshall as he walks past Medium close up: Marshall glances at Caroline Extreme close up: Marshall's eyes Medium shot: Marshall continues walking Close up: Marshall's shoulder twitches Description Medium shot: Marshall stands up from cafeteria table and walks over trash can Medium shot: contrasts bright fluorescent lights shining from the ceiling to the dark sky

9 9

3 4

9

5

Close up: rafters on ceilings Long shot: entire shot of cafeteria shows all tables occupied by patients doctors and security guards standing around Over the shoulder: Marshall throw out trash

9

6

Low angle shot: Marshall walks towards the exit

10

7

Close up shot zooming out: Marshall enters through the

Char1: Caroline Char2: Marshall Char3: Fred Extras: Patients Char1: Caroline Char2: Rose Char1: Caroline Char2: Rose Char1: Caroline Char2: Rose Char3: Marshall Char4: Fred Extras: Patients Char1: Marshall Char1: Rose Char1: Caroline Char2: Rose Char1: Marshall Char1: Caroline Char2: Rose Char1: Marshall Char1: Marshall Char2: Rose Char3: Caroline Char1: Rose Char2: Caroline Char1: Marshall Char1: Marshall Char1: Marshall Char1: Marshall Elements Background: Cafeteria Characters: Marshall Props: Table and trash can Props: fluorescent lights, window Props: rafters on ceiling Characters: patients, security guards, doctors, Marshall Props: tables, trash cans Background: Cafeteria Characters: Marshall Props: trashcan, lunch tray, trash Characters: Marshall Props: Door Background: Hallway


door 10

8

Panning shot: Marshall walks the hallway to his room

10

9

Back shot: Marshall pushes the door to his room open, letting it swing behind him

10

10

11

11

Close up: Shot of window facing outside Marshall’s room. Time speeds up and sun sets and moon rises fast (passage of time). Medium angle shot: Marshall sits up in his bed in the fetal position. He looks right at the camera.

11

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11

13

11

14

11 12

15 16

12

17

Close Up: Marshall takes a bite of his sandwich

12

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12 12

19 20

12

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13 13

22 23

Close up: Marshall’s computer screen shows a game of solitaire Over the Shoulder: Shows Marshall’s little TV Close up: Shows Marshall’s TV as an urgent news flash pops up. Close us up: Marshall face goes blank as he hears the TV announce that Wellington Industries CEO is in a coma due to an explosion. Another Bright Flash indicating another flashback Medium Shot: Two officers walk through the doors of Wellington Industries

13

24

Medium Shot: Marshall swivels around in his chair to see what is going on.

13

25

Panning Shot:Mrs. Wallace leads officers to Marshall’s cubicle.

13

26

Medium Shot: Officers ask Marshall, “Marshall

Close up: Looking out the window, lightning strikes illuminating raindrops on the window pane. Close up: Marshall’s eyes begin slowly shut. He bats his eyes desperately to stay awake. Medium Shot: Marshall slowly slides down and falls asleep on his bed. Bright light flashes (signals flashback) Medium shot: Marshall is back in his office. Blueprints and files are stocked neatly stacked all over his office.

Characters: Marshall Props: door, carpet Background: Hallway Characters: Marshall Props: Thick carpet Background: Hallway & Marshalls room Characters: Marshall Props: Door Props: Window

Background: Marshalls Room Characters: Marshall Props: Bed Props: Window and raindrops. Characters: Marshall Characters: Marshall Props: BEd Background: Marshall’s cubicle Characters: Marshall Props: Desk, papers, and blueprints Characters: Marshall Props: Sandwich Props: Computer Props: TV Props: TV Characters: Marshall

Props: Door Background: Reception hall Characters: 2 officers Props: Chair & Desk Background:Marshall’s cubicle Characters:Marshall Background: Entire office Characters: Mrs. Wallace, Officers, & Marshall Background Ground:


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27

Lapsley, you are under arrest for the murder of Abe Wellington, anything you say can and will be used against you in a court of law… Medium Shot: Police officers turn Marshall around begin to hand cuff him behind his back. Marshall begins to explain he doesn’t understand. Then he asks, “What is this?” Mrs. Wallace is stunned at the bold accusations.

Marshall’s cubicle. Props: Desk, chair, computer Characters: Officers, Marshall, Officers, Mrs. Wallace Props: Desk, Chair, Computer

13

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13

29

13

30

14

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32

14 14

33 34

14

35

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14

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Close Up: Officer #2 tells Marshall, “…you have the right to speak to an attorney. If you cannot afford an attorney, one will be appointed to you,” while hit tights Marshall’s hand cuffs. Close Up: Marshall exclaims, “I DIDN’T DO ANYTHING!” Long Shot: Officers walk Marshall out of his cubicle and to the exit. The entire office stands up to see what’s going on as he is walked past.: Back to Int. Rhode Island State Prison – Daytime Long Shot: Marshall walks down a hallway awkwardly with shackled hands and feet. He holds his bed sheets and toiletries out in front of him. Other cell mates taunt and yell at Marshall from their cells as he walks by them. Officer unlocks his cell and enters. Medium Shot: Marshall steps into the cell. He notices his cell mate, Bobby Griffin, sitting on the lower bunk. Close-up: Marshall greets Bobby Griffin. Medium Shot: Bobby Griffin just sits there in silence. Marshall moves to the bed to place his belongings on the upper bunk. The Prison guard can be heard slamming the cell door shut and walking off. Close-up: Bobby Griffin asks Marshall, “Where you from, Boy?” Close-up: Marshall replies, “I’m from here, Rhode Island. Medium Shot: Bobby informs Marshall, “Same here. (places his fist on his hip) I’ve been here for some time now. All because some punk kept running his mouth. Tried to make some fast cash by jacking cars. It was strike three.” Bobby stands up and places his hand on Marshall’s bunk. Marshall tenses up. “Imma tell you like this boy. The only way to make it in this place is to not take any shit from anyone. Don’t be a Bitch. Take’m down. Marshall explains to Bobby, “I don’t plan on being here much longer. After they sort this out, I want need to know how to survive.”(Marshall starts to make his bed) Bobby responds by laughing, “That’s what they

Characters: Marshall Characters: Marshall, Officers. entire office Several: Cubicles Desk: Desks, water cooler Characters: Marshall, Prison Guard, Prisoners. Background: Jail Hallway

Background: Cell Characters: Marshall, Bobby Griffin Characters: Marshall Characters: Marshall, Officers Props: Bunk Bed, Marshall’s belongings Characters: Marshall, Officers Characters: Marshall Characters: Marshall, Bobby Props: Bunk bed, toilet and sink,


14

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39

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40

15

41

15

all say.” (Bobby sits down on his bunk) Close Up: Marshall replies, “You don’t what you’re talking about.” Medium Shot: Bobby, “Look boy, I don’t take kindly to being lied to. (Cracks his Knuckles) Don’t play with my emotions. So what’re you in hear for? Murder? (Laughs then straightens his face) Did you a rape a little girl or something? (Marshall stops messing with his belongings) Marshall: “Shut the fuck up. Worry about yourself.” Bobby: “Let’s get something straight. I was here first. This is my domain. I ASK THE QUESTIONS! Ya Hear Me!” (Bobby Griffin stands up and begins to crush Marshall’s jaw) “You tell me what you’re in here for or you’ll go the next few weeks eating through a straw. “You kill some? Ya most likely. You look like the type. (releases Marshall)

Characters: Marshall Characters: Marshall, Bobby Props: Bunk bed, toilets and sink Background: Cell

Medium Shot: Prison Guard #2 walks up and bangs his night stick on the cell door. Officers yelling at Bobby, “Bobby, I swear to God, you better cut the shit. Or you’ll be box. Bobby walks up to the officer explain that he didn’t do anything Large Shot: Marshall is laying in bed after dinner, staring at the ceiling. His arms are behind his head. The warden and Prison Guard #1 walk up to the cell door. They unlock the door and sling it open. Ward “Lapsley! You’re coming with me. Get up! Marshall: “Ummm, OK (Drops down from bed) You mind telling me what is going on?”

Character: Officer, Bobby Props: Cell Door, Knight Stick Background: Prison hallway through bars of cell door. Character: Marshall, Warden, Prison Guard #1 Background: Marshall’s cell Props: Beds, toilet and sink

42

Close-up: Warden: “We’re talking you in for questioning. Bobby Griffin is dead. We think you are responsible.”

Character: Warden

15 15

43 44

Character: Marshall Character: Prison Guard #1

15

45

Close-up: Marshall: “WHAT?” Close-up: Prison Guard #1: “Bobby was found dead in the shower. Other cell mates claim are on record saying you were with him last.” Medium Shot: Prison Guard #1 begins to cuff Marshall behind the back

15

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16

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Close-up: Marshall: “I’ve been here the entire time! I didn’t do it!” Medium Shot: Marshall is dragged out of the cell by Prison Guard #1. The warden follows. Medium Shot: Marshall’s Room – Night Marshall is back in his bed at Saint Mary’s Mental Hospital.

Characters: Marshall, Prison Guard #1, Warden Background: Cell Props: Bunks, toilet and sink Character: Marshall Characters: Marshall, Warden, Guard Character: Marshall Background: Hospital room Props: bed


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Close-up: Window of room. (Lightning flashes outside of window) Medium Shot: Marshall lies in his bed silently.

Props: Window Characters Marshall. Background :room

SCENE

SHOT

DESCRIPTION

ELEMENTS

17

1

Close up of Marshall scared

BG: Carpet and hallway CH: young Marshall

17

2

Medium Shot of Marshall and his chest

BG: hallway CH: Marshall

17

3

Closeup of Marshall’s shoes (right)

BG: carpet and hallway CH: young Marshall

17

4

Closeup of Russ’ work boots

BG: carpet and hallway CH: Russ

17

5

Medium shot of Russ following Marshall

BG: Hallway CH: Russ

17

6

Medium shot of Marshall running

BG: Hallway wall CH: Marshall

17

7

Marshall’s Point of view shot of closet door

BG: cracked closet CH: Marshall

17

8

Over the shoulder shot: Russ looking at Marshall run

BG: hallway and closet CH: Russ and Marshall

17

9

Low angle/ Medium shot: of Russ looking down at Marshall

BG: hallway and lights, from closet CH: Russ

17

10

High angle/ medium close up of Marshall looking at Russ

BG: dark closet CH: Marshall

17

11

Point of View Low angle/ medium shot of Russ looking down at Marshall

BG: hallway and lights, from closet


CH: Russ 17

12

Full shot of the door closing

18

1

Big close up of Marshall’s eyes opening and shielding from the sunlight

CH: Marshall

BG: wall

18

2

Medium Shot: Rose opening curtains

BG: Wall and curtains

18

3

Low angle/Medium Shot of Marshall looking at floor trying to catch breath

BG: wall CH: Marshall

18

4

Medium Close up of Rose fiddling with curtains

BG: wall and curtain and bed

18

5

Rose’s Point of View Shot Full shot of Marshall looking away

BG: opposite wall CH: Marshall

18

18

6

7

Closeup of the front of Rose’s face as she fiddles with curtains, with Marshall in the background

BG: far wall, bed, and door

Medium shot of Rose looking at Marshall

BG: curtains and wall

CH: Rose and Marshall

CH:Rose 18

8

Over the shoulder/ Full shot of Rose walking

BG: bed CH: Rose

18

9

High angle full shot of Marshall looking at Rose

BG: nighttable and wall CH: Marshall

18

10

Two shot of Rose leaning down and tapping Marshall’s knee

BG: curtain CH: Rose and Marshall FX: sunlight very bright

18

11

Closeup/ Two shot of Marshall and Rose

BG:curtain CH: Rose and Marshall FX: sunlight

18

12

Long shot of the room and Rose and

BG: bed, nightstand, door


19

1

Marshall

CH:Marshall and Rose

Full shot of Marshall in the doorway

BG: Bay window and doorframe CH:Marshall

19

2

Point of view Wide shot of the common room (panning)

BG: couches, chairs, drawing room tables CH: orderlies, patients

19

3

Fred’s point of view Long shot of Marshall walking up to Fred’s table

BG: couches and chairs CH: Marshall, Fred, orderlies, and other patients

19

4

Two shot of Fred and Marshall at the table

BG: couches and chairs CH: Marshall and Fred Prop: Chess board and pieces

19

5

Over the shoulder shot of Fred

BG: wall CH: Marshall and Fred

19

6

Medium shot of Marshall gazing around the room

BG: couches, tables, orderly desk CH: Marshall, orderlies and patients

19

7

Wide shot of orderlies and patients moving slowly around the room

BG: orderly desk, drawing board tables, couches, chairs CH: Orderlies, patients

19

8

Two shot of Fred and Marshall; Fred brandishes his chess piece around

BG: opposite wall, couches Prop: chess piece CH: Marshall and Fred

19

9

Medium Closeup of Fred drinking from water bottle

BG: wall CH: Fred Prop: water bottle


19

10

Over the shoulder shot of Marshall with Rose walking up to them

BG: orderly desk door CH: Marshall Fred, and Rose Prop: tray with medicine

19

11

Medium/Two shot of Rose and Marshall as she gives him his meds

BG: door and orderly desk CH: Marshall and Rose Prop: Meds and tray

19

12

Medium close of Marshall downing medication

BG: common room CH: Marshall Dialogue: Rose telling him to go

20

1

Long shot of Marshall walking to office and stopping at door

BG: hallway CH: Marshall

20

2

Medium Closeup of his back as he knocks on door

BG: door and part of the wall CH: Marshall

20

3

Long shot of Marshall walking in room; Dr. Baker in the forefront on phone

BG: oak desk, wall, door, couch CH: Dr. Baker and Marshall Prop: Telephone

20

4

Medium shot of Marshall

BG: door CH: Marshall

20

5

Marshall’s Point of View/Wide shot of office

BG: armchair and couch, chandelier, bay window, oak desk

20

6

Closeup of Dr. Baker on the phone, hangs up and looks for pad and paper

BG: wall of certificates CH: Dr. Baker Prop: Phone,

20

7

Big Closeup of phone on the hook, pad and paper

CH: Dr. Baker’s hand on phone, picking up pad and paper


20

8

Phone’s point of view shot of Dr. Baker walking to armchair

BG: bay window, armchair and couch CH: Marshall and Dr. Baker

20

9

Follow shot of Marshall walking to couch

BG: couch and armchair CH: Marshall

20

10

Full shot of Dr. Baker sitting down

BG: oak desk CH: Dr. Baker Prop: pad and paper

20

11

Over the shoulder shot of Dr. Baker

BG: Dr.’s office CH: Marshall and Dr. Baker Prop: pad and paper

20

12

Over the shoulder shot of Marshall

BG: wall CH: Marshall and Dr. Baker

20

13

Medium close up of Marshall

CH: marshall

20

14

Medium shot of Dr. Baker writing

`BG: office CH: Dr. Baker Prop: pad and paper

20

15

Full shot of Dr. Baker and Marshall

BG: office CH: Marshall and Dr. Baker

20

16

Marshall’s point of view shot of Dr. Baker walking away

BG: office and door CH: Dr. Baker and Marshall

20

17

Wide shot of the room with Marshall, phone rings

BG: office CH: Marshall

20

18

Phone’s point of view shot of office

BG: office CH: Marshall

20

19

Follow shot of Marshall walking to

BG: door


door

CH: Marshall

20

20

Long shot of Marshall poking head out of door

BG: hallway

20

21

Follow shot of Marshall walking to the desk

BG: wall of certificates Prop: Phone

20

22

Medium shot of Marshall answering phone

Prop: phone

20

23

Closeup of Marshall on phone

BG: office CH: Marshall

20

24

Zoom to Big Close up of Marshall

BG: office CH: Marshall Prop: phone

20

25

Low angle shot of Marshall sitting the phone down

BG: ceiling CH: Marshall Prop: Phone

21

1

Wide shot of the common room

BG: couches, chairs, tables CH: orderlies, patients

21

2

Full shot of Rose speaking to another orderly

BG: orderly desk CH: Rose and orderly

21

21

3

4

Wide shot of Rose and a orderly talking and Marshall bursting into the room Follow shot of Rose coming to Marshall’s aid

BG: door, desk CH: Marshall, Rose, and orderly BG: common room CH: marshall and Rose

21

5

Medium shot of two patients staring

BG: drawing table and opposite wall


CH: two patients 21

6

Two shot of Rose and Marshall

BG: door CH: marshall and Rose

21

7

Closeup of Rose’s reaction

21

8

Two shot of Rose and Marshall

BG: door CH: marshall and Rose

21

9

Full shot of two orderlies coming over to Rose and Marshall

BG: orderly desk CH: orderlies, Rose, Marshall

21

10

Medium closeup of Marshall with slow zoom

Ch: Marshall

21

11

Wide shot of the common room and people

BG: all the things in the common room CH: orderlies, patients, Rose, Marshall

21

12

Medium shot of orderly talking to Marshall

BG: orderly desk CH: orderly and Marshall

21

13

Wide shot of orderlies and Marshall as he grabs Rose

CH: Orderlies, Marshall, and Rose

21

14

Low angle/Closeup of the syringe Orderly #1 pulls from his pocket

BG: pants pocket CH: orderly #1 Prop:syringe

21

15

Full shot of orderlies subduing Marshall

BG: doorway CH: Marshall and orderlies

21

16

Medium shot of Rose looking shocked

BG: couches and tables CH: Rose

21

17

Medium shot of Orderly approaching Marshall with a syringe

CH: ordery #1


Prop: syringe 21

18

Medium shot of Marshall being sedated

CH: orderlies and Marshall

21

19

High angle/zoom to long shot of Marshall losing consciousness

BG: common room CH: orderlies, Marshall, patients

22

1

Wide shot of orderlies pushing gurney with Marshall on it outside the front doors

BG: lobby, big doors CH: Marshall, orderlies Prop: gurney

22

2

Wide shot of them coming out of the front doors

BG: front of the mental hospital CH: Marshall, orderlies

22

3

High angle/medium shot of Marshall unconscious

CH: Marshall

22

4

Long shot (from the right) of them pushing the gurney through the courtyard

BG: pink and orange sky, courtyard CH: Marshall, orderlies

22

5

Wide shot of orderlies pushing gurney to “The Box”

BG: Mental hospital and courtyard CH: orderlies, Marshall

22

6

Long shot of them (behind them)coming up on “The Box” and stopping

BG: shack looking house, wrought iron gates CH: Marshall, orderlies

22

7

Full shot of orderly #1 unlocking the door and holding one open

BG: big doors CH: Orderly #1 Prop: ring of keys

22

8

Wide shot of orderlies filing in with the gurney

BG: dark room CH: orderlies, Marshall,


orderly #1 22

9

Full shot of orderly #1 following after they go in and shutting the door

BG: “The Box”, gates, grass CH: Orderly #1

#

Scene #

Shot #

Description

Elements

1

23

1

Close up on an orderly hand in a dark room flipping the light switch up

Light turns on fade off from swinging single light hanging from ceiling

2

23

2

POV shot with 3 orderlies in the bottom right corner facing the inside of the room and in the background Marshall moving on the gurney.

Fade effect of Marshall in background

3

23

2

Long shot of orderlies walking in the room and splitting sides of the gurney strapping Marshall up

none

4

23

3

POV shot of orderly #1 strapping the semi conscious Marshall tighter to the gurney by his upper left arm

Fast movement into next shot

5

23

4

Close up on Marshall’s face going in and out of consciousness

none

6

23

3

POV shot of orderly #2 strapping the semi conscious Marshall tighter to the gurney lower legs

Fast movement into next shot

7

23

3

POV shot of orderly #3 strapping the semi conscious Marshall tighter to the gurney right arm

none

8

23

5

Medium shot of orderlies leaving Marshall and shutting the door

Sound of door slams dramatically

9

24

1

Close Up of Marshall’s face as he panicing and restraining in the gourney

Flucuation of ceiling light moving back and forth (horizotnally) then fade to next shot


10

24

2

High angle long shot of the scene outside of Marshall’s emprision building/ establishment shot of night time at the hospital

Fade out and into the next shot

11

24

1

Close Up of Marshall’s face as he continues panicing and restraining in the gourney perspiring and turning red

-----

12

24

3

Long shot of Marshall on the gurney not resisting anymore staring at ceiling

Sound of bomb goes off and people frantically crying for help in background Flucuation of ceiling light moving back and forth (horizotnally)

13

24

4

Long Shot of Marshall moving frantically in fear

Sound of people frantically crying for help in background Flucuation of ceiling light moving back and forth (horizotnally)

14

24

4/5

Long shot zooming into medium shot of Marshall being still and calm

Sound of people frantically crying for help in background Flucuation of ceiling light moving back and forth (horizotnally)

15

25

1

Establish shot of Wellington Industries

-----

16

25

2

Long shot of front door of Wellington Industries as Abe Wellington walks out

-----

17

25

3

Follow shot of Abe walking to his car

------

18

25

4

POV Shot of Abe taking the key out the door and entering the car

------

19

25

5

POV shot of car door shutting

Sound of car engine starting and car pulling off

20

25

6

Follow shot of Abe driving out the parking lot onto the highway

------


21

25

7

Follow shot of Abe driving on the highway and stopping at a red light on one way

Sound of turning signal

22

25

8

Point of view shot (POV) of Marshall watching Abe’s Porsche pulling up to the red light

Sound of car engine starting and car pulling off

23

25

9

Medium shot of Abe turning on the green light

-----

24

25

10

Close up shot of Abe and Marshall’s car crashing head on

Sounds of breaking and screaming

25

25

11

Long shot of Abe and Marshall’s car collision

Steam and smoke coming from both cars and the sound of sirens and emergency horns going off in the background

26

25

12

Long shot high angle shot of ambulance coming to the car scene and Marshall’s car do is open

Sirens alarm

27

26

1

Point of view shot of Russ entering the house from the garage stumbling

Sound of garage door shutting

28

26

2

Track shot of Russ walking through the hallway yelling Marshall’s name

-------

29

26

3

Medium shot of Marshall running out the living room

Sounds of panting and deep breaths

30

26

4

Track shot of Russ running after Marshall

---------

31

26

5

Doll shot /tilting of Russ catching Marshall and throwing him to the ground

Heavy breathing and little light

32

27

1

Point of View shot of Marshall sitting down at his computer

Glare of screen shows Marshall’s face

33

27

2

Follow shot of Marshall sitting at computer playing video game

Sounds of video game going off and keyboard keys clicking


34

28

1

Long high angle shot of Marshall at mental hospital sitting on couch

Sound of phone ringing once

35

28

2

Point of view of Marshall looking at the phone

Sound of phone ringing

36

28

3

Point of view of Marshall standing over phone at the desk

Sound of phone ringing

37

28

4

Long high shot of Marshall on the phone

Room is completely silent

38

28

4

Low angle close up shot of Marshall on the phone

Room is completely silent

39

28

5

Medium shot Marshall hangs up the phone

Visual effect slow motion

40

28

6

Close up of Marshall’s face twitching

none

41

29

1

Establish shot of dark basement

---

42

29

2

Zoom in shot of marshall’s back at desk in basement

Visual effect of dim fade light

43

29

3

Close up of Marshall’s face looking up

Foot step noises in background

44

29

4

Medium shot of Marshall’s back working

Visual effect fade out

45

30

1

Long shot of Marshall on the gurney not resisting anymore staring at ceiling

Sound of people frantically crying for help in background Flucuation of ceiling light moving back and forth (horizotnally) Dim light moving horizontally

46

30

2

Zoom In of Marshall

47

30

3

Close up of Marshall smiling

Still light


48

30

4

Close up of Marshall twitching

49

31

4

Zoom out shot of establish shot of hospital

50

31

4

High angle long shot of mental hospital burning

Burning building, crying and screaming


Scene 1, Shot 1

Scene 1, Shot 2

Scene 1, Shot 3

Scene 1, Shot 4


Scene 1, Shot 7


Scene 2, Shot 11

Marshall, alone in his room as he becomes more aware of his surroundings. Char1: Marshall

Scene 2, Shot 12

Rose returns, carrying a tray of food for Marshall Char1: Marshall, Char2: Rose, Prop: Tray

Scene 2, Shot 13


A close-up of the tray Char1: Rose, Prop: Tray

Scene 2, Shot 14

Rose begins to place the tray in front of Marshall Char1: Marshall, Char2: Rose, Prop: Tray

Scene 2, Shot 15


Marshall begins to speak, “You can put it on the table,” Char1: Marshall

Scene 2, Shot 16

Rose is surprised to hear Marshall speak Char1: Rose, Prop: Tray

Scene 2, Shot 17


Marshall finishes speaking and smiles hesitantly at Rose Char1: Marshall

Scene 2, Shot 18

Scene 2, Shot 20

Scene 2, Shot 19

Scene 3, Shot 1


Five Scouted Real World Locations: St. Mary’s Mental Hospital


Citizens Marshall Concept Art

For this work I wanted to include the isolation that is in Marshall’s world. I used Google Sketchup to come up with basic perspective and shapes. Next, I traced it and drew in shadows and texture to give the picture depth. Lastly, I changed the saturation and gamma in Photoshop to give the picture more of a dark, gloomy feel.


Another Shymalan Production’s Citizens Marshall Soundtrack 1. Frank DeVol, Sherwood Schwartz- The Brady Bunch Theme Song (Scene 3, Int. Lapsey Childhood Home)- The song plays as Young Marshall watches “The Brady Bunch” in the living room. As he father enters the house, the sound seems non-diegetic and escalates. 2. U2-With or Without You (Scene 17, Int. Lapsey Childhood Home)- The song plays as Marshall runs down the hall away from his father. It stops abruptly as his father closes the door on him. 3. All-American-Rejects- It Ends Tonight (Scene 21, Int. Common Room)- The song plays as Marshall is apprehended and sedated for his hysterical antics in the common room 4.

Kid Cudi- Trapped in My Mind (Scene 28, Shot 6)- Marshall is in the basement making the bomb.

5. Drake- My Darlin’ Baby [Intro](Scene 1, Int. Marshall’s room)- Rose opens the door to Marshall’s room and he goes into a flashback.


ANOTHER SHYMALAN PRODUCTION PRESENTS: CITIZEN MARSHALL  

A man in a mental hospital has flashbacks and can't seem to piece together why he got to the place he is at.

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