Gallagher Says – The Nice Guys

The Nice Guys is a movie I wanted to see when it came into theatres, but I didn’t get a chance to. I was excited to see it despite very little interest in the lead actors. The trailer was fun, and I’m a huge fan of Kiss Kiss Bang Bang. So I was looking forward to its release.

The film tells the story of two investigators searching for a missing girl. Ryan Gosling plays Holland March, a jaded, semi-successful private investigator. Russell Crowe plays Jackson Healy, an enforcer who questions if there are better things he could be doing with his life.

The story is based in 1977 in Los Angeles. After Healy pays March a visit, he discovers his client’s case may not be so simple. They join forces to find the missing girl, and they are taken on a case involving potential murder, angry hitmen, and Los Angeles’ automotive and pornography industries.

The main fun of the film comes from Russell Crowe and Ryan Gosling’s back and forth banter. Crowe is the straight man who expects Gosling to be professional, and Gosling bumbles and drinks his way through the case. Being the muck up, Gosling gets the majority of the laughs, and I don’t think I expected to laugh so much at Gosling’s screams and shouts. Gosling is great in this.

There are also some heartfelt scenes in the film. March is a single father after his wife died, and he makes attempts to be a passable father. His daughter Holly, played by Angourine Rice, is a fun and emotionally interesting addition to the film. Healy shows his attempts at redemption throughout the film, and the development of the men’s relationship is engaging.

The action scenes in the film are exciting as well as fun. There is nothing too dark to take away from the comedy, but it doesn’t shy away from some great action. The plot of the mystery is interesting and plausible, but I found the development of plot elements frustrating at times.

My favourites from the film: The humour was definitely the best of the film. It’s hilarious. Ryan Gosling’s performance and comedic timing was excellent, and I enjoyed his chemistry with Angourine Rice. The film looks great and cuts well.

My less enjoyed parts: A lot of the plot comes about because the characters happen to be at the right place, or sometimes wrong place, at the right time. It adds to some of the humour, but it left me frustrated at some of the key plot developments. I also found it bares a little too much resemblance to Kiss Kiss Bang Bang.

My recommendation: If you haven’t seen Kiss Kiss Bang Bang, watch that. If you’re a fan of it, this is another fun outing from Shane Black, and it’s not something you’ll see too much elsewhere. It’s a fun ride with some interesting characters, but you may want to leave your brain in the backseat.

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Simon Says – Knight Flight

FADE IN:

EXT. FIELD – EVENING

A KNIGHT reigns his horse to a stop. He sits and stares into the sunset. He turns in his saddle.

KNIGHT: Do you expect me to sit here all night?

His PAGE rushes to his side. He holds up his hand and leans over the horse’s rump, struggling to catch his breath.

KNIGHT (CONT’D): Pull yourself together. Honour waits for no man.

PAGE: Yes, sire.

The page places his hands under the knight’s arms as the knight swings his leg out of the stirrup. The page struggles to maintain his balance while he lowers the knight to the ground.

The knight’s feet crunch on the dirt. He stretches his arms, smacking his page in the face. The page stumbles back as the knight takes a step forward, but the knight still steps on his toes. The page falls to the ground.

The knight holds out his hand, palm up. He stands there a beat, but the page just grabs his toes and rolls on the ground. The knight glances down.

KNIGHT: Must I do everything myself?

He lifts a flap on his saddlebag and draws out a telescope. He extends it and brings it up to his eye, scanning the West.

KNIGHT (CONT’D): We’re close. I can smell it.

The page sits up and scrunches his nose.

PAGE: I believe that’s the horse, sire.

KNIGHT: Roses. Roses on the air.

The page glances up at him.

KNIGHT (CONT’D): It’s love. My princess awaits me.

The page stands, staring into the distance. He shades his eyes.

PAGE: What if she’s another man’s princess?

The knight turns to him.

KNIGHT: Another man?

The page shrugs. The knight laughs.

KNIGHT (CONT’D): A man like you?

He tussles the pages hair.

KNIGHT (CONT’D): You would have made a fine jester.

He grows serious, shoving the telescope into the page’s hands.

KNIGHT (CONT’D): No man is my equal.

The page raises the telescope to his eye. The knight places his foot in the stirrup. He glances over his shoulder.

KNIGHT (CONT’D): Hurry along.

The page points and passes the telescope over to the knight.

PAGE: There. She’s there. You were right.

The knight spots a castle in the distance.

KNIGHT: Of course I was.

He shoves the telescope into the saddlebag and waits for the page. As the page stares into the distance, the knight clears his throat, and the page hurries to his side, raising him into the saddle.

Once up, the knight kicks his horse’s sides and speeds away. The page watches after him. Dropping his head, he plods after him.

INT. COURTYARD – LATER

The knight rides into the center of the castle. He glances around, but it is empty of any life. He sits up in his saddle, staring up a tall tower before him.
His page catches up and rests on the horses rump. The knight turns to him.

KNIGHT: She must be up there.

The page follows his finger to the tower.

PAGE: There? Are you sure?

The knight turns back to the tower.

KNIGHT: Of course I am. Have I ever been wrong?

The page thinks about this.

PAGE: Well… I suppose nothing worth mentioning.

KNIGHT: Excellent. Onward.

He gallops to the tower. The page nearly falls when the horse leaves, but he regains himself. He chases after them.

INT. TOWER – LATER

The page steps inside the room at the top of the tower stairs. He glances around at the cold, damp room. No one is there. He shakes his head.

The knight enters, huffing and puffing. He leans against the doorpost.

KNIGHT: I told you I was…

He notices the room is empty.

KNIGHT (CONT’D): Where is my princess?

The page exhales.

PAGE: Perhaps you should refrain from calling a stranger yours.

The knight glares at him.

PAGE (CONT’D): Then again I am merely your page.

The knight straightens. The page steps to the doorway, but the knight grabs his arm.

KNIGHT: No. Please continue. What would you suggest I do?

The knight glares into his eyes.

PAGE: Well, if I lived here all by myself, I’d find somewhere nice and warm.

The knight releases him.

KNIGHT: Of course, the great hall.

He dashes down the stairs.

PAGE: I was thinking something smaller. Like a blacksmith.

The knight stops. Chuckling, he turns back to the page.

KNIGHT: A princess in the blacksmith? Surely you jest.

The page shakes his head.

KNIGHT (CONT’D): Fine. I will humour you.

He turns and stomps down the stairs. The page breathes a sigh and follows.

INT. BLACKSMITH – LATER

The PRINCESS is lying beside the hearth. She stretches out and the flames create dancing shadows on her skin. She twitches as footsteps come clopping up to the blacksmith.

Her eyes dart open, and she glances to the door as it begins to swing open. The princess rolls over and gets to her feet. Glancing around, she spies a blacksmith’s hammer and seizes it.

The knight steps inside. He glances back as his page enters.

KNIGHT: See. No one’s here.

The page points, and the knight glances over. The princess raises the hammer. The knight drops to one knee.

KNIGHT (CONT’D): Fear not, beautiful maiden. I have come to rescue you.

The princess drops the hammer. As she steps closer, the knight gets back to his feet with his page’s aid.

PRINCESS: You’ve brought something to eat?

The knight turns to his page. The page shakes his head.

KNIGHT: I fear we…

PAGE: You, sire.

The knight turns to the princess.

KNIGHT: We exhausted the last of our supplies this morning.

The princess drops her head.

PRINCESS: Oh, that is dreadfully unfortunate.

The knight steps closer.

KNIGHT: Worry not for I am now here.

The princess looks into his eyes.

PRINCESS: I’m not worried for myself.

The page glances around the blacksmith. It looks like it hasn’t seen much use in years. He spots a pile of armour and bones in the corner. Rushing to the knight’s side, he leans in close.

PAGE (whispers): Have you ever wondered why the castle is so deserted?

The knight pushes him back with his shoulder.

KNIGHT: Bother me not. Go tend to the horse.

The princess tilts her head.

PRINCESS: You have a horse? I love horses.

The knight takes her arm.

KNIGHT: Only the best steed for a maiden like you.

He leads her out of the blacksmith. The page steps towards the hearth. He hears a SCREAM outside and dashes to the door.

EXT. COURTYARD – CONTINUOUS

The page steps outside. He sees the knight on the ground. The knight stares up at the princess and SCREAMS again.

The page looks over to the princess as she drops down to all fours. Wings burst out of her back, and scales begin to push out of her skin.

The horse rears up on his back legs. He turns and darts towards the exit. A DRAGON drops onto his back and pulls him into the sky.

The page rushes over to the knight’s side.

KNIGHT: I can’t get up.

The page grabs the knight and helps him to his feet. He glances around the castle. Pointing to the keep, they sprint for safety.

The dragon lands in front of them. The impact knocks them back, and they struggle to regains themselves as dust washes over them.

The page wipes his face clean. The dragon pulls its head back as the page drags himself to his feet. The dragon opens its mouth, and the glow of a fire rises in its throat. The page covers his face.

FADE TO BLACK.

Gallagher Says – John Wick: Chapter 2

My main interest in the John Wick films has been to see if there is a film I like Keanu Reeves in, and I have to say I do like him in these. It probably has something to do with the character’s serious nature that compliments Keanu’s skills, or it may have to do with the action or the more limited amount of lines. Any way you look at it, these movies are good for Keanu.

Picking up very soon after the first, Keanu finishes his quest for justice and tries to again settle down. He is soon interrupted by a request for a favour, and it’s a very serious request because he had made a blood oath to the man. This drags John Wick back into his old way of life.

The task John is ordered to complete is a job of eliminating a high level member of the crime syndicate they are all affiliated with. This takes John to Rome where we are treated to more glimpses of how the crime syndicate operates.

The rest of the movie consists of betrayals and swarms of people trying to kill John Wick. A bounty ends up being placed on John’s head, and every assassin in town wants a piece of him. This leads John to a quest of trying to kill the person who placed the bounty on his head.

The film is straight to the point. It is an action film with no holds barred. In a way it is very similar to the one-man-army types of action films from the Eighties: Films like the Ramboseries or Die Hard series or anything with Arnold Schwarznegger.

The highlights of the action scenes is a hit during a live concert and the subsequent chase underground, John’s fights with Ruby Rose’s and Common’s characters, and the opening car chases. I really liked Ruby Rose as a mute bodyguard/assassin, and her character had a very distinct personality that set her apart from the rest of the faceless masses. Common was also good. His character had heart. Keanu and Common had some great fight and chase scenes together.

My favourites from the film: The world of John Wick seems very interesting, and it is fun to explore. I liked the scenes when John is preparing for the hit in Rome. The scene at the live concert was very good, and I enjoyed the moody atmosphere. Again I likes Ruby Rose and Common. Overall, the best thing about the film is probably the editing. Story wise it is well put together, and action wise it flows well.

My less enjoyed parts: The film’s Gun Fu style gets very repetitive. Most of the action scenes with multiple enemies follow a formula of John knocking a man down and pinning him with his legs while John shoot two to three of his buddies then executes him. John moves to a new room and those actions are repeated, so on and so forth. I also felt the final fights between John and each of Common’s and Ruby Rose’s characters were similar. From a technical point of view, the medium shots in many of the dialogue scenes appeared to have a soft focus which bothered me.

My recommendation: If you love action films, especially those from the eighties, this is definitely for you, and it’s a good one. If your not, I wouldn’t suggest running out to the theatre. Watch it on DVD or Blu-ray. I’d also like to mention that, without giving too much away, it does end with the beginnings of what I expect should be a franchise. This means that it is sandwiched between the first film and whatever comes next, so overall, it may not be a very satisfactory film to watch on its own.

Simon Says – Body Failure

FADE IN:

EXT. PARK – MORNING

ROGER BREMINGTON is a man in his late nineties. He is tall and slim. He has a long white beard and very little hair left on his head. He walks along the path with the aid of a cane.

Beside him strolls JANETTE BREMINGTON, his granddaughter. She is in her late forties. She has long brown hair, but some grey is making it’s way into the sea of brown.

The park is circular with a fountain in the center. The path wraps around the structure, and more trails branch off of it, disappearing into wooded areas.

As they walk around the fountain, Janette points to the coins scattered throughout the water. They glisten in the sunlight.

Roger stops by a bench. Janette continues on but pauses when she sees that Roger is trailing. She turns to him. He has already lowered himself onto the bench.

JANETTE: I can see why they call it a park, grandpa.
Roger waves her off. She steps closer.

ROGER: I’m not parked. Just needed a pit stop.

He looks around at the trees. A bird flits through the branches of the closest one. Roger listens as it chirps, and a tear comes to his eye.

JANETTE: Everything okay?

Roger looks up to her and dries his eye with a handkerchief.

ROGER: Yeah, the breeze just makes my eye water.

Janette nods.

ROGER (CONT’D): I guess I won’t have to worry about that anymore.

Janette hugs him. He eases her back as he stands.

EXT. CAFE – LATER

The pair sit across from each other. They are on the patio in front of the cafe. Roger sips his coffee. He breaks into coughing and can barely get his mug to the table.

Janette looks away. She looks up at a flag protruding from the wall above. It flutters and billows in the wind. The sunlight glints off the flagpole, and Janette is forced to cover her eyes.

Roger recovers. He watches as Janette turns back to him. She lowers her hand from her face. She allows herself to smile at him.

ROGER: Won’t have to listen to that no more.

JANETTE: I’ll miss it.

Roger shakes his head. He lifts his mug, bringing it under his moustache. Janette places her hand on his.

JANETTE (CONT’D): I’m sure grandma would’ve been proud to see how far you’ve come.

Roger tips his mug. Rays of light hits his cheeks as he polishes off the drink. He basks in the light for a few moments.

EXT. BODY SHOP – LATER

Roger and Janette walk along the sidewalk. They stop in front of “The Body Shop”. Janette turns to Roger and hugs him.

ROGER: I suppose this is where I get off.

JANETTE: I wish I could go with you.

Janette releases him. Roger looks up at the sign.

ROGER: They ain’t beatin’ around the bush with their branding.

Janette follows his gaze. She laughs despite her tears. Roger sucks in a big gulp of air as he turns to the building.

JANETTE: I’ll meet you on the other side.

Roger nods and enters the shop. Janette stands there a moment then turns and walks away.

EXT. REAR ENTRANCE – EVENING

A robot steps out of the back door. It is wearing Roger’s clothing. It looks around the small yard. A path cuts through giant mounds of robot parts.

It walks down the walkway. The sun is setting in the distance. The robot stares into the sun’s glow as it dips below the horizon. Janette steps out from behind the last mound.

JANETTE: How do you feel?

ROBOT: Cold.

Janette Hugs it. It stands there. After a moment, it looks down at her and wraps its arms around her.

FADE OUT.

Gallagher Says – Alfred Hitchcock’s Notorious and Spellbound

​First off, I am among those that consider Alfred Hitchcock to have been the greatest director of all time. Back in Welland, I had purchased this collection featuring Notorious, Rebecca, and Spellbound.

I watched Rebecca because it was his only film to ever win Best Picture at the Academy Awards. It was enjoyable with a twisty plot. I became busy and forgot about the other films. Last week I watched both Notorious and Spellbound. Since they were both romantic thrillers, I figured they were as good as any to review for Valentine’s Day.

Notorious is a story about Alicia, played by Ingrid Bergman. The year us 1946, and her father has just been convicted of working with Nazi conspirators. Devlin, played by Cary Grant, is sent to recruit Alicia to spy on the German spies. They head to Rio and a romance quickly blossoms, but a wrench is thrown in the works when Devlin is told what Alicia’s mission is. She is to romance an old friend in order to gain access to the spy ring.

Spellbound tells the tale of Constance, a psychiatrist played by Ingrid Bergman. She is a no nonsense woman who focusses on her work, but this all changes when she falls for an amnesia victim who may also be a murderer. The film follows them across the country as they try to escape the police and unlock the mysteries in the mind of Gregory Peck’s mystery man.

Notorious was great, and Spellbound was not. I felt bad because it was the first Hitchcock film I’d seen that I thought was actually bad. For the master of suspense, I couldn’t fathom how he concocted such a boring thriller. The whole film is a giant police chase. How do you make that boring?

Sadly I now know the answer. You just have to make sure the majority of the film is spent with the doctor yelling for the patient to remember then he collapses into screams and they cap it of with a bit of romantic banter. Yuck. Hitchcock’s formula for suspense is all about giving information, not starving us for details till the last reveal then The End.

Notorious was great because it did the opposite. It threw our lead into a den of snakes. We knew what one character was holding back from another, and we were forced to watch and wait till the truth would be found before it destroyed them.

My favourites from the film:

Notorious: Ingrid Bergman was amazing. I loved seeing her portrayal of the type of woman who goes out driving drunk. It was refreshing to see a film from the period with a female lead that held her own. Ingrid Bergman and Cary Grant had great chemistry. I enjoyed the wine cellar scenes and the poisoning dillema. The ending was perfect.

Spellbound: I like that Alfred Hitchcock made films that explored psychology. The scenes in the psychiatric ward were great, and the scenes in Constance’s old professor’s house were a breath of fresh air. The straight razor scenes was thrilling, and the dream sequence was visually interesting.

My less enjoyed parts of the films:

Notorious: The romance once in Rio was quick, and the movie slumps a little till Alicia gets her assignment. I thought it was odd they discussed their plan to hook her up with Alexander while right behind him. It also bugged me that Devlin knocked over just the right bottle by accident.

Spellbound: The worst part about this film is that Constance is established as a professional woman, but that is thrown out the window when she falls in love. The film literally says that is what happens to women when they fall in love. It was dumb. The amnesia went on too long with a slow progress to going anywhere, and it never delivered on the promise of a manhunt.

My recommendation: Check out Notorious. Skip Spellbound. My favourites from Alfred Hitchcock are the original Man Who Knew Too Much, The 39 Steps, Rear Window, North by Northwest, and Psycho. I’d suggest checking those out.

Simon Says – Hunt Lodge

FADE IN:

INT. DINING ROOM – NIGHT

A GROUP OF MEN are seated around a table. Large red curtains are drawn across from the wall with a fireplace. The fireplace is ornate with images of cherubs flying along its edge. The fire is burning low, glowing, red embers pulsating with life.

GERALD BLADELY is a bearded man in his late thirties. He has a large frame and sits with his elbows on the table, arms crossed. He stares into the fireplace.

HUBERT FINES is a round man in his early sixties. He has a pipe in his mouth and a sailor’s hat on his head. He lifts the pipe from his teeth and releases a puff of smoke.

HENRY STETSON is thin, his wiry frame stretched upright. The smoke crosses his face and crinkles his nose. He waves it away with his left hand. He has a scar across the back of it and is missing the tip of his index finger.

HUBERT: In my day we knew what ta do with a woman like that. There weren’t no sittin’ around.

He returns his pipe to his mouth.

HUBERT (CONT’D): No, sir. We didn’t have inhibitions about what needed ta be done.

Gerald stands and walks over to the fire. He prods it with a poker.

GERALD: What if the authorities were to find out? What then? Least I need is jail time.

HENRY: Wouldn’t be jail time if we do it right.

Hubert grabs a log from a stand near the fireplace. He tosses it onto the coals, and the bark goes up in flames.

HUBERT: Jus’ like that. Poof! Gone.

Gerald shakes his head. He walks over to the door and listens for a beat then turns.

GERALD: It just wouldn’t be right. She loves me, and I… I…

HENRY: Love her?

Henry smirks and leans back in his chair, gloating in his observation. Gerald huffs and goes red.

GERALD: I just wouldn’t want to betray that. She’s so young. Innocent.

Hubert snorts. He limps over to the curtains and peeks outside.

HUBERT: An innocent woman. Fancy that.

He turns to Gerald.

HUBERT (CONT’D): Love is playing tricks on you. Making you soft. Blind.

Gerald rushes over to the table and slams his fist on it. Henry almost falls but catches himself. He glares at Gerald.

GERALD: I don’t love her, damn it.

HENRY: You say that every time.

The door swings open, and CATHARINE MEABERRY enters. She is a woman in her late twenties. She is wearing a long, dark dress and removes her hat to reveal blond hair.

CATHARINE: You all look cheery tonight.

Henry watches Gerald.

HENRY: We were having a rather stimulating conversation.

CATHARINE: I could hear.

Gerald gulps.

GERALD: Oh?

She removes her coat and takes a seat beside where Gerald is standing.

CATHARINE: It sounds as though a woman loves you that you do not return a love for.

HENRY: It is my hypothesis that the opposite may be true.

Catharine smiles at Henry then turns to Gerald.

CATHARINE: Oh? How simply fascinating this all must be. Do I know the girl?

Hubert walks over to the door and locks it. He drops the key into his pocket. Everyone looks to him.

HUBERT: She ain’t a girl. She be a woman and then some.

He steps towards her, but Gerald blocks his path.

GERALD: They speak of you, darling. They mean to harm you.

Catharine turns to Henry.

CATHARINE: Is this true?

Henry shrugs, drawing a match from his coat pocket. He lights it and tosses it at her. Catharine pulls back, but the match goes out before it reaches her. Henry smirks.

HENRY: True enough for my satisfaction.

Catharine glares at him.

CATHARINE: Incanto. Incanto. Ishlark flemtar.

HUBERT: You hear that, boy.

Gerald glances over his shoulder as Catharine rises from her chair. The windows fly open and a gust of wind blasts through the room.

CATHARINE: Heeth cryte, Breela.

Henry glances around himself. He looks back to Catharine and pulls a knife from his jacket.

Gerald releases Hubert, but before he can reach her, Catharine is back in her seat. She crosses her arms and laughs.

CATHARINE (CONT’D): You think I’m a witch.

The wind dies down. The men glance around the room. The fire begins to blaze. Hubert steps closer to Catharine.

HUBERT: We don’t think. We know it.

CATHARINE: Didn’t have to tell me you don’t think.

He grabs her shoulder. Her eyes glow red, and flames shoot up Hubert’s arm. He cries out and releases her.

Henry begins to move around the table, but his knife whips into the air. He dodges back in time to save his eye. The knife comes back and stabs through his left hand, pinning it to the table.

HENRY: Again? Blast it all.

Hubert throws his jacket off and drops to his knees, clutching his burned hand. Catharine stands and the jacket flies into her hand. She frees the key and steps towards the door.

Gerald rushes to the exit, cutting her off.

GERALD: I can’t let you go.

Catharine leans in close.

CATHARINE: You don’t have a choice.

She kisses him on the lips. Gerald’s body relaxes. Catharine laughs and pushes him back. He stumbles as she exits the room.

Hubert shuffles over to the door and looks outside. When he returns, he shakes his head.

HUBERT: Gone.

He looks at Gerald and slaps him. He winces as he’s reminded of his burns.

HUBERT (CONT’D): Yer head is soft as well as yer heart.

Henry pulls the knife from his hand.

HENRY: He’ll be smarter next time.

He looks at Gerald.

GERALD: Right. Next time.

FADE OUT.

Gallagher Says – Bottle Shock

​I saw the trailer for this film when I rewatched my Slumdog Millionaire DVD, and my mom bought it for me a few days later.  One of the reviews on the front promised, “The next Sideways or Little Miss Sunshine.” I enjoyed those films. I was hoping from the review and trailer that it might be something very similar to Sideways.

Bottle Shock follows Steven Spurrier, played by Alan Rickman. He’s a British man trying to operate a wine shop in Paris. In his search for a way to break into the wine community there, he devises a wine competition to pit Paris wines against the up-and-coming wines of America.

In America, the film depicts vintners in the Napa Valley. The leads are father and son Jim and Bo Barrett, played by Bill Pullman and Chris Pine respectively. Along the way, we witness the struggles and fun of the hardworking Americans and their friends.

The two primary problems with the film are the lack of focus because of the multiple characters and the way it trivializes its own story.

I’ll explain. The film seems to decide early on that sticking to it’s subject matter would be too boring, so it goes on tangents about Bo’s left over hippy lifestyle and a lame romantic triangle. They detract from the main storyline, and I think something more about them actually trying to sell the wine would have been better. 

The end result is a film that throws around a bunch of characters and relationships without creating any single on that is completely satisfying. Tonally, it tries to be a standard historical drama but also quirky at the same time, but it just ends up being melodramatic with enough quirk and comedy to fill the trailer.

My favourites from the film: Alan Rickman’s performance is great. If they had made the film completely about him and the rest of the characters were supporting, I’d say this film could have been a quirky surreal comedy. The scenery in the film is beautiful. Bill Pullman and Chis Pine work well as father and son.

My less enjoyed parts of the film: Honestly after saying all that, the thing that bugged me the most was Chris Pine’s hair. It just looked horrible. There really wasn’t that much about the struggles of making wine or running a vineyard. Despite their goal of showing that they weren’t just dumb hicks, they were pretty uneducated hicks.

My recommendation: Sideways did a more focused and enjoyable story about wine tasting. Honestly I wouldn’t say it was bad, and you could enjoy it if you just want to kick back and have a drink. If I could have given my two cents to the filmmakers, I probably would have told them to trim it down a bit and use that to focus it more.

Simon Says – Street Meet

FADE IN:

EXT. STREET VENDOR – EVENING

REGINALD is a tall man in his late thirties. He works his hotdog vendor at the street corner. The wind is cold, so he leans in closer to the wieners as they fry.

SUSAN is a woman in her mid twenties. She is short, but her posture his straight. She walks at a determined pace.

Reginald watches as she breezes past him. He rests his cheek in his palm and sighs. Susan spins around.

SUSAN: Excuse me?

Reginald stands up straight.

REGINALD: Uh, nothing.

He glances around then down. He lifts a hotdog.

REGINALD (CONT’D): Can I interest you in purchasing a hotdog?

Susan walks closer.

SUSAN: Is the beef fresh from the Himalayans?

REGINALD: Only goats dare tread those slopes.

Susan holds out her hand.

SUSAN: Then I’ll have my dog with goat’s cheese.

Reginald nods. He reaches under the cash register and pulls out a piece of paper with mathematical formulas on it. He slides the paper into a napkin and wraps it around a hotdog. Susan takes it from him.

SUSAN (CONT’D): This will be the last. Tomorrow I move.

REGINALD: I will be sorry to lose your business.

Susan holds a debit card out to him.

SUSAN: This should show my appreciation.

Reginald seizes her wrist.

REGINALD: Come away with me. Leave all of this behind.

Susan glares at his hand. Reginald releases her and takes the card.

SUSAN: I enjoy my position.

Reginald opens the cash register and drops the card inside. Susan turns and begins to walk away.

REGINALD: As fleeting as our encounter has been, I find every moment with you to be invigorating.

Susan stops, but she doesn’t turn.

SUSAN: You take pleasure in the thrill of it. Take up rock climbing. It will better satisfy you.

Reginald walks towards her.

REGINALD: Everything pales in comparison to you.

Susan glances over her shoulder. Tears are in her eyes. Reginald stops.

SUSAN: You don’t know what you are saying.

Reginald pounds his chest.

REGINALD: I know what my heart says.

Susan brings herself around.

SUSAN: It says you cannot go on living without the one you love?

Reginald rushes forward and wraps his arms around her. Holding her tight, he rest his head against her’s.

REGINALD: Exactly.

POP! POP! Reginald’s eyes go wide. He looks down at the pistol Susan holds against his stomach. Smoke rises from it as Reginald’s blood runs down the silencer.

SUSAN: I tried.

Reginald stumbles back. His blood drips down into the snow on the sidewalk edge. Susan slips the gun back into her purse.

SUSAN (CONT’D): This is what you wanted.

Susan turns and walks away. Reginald drops to his knees. He pulls out his cellphone and starts to dial but collapses before he can finish.

Susan takes a bite of her hotdog and smiles.

FADE OUT.