INT. SAM’S APARTMENT - LIVING ROOM - DAY 1/1 07:08
1
Close-up - photograph. A small boy - 4 or 5 wearing an
oversized policeman’s hat. Freckles. Toothy grin.
Reflected in the glass of the photo - a dozen separate News
24 items explode onto a plasma screen.
The widescreen TV spews up a giddy-making cocktail of current
affairs. These images usher in a fast set of very
contemporary TITLES.
The TV with Dolby 5.1 dominates one half of the apartment and
holds the attention of SAM TYLER. This room with its beams
and varnished wooden floor has been converted from some vast
Victorian factory.
SAM himself is smart, lithe, mid-30’s. If he were a flavour
he’d be spearmint. He is talking into his mobile and
negotiating the News 24 menu simultaneously. Girlfriend MAYA
cradles her coffee, watching him.
SAM
If we get the go-ahead I want basepoint
to be at the cross-roads ...
MAYA
Sam ..
He doesn’t appear to hear her.
SAM
.. the suspect was positively id’d
by the victim of the assault.
Afterwards I want SOCO through
every inch of the house. And I’m
going to apply for the right to
hold him for 72 hours if necessary
... Yes, I’m expecting to get it
...
MAYA
Sam?
He snaps the phone shut. Holds up two identical blue ties.
MAYA
The blue one.
SAM
Good choice.
MAYA
Sam, can we ...?
His phone rings. He shrugs - sorry. Has to take it.
SAM
(into mobile)
Sam Tyler ...
MAYA walks sadly out of the room.
He glances at her as she leaves - feels bad about avoiding a
conversation. Turns his attention back to the phonecall.
SAM
We’re heading out there now...
(dialogue continues over top of sc
2) I want the Exclusion Zone to run
from the junction to the end of the
street. We’re not losing this one
because of sloppiness.
2
INT. SAM’S APARTMENT - BATHROOM - DAY 1/1 07:09 2
MAYA sits on the loo (seat down) with her own phone. She can
hear SAM babbling ten to the dozen outside. She finishes
leaving a phone message.
The script is also laid out the same way as the first script i researched with the location being in bold and at the top of the page before the text begins. This script uses mainly the narrative to guide the audience towards meaning with very little dialogue between characters. In the script there is very little technical codes with no mention of diegetic and non-diegetic sounds or music and no mention of camera angles and other technical codes. The dialogue is also aligned in the centre of the page making it easier to read and separating it from the other scene changes and narrative of what is happening in the scene.
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