Josie
Logline: A biopic about an ordinary woman who has survived an extraordinary life. Based on a true story.
FADE IN:
EXT. SAN JOSE CEMETERY-DAY
It’s a somber windy day. A group of people stand around a burial site as a coffin is laid into the ground. The priest is inaudibly speaking words of comfort. The wind blows through the trees surrounding the area, and blows past the mourners as well.
A woman, JOSIE, who is in her late 50s, is crying more than anyone else. She is dressed in black from head to toe and wears a lot of makeup; Too much for someone of her beauty.
Once the coffin is placed in the ground, the diggers begin piling the excess dirt on top. The priest is still faintly heard speaking in the background. JOSIE leaves the site, and walks around the cemetery. She is looking for someone, reading each marker as she passes, seeming a little lost. Josie finally stops once she finds what she’s looking for. More tears fall from her eyes.
Her daughter, RITA, has been following JOSIE during her walk; RITA is 5’3”, thin with medium length hair, resembles JOSIE and has a unique style to her. RITA approaches JOSIE from behind.
RITA
(Rubs her hand on JOSIE’S shoulder)
You okay, Mom?
JOSIE
Yeah, I’ll be fine.
JOSIE looks down at the gravestone she is visiting. It reads:
VICTORIA SEGUNDA
BORN: September 22, 1906
DIED: June 17, 1974
RITA lays her head on JOSIE’S shoulder; an attempt to offer her mother comfort.
JOSIE
I don’t know what I’m gonna do. No matter what happened to me in my life, my mother was always there. And now she’s gone.
RITA
I know, Mom. But at least she’s in a better place where she’ll be able to watch over all of us.
A moment of silence is spent between JOSIE and RITA as they stare at the gravestone. Eventually, JOSIE pats RITA’S hand, a signal that it’s time to go.
JOSIE
C’mon Pa, let’s go. I just had to come see my grandma before we left.
JOSIE and RITA walk toward the cemetery exit. Standing there waiting is ALEX. He is 5’10” in his late 40s, straight-faced, with a mustache and goatee.
ALEX
You guys ready?
JOSIE
Ya dear. Let’s get goin’ to my Tio’s house.
ALEX, JOSIE and RITA get into a dark freen SUV. JOSIE’S other two children, JESSE and RENEE approach them. JESSE is six foot, shaved head, heavily tattooed and dark-skinned. He wears a wedding band on his left hand. RENEE is 5’4” and light-skinned, with long hair and hazel eyes. RENEE also wears a wedding band.
JESSE
You guys going over to Tio Frankie’s house right now?
JOSIE
Yeah, we’re gonna head over there for a lil’ bit.
JESSE
Alright then, Momma.
(BEAT)
Well, RENEE and JOHN are gonna follow me and NIKKI over there, so I guess we’ll just see you over there then.
JOSIE
Okay, son.
RENEE
Okay, well we’ll just see you guys over there then.
JAMES and RENEE walk away and head toward their cars. An aerial view shows everyone getting into their cars and driving out.
INT. TIO FRANKIE’S HOUSE-SAME DAY
People are gathered together, conversing as they eat and drink. The house seems almost too small to hold all of the guests that are there. JESSE and RENEE can be seen interacting with other family members as they pay respect and express their condolences.
EXT. TIO FRANKIE’S DRIVEWAY-CONTINUOUS
ALEX, JOSIE and RITA get out of the car and walk toward the house. JOSIE starts walking toward the front door of the house but stops. She has a reluctant look on her face. It is evident she isn’t ready to go into the house and talk to all the people waiting for her inside. She turns around and walks toward the street.
JOSIE
I’m gonna go for a walk you guys. I’ll be back ‘kay?
ALEX
(puzzled)
Why?
JOSIE
Just ‘cuz. I just need to go for a walk, that’s all.
RITA
You want me to go with you Momma?
JOSIE
No, Pa, that’s okay. You guys go inside. I’ll be back in a little bit.
ALEX
Are you sure?
JOSIE
Yeah, I’ll be fine. You guys go ahead.
ALEX and RITA walk inside the house. JOSIE heads down the sidewalk of the street. A deep, thoughtful look on her face as she passes the houses on the block. She’s been this way before, a long time ago.
JOSIE walks to the end of the long street, reaching the main crossroad. She pauses, contemplating whether she should turn back or keep going. She decides to make a left and keep going.
This Is Life
Logline: When independent, strong-willed Allie loses her job, she is forced to reexamine her life purpose as she engages into an all-or-nothing business venture with her best friend, as their lack of finances and Allie’s self doubt stand in their way.
INT. FILM SET-DAY
KATIE
(EXCITED)
Oh my God, you guys, I found the most amazing set piece for the last scene of the movie!
(TO TWO P.A.’S)
Could you two go get it out of my car please? Thanks so much!
ALLIE
(O.C.)
Make sure you guys grab lunch soon, okay?
Katie walks up to Ally.
KATIE
So, you’ll never guess what I just did.
Katie can barely contain her excitement.
KATIE
I bought an authentic statue of an Asian deity that dates back to the 1800’s, for us to use in the last scene. I bought it at an antique store. They don’t do refunds there, but I mean, c’mon, you can’t put a price on aesthetics in a movie. It was only $800, which is a steal for a piece like this.
ALLIE
(annoyingly shocked)
What?!! You spent $800 on a fucking statue?! Are you out of your damn mind?!
KATIE
(taken aback)
I don’t know why you’re getting so upset, I...
Allie cuts Katie off.
ALLIE
You don’t know why?! You don’t know why? I’ll tell you why! ‘Cause you went and spent a huge chunk of our budget on some fucking statue that serves no real purpose in the Goddamn movie, Katie!!
KATIE
It DOES serve a fucking purpose! You think I’d spend that much money for nothing?!
ALLIE
Yes!! Yes, that’s EXACTLY what I think! Because guess what, dumbass, that’s precisely what you just did! Now I have to redo the rest of the film’s budget because of you! We needed all that money to finish this movie, Katie...Goddammit.
(claps hands)
So congratulations, you’ve royally fucked everyone on this set!
KATIE
(upset)
You know what, FUCK YOU! I’m sick and tired of you being such an uptight bitch all the time. I’m as much a part of this movie as you are! And if I feel like buying a set piece to enhance OUR movie, then I should be able to without having you bitch at me about it!
(BEAT)
I’m the one who got the funding for this film in the first place! I should be able to spend some of it if I want to!
ALLIE
(annoyed)
You’re right, you did get us the money.
(BEAT)
But I wrote the damn script, kept everything organized, managed the cast and crew and I am the one handling all the funding you got for this movie, ‘cause you don’t know the first thing about dealing with money!
So don’t stand there and act like you are free to do whatever the hell you want just because you did your part. You’re the Producer, you were supposed to get us the funding.
KATIE
I have a right to make decisions about our film.
ALLIE
Yes, you do. But you don’t have the right to make those decisions without speaking with me, first. We’re supposed to be a team, and I include you in every decision I make. But you? You just prance around making decisions on your own and expect me to just go along with it. Who cares, right? ALLIE will fix it. Well, I can’t do that anymore.
(BEAT)
After this film is done shooting, I think we should end our business relationship.
KATIE
I agree. And quite frankly, I don’t think we should be friends anymore either.
ALLIE
Fine.
(BEAT)
I think you should go now. You’ve done enough for today.
KATIE
Fine. But I’m taking the statue with me.
(looks over to two P.A.’s)
Will you guys help me put the statue back in my car?
"Creativity itself doesn’t care at all about results – the only thing it craves is the process."