hi.

Opening Scene of a Movie to be Written Later

Credits appear white on a black background, with no music.  Intercut are scenes of two people in the final stages of preparing a dinner for four in an upper-middle-class kitchen.  We do not see their faces but we hear them speaking.  They are excited and joke with each other, giggling most of the time.  These are CARTER and MARIE, 36 and 39 respectively, married for ten years, clinically sterile for two years.  This advent has not affected their relationship, and they remain essentially intelligent children deeply in love; this comes through in their incidental exchanges.
As the last title card shows, we hear a melodic doorbell from far away in the house.
INT. KITCHEN.  STATIONARY CAMERA POINTED AT A LONG COUNTER THAT CONTAINS STOVE, OVEN, AND SINK.
Carter and Marie work at the counter.
CARTER
Shit shit shit shit
MARIE
It’s fine, we’re in good shape, by the time we’re done with drinks the turkey will be ready.
CARTER
Shit shit shit shit shit
MARIE
Will you shut up!
CARTER
Shit shit shit shit
MARIE
Shut the fuck up and answer the door!
They kiss deeply, and CARTER exits.  MARIE finishes her current task and washes her hands as we hear the door open and improvised excited greetings.  MARIE exits.
INT. HALLWAY.  STATIONARY CAMERA SHOWING MEDIUM LENGTH HALLWAY WITH TABLE, SMALL HANGING LAMP, AND ORNATE DOOR AT ONE END.
MARIE enters and joins CARTER in greeting PETER and CARRIE.  They are slightly younger but of roughly the same station in life.  Conversations continue in parallel and improvised as needed.
MARIE
Oh my god, oh my god, you’re here!
CARRIE
Every inch, wouldn’t miss it.  You look amazing!
PETER
He is holding a bottle of white wine.  There is no way that you were able to fit that old man’s sofa through that door.  He tucks bottle under his arm and produces a measuring tape and measures door breadth
CARTER
You were right!  You were right!  I thought you were full of shit right up until we got it stuck in the doorframe.  It took half a tub of Smart Balance before we could pop it back onto the porch.
MARIE
You flipped the car!
CARRIE
Yes!  I finally did it!  Jake put me in touch with this stunt driver from Warner Brothers and for a case of chili dogs he had me flipping Yugo’s all afternoon
MARIE
I can NOT wait to see it.  Do you have the dailies with you?
CARRIE
Fuck yes I do!  I stop people in the street to show them off!
CARTER
We attached the pulley to a crossbeam in the attic but we had to punch out a bunch of drywall to get at it.
PETER
Wow.  Henry the Great’s casting couch ascending the side of the ancestral manse.  It’s like La Dolce Vida.
CARTER
If only.  I’ll show you in a minute, let me go let this breathe and I’ll bring us a brace of scotches in the meantime.  He takes bottle from PETER and exits.
INT.  KITCHEN.  STATIONARY CAMERA  AS CARTER WALKS IN, STIRS SOMETHING ON THE STOVE, TASTES IT, CHECKS THE OVEN, AND WALKS OUT THE OTHER SIDE STILL CARRYING THE UNOPENED BOTTLE.
INT. HIGH ANGLE.  SMALL HALLWAY OFF THE KITCHEN
CARTER approaches a small door with a dark red light bulb over it, like one sees in dark rooms.  He unlocks the room and steps inside.
INT. THE CHAMBER.  STATIONARY CAMERA ON THE FLOOR.
We see CARTER’s feet enter and we see that his feet sink slightly into the floor; it’s made of rubber.  As he closes the door we
CUT TO
back outside the door where we see the red light turn on.
CUT TO
Back inside with low angle.  He kneels at a short safe that is within view and unlocks it with a key.  He withdraws a chrome-plated .357 Magnum, then reaches into a box of shells in the safe and withdraws a single bullet.
INT. THE CHAMBER.  STATIONARY CAMERA IN AN UPPER REAR CORNER.
We see that the room is twenty feet long with padded walls.  There is a firing station with a plexiglass shield by the door and an armature at the other end attached to a battered block of ballistics gel.  CARTER places the bottle of wine in the armature with clamp.  He walks back to the firing station loading the gun with the bullet.
He dons hearing and eye protection (kept at the firing station), aims the weapon at the bottle, and fires.  The bottle is destroyed in a cloud of glass shards and chardonnay, much of which covers the plexiglass shield and his goggles. He removes the protection and extracts the used shell.  We see him exit and turn off the lights.
INT. SMALL HALLWAY OFF THE KITCHEN
CARTER exits the room and we see the red light is now off.  He exits into
INT. KITCHEN
We hear cheerful conversation from another room  CARTER enters and throws the shell into a garbage can secluded beneath the sink.  He extracts a bottle of white wine from a wine rack in an overhead cupboard.  The bottle is similar but not identical to PETER’s.  He pops the cork, smells it, and sets the bottle on the counter.  He extracts an expensive-looking bottle of scotch from another cupboard and prepares four small cocktails in small ball glasses with large ice cubes.  He exits carrying the drinks on a tray.

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