Shoot The Moon Page #7

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
456 Views


- How much is he sticking you?

- You mean what's his price?

Frank's very reasonable.

Glad to hear that 'cause I'm not paying

a nickel for that piece of sh*t

you call a tennis court.

Who's asking you to, George? Oh, God.

Listen, I have to go, okay?

Frank's beer is getting warm.

Look what I got you.

Hey, buddy! It looks like sh*t!

You couldn't play horseshoes

on that volcano!

- What?

- Oh, just ignore him.

Don't pay any attention to him.

- But what the hell's he saying?

- I said f*** you!

What'd he say that for?

I don't know.

- Hello, George.

- Hi.

- I brought Sherry her typewriter.

- Now?

George, it's late. Look, it's no use.

She really doesn't want to see you.

- But it's her birthday.

- Why don't you just leave the typewriter?

No, I want to give it to her myself.

But she doesn't want to see you, George.

I want to give my kid her birthday present.

Your kid doesn't want

her birthday present!

- Five minutes, that's all.

- She's very angry with you, George!

- Yeah? I'm angry.

- About what?

About you roundheeling on a tennis court

with some overage redneck hippie!

I think you better go, George.

I want to give my child

her birthday present!

Your child doesn't want

her birthday present!

- Just go, George.

- No. This is my house and that's my...

Look, George. I'm not gonna listen to

any of this anymore!

And you're in violation

of our separation agreement!

- My lawyer said...

- F*** your lawyer, George!

You f*** your lawyer!

- I'm giving my child...

- Stop it!

...her birthday present!

- George!

George! George!

- George, stop!

- Come here!

Jesus Christ! George! No!

George! Oh, no! Oh, God!

- No! Don't! Don't! George!

- This isn't your house!

Stop it, George, please!

How do you like it? How do you like

being locked out of your own house?

- George!

- Get out of here!

George, come on! Molly! Molly!

Come here! Help me, Mol!

Pull! Pull the chair.

Stay away from me! Stay away!

Get out of here! No!

You f***er! Help! Help!

Pull it out from under there, Molly.

- I'm trying! I'm trying!

- Molly!

Go away! No, Daddy!

No, Daddy, please! Stop it!

Molly! Molly, come to the back door!

Molly...

Molly! Come around to the door!

Molly! Here, Molly, right here!

- Sherry... Sherry.

- No... No.

Honey...

You bastard.

Talk to me.

Hurry up!

Honey...

Please, honey.

- Forgive me.

- The chair, right there!

Okay, honey, get the bolt! Hurry up!

All right. Okay.

Give me a chance.

- Sherry?

- Oh, Mom.

Honey.

Want something to eat, Daddy?

I could make you a hamburger

with onions.

Do you want a Band-Aid

for your hand, Daddy?

- Sherry?

- Get out.

I thought we had a separation agreement,

visitation rights.

- But this incident, Your Honor...

- What incident? No police report.

I would like to make a stipulation

that we not be dragged into court

every time it pleases Mrs. Dunlap

or her attorney.

Stipulate one, Your Honor,

that Mrs. Dunlap be restrained...

Your Honor, is Mr. Spinelli gonna make

a presentation here?

Mr. Dunlap, your insistence

on limiting Mrs. Dunlap's custody

during vacations seems poorly timed.

This Christmas

the children will reside with their mother.

And as for you, Mrs. Dunlap,

to deny the father the right

to take the children to school

three times a week seems

an unnecessary hardship.

If he so wishes, and he is the only

father the children have right now,

why shouldn't he enjoy that privilege?

- Do you understand, Mrs. Dunlap?

- I do.

I mean, I will.

- Mr. Dunlap?

- I agree, Your Honor.

You'd better.

I don't want to see either of you two

in here again.

We bring in Sherry.

We show the welts from the hanger.

We expose the broad.

- What broad?

- The one he's shacked up with.

- Let me work him over.

- Work him over?

Right. Put him in Soledad

with the beaners and the Schvoogies.

- No, Sheldon.

- No? Why not?

Just no.

You want your house,

you want your kids, right?

What do you think they're gonna do?

That dago lawyer of his is not known

for his Christianity.

And the iron maiden on the bench

is no bargain either.

What do you say, Faithie?

- I say I'll think about it.

- You better. Here he is now.

Mr. Dunlap wants to pick up the children

tonight at 7:
00 instead of 6:00.

- He has a late appointment in the city.

- Under no circumstances.

No, Sheldon, it's all right.

I'm not gonna be home, anyway.

What do you mean

you're not gonna be there?

My father's sick.

- What's the matter with him?

- I don't know.

He's back in the hospital for more tests

and they're keeping him there.

Are you gonna stay up there

for a few days?

Yeah, I'll be back Monday at 4:00.

Mrs. McGovern's gonna sit,

so you can pick up the kids

whenever you want to tonight, George.

- I'll bring the kids up to your parents'.

- Oh, no.

- Yeah, I will. It'll be easy.

- Please, George, it'll be okay.

Well, give Dad my love. And tell him

I'm gonna come up and see him.

- No, George.

- I want to!

George, come on, George.

Please, George.

Let me take care of it, will you?

Dad.

Dad.

Hi, Dad.

- Where's your mother?

- She's outside.

- How you doing, honey?

- Oh, I'm okay.

You, too, George?

- Good to see you two together.

- Thanks, French.

You are together?

Sure.

Sure.

I mean, we are.

You wouldn't sh*t me, would you, George?

No.

Oh, I miss that house.

How's the house?

- Terrific.

- It needs some work.

"Terrific," "It needs some work."

- Well, you two better get together.

- No, George is right, Dad.

And when you get out, you'll just...

You'll come by one Sunday,

like you always do, you'll bring your tools.

Cut it out.

You two are a couple of lousy liars.

You're right.

We're broken up, Dad.

Yeah. Do you forgive me, Daddy?

Not a chance.

George. Come here.

- What the hell is going on?

- I don't know.

You going up to the Berryessa

this spring, George?

Sure.

Look out for the big rock.

The smallmouth like to lay around it.

What big rock?

- You'll tell.

- You'll show me.

Oh, George, I ought to

kick your ass around the block.

Do it, French.

What are you doing lying around here

for anyway?

- They got me lassoed, George.

- Fight it. God damn it!

- I'm trying, I'm trying...

- You're dying on me, for Christ sake!

- I need you!

- Oh, thanks, George.

- I'm here, French. Stay with me!

- You're doing okay, George.

- Stay with me!

- Relax. It's okay.

Stay with me! French! French.

Get away from here! Get away from him.

Get away.

- Wait out in the corridor, please, sir.

- French.

Ma'am?

I'm awful sorry, Charlotte.

He was a wonderful guy.

Hello, Charlotte. I'm sorry.

Thank you.

Do you want me to ride

with you and Faith in the car?

- There's no room.

- No room or no place?

No place.

Maybe he can squeeze in with us, Mother.

Yeah, it's okay. I'll ride with Uncle Ned.

Suit yourself.

- Bye, Mom.

- Bye-bye.

Oh, I forgot to get a flower.

You want to come with me

to get a flower?

Mr. Dunlap is right over here.

Yeah, I'd like that table.

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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…

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Submitted on August 05, 2018

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