Some of The Nines
As promised, here’s your first look at The Nines, as scripted. The following represents roughly the first three pages of each section.
Part One: The Prisoner
- A MAN’S HAND
- unwinds a short length of green string. We’re extremely close, with a shallow, blurry focus. It’s like the first moments after a dream — just fragments.
- Scissors cut the string. The man wraps it around his left wrist. A loop. A bracelet.
- We see the man’s teeth, the edge of his chin as he pulls the knot tight.
- His fingers pull against the string. Solid. It won’t break easily.
- FADE OUT.
- PITCH BLACK
- There’s no music. No sound at all, really, except for some distant birds CHIRPING.
- Then a SQUEAK. A SQUEAL as rusty springs engage.
- A GARAGE DOOR LIFTS,
- revealing GARY BANKS in silhouette. He’s 30, effortlessly fit, with movie-star good looks. (Although for now, he’s merely a TV star.)
- Like most Laurel Canyon garages, this one has never held a car. Instead, it’s the resting place for all the detritus of bachelordom: shitty Ikea furniture, a drum set, a styrofoam snowman, and the Harley he always meant to get running.
- Gary spots what he was looking for.
- CUT TO:
- EXT. BACK PATIO / LAUREL CANYON HOUSE - MAGIC HOUR (DAWN)
- Gary drags a beaten Weber kettle. One of its wheels is broken, SCRAPING against the deck.
- WIDER, we see Gary’s house has an incredible view of the city. He couldn’t fucking care less.
- He yanks the circular grill out of the Weber and throws it down the canyon.
- He empties a garbage bag into the barbecue: mostly women’s clothes, but also some stuffed animals and photos still in their frames. There’s too much to fit, so he tries stomping it down with a flip-flopped foot.
- He cracks open a container of lighter fluid and begins drenching everything inside. He sprays until the container is WHEEZING air. He shakes it, making sure it’s really empty.
- Then he cracks open a new container and keeps spraying. And spraying.
- We follow the dripping fluid as it runs across a photo of Gary and a BLONDE WOMAN. Her eyes are scratched out, making her unrecognizable.
- Under the grill, lighter fluid is dripping in a stream, soaking into the wooden deck.
- Finally satisfied, Gary throws the lighter fluid aside. He takes five steps back and pulls a box of matches from his pocket.
- EXTREMELY CLOSE as the match SCRAPES, erupting in flames.
- On Gary’s left wrist, we see a green string bracelet.
- MUSIC STARTS: a pounding, hypnotic track that will carry us through these MAIN TITLES.
- In EPIC SLOW-MOTION, we follow the burning match as it sails through the air, tumbling end-over-end.
- Just as it’s about to reach its target, we…
- CUT TO:
- A DIGITAL METER
- shoots to 100 miles per gallon. It’s the display of Gary’s Prius. We are…
- INT. THE PRIUS - DAY
- Gary’s at the wheel, driving, as he finishes a fifth of bourbon. JUMP CUTS take us out of Hollywood, heading downtown. Our TRAVELLING MUSIC is serving us well.
- Gary stops at a light. He looks left and sees himself on the side of a bus. It’s an ad for CRIME LAB (�This fall, Mondays are killer.�) Gary watches himself drive away.
- CUT TO:
- Further along, Gary spots two THUGGY TEENAGERS sitting on a low wall. He calls out to them:
- GARY
- Hey! Do you sell crack?
- The boys look wary.
- GARY (CONT’D)
- It’s cool. I’m only a cop on TV.
Part Two: Reality Television
- ANIMATED TITLES
- We RUSH IN on a television set, which spins around revealing a blinding constellation of pixels.
- MELISSA (V.O.)
- Previously, on “Behind the Screen.�
- CUT TO:
- EXT. STUDIO LOT - DAY
- GAVIN TAYLOR (30) walks to a meeting, with his laptop bag over his shoulder. He has a tidy, Banana Republic sensibility and an easy smile that belies his manic schedule.
- SUSAN (V.O.)
- Gavin Taylor’s one of the best TV writers out there.
- INT. SUSAN’S OFFICE - DAY
- Cluttered and corporate, with stacks of scripts and a few touches of arbitrary quirk. SUSAN HOWARD (35) and Gavin kiss hello.
- SUSAN (V.O.)
- Every network would kill to work with him.
- INT. GAVIN’S OFFICE / GUESTHOUSE - DAY
- INTERVIEW.
- GAVIN
- “Knowing� is a one-hour drama about a woman whose husband disappears. She starts to believe that her daughter is the key to a dark conspiracy.
- INT. CONFERENCE ROOM - DAY
- Gavin pitches his show to the NETWORK BOSSES.
- GAVIN
- Basically, it’s like “Rosemary’s Toddler.�
- EXT. STUDIO LOT - DAY
- Impromptu INTERVIEW. Gavin is beaming.
- GAVIN
- We sold it in the room.
- INT. KITCHEN - DAY
- Gavin leans into the speakerphone.
- GAVIN
- Just tell me Roger liked the script.
- INT. SUSAN’S OFFICE - DAY
- Susan is on her speakerphone.
- SUSAN
- You’re shooting a pilot.
- INT. SUSINA COFFEESHOP - DAY
- Gavin has coffee with actress MELISSA McCARTHY (34), his best friend. He’s pitching her the idea.
- GAVIN (V.O.)
- Melissa McCarthy is my first and only choice for the lead.
- MELISSA
- I love it. I’ll do it.
- EXT. FOREST - DAY
- An EPK-style INTERVIEW, on the set of the pilot.
- MELISSA
- Gavin and I have been friends for forever.
- EXT. WARNER BROS. LOT - DAY
- Melissa hangs out with her “Gilmore Girls� CAST and CREW.
- MELISSA (V.O.)
- It’s really hard to leave a show like “Gilmore Girls,� but I really believe in Gavin.
- INT. CONFERENCE ROOM - DAY
- Gavin, Susan and a LINE PRODUCER go over the figures.
- GAVIN (V.O.)
- The only way we can afford to shoot the pilot is in Canada.
- INT. BEDROOM - DAY
- Gavin stacks up clothes on his bed, preparing to pack.
- GAVIN
- It’s really hard to think about leaving for six weeks.
- EXT. FOREST ROAD - DAY
- Gavin YELLS:
- GAVIN
- Action!
- A STEADICAM follows Melissa as she gets out the passenger door of a Toyota Prius, an alarmed look on her face.
- EXT. BASE CAMP / CRAFT SERVICE - DAY
- Susan is on a cell phone call. She smiles at Melissa, who walks by with two cups of coffee.
- SUSAN (V.O.)
- Right now, this is probably our top pilot. But things change.
- TITLE OVER:
- EPISODE 6: POST
Part Three: Knowing
- EXT. MEADOW - DAY
- In a WIDE SHOT, we see a vast field, bordered by green mountains. Unseen BIRDS call out from the trees, while insects CLICK and WHIRR.
- In the distance, we spot swatches of bright colors moving our way. It’s a family: father GABRIEL (34), wife MARY (33) and daughter NOELLE (8). They’re returning from a short day hike. Mary carries a small videocamera.
- Seeing that Noelle is already a ways down the path…
- GABRIEL
- Noelle! Don’t get too far ahead.
- Noelle turns around. Instead of speaking, she moves her hands in sign language. (She’s mute, not deaf.)
- MARY
- No. You had ice cream at lunch.
- Noelle begs to differ. More signing.
- GABRIEL
- (to Mary)
- Apparently frozen yogurt doesn’t count.
- MARY
- I’ll make note.
- EXT. SMALL GRAVEL ROAD - DAY
- The family walks up to their car, a blue Toyota Prius. Gabriel sheds his daypack, trying to open the hatchback. It won’t lift.
- Mary goes to open the passenger door. Locked.
- MARY
- Did you hit it?
- GABRIEL
- Shouldn’t have to.
- He fishes the keys out of his pocket. Presses the remote entry button repeatedly.
- Gabriel tries to open the driver’s side door. Locked. Even Noelle knows something’s wrong.
- Gabriel pulls the small mechanical key out of the fob. Unlocks the door and climbs in. Opens the door for Mary and Noelle.
- GABRIEL (CONT’D)
- I think we left the overhead light on.
- He taps it. Moves the switch.
- MARY
- Shit.
- Noelle signs her made-up representation of “shit.�
- MARY (CONT’D)
- Noelle.
- Gabriel slides the key into the slot. Hits “START.� Nothing.
- GABRIEL
- Battery is dead. Least the starter is.
- Noelle leans forward, aware that this is something serious.
- MARY
- How do we…?
- GABRIEL
- We call the service. That’s all we can do.
- MARY
- It’s just the little battery that’s dead, right? The big one is probably fine.
- GABRIEL
- I guess.
- MARY
- We can’t jump it from one battery to the other? Cross-over somehow?
- GABRIEL
- Who did you marry? MacGyver?
- He gets out of the car, retrieving his cell phone. Mary follows him out. Noticing that he’s not dialing…
- MARY
- Are you getting a signal?
- GABRIEL
- No. Do you?
- She checks her phone. A long beat.
- MARY
- Yes! One bar.
- They’re both relieved. Finding the AAA card in his wallet, Gabriel takes the phone and dials.
- It’s at this moment we notice the familiar green string bracelet around Gabriel’s wrist.
- In the back seat, Noelle KNOCKS on the window. She signs, asking if everything is okay.
- MARY (CONT’D)
- We’re okay. Daddy’s calling people to help us.
- Gabriel pulls the phone from his ear. Looks at the screen. Hits redial. Fuck.
- GABRIEL
- The minute you try to place a call, the bar goes away.
- MARY
- Keep trying.
- GABRIEL
- Okay, I’ll keep trying, Mary. But it will keep happening.
- MARY
- Well, what do you want to do?
- GABRIEL
- I don’t know.
- He tries redial.
- MARY
- Maybe if you hold it up higher.
- Humoring her, he holds it at arm’s length. No good.
- GABRIEL
- The problem is we’re boxed in. It’s a canyon.
- A beat.
- GABRIEL (CONT’D)
- Where we turned off the main road, it was more open. And higher, too.
- MARY
- That’s at least a mile.
- GABRIEL
- I can run that.
- MARY
- So…we stay here?
- GABRIEL
- You okay with that?
- MARY
- I don’t think we have a choice, so, yeah. Go.
- Half a beat, while each waits for the other to think of a better plan. Neither does.
- Gabriel leans down next to Noelle’s window.
- GABRIEL
- Daddy’s going to get a truck to help us out. You take care of your mom, okay?
- Noelle nods.
- GABRIEL (CONT’D)
- I’ll be right back.
- Gabriel gives Mary a quick peck and starts running down the road.
- We MOVE IN on Noelle, who smiles a little.
- CUT TO:
- EXT. GRAVEL ROAD - DAY
- Gravel CRUNCHES under Gabriel’s shoes as he runs. He keeps an easy pace.
January 21st, 2007 at 8:06 pm
Thanks for posting portions of your script; very intriguing. I can’t wait to read the rest and see the movie. Hope you find a distributor at Sundance.
January 21st, 2007 at 9:58 pm
thanks for sharing. tried to visit the forum but the server gave an error.
hope the screening is going well, and nice work not actually having to burn up your own house for the grill scene.
January 21st, 2007 at 10:34 pm
Digging the writing, John.
I was actually walking behind Ryan Reynolds today and some lady shouted out “Noah!” to him. He was talking with somebody. Was that you?
Anyway, I was looking forward to meeting you at the WGA Party (your name was on the invitation), but I guess your premiere was tonight. Hope everything goes well.
Jeff
January 21st, 2007 at 11:32 pm
John, the latest links to the forum forum don’t seem to work (for me at least). But I can get there from your earlier post (Forums are fun*). Thought you’d want to know.
January 21st, 2007 at 11:33 pm
Scratch that. Now the links are working. Might just be a problem my end. Good luck!
January 21st, 2007 at 11:45 pm
I want to see this movie.
January 22nd, 2007 at 2:40 am
Damn, this is good - especially the opening scene. I have GOT to see this movie.
So, is this a Prius commercial?
But seriously, was the movie sponsored by Toyota in any way?
One thought: Shouldn’t IKEA be all caps? (It’s an abbreviation of Ingvar Kamprad, Elmtaryd, Agunnaryd)
January 22nd, 2007 at 6:28 am
For Your Considerations…Mr. August (get used to that)…can we see the non-shooting version for us geeks to compare line by line? Also I know it is 3 stories (w/ 3 sets of roles, but largely 1 cast) but is it told linearly or interwoven.
Congrats on getting it out there.
January 22nd, 2007 at 12:34 pm
FYI, apparently the blogger at Entertainment Weekly liked the film: see http://popwatch.ew.com/popwatch/2007/01/sundancejan19.html
January 22nd, 2007 at 1:17 pm
lippyone:
The stories are interwoven.
Gabriel (in the last story) will never make it to the main road. Eventually his wife begins to suspect that their mute daughter is somehow involved (’a key to a dark conspiracy´).
Gary (the TV actor), Gavin (the TV writer) and Gabriel (a character in a one-hour TV drama, written by Gavin and played by Gary) are all played by the same actor.
At least that’s what the script excerpts seem to suggest.
The film is like The Three Faces of Eve. In a way.
January 22nd, 2007 at 4:21 pm
one more serving …Pllzease!
9 pages of each episode will be great! its really hard to preview it in just 3 pages…:)
January 22nd, 2007 at 6:13 pm
Frankly, I think this is dope and I’m completely hating on you right now.
January 22nd, 2007 at 8:15 pm
Thanks Anna…I’m not sure, that’s why I asked. What you said makes sense, but I think it’s actually the first 3 pages of each film. In other words this is 3 films, connected thematically. I was wondering if the three films are played one after the other or if, for example, the end of Act 1 of film 1 plays into the beginning of Act 1 for the 2nd film, and so on. Hard to tell from what’s posted.
January 23rd, 2007 at 2:43 am
Drinking while driving a hybrid…a walking (errr driving) contradiction.
January 23rd, 2007 at 5:41 am
That is definitely a director’s script. So many no-no’s John!
January 23rd, 2007 at 8:28 am
It’s spoiling nothing to say that these are the first pages of each section, not really each act. The page number for Part Two is about page 54, and Part Three at 87. And when I say “section,” think Go. The screen goes to black and a whole new part begins.
These are essentially three different short films, with completely different looks.
The Writer (15):
There’s nothing in there I wouldn’t put in a spec script. There’s really no such thing as a “director’s script.” The script has to be interesting — and clear — to everyone in order to do its job.
January 23rd, 2007 at 10:28 am
John,
The script looks fabulous! I can’t wait to see it tonight up at the screening room. Congratulations on another great accomplishment.
Kristin (from Boulder and Fairview)
January 23rd, 2007 at 5:43 pm
Thanks!
Just one question…
I’m I not reading this right?
A DIGITAL METER
shoots to 100 miles per gallon. It’s the display of Gary’s Prius.
…per gallon?
January 24th, 2007 at 4:06 am
Sounds great - the Gavin/Susan/Melissa stuff sounds like the opening few minutes of Magnolia; I really like the very visual way you write, if that makes any sense…
January 24th, 2007 at 7:12 am
Anthony (18):
It really is 100 miles per gallon. That’s a Prius joke: the car shows you, in real time, how good of mileage you’re getting. So instead of focusing on how fast he’s driving, we’re showing how fuel-efficient his drunken bender is.
By the way, that’s not in the movie. The joke didn’t play in context.
January 24th, 2007 at 12:12 pm
How did you ensure that the film’s running time would be 99 minutes? Did you speed up or slow down the end credit scroll? Or is it just a total coincidence (wink, wink)?
January 24th, 2007 at 10:46 pm
John (16):
It’s very clear, well, apart from the fact I haven’t a clue what it’s about. I’ve been reading some reviews on The Nines, and still no clearer to knowing either. AICN are raving about it, and they’re a tough sell.
My facetious comment was really based on a lot of the camera directions I was reading. By the way, I thought CUT TO: was obsolete these days?
January 25th, 2007 at 5:21 pm
I always enjoy reading your stuff. You truly get a lot out of a little — “He couldn’t fucking care less” is wonderful in its economy.
Re whoever asked about that Prius fuel gauge: 100 mpg is the typical readout when the car is going downhill and therefore using only battery power. Which, for the first few days of ownership, is the funnest, distractingest thing ever.
January 26th, 2007 at 1:49 pm
By the way, I thought CUT TO: was obsolete these days?
I’ve been told this, too, though alot of times I like to use it if cutting quickly between vastly different locales. It just helps put in some separation for the person who is reading the script quickly (i.e. everyone).
January 27th, 2007 at 5:12 pm
My mom owned a 1988 Lincoln Towncar. The damned thing probably got about 12-14 MPG. But it had an onboard “computer” that if you got it up to about 90 MPH going downhill and let it coast it the MPG gaugue would show 999 MPG. So take that tree-hugging prius owners
March 13th, 2007 at 8:14 pm
I was wondering if the whole script will be added online. I like reading scripts as opposed to watching the final product. I’m not saying that I won’t watch this movie, but considering John August is one great script writer, I wanted to see how he structurized and styleized his writing.