Shoot The Moon Page #3

Synopsis: A fifteen year marriage dissolves, leaving both the husband and wife, and their four children, devastated. He's preoccupied with a career and a mistress, she with a career and caring for four young children. While they attempt to go their separate ways, jealousy and bitterness reconnect them.
Genre: Drama
Director(s): Alan Parker
Production: Warner Home Video
  Nominated for 2 Golden Globes. Another 5 nominations.
 
IMDB:
7.0
Rotten Tomatoes:
80%
R
Year:
1982
124 min
453 Views


Goddamn it, Jill! Oh. Oh, goddamn it!

I fixed the goddamn breakfast

and nobody eats it!

I'm tired of this!

He's here. He's at the end of the driveway.

One minute to 8:
00, huh?

He's been waiting there since 7:45.

Remember Monday,

he came all the way up the driveway?

Here comes the bus.

Okay, hurry up. Okay. Bye-bye.

- Bye.

- Bye, Mom. See you later.

- Hi, Dad.

- Hi, Dad.

- Hi. Good morning.

- Good morning.

You all right?

Come on, quickly.

Good morning, princess.

Are we gonna stop for hot chocolate

this morning?

- Sure, honey.

- What about the basketball gum?

Are we gonna stop for basketball gum?

Let's skip the basketball gum

this morning.

But, Daddy, you said yesterday

we could go to the crud shop today.

That's true, Daddy,

that's just what you said.

How about you, Marianne?

Are you desperate to go to the crud shop?

Whatever you say, Daddy.

Where are we going this weekend, Daddy?

Are we gonna see the basketball game

and watch Jim play?

Well, Jim's not playing this weekend.

He's hurt his ankle.

I thought we might go up north.

Jack London's house. The olden days.

Neat.

We'll be alone with you and no one else?

Is that lady gonna come?

Sandy? I don't know. Why?

Just wondered.

Stop.

No, I'm gonna have some chocolate milk.

Wait up.

What time is it, you guys?

Hey. How's the Dunlaps this morning?

Fine, thanks.

- How's Sherry?

- Terrific.

Takes the bus.

Likes to go with her friends.

Oh.

- Can I have a Coke?

- No Cokes.

- Gee!

- Shut up, Molly.

- Daddy, you said!

- Three hot chocolates, right?

- You got it.

- What about the basketball gum?

Molly, you've got a hot chocolate.

How much crap can you eat before school?

- A lot.

- You said...

- Molly!

- Oh, Jesus!

- Oh, Molly.

- I didn't mean to. I didn't mean to spill it.

- Molly, you're so stupid!

- Oh, God. Oh, come on.

Watch what you're doing.

Oh, it's okay. I got it. No problem.

My pants!

- Lookit, stop that.

- We're gonna be late for school.

All right. All right,

I'll write you a note, for crying out loud.

- You're so...

- You already made enough mess as it is.

- Molly, you're so dumb.

- I need more napkins.

- Great kids.

- It's gonna stain!

A real handful, huh?

- You're so dumb!

- Can I have more chocolate?

I want to be able to get

my Guinness Book of World Records.

You know how I want to do that.

I'm gonna...

I'm gonna do it.

- No, I'm gonna give you one.

- Give me one, please.

- Here you go. Here's the note.

- Come on.

- I'm the note-taker.

- Okay, here you go. Go! Go on!

Have a nice day!

- Bye, Dad!

- Bye!

- Hey, don't forget to wash the car!

- Come on, hurry, we'll be late.

Jesus, how does she do it?

I'm sorry. I didn't do it.

Can I still have my dog?

No! Fool that I am!

I should have remembered!

- Okay, go, I got six.

- Hey, that's not fair.

- Shut up.

- Those slippers will never come off

as long as you're alive!

But that's not what's worrying me.

It's how to do it.

These things must be done delicately

or you hurt the spell.

- Run, Toto, run!

- Catch him, you fools!

- Three, four, five, six, seven.

- What is it, Jill?

- It's Daddy with a policeman.

- Okay.

What is it?

What Jill said. Daddy with a policeman.

What do you mean, a policeman?

It's Daddy, all right, with the cop

from in front of the school.

All right.

Well, then somebody better let them in.

- I wonder what he wants.

- Well, we'll find out.

It's okay, honey. I'll get the door.

- Hello, George.

- I've come for my books.

Tonight?

I said I'd be here Wednesday at 8:00.

I'm a little late.

This is Officer Knudson.

He couldn't get away till now.

Oh.

Well, come on in. Come on in.

- Hi.

- Hi.

Sorry, Mrs. Dunlap.

No, no, that's quite all right,

Officer Knudson. How are you?

- Fine. Thanks, Mrs. Dunlap.

- Right.

Leo suggested I bring an officer along.

- Who's Leo?

- Spinelli. My lawyer.

Oh. Yeah, yeah.

- Well?

- Well.

Well?

Well, everything's all set for you

in the study, so...

No, no, no, kids. No, honey.

Now you have to go upstairs.

Now, all of you.

- Oh, please?

- Do your homework. Go on. Run upstairs.

I don't want to hear about anything.

Turn off the TV set.

- I don't have any homework.

- Molly, find the, you know,

the toothpaste, the Crest, it's on my shelf.

Brush your teeth.

- Go on. Hurry!

- Oh, come on, Mom.

I don't want to go to bed.

Coming home, Dad?

So, well...

Well, we'll be all right, I promise.

Well, of course, Mrs. Dunlap.

- Well, I'm sorry about all this.

- I don't mind, honest.

Well, then how about some coffee?

Would you like some coffee?

- I don't mind if I do.

- Good. And, George, you?

- What?

- Some coffee?

- No, thanks.

- Tea?

- Thank you, no.

- Well, can I help you with anything then?

That's okay. I'll do it myself. Thank you.

Well, let's go get you your coffee.

Right this way.

So, help yourself to the cream and sugar.

I appreciate it. Do you mind if I smoke?

Huh? No. No, no, no, no, please do.

- May I join you?

- You bet you.

No, I don't think

I've seen you at school, have I?

- Yes, ma'am. Been there every day.

- I guess I haven't.

- What?

- Huh?

- Oh, been there.

- Yes, ma'am, every morning.

- So, you been out this way before?

- No, ma'am, this is a first for me.

Oh. Yeah.

Yeah.

Well, I guess I better get on with this.

If you'll excuse me.

Ma'am.

Where's my Cassell's?

You left it in that restaurant

in Provence, remember?

What restaurant?

George, remember that one

with the terrible piano player?

Oh, yeah. He had a man

who sang Beatles songs in French.

Yeah, that's right.

- I think I'll wait in the vehicle.

- Sure thing.

You always had such a pretty smile.

I'm sorry, you know, about Knudson,

but Spinelli insisted it was a good idea.

You know, my lawyer.

That's okay, George.

The policeman seems very nice.

We have to be grown-up, I guess.

Yeah, I guess.

Grown-up, sure,

we should be grown-up by now, George.

Hello? Oh, hi. How are you?

No. No, no indigestion. Are you kidding?

How can one afford indigestion

with Mouton Rothschild? Huh?

Oh, yeah.

Yeah, I slept like a baby.

No.

No, alone.

Oh, well, I can't.

You know,

there's somebody here right now.

Somebody?

No, no, no, no, Jerry, you go right ahead.

Jerry?

Oh, I can't go, Jerry.

It's a stay-at-home kind of night,

you know,

washing the hair and everything.

Next week. Well, yeah, maybe.

Yeah. Yeah, I'll be here.

Sure, okay.

Yeah, okay.

Okay.

Yeah. Bye-bye, Jerry. Bye.

Jerry? Jerry f***ing Miles?

No f***ing. We only had dinner.

- You ate dinner?

- Sure.

- You ate dinner with an insurance man?

- Why not? It was lovely.

- He's nice, a perfectly charming fellow.

- You drank wine with him?

Yes, I drank wine. Good wine.

I can't tell you how many premiums

it must have cost him.

But you hate wine.

Well, I'm developing a taste for it now.

You always drank milk.

Don't you remember that waiter who said

milk and meat would give you cancer?

Rate this script:0.0 / 0 votes

Bo Goldman

There are but a few select screenwriters who are spoken of with the kind of reverence usually reserved for film Directors - Robert Towne, Alvin Sargent and Bo Goldman. Goldman is a screenwriter's screenwriter, and one of the most honored in motion picture history. The recipient of two Academy Awards, a New York Film Critics Award, two Writers Guild Awards, three Golden Globes, additional Academy Award and Writers Guild nominations and, ultimately, the Guild's life achievement Award - The Laurel. Born in New York City, Goldman was educated at Exeter and Princeton where he wrote, produced, composed the lyrics and was president of the famed Triangle show, a proving ground for James Stewart and director Joshua Logan. On graduation, he went directly to Broadway as the lyricist for "First Impressions", based on Jane Austen's "Pride and Prejudice", produced by composer Jule Styne and directed by Abe Burrows, starring Hermione Gingold, Polly Bergen and Farley Granger. Moving into television, Goldman was mentored by the redoubtable Fred Coe (the "D.W. Griffith of dramatic television") and became part of the twilight of The Golden Age, associate producing and script editing Coe's prestigious Playhouse 90 (1956)'s, "The Days of Wine and Roses", "A Plot to Kill Stalin" and Horton Foote's "Old Man". Goldman went on to himself produce and write for Public Television on the award-winning NET Playhouse. During this period, Goldman first tried his hand at screen-writing, resulting in an early version of Shoot the Moon (1982) which stirred the interest of Hollywood and became his calling card. After reading Shoot the Moon (1982), Milos Forman asked Goldman to write the screenplay for One Flew Over the Cuckoo's Nest (1975). Goldman's first produced film won all five top Academy Awards including Best Screenplay for Goldman. "Cuckoo's Nest" was the first film to win the top five awards since Frank Capra's It Happened One Night (1934). Goldman also received the Writers Guild Award and the Golden Globe Award for his work on the film. He next wrote The Rose (1979), which was nominated for four Academy Awards, followed by his original screenplay, Melvin and Howard (1980), which garnered Goldman his second Oscar, second Writers Guild Award and the New York Film Critics Circle Award for Screenplay of the Year. Goldman's first screenplay, Shoot the Moon (1982), that started it all, was then filmed by Alan Parker, starring Diane Keaton and Albert Finney, the film received international acclaim and was embraced by America's most respected film critics including Pauline Kael and Richard Schickel. For Shoot the Moon (1982), Goldman earned his third Writers Guild nomination. Over the next few years, he contributed uncredited work to countless scripts, including Milos Forman's Ragtime (1981), starring James Cagney and Donald O'Connor, The Flamingo Kid (1984), starring Matt Dillon, and Warren Beatty's Dick Tracy (1990). Goldman tried his hand at directing an adaptation of Susan Minot's novel "Monkeys", and a re-imagining of Ingmar Bergman's Wild Strawberries (1957) (aka "Wild Strawberries") as a vehicle for Gregory Peck, but for budgetary and scheduling reasons, both movies lost their start dates. Goldman returned solely to screen-writing with Scent of a Woman (1992), starring Al Pacino. Goldman was honored with his third Academy Award nomination and his third Golden Globe Award. He followed this with Harold Becker's City Hall (1996), starring Al Pacino and John Cusack, and then co-wrote Meet Joe Black (1998), starring Brad Pitt and Anthony Hopkins. More recently, Goldman did a page one uncredited rewrite of The Perfect Storm (2000). It was Goldman's script that green lit the movie at Warner Bros. and convinced George Clooney to star in the film, which went on to earn $327,000,000. In 2005, he helped prepare the shooting script for Milos Forman's Goya's Ghosts (2006), produced by Saul Zaentz and starring Natalie Portman and Javier Bardem. He wrote a script for a remake of Jules Dassin's Rififi (1955) (aka Rififi), for director Harold Becker, starring Al Pacino. Goldman is married to Mab Ashforth, and is the father of six children, seven grandchildren and one great grandchild. He resides in Rockville, Maine. more…

All Bo Goldman scripts | Bo Goldman 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

    "Shoot The Moon" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/shoot_the_moon_18030>.

    We need you!

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

    Watch the movie trailer

    Shoot The Moon

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    Which film won the Academy Award for Best Picture in 1994?
    A The Lion King
    B Pulp Fiction
    C The Shawshank Redemption
    D Forrest Gump