Nocturama Page #2

Synopsis: Some young folks, tired of the society they're living in, plan a bomb attack over Paris before to take shelter for a night in a shopping center.
Genre: Drama, Thriller
Director(s): Bertrand Bonello
Production: Grasshopper Film
  5 wins & 19 nominations.
 
IMDB:
6.6
Metacritic:
71
Rotten Tomatoes:
88%
Year:
2016
130 min
Website
249 Views


F***, that's expensive!

Yeah.

I could buy other stuff.

Relax, I'm kidding.

- And the cherry-picker?

- Greg'll bring it.

Around 3:
30.

It'll be there when she comes out.

Take the red. Take the red!

You're dead.

What do we do with the leftover Semtex?

Omar hides it in the storeroom.

We can get to it

if things are screwed up.

- What time do we meet?

- Just after.

At 7 o'clock. 7PM.

No calls.

You all dump your phone, okay?

We meet up at the store.

It's still open at 7.

We blend into the crowd.

Go on.

Hello. I've reserved...

Hello, I've reserved a room

for Sophie Baroud.

No, too stressed.

Say it more calmly and simply.

Step back, then walk up to me.

Do it again.

Hello, I've reserved a room

for Sophie Baroud.

Again. Say it like you've repeated it

ten times at home.

It's no good?

No. Look me in the eye,

like you're used to doing it.

It's the safest place going.

It's too dangerous going home.

If we're identified...

It's unlikely, but you never know.

If it goes well, we head home at 6AM.

Omar will handle security and the alarm.

- How?

- It's dead simple.

There are about 60 cameras.

All linked to security HQ.

Hello, I've reserved a room

for Sophie Baroud.

Cut them all

and the cops get an alert.

We leave 5 recordings

going to avoid that.

The other cameras keep filming,

but only in the security center.

Is it fail-safe?

I know the system inside and out.

Hello, I've reserved a room

for Sophie Baroud.

That's better.

Look me in the eye

and sound confident.

- Watch your voice.

- I stare?

I'll cover you from the tower.

Even with empty floors,

people can be there.

Can we smoke it?

Sarah?

Don't move!

- Don't move.

- I'm security too.

I'll put my gun down and go.

Freeze, I said.

I know you. I'm security, too.

Move and I'll shoot!

- Mr. Devaux...

- That's right. Thanks.

Goodbye.

- Have a good day.

- Thanks.

Are you okay?

Sorry, I didn't see you.

Are you okay?

Thank you, goodbye.

This way, please. Thank you.

Madam, please...

Have a good evening.

Sir. Exit this way.

Madam...

Follow behind them, please.

Young lady, leave now, please.

It's a sh*t storm out there.

- Any news?

- No connection.

A skyscraper blew up.

The Ministry of the Interior, too.

- The city's on fire. It's war.

- What else?

No idea.

The network's saturated.

- How many dead?

- No idea.

See you after the rounds.

I'm not going out.

What's going on?

Nothing. The door was open.

Forget it. Carry on.

Still no connection.

Lights out. Put the news on.

All clear! I'm down here!

Did anyone screw up?

- Not me.

- Sure?

No one was followed?

Omar? Is the alarm off?

No sweat.

- And the guards?

- All set, too.

You tied them up?

I aimed a gun at them.

Then I gagged them

and tied them up.

No worries, you can trust me.

Stay off the lighting aisle.

The cameras and sensors

are still recording there.

It's off limits.

The rest is okay.

- The shift change?

- We let them work.

The security center is only

used in the evening.

The cleaners never go in.

It's secure.

- Omar, you're sure no one can see us?

- Don't worry.

There's no street view.

Weird. It's dead quiet.

What?

- Outside, I mean.

- You can't hear much from here.

Fred and Greg are missing.

- Fred's dead.

- What do you mean, dead?

He got shot in the tower.

- How?

- No idea, I didn't see it.

I heard it from the corridor.

I don't know who opened fire first.

Then another guard arrived.

He tried to stop Fred

but Fred tried to talk.

But that didn't help.

The guy shot him anyway.

And Greg? Why isn't he here?

No idea, but Fred's dead anyways.

You saw Fred get killed?

- No, but I heard it.

- You heard?

Maybe he wasn't the one killed.

I feel rough.

What's wrong?

Dunno. I feel rough.

I want to puke.

Drink or eat something.

- I think my arm's broke.

- How that?

A car knocked me down

and my arm really hurts.

- Do you hurt anywhere else?

- Here.

We'll get you something.

Come on.

How did it happen?

I crossed without looking.

What did you do after?

Nothing. I got up and ran off.

No one followed you?

No, I swear. I ran off fast.

Come with me.

Show me.

Okay...

Can you move it?

Okay, it's not broken.

Just a nasty blow.

What did we say we do now?

We stay holed up here.

It'll be insanity outside.

We go out tomorrow evening,

not before.

If everything's okay,

we head home.

You dumped your phones?

Even new, unidentified ones

are dangerous.

Okay?

Omar, where is the Semtex?

- In the store room.

- Show me.

What happened?

We blew everything up.

- Where were you when it went off?

- I didn't hear a thing.

I took the metro and got here

as fast as I could.

- Here it is.

- Great.

If all else fails...

we can blow this place up, too.

As long as no one screwed up

it'll be fine.

Show me your gun.

Your phone's off?

No. In case my boss calls.

You told mom

you wouldn't be home?

I said I'd be at Mika's.

And you?

At Katia's.

I screwed up with the credit card.

How so?

When I handed over the card,

the woman went into an office.

She said it was because

I hadn't signed it.

She didn't need to

go to an office for that!

I bet that b*tch ratted on me.

No. It's just a piece of plastic

with a fake name.

Your prints aren't on file anyway.

You're being paranoid.

- Don't worry about it.

- I dunno.

This quiet is freaking me out!

The place must be soundproofed.

Think we can smoke?

No, they must have detectors.

F***, it's huge here.

Yeah, mind-blowing.

We should've set a bomb here too.

It's weird doing nothing.

What can we do?

Dunno. What time is it?

10 PM.

Where are we?

I need to move.

Hold on.

I'll come with you.

Are you there?

Anybody there?

Omar!

What?

How about some light?

Will someone see?

No, there's no windows.

The guys working here must go crazy.

Start the escalator up, too.

Thanks.

I'm sick of wearing this.

Don't watch me change.

Get lost.

Get lost.

Why the knives?

They might come in handy.

You never know.

Greg missing freaks me out.

How'll he get in?

He'll figure something out.

Careful, please.

What was that?

That was me.

- I broke something.

- F***ing watch out!

Are you there?

Think we killed many people?

No idea.

We tried not to. Forget it.

We know nothing. It's crazy.

Look, it's the same one I use.

Why do you do this stuff?

It's okay. Are you scared?

No, I'm not scared.

But I never thought

I could do such a thing.

You're beautiful.

Go on.

Help yourself to clothes upstairs.

Not too loud!

Don't worry.

Classy!

Thanks.

Can we turn these on?

Yeah, I guess.

I don't know how, though.

I'll check.

- Are they working?

- No.

Hold on.

And now?

Yeah!

It's wild, seeing it for real.

SIMULTANEOUS ATTACKS IN PARIS

What's that?

- What?

- The music.

Willow Smith.

She was 10 when she sang this.

Seen the video?

It's totally sick.

Who cares?

Check out the sound.

It's awesome, huh?

I'm f***ing locked out!

Still no connection.

Won't the cleaners find the guys

Rate this script:0.0 / 0 votes

Bertrand Bonello

Bertrand Bonello (French: [bɔnɛlo]; born 11 September 1968) is a French film director, screenwriter, producer and composer. His background is in classical music, and he lives between Paris and Montreal. His work has also been associated with the New French Extremity.His film The Pornographer (2001) won the FIPRESCI prize at the 2001 Cannes Film Festival. Tiresia (2003) was nominated for the Palme d'Or at the 2003 Cannes Film Festival.His film House of Tolerance, a depiction of daily life in a fin-de-siècle Parisian bordello, premiered In Competition at the 2011 Cannes Film Festival.His 2014 film Saint Laurent competed for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival. The film was also selected as France's submission for the Academy Award for Best Foreign Language Film at the 87th Academy Awards. more…

All Bertrand Bonello scripts | Bertrand Bonello Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Nocturama" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/nocturama_14907>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Nocturama

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is "blocking" in screenwriting?
    A The prevention of story progress
    B The end of a scene
    C The planning of actors' movements on stage or set
    D The construction of sets