Lilly

Sample Movie Treatment – Example Story Synopsis For A Film Script

By Marilyn Horowitz

Lilly

It’s 2006. The political climate in China is very unstable. When ANNA, the young pregnant wife of an outspoken journalist is left widowed after a vicious assassination, friends whisk her out of the country to sympathetic expatriates in Queens, New York.

In Queens she’s given a grim room in the local syndicate head quarters. Anna is lethargic, lost in pain. JON VAN, the charming head of the syndicate comes to see how she’s doing, and expresses romantic interest in her. Anna’s lack of enthusiasm angers him, but he writes it off to her recent experiences.

Lost in shock and grief, Anna, is placed with JUNE, another widow, who has adjusted to the new life. They share a run-down apartment in a maze of tenement buildings, serviced by a few small markets in a bad part of town. June runs the local daycare center for the working mothers in this closed Vietnamese community.

Anna, now seven months pregnant, is speechless and depressed until early labor forces a bone-chilling howl of pain from her parched lips. The baby is born, Lily, a perfect little girl, but Anna is too deeply distressed to bond.

It’s June who holds the tiny girl, and cuddles her.

As the weeks pass, Anna slowly recovers. She starts to ask questions about the new world she’s entered. Anna sees the mothers drop off and pick up their children, tension and fear in their faces.When Anna asks why there is so much stress, June explains that everyone owes the syndicate, the local arm of the people who helped Anna escape. Jon Van is the boss.

June reveals her hatred of the syndicate, telling Anna of their exploitation of their own kind. “That’s why I make so little money, Anna, half of it goes back to them. That’s why everyone’s afraid, they use threats of deportation or death to keep us in line.”Anna denies this, insisting that since the syndicate saved her life and the life of her daughter, June must be exaggerating.

June helps Anna improve her English, warning her to keep it a secret. Their nightly practice bonds them together like sisters. But as time passes, June becomes more and more depressed and decides to run away. Anna feels for June, but warns her that it’s wrong to flee. Late one night, June tries to escape. She’s caught and is beaten to death.

Horrified at the death of her only friend, Anna’s emotional agony returns and she takes refuge in her relationship with Lily. When Lily wants to know about her father, Anna makes up a wild story. She tells Lily her daddy was a famous patriot, who died to save her and many others from the oppression in their country. When Lily asks if he’s really dead, Anna hasn’t the heart to confirm the truth. She pretends that there’s a big secret. She tells Lily that Daddy really escaped and came to America, where he is searching for them everywhere.

This fantasy helps Anna to resolve her trauma over the death of her beloved husband and she begins to mend. Jon Van visits, and puts her to work. She takes over June’s former duties and runs the local daycare center.

Jon Van lays down the rules: traditional food, dress and language. No English in the home, no western clothes, no contact with TV. Jon Van makes his usual pass, but Anna only looks at him with scorn.

Five years later.

Anna’s daughter, Lily, is ready to go to school. On her first day, she’s made fun of and returns home in tears. She begs her mother to teach her English and buy her regular American clothes. Lily’s daily humiliation at school upsets Anna. She goes to Jon Van and asks that her daughter be allowed to wear American clothes and learn English.

Jon Van warns her to stop this revolt, reminding her of her illegal status. When she argues, he reminds her about what happened to June. He then offers to help Lily if Anna will respond to his advances.

Defeated and repelled, Anna returns home, realizing that June had told her the truth. The months pass, and Lily continues to attend school. Every day, she comes home crying. Lily becomes a faint shadow of her former cheerful self.

Anna can only attempt to comfort her. The only cure is a new story about Dad. Anna’s helplessness turns to anger and depression, and she neglects her work and this causes her to lose her day care center.

Jon Van appears with his usual request, but Anna resists. She pleads with him to give her more time to respond to him, and to give her a job.

Meanwhile, after a rash of local thefts, the regular collector, another woman, is attacked and robbed.

Jon Van asks Anna to collect the deposits from the local stores and put them in the bank. She does this gratefully, and without question.

After a few months of doing this work, it’s Lily’s birthday. Anna steals the daily deposit and buys Lily American clothes and a gold necklace.

Meanwhile the thefts continue throughout the neighborhood.

When Jon Van confronts Anna about the missing money, she pretends the thief has attacked her.

Jon Van believes her, offers her safety in exchange for sexual favors. Again, Anna rebuffs him. She realizes that Jon Van was hoping this would happen, and it makes her even more determined not to give in to him.

DANIEL, the thief, burgles one more store, and is caught by the enforcers of the syndicate. They drag him to an alley and try to beat him to death. Ankle broken, severely wounded, he manages to escape into the maze of tenements.

Daniel breaks into Anna’s apartment and hides. Anna is out collecting, and Lily is in school. He finds the necklace and pockets it.

Lily returns from school. She finds Daniel, and assumes he’s her long lost father, just returned from a new adventure. Daniel’s touched by her innocent acceptance and cannot hurt her. Anna returns. She’s appalled to find Daniel in her house, alone with her daughter. She’s about to turn him into the syndicate, when Lily joyously announces how happy she is to have found her father at last.

He’s so badly beaten that he’s not even a threat, and so, Anna doesn’t have the heart to destroy Lily’s joy. They have a little party, and Daniel and Anna pretend that the necklace is from her “father.”

Anna is overwhelmed to see her little girl finally happy.

They continue to enact this uncomfortable charade until Lily leaves for school the next day. Finally alone with him, Anna tells Daniel to get out. He refuses. She threatens to call the syndicate. He threatens to tell Lily he’s not her father. Anna realizes that she will be accused of harboring a suspect. She asks Daniel what he wants. Daniel tells her that all he wants is a chance to recover and the get the hell away from there. Anna says she will let him stay if he will maintain the lie. Daniel agrees.

That night the charade continues. Daniel teaches Lily some cool English words and how to fight back. There is as much tenderness between them as though he were her real father. Anna is upset at the situation, but Lily goes to sleep, happy in the lie.

As the days pass, Lily and Daniel grow closer and closer. Lily changes and becomes more secure and out going.

After Lily leaves for school, Anna and Daniel talk. As the time passes, the conversation becomes more personal. Anna realizes they have a lot in common. She softens and takes care of him.

Daniel wants to know who beat him so badly. Anna tells him about the syndicate. Anna goes to the stores to collect the deposits. Friends warn her that the syndicate has found out that she bought the necklace.

She runs home and asks Daniel for help. He sees the poverty she lives in and demands to know where she got the money for Lily’s gift. She tells him, commenting that they’re both thieves.

Daniel realizes the danger Anna has placed Lily in, and tells her they must get Lily from school. They arrive in time to see Lily kidnapped on the way home by the syndicate. They pursue, but cannot follow inside the syndicate headquarters.

Daniel takes Anna to stay with his friends. He agrees to help her find Lily. They decide to turn the tables on the syndicate and break them up. The question is how? He and his friends are former soldiers, now fallen on hard times. They plan an elaborate scheme to break in and rescue Lily.

Anna must go in to the head quarters alone and face Jon Van. She pretends to be ready to give in to his advances in exchange for Lily, and they go to bed.

Daniel breaks in with his team. A firefight ensues.

Daniel rescues Lily, but is shot down. As he dies, he tells Anna he was happy his life added up to something after all.

Now Anna must save her own daughter, and kill Jon Van.

She meets the challenge, leaving the syndicate shattered behind her.

With new resolve and confidence, Anna takes over the syndicate, but brings prosperity and a new modern tradition into the community. She never tells Lily that Daniel, the thief, wasn’t her father.

  
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Dawn Of The Dead

Dawn Of The Dead

(The working draft 1977)
by George A. Romero

1 We see the face of a young woman. She is asleep. It is very
quiet at first, as credits appear. The woman’s face begins to
twitch, as though she is having a bad dream. She moans slightly
and her expression grows more desperate.

A mix of subtle sounds begin to fade in. As they get louder, we
can discern what sounds like a busy office area. It is actually
a frantic television studio with the hum of panic in a national
emergency.

The woman’s moans get louder and more desperate as the
background sounds reach full volume and the credits stop. The
woman sits up, snapping awake.

2 She lurches forwards into the arms of a strong young man. She is
Francine, twenty three years old and very attractive, although
she is gritty with dirt. Her hair is hanging, dishevelled and
sweaty. Her jeans and blouse have been worn for several days.

She is sitting on the floor, where she has slept the last
several hours, covered by an old overcoat.

Tony: YOU OK?

Fran stares at the young man. She is shaking. She doesn’t speak.

Tony: THE SHIT’S REALLY HITTING THE FAN.

The girl tries to clear her head as the young man moves on to
where others sleep on the floor. He wakes them up one at a time.
We begin to hear voices over the busy hum of the studio. They
have an electronic tinniness, as broadcast over a monitor. Fran
looks about. She is still shaken from her dream.

3 We see the television studio. Reporters buzz about madly.
Everybody looks dishevelled and exhausted. Technicians man
monitors, and we see people on the little screens, arguing
emotionally.

4 Voice: WHAT’S MAKING IT HAPPEN? WHAT THE HELL
DIFFERENCE DOES IT MAKE, WHAT’S MAKING IT
HAPPEN.

Voice: YES, BUT THAT’S…

Voice: THAT’S A WHOLE OTHER STUDY. THEY’RE TRYING…

Voice: BUT IF WE KNEW THAT, WE COULD…

Voice: WE DON’T KNOW THAT! WE DON’T KNOW THAT!
WE’VE GOTTA OPERATE ON WHAT WE DO KNOW!

5 The room is pandemonium. People run in with wire copy; others
organise the stacks of bulletins as they arrive. Others trip
over cables and generally get in each other’s way.

6 Francine stares at the madness, still trying to clear her head.

Man’s voice: I’M STILL DREAMING.

Fran turns her head. Another young man sits next to her on the
floor. He is one of the ones Tony awakened.

Fran: NO YOU’RE NOT.

Woman: MY TURN WITH THE COAT.

Fran looks up. A young woman is offering her coffee in a paper
cup. She is next in line for the overcoat and a few hours sleep.
Fran takes the coffee and struggles to her feet.

Woman: THE GUYS ON THE CREW ARE GETTING CRAZY.
A BUNCH OF ‘EM FLEW THE COOP ALREADY.
I DON’T KNOW HOW MUCH LONGER WE’LL BE ABLE
TO STAY ON AIR.

7 Fran staggers over to the control consoles. The technicians are
at the end of their ropes.

Technicians: (all at once)
WATCH CAMERA TWO…WHO THE HELL’S ON CAMERA
TWO, A BLIND MAN…
WATCH THE FRAME…WATCH THE FRAME…
ROLL THE RESCUE STATIONS AGAIN.

Technicians: WE GOT A REPORT THAT HALF THOSE RESCUE
STATIONS HAVE BEEN KNOCKED OUT.
SO GET ME A NEW LIST.
SURE, I’LL PULL IT OUTA MY ASS.

Fran focuses on the monitors. She is incredulous… stunned by
the madness which surrounds her. She realises the hopelessness
of the situation as she zeroes in on the televised conversation.

8 We begin to listen over the din of the news room.

TV Man 1: I DON’T BELIEVE THAT, DOCTOR, AND I DON’T
BELIEVE…

TV Man 2: DO YOU BELIEVE THE DEAD ARE RETURNING TO
LIFE?

TV Man 1: I’M NOT SO…

TV Man 2: DO YOU BELIEVE THE DEAD ARE RETURNING TO
LIFE AND ATTACKING THE LIVING?

TV Man 1: I’M NOT SO SURE WHAT TO BELIEVE DOCTOR!

9 Suddenly we cut into the studio, and we see the argument as it
is being shot.

TV Man 1: (con’t)
ALL WE GET IS WHAT YOU PEOPLE TELL US.
AND IT’S HARD ENOUGH TO BELIEVE…

TV Man 2: IT’S FACT… IT’S FACT…

TV Man 1: IT’S HARD ENOUGH TO BELIEVE WITHOUT YOU
COMING IN HERE AND TELLING US WE HAVE TO
FORGET ALL HUMAN DIGNITY AND…

TV Man 2: HUMAN DIG… YOU CAN’T…

TV Man 1: …FORGET ALL HUMAN DIGNITY…

TV Man 2: YOU’RE NOT RUNNING A TALK SHOW HERE, MR.
BERMAN…YOU CAN FORGET PITCHING AN AUDIENCE
THE MORAL BULL SHIT THEY WANT TO HEAR!

TV Man 1: YOU’RE TALKING ABOUT ABANDONING EVERY HUMAN
CODE OF BEHAVIOUR, AND THERE’S A LOT OF US
WHO AREN’T READY FOR THAT DOCTOR FOSTER…

10 A great cry of assent goes up from the studio floor. Doctor
Foster is flustered and frustrated. The stage hands and
cameramen are all screaming at him, swearing and ridiculing. We
notice Police guards, armed, at the studio doors. They control
the traffic in and out of the big room.

11 Back at the control panel. Fran stares at the screens. Confusion
still reigns.

Man: FRANNIE, GET ON THE NEW LIST OF RESCUE STATIONS.
CHARLIE’S RECEIVING ON THE EMERGENCIES…

Fran pulls herself away from the monitors as the argument rages
on screen.

12 She fights through the heavy traffic and reaches Charlie, a
harassed typist who holds the receiver of an emergency radio
unit under his chin…

Charlie: (into receiver)
SAY AGAIN…CAN’T HEAR YOU…

Fran: RESCUE STATIONS?

Fran leafs through sheets of paper on Charlie’s desk. He writes
notes as he listens on the receiver, and he speaks to the woman.

Charlie: HALF THOSE ARE INOPERATIVE ANY MORE.
I’M TRYIN’ TO FIND OUT AT LEAST ABOUT THE
IMMEDIATE AREA. WE’VE HAD OLD INFORMATION
ON THE AIR FOR THE LAST TWELVE HOURS.

Fran: THESE ARE RESCUE STATIONS. WE CAN’T SEND
PEOPLE TO INOPERATIVE…

Charlie: (into receiver)
SAY AGAIN, NEW HOPE…

Charlie makes more notes and hands them to Fran. Still listening
on the receiver, he speaks to the woman again.

Charlie: I’M DOIN’ WHAT I CAN. THESE ARE DEFINITE
AS OF NOW. SKIP AND DUSTY ARE ON THE RADIO,
TOO. GOOD LUCK.

Fran snatches up the sheets and moves across the room.

13 She stops at the consoles…

Fran: I’M GONNA KNOCK OFF THE OLD RESCUE STATIONS.
I’LL HAVE THE NEW ONES READY AS SOON AS I CAN.

Technician: WE’RE SENDING PEOPLE TO PLACES THAT HAVE
CLOSED DOWN. I’M GONNA KILL THE OLD LIST.

14 Fran moves toward another control room. An armed officer stops
her. A young man rushing through with copy intercedes.

Man: HEY, SHE’S ALRIGHT.

Officer: WHERE’S YOUR BADGE?

Fran reaches instinctively for the lapel of her blouse. Her
badge is missing.

Fran: JESUS!

Man: SHE’S ALRIGHT.

Fran: I HAD IT…I WAS ASLEEP OVER THERE…

dawn-of-the-dead
  
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LOST HORIZON

based on the novel by James Hilton
Written by Robert previous hit Riskin

FADE IN[1]

Over the titles we see SUPERIMPOSED
the snow-capped mountains leading to
Shangri-La.

CLOSE-UP of an impressive-looking book.
The covers open and the pages turn.
The first page reads:

In these days of wars and rumors of
wars – haven’t you ever dreamed of a
place where there was peace and security,
where living was not a struggle but
a lasting delight?

The second page reads:

Of course you have. So has every man
since Time began. Always the same dream.
Sometimes he calls it Utopia – sometimes
the Fountain of Youth – sometimes merely
“that little chicken farm.”

The third page reads:

One man had such a dream and saw it
come true. He was Robert Conway – England’s
“Man of the East” – soldier, diplomat,
public hero—

The fourth page reads:

Our story starts in the war-torn Chinese
city of Baskul, where Robert Conway
has been sent to evacuate ninety white
people before they are butchered in
a local revolution.

The fifth and final page reads:

Baskul – the night of March 10, 1935.

DISSOLVE TO:

EXT. BASKUL FLYING FIELD – NIGHT

1. LONG SHOT

The field is aflare with floodlights
– on one side is an office building
– on the other are hangars. The whole
field is filled with Chinese refugees
running around wildly. An Army transport
is in front of the office building,
motors going

2. REVERSE SHOT

Showing in the distance, probably several
miles away, the effect of a burning
city, which is Baskul. Over the shot
we hear the steady boom-boom of gunfire.
In the f.g., we see the silhouetted
figures of Chinese running away from
Baskul and toward the Camera, their
personal packs on their backs.

3. MED. CLOSE SHOT

Toward office building. Conway comes
out of the building, followed by a small
group of white people with frightened
faces. They have to fight their way
through a horde of milling Chinese.

4. MEDIUM SHOT

As Conway and group finally reach the
plane where Conway forces the white
people in. In this he is aided by his
brother, George, a young and vigorous
Englishman. The pilot sticks his head
out of the cockpit.

? 472 ?

PILOT

Conway, we can’t take more than seven!

Conway pulls a passenger out and gives
the pilot a signal to start.

CONWAY

(to passenger)

All right. I’m sorry. There will be
another plane in a minute. All right
– go on.

5. LONG SHOT

Motors roar, and the plane starts to
move, scattering those of the Chinese
who were unfortunately too close to
the ship. Conway and George rush back
into the office building.

INT. LARGE OFFICE ROOM

6. FULL SHOT

There are about thirty white refugees,
men, women and several children. They
all lift their panicky faces to Conway
and George as they enter. A barrage
of questions are flung at them.

AD-LIB

Are there any more planes? Do you think
the bandits will come here? Please take
my wife next, Mr. Conway!

CONWAY

Wait, wait! Everybody, wait! There are
plenty of planes coming. Now everybody
have patience. Everything will be all
right.

He crosses to a back room.

GEORGE

You have nothing to worry about. Leave
everything to my brother.

INT. RADIO ROOM

7. MEDIUM SHOT

As Conway enters to speak to operator.

RADIO OPERATOR

Yes, sir – with seven passengers aboard.

RADIO SPEAKER

Seven passengers? Good.

CONWAY

Get me Shanghai.

OPERATOR

I’m talking to them now, sir.

CONWAY

Hello? Hello?

RADIO SPEAKER

Hello. Hello.

CONWAY

(into mike)

Conway speaking. Is Colonel Marsh there?

? 473 ?

COLONEL’S VOICE

  
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