1) Liam Kay is struggling with drug addiction and contemplating suicide by standing on a bridge ledge.
2) After being kicked out of his home by his mother Rachel for using drugs, Liam hits rock bottom living on the streets.
3) Liam is convinced not to jump off the bridge by a stranger and decides to check into a rehabilitation facility. After completing the program, he reunites successfully with his mother Rachel.
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WATCH my track review for the song here:
https://www.youtube.com/watch?v=d-qHIel5RO0
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DARK HARBOURWritten byCatherine Wignall[email prot.docxwhittemorelucilla
DARK HARBOUR
Written by
Catherine Wignall
[email protected]
FADE IN:
EXT. BLACKNESS
We can HEAR breathing.
Slowly, ever so slowly, tiny pinpricks of light pierce
through the veil of darkness.
STARS.
We are looking at the vastness of space.
IMANI (O.S.)
Danny!
INT. RELIEF SHIP - OBSERVATION HATCH - NIGHT
DANNY SHEPHERD lies at the observation window, staring out at
the infinity of stars. He’s an excitable puppy, cute, 26, and
African American.
IMANI (O.S.)
Get your butt down here!
Reluctantly, Danny moves away from the observation hatch. As
he does, he reveals a new section of window previously
obscured. Outside is a big, blue PLANET. NEPTUNE.
EXT. RELIEF SHIP - NIGHT
The space capsule floats through the silent void, passing by
Neptune and on toward a distant moon.
SUPER: “Triton”
A BLAST OF FIST-PUMPING, HEART-JUMPING ROCK MUSIC assaults us
and -
INT. TRITON BASE - EXERCISE ROOM - NIGHT
AURORA (RORY) REYNOLDS (27) runs on a treadmill in the
brightly lit exercise room, the music blaring from her
speakers.
Her hair’s pulled back tightly, her movements taut and
expert. She keeps up a brutal pace.
EXT. ISCO HEADQUARTERS - COMPANY CAR PARK - DAY
The sky is beautiful as the sun sets, a blaze of diaphanous
fire.
SUPER: “Orlando, Florida”
SAM SHEPHERD (29) clambers out of his car. He takes a moment
to look up at the sky, a small smile gracing his face. You
can see the family resemblance to Danny, though slightly
older, more mature.
INT. ISCO HEADQUARTERS - CORRIDOR - DAY
A variety of LAB WORKERS in white coats and OFFICE WORKERS in
scruffy smart-casual pass Sam as he wends through dimly lit
corridors. He nods a greeting to each one of them, a buoyancy
in his step.
Sam passes a series of doors labelled with various MOON
NAMES. He reaches a door labelled TRITON. Across the hall
another door is labelled CALLISTO.
INT. ISCO HEADQUARTERS - TRITON MONITORING ROOM - DAY
MAYA PATEL (28) flicks through a magazine while chipping at
her nail varnish, a bank of monitors in front of her. She
wears a headset and mic. TINNY ROCK MUSIC filters through the
headset.
MAYA
You’re late.
She doesn’t look up as Sam enters.
SAM
Sorry. All good?
MAYA
Wish she’d choose a different song.
Barely glancing up, Maya flicks a few switches. The MUSIC
from her headphones now blasts through a pair of battered
speakers.
Sam slumps into a seat beside Maya and turns the music down.
He scans the monitors before them. Each screen monitors the
vitals of a different person: COMMANDER ANGELA HAWKINS,
KARINA BABIKOVA, AZIZ KADER, RORY REYNOLDS. Three screens are
dark.
2.
SAM
Any problems?
MAYA
Nada.
SAM
Well, it was lovely talking to you
as always, Maya, but you’re in the
good chair. Go home. Shift.
Sam yanks the headset off Maya’s head. She barely notices.
INT. TRITON BASE - EXERCISE ROOM - NIGHT
Rory’s still pounding away at the treadmill. Her MUSIC cuts
out, replaced by the CRACKLE of the comms..
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Macroeconomics- Movie Location
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Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
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The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
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• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
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Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
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Instructions for Submissions thorugh G- Classroom.pptx
Script draft1 (1)
1. BACK FROM THE EDGE
JAMES ARTHUR
By
L.ROSENFELD
M.WEST
A.PEREIRA
A.DWYER
DRAFT ONE: 17th November 2016
SCENE ONE
2. EXT. The sky is dim, dark and bleak, with clouds passing over.
Several boats pass beneath a dull concrete bridge through murky
waters and a crowd of people pass by. A tall man in tattered
clothing and a worn out hoodie steps up onto the ledge of the busy
bridge. The tall man is in the centre frame of the camera.
LIAM KAY
(LS) He stands on the bridge looking out over at the water.
Back from the edge, back from the dead
Back before demons took control of my head
LIAM KAY
(CU)He has a focused expression on his face, and is broken at the
same time, showing no emotion.
Back to the start, back to my heart
Back to the boy who would reach for the stars
Oh, he would reach for the stars, yeah
CUT TO:
SCENE TWO
INT: The large bedroom is cream coloured, with clothes and items
scattered across the room. The blinds are closed, with only the
light of a lamp brightening the room. Liam Kay sits on his bed, back
against the headboard, thoughts racing through his head.
LIAM KAY
(LS,MS,CU)No expression shown on his face, drugs are beside him.
You can take my home, you can take my clothes
You can take the drugs I have that nobody knows
LIAM KAY
(ECU,CU,MS) Liam prepares the drugs. He tightens a worn out belt
around his arm, boils a spoon containing the drugs.
You can take my watch, you can take my phone
You can take all I've got 'til I'm skin and bone
CUT TO:
RACHEL KAY
(CU,LS) Rachel is in the kitchen, boiling food on the stove and
prepares to take some freshly cleaned clothes up the stairs.
I don't want control, I can dig my own hole
I can make my bed and I can lie in it cold
CUT TO:
3. RACHEL KAY
(LS, MS) Walking up the stairs carrying a basket of clean clothing.
Liams door is slightly open. Rachel peaks though the gap, catching
Liam injecting.
'Cause I don't need heat, I've been burnin' in hell
LIAM KAY
(CU) Liam, high and oblivious.
But now I'm back with my own story to tell
RACHEL KAY
(LS,MS) Tracking Rachel as she bursts through the door, screaming at
Liam, whilst he remains oblivious.
Back from the edge, back from the dead
Back before demons took control of my head
CUT TO:
LIAM KAY
(MS, SHOT REVERSE SHOT) Rachel screams at Liam, whilst he remains
unaware.
Back to the start, back to my heart
Back to the boy who would reach for the stars
RACHEL KAY
(MS,LS) in frustration she kicks Liam out of the house and throws
his belongings on to him.
Back from the edge, back from the dead
CUT TO:
LIAM KAY
EXT. (LS, HIGH ANGLE) Liam falls to the ground in his delusion.
Back from the tears that were too easily shed
Back to the start, back to my heart
RACHEL KAY
(LS, LOW ANGLE) Slams the front door shut in a disheartened manner
Back to the boy who would reach for the stars
Oh, who would reach for the stars, yeah
CUT TO:
SCENE THREE
EXT. A tall hooded man walks through the empty streets on a dull
afternoon, with a sky threatening rain.
4. LIAM KAY
(MS, TRACKING IN FRONT) Walks slowly, his baggage slowing him down,
as the rain begins to fall and dampens his clothing. He makes no
attempt to shield himself from the downpour.
They don't like my lines, they don't like my songs
Except in karaoke when they're singing along
LIAM KAY
(LS,MS) Liam settles down in a derelict alleyway, and plunges
himself against a damaged brick wall.
Did you see them build me up? Well I just tear myself down
CUT TO:
EXT. Flashback. Liam and Rachel stand solemnly, modestly dressed in
black attire, both in a wrecked state. The deserted funeral grounds
are cold and wet, as a brisk wind brushes through the treetops. The
rain comes crashing down.
RACHEL KAY
(ELS,MS) Rachel, weeping places flowers onto the dampened
gravestone.
With a smile on my face, I dug my grave in the ground
We all make mistakes, we're so quick to judge
CUT TO:
LIAM KAY
(MS,CU) Liam, mournful, weeps in the polluted alleyway
It's hard to forgive when we hold onto a grudge
CUT TO:
SCENE FOUR
INT. Liam walks onto the deserted carriage of the train, in his same
disheveled state. His walk vapid and clothes soiled. He remains
hooded and reserved throughout the duration of the journey.
LIAM KAY
(LS,MS) Stumbles through the carriageway and slumps his body into
the dirt ridden seat. He rests his head against the glass, as a
short period of time passes.
So turn down the heat, I've been burnin' in hell
But now I'm back with my own story to tell
CUT TO:
5. EXT. SAME AS SCENE 1
LIAM KAY
(MS) He walks on the bridge looking out over at the choppy water.
Back from the edge, back from the dead
LIAM KAY
(CU)His fists are clenched tight, placed by his side, and reaches
the centre of the bridge.
Back before demons took control of my head
LIAM KAY
(LS)He nervously steps up onto the concrete bridge. His hands shake
as he steps up onto the rails. He pauses.
PHILLIP BARNES
(LS,HA)He slowly walks up to Liam and lightly taps him on the
shoulder. Liam turns curiously.
Back to the start, back to my heart
Back to the boy who would reach for the stars
PHILLIP BARNES
(LS,SRS) He tries to convince Liam to not jump, and think about what
is important in his life.
Back from the edge, back from the dead
Back from the tears that were too easily shed
LIAM KAY
(MS)Liam contemplates what he’s about to do, by looking at the
river, and then looking back at the bridge. He is about to step
down, but doesn’t.
Back to the start, back to my heart
Back to the boy who would reach for the stars
Who would reach for the stars
CUT TO:
SCENE FIVE
EXT. Liam is walking anxiously towards the rehabilitation centre, he
then suddenly stops and gazes around. He can see see a hopeful white
building. He can see himself in the people around him.
LIAM KAY
6. (LS,LA,) Liam stops suddenly and looks at the
rehabilitation leaflet , at this moment he realises that it is the
right thing to do.He then walks into the centre.
I don't want control, I can dig my own hole
I can make my bed and I can lie in it cold
LIAM KAY
(MS,LS,LA)Liam leaves the rehab centre for last time, looking
hopeful and accomplished, he walks towards the gate, with a smile on
his face.
'Cause I don't need heat, I've been burnin' in hell
But now I'm back with my own story to tell
CUT TO:
INT. The large house is quiet, and lacking in life. Rachel, sits in
low spirits alone on the oversized couch. The room is dim, with only
the TV lighting up the room.
RACHEL KAY
(MS) Rachel sits, miserable.
Back from the edge, back from the dead
RACHEL KAY
(CU) She becomes alarmed when she hears the doorbell ring.
Back before demons took control of my head
RACHEL KAY
(LS) Walking lifelessly towards the door.
Back to the start, back to my heart
RACHEL KAY
(MS) Joylessly opens the door to see Liam at the door.
Back to the boy who would reach for the stars
RACHEL KAY
(MS, TWO SHOT) Rachel's stressed has been relieved, she smiles.
Rachel leaps into Liam's open arms.
Back from the edge, back from the dead
LIAM KAY
(CU) Liam smiles as he has been accepted by Rachel.
Back from the tears that were too easily shed
7. CUT TO:
SCENE SIX
INT. The kitchen is bright, and the sun's rays beam through the
clear glass windows. Liam and Rachel are content and in freshly
cleaned clothing.
LIAM KAY
(LS,MS) Liam with a grin on his face, places a plate of home cooked
food on the table and takes a seat next to Rachel.
Back to the start, back to my heart
LIAM KAY
(TWO SHOT, MS) Liam and Rachel sit together, smiles beaming, as they
enjoy popcorn and a movie together.
Back to the boy who would reach for the stars
CUT TO:
EXT. SAME AS SCENE 1
LIAM KAY
(LS) Liam, distressed steps down off the ledge of the bridge
Who would reach for the stars