Inhibitions Anonymous (Incomplete Movie Script)
This was my second attempt to take a stab at my original idea. I actually enjoyed this one, I have no clue why I stopped writing it.
Written by Richard Turner
With French Translations Provided by Emily Meloche
FADE IN:
EXT. THE TOWN OF TALLENHAM – NIGHT
The camera swoops down from the clouds as Italian Opera begins to play, showing the beautiful town of Tallenham all lit up. As the camera fly’s by the rooftops, you can vaguely see a well dressed man shoot someone and the shot echoes. The camera continues to move towards the window of Mancini’s Restaurant.
NARRATOR (V.O.)
In the relatively quiet town of Tallenham, there reigned two families. One by might, one by money. They were the Mancini’s and the Campbell’s.
The camera zooms rapidly towards an upper window of Mancini’s Restaurant
CUT TO:
INT. MANCINI’S RESTAURANT – NIGHT
As the camera hits the window a thud sound is heard and the camera spins around slowish to face it and a bird falls downwards, dead. The camera continues to turn until it spots the Campbell’s sitting at a table and it zooms towards them.
NARRATOR (V.O.)
This is Charles and Cammy Campbell
Cammy is a brunette, a middle aged lady (in her mid 40’s) that is dressed nicely as if she has a lot of money.
CAMMY
I think I might have a steak.
AARON
Mom, aren’t you trying to be a vegetarian?
CAMMY
Oh yes, but honey, the cow isn’t alive when you get it, someone’s going to eat it, I just don’t want them to kill it in the first place.
CUT TO:
INT. CHURCH – 20 YEARS EARLIER; DAY
The camera pans over all the guests. The bride walks down the isle.
NARRATOR (V.O.)
Charles and Cammy had met roughly 20 years earlier at a wedding of all things. Cammy was the maid of honour at her sister’s wedding.
The camera pans around to the altar and shows that Charles is the groom.
NARRATOR (V.O.)
And her sister was to become the first wife of one Charles Campbell.
MINISTER
I now pronounce you husband and wife!
Everyone in the church begins to cheer and colourful confetti begins fly all over the church and some random colourful balloons.
CUT TO:
INT. CHURCH HALLWAY – DAY
The camera is focused on a closet and the moaning noises that are coming from it.
NARRATOR (V.O.)
Cammy consummated her sisters marriage roughly ten minutes after the ceremony.
The Bride walks up to the closet door and opens it. She screams a hellish scream at the top of her lungs as her new husband orgasms inside The Bride’s sister.
NARRATOR (V.O.)
The blushing Bride was blushing no more. And in her hellish fury-
The Bride picks up a pair of scissors from the table nearby and stabs Charles Campbell in the genitalia.
NARRATOR (V.O. CONT’D)
-she picked up the nearby scissors and castrated the groom
CUT TO:
EXT. – OUTSIDE THE CHURCH – DAY
There’s an ambulance and police cars outside and the police are taking The Bride away. Charles is being loaded up into the ambulance.
NARRATOR (V.O.)
The Bride was taken away and would plead insanity-
CUT TO:
EXT. – MENTAL INSTITUE – STORMY DAY
The institute looks very castle like and lightning is crackling all over the background.
NARRATOR (V.O. CONT’D)
-and be sent to the local mental institute.
CUT TO:
INT. – HOSPITAL – NIGHT
Cammy is in a hospital bed, delivering a baby. She pushes and pushes and pushes as Charles stands beside her holding her hand, with an obscenely large sock stuffed into his pants. The child pops out and the doctor hands him to Cammy.
NARRATOR (V.O.)
And eight and a quarter months later, the child was born, and he was named-
Charles begins to pass out.
CUT TO:
INT. MANCINI’S RESTAURANT – PRESENT; NIGHT
The camera focuses on the Campbell’s reading their menus.
NARRATOR (V.O. CONT’D)
-Aaron.
CAMMY
What do you think you’re going to get Aaron?
AARON
I’m thinking chicken parmesan.
CAMMY
But I thought you were against red meat?
AARON
Wow… there is so many things wrong with that statement.
Charles puts down the menu angrily.
AARON
What is it now?
CHARLES
Where is my Mother? She’s always fucking late to these things.
AARON
Because of you we always arrive twenty minutes early, it’s hardly her fault.
CHARLES
Whatever, sometimes I wish she’d just fucking croak so we could be done with all her shameful nonsense.
AARON
I think I’ll go get her.
Aaron stands up at the table and walks away.
CUT TO:
INT. BEATRICE CAMPBELL’S APARTMENT – NIGHT
The walls are a deep vibrant purple, the floors are hardwood and the ceiling randomly has green and yellow flower carpets stuck to it all over. Most countertops are made of glass.
NARRATOR (V.O.)
While Aaron was running away from the embarrassment of having Charles as his father, the Grandmother of the Campbell family was busy with her ‘shameful nonsense’
The camera moves around and goes into the bedroom which has no light turned on. A dark haired young man with glasses sits on the edge of the bed, with Beatrice Campbell between his legs. The man is LINSAY BOND. Nasty sounds are coming from there.
NARRATOR (V.O. CONT’D)
And while in between the legs of one Linsay Bond, Beatrice Campbell choked on a flavoured condom and died instantly.
Beatrice makes a brief choke sound then falls over, the condom falls out of her mouth.
NARRATOR (V.O.)
And Linsay, thinking it was an onset of her chronic narcolepsy, placed her gently into her bed and left
Linsay Bond gets dressed and places Beatrice in her bed. And then exits the apartment quietly.
CUT TO:
EXT. OUTSIDE APARTMENT COMPLEX – NIGHT
Aaron is walking up to the building and Linsay Bond walks out of it. They stop for a moment and notice each other. Aaron begins to raise his hand.
AARON
Hey Lin-
Then Linsay ran away in fright. Aaron shrugs this off and continues towards the front doors.
CUT TO:
INT. COMPLEX LOBBY – NIGHT
Aaron fiddles with his keys and enters the front doors. He continues and reaches the elevator.
CUT TO:
INT. COMPLEX ELEVATOR – NIGHT
He enters and the door shuts. He pushes the button for the 14th floor. He stands there for a few seconds listening to ‘Me Pants Fall Down’ by DaVinci’s Notebook, and then begins to move ever so subtly to the music.
CUT TO:
INT. BEATRICE’S APARTMENT – NIGHT
Aaron enters the front room and is startled that the lights aren’t on, so he turns them on. He walks around calling out.
AARON
(Repeated)
Grams!
NARRATOR (V.O.)
Aaron thoroughly searched everywhere in the apartment-
Aaron looks in the cupboards and under the furniture (including behind the television).
Aaron enters his grandmothers bedroom
NARRATOR (V.O.)
-Saving the bedroom for last.
He turns on the light and walks towards the bed.
AARON
(Softly)
Grams?
Aaron pokes his grandmother.
NARRATOR (V.O.)
He attempts many things he can think of to wake his Grandmother-
He shakes her and she still doesn’t wake. He makes an amazingly high pitched piercing noise.
NARRATOR (V.O. CONT’D)
-and nothing wakes her from her eternal slumber.
Cuts to a shot of Aaron with his ear right above his Grandmothers mouth, then a look of realization on his face.
AARON
(Panicked)
Oh my god! A dead body!
His body shoots into a straight position then he contorts in an attempt to run away and trips over his own feet, falling backwards onto his Grandmother and he begins to scream.
NARRATOR (V.O.)
Aaron then proceeded to calmly phone the authorities.
CUT TO:
EXT. APARTMENT COMPLEX – NIGHT
An ambulance, some police cars and even a fire truck are in front of the apartment complex. Aaron is sitting on the edge of a police car as an officer is speaking to him.
AARON
My first reaction was to run away from the body.
OFFICER
(Gives a confused look)
Why?
AARON
You never know when bodies might reanimate and I didn’t want my brains sucked out.
The medics are removing Beatrice Campbell’s body from the entrance of the building and wheeling her into the back of the ambulance.
NARRATOR (V.O.)
And with his Mother deceased, Charles Campbell had some important phone calls to make.
Charles takes his cell out of his pocket and dials a number.
CHARLES
Hello. Uh-huh, ok. Two one way tickets to Hawaii.
CUT TO:
INT. DESKTOP – DAY
Violins accompanied by a soft electric guitar, a bass, drums and a piano begin to play a semi-happy sounding song as a book slams onto the desk with the title of ‘Inhibitions Anonymous’. A song begins to play.
CUT TO:
INT. BAR – NIGHT
Dark and wooded, karaoke is set up at the front of the bar and DAHLIA DRIESSEN is standing up at the front looking like an amalgamation of sixties retro fashion and modern fashion with her black and gold dotted top and metallic golden shell like earrings and her above shoulder length deep red hair.
DAHLIA
(Singing)
There are places I’ll remember
All my life though some have changed
Some forever not for better
CUT TO:
INT. DESKTOP – DAY
The pages flip and show some of the opening credits.
DAHLIA (CONT’D V.O.)
(Singing)
Some have gone and some remain
All these places have their moments
With lovers and friends I still can recall
Some are dead and some are living
In my life I’ve loved them all
CUT TO:
INT. BAR – NIGHT
Dahlia continues singing up at the front of the bar as the people in there cheer her on.
DAHLIA (CONT’D)
(Singing)
But of all these friends and lovers
There is no one compares with you
And these memories lose their meaning
When I think of love as something new
Though I know I’ll never lose affection
CUT TO:
INT. DESKTOP – DAY
The books flips through some more pages and finishes off the credits as Dahlia continues the song.
DAHLIA (CONT’D V.O.)
(Singing)
For people and things that went before
I know I’ll often stop and think about them
In my life I love you more
Though I know I’ll never lose affection
For people and things that went before
I know I’ll often stop and think about them
In my life I love you more
CUT TO:
INT. BAR – DAY
Dahlia finishes the song putting her all into it and the crowd cheers heavily for her.
DAHLIA (CONT’D)
(Singing)
In my life I love you more
The camera slowly zooms in on her face as she sings this last line and focuses on her opened mouth as she holds the last note briefly.
FADE TO:
INT. TAXI – DAY
The camera is focused on Dahlias opened mouth, it zooms back to reveal she is yawning in a taxi.
DRIVER
(rudely)
Here we are your majesty.
Dahlia takes off her big sixties-like sunglasses, throws the driver the money he is owed and gets out of the taxi as she speaks.
DAHLIA
Go blow a goat.
CUT TO:
EXT. FUNERAL HOME – DAY
She puts her sunglasses back on and puts a sun hat on that compliments her sun dress, and the taxi violently drives off.
DRIVER (V.O.)
(Screaming at a distance)
Fuck you bitch!
The drivers middle finger can be seen in the background.
NARRATOR (V.O.)
This is Dahlia Driessen.
CUT TO:
INT. MAP – DAY
An olden style map, with many shades of green on it, suddenly appears on the screen, as it does, accordion music begins playing.
NARRATOR (V.O.)
In the summer of this year, the young flower decided it was time to bloom, and ventured out on her own into the world.
A red dot suddenly appears on Montmartre in Paris, France.
NARRATOR (V.O.)
And by the World, she had meant Montmartre, a district of Paris in the republic of France.
The camera zooms in rapidly on the red dot
FADE TO:
EXT. MONTMARTRE – DAY
The camera continues to zoom in on Montmartre until it reaches Dahlia in a cute and pretty soft yellow dress.
NARRATOR (V.O.)
She had come to Montmartre for a variety of reasons.
She puts on her large sunglasses as the camera looks at her, and everything in the scene has a green colour palette to it.
CUT TO:
INT. WINERY – DAY
The camera slowly archs around Dahlia as she smells and drinks a glass of wine.
NARRATOR (V.O. CONT’D)
-To Drink-
CUT TO:
EXT. PUBLIC PARK – DAY
NARRATOR (V.O. CONT’D)
-To have adventures-
Dahlia is sitting on a park bench with a closed umbrella at her side, when a man with a gun walks up to her
THEIF
Je profiterai de votre cadavre, et je courrai avec votre argent après que je suis satisfait.
What he said translates to “I will take advantage of your corpse, and I will run with your money after I am satisfied.” Dahlia kicks him in the groin and whacks him hard over the head with the handle of her umbrella. Everyone around her starts to cheer and clap. She stands up and bows.
CUT TO:
INT. PARISIAN RESTAURANT – NIGHT
Dahlia is sitting across from a handsome down to earth looking man with candles between them on the table top.
NARRATOR (V.O. CONT’D)
-For something different-
CUT TO:
EXT. GARDEN – DAY
Dahlia walks up to a flower bed containing various species of dahlia flowers. She walks up to the most vibrant one of them all, cups it with her hand and smells it.
NARRATOR (V.O. CONT’D)
-And the more beautiful things in life.
CUT TO:
INT. PARISIAN APARTMENT – DAY
Dahlia is sitting at a desk by a window sill that has the vibrant dahlia flower sitting on it in a vase. Dahlia gets up from the chair and walks off camera. The camera slowly begins to zoom in on the vibrant dahlia flower. It slowly begins to wither away, with peddles falling off until it’s completely dead.
NARRATOR (V.O.)
But as with all vibrant joyful things, it had an end in sight. The lustre of the trip to Montmartre would soon wilt away, and Dahlia would return home.
CUT TO:
INT. FUNERAL HOME – DAY
When Irish Eyes Are Smiling plays over the PA system, the room is filled with many many people, and Aaron stands by his grandmothers open casket all alone.
BEATRICE
Where the fuck are your parents?
AARON
Hawaii.
Dahlia enters the far side doors of the room.
NARRATOR (V.O.)
Dahlia had finally arrived. Deciding to mingle at the end of the room for a moment.
Dahlia takes a handful of cookies and stuffs them into her purse.
Aaron is approached by ANTONY MANCINI. A middle age man, well dressed, chunky.
ANTONY
Hello Mister Campbell, We’ve never met before, but I was a long time friend of your Grandmothers. I’m terribly sorry for your loss, she was a firecracker.
AARON
I’m sorry sir, but who are you?
BEATRICE
He’s Boss Mancini you ignorant prick.
ANTONY
Oh dear, I’m sorry, I forgot to introduce myself. I’m Antony Mancini. Perhaps you’ve heard of me?
Aaron looks surprised.
NARRATOR (V.O.)
Aaron had in fact heard of him. There was no corner of the town untouched by the hands of Mancini.
CUT TO:
INT. WAREHOUSE – DAY
YOUNG ANTONY stands before a MIDDLE AGED BEATRICE CAMPBELL who is tied up. He holds a gun.
NARRATOR (V.O.)
His organised crime syndicate was well known for doing whatever it takes to get what they want.
YOUNG BEATRICE
I like role play. Rawr!
CUT TO:
INT. FUNERAL HOME – DAY
Antony Mancini walks away from Aaron. Dahlia begins to walk towards the front. She begins stroking Beatrice’s face.
DAHLIA
At least she lived a long life.
BEATRICE
Tell her if she’s going to touch me she better pay me
AARON
Yeah…
DAHLIA
Where are your parents at?
AARON
They ran away to Hawaii.
DAHLIA
Aww. Poor thing.
Dahlia hugs Aaron. As she does this she takes a cigarette out of her purse, places it in her mouth and lights it, and takes a drag.
DAHLIA
How could they simply abandon another family member? I’ll never understand it.
AARON
Where’s Damian?
Dahlia’s eyes widen, her cigarette falls from her mouth.
CUT TO:
INT. AIRPORT – DAY
DAMIAN DRIESSEN sits all by himself with the entirety of his luggage in the busy airport terminal.
CUT TO:
EXT. FUNERAL HOME – DAY
Dahlia frantically tries to wave down a taxi. One finally stops and she rushes into it.
