Shoot The Moon Page #9

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
439 Views


Oh, no, George. No.

- This was crazy.

- What was crazy?

Me, here with you.

- What's wrong with it?

- Everything.

- It was wonderful.

- It was crazy.

Why?

- Because we're not together.

- Well, we're here, aren't we?

I don't know.

Call it a weak moment,

or I guess you could just call it

whatever you want.

What's wrong with it?

My father died and I wanted you.

But I can see tomorrow. Yeah.

You playing one-on-one with Sandy's son.

- You with Sandy, she with you.

- Stop, please.

I was never right for you, was I, George?

It was like I sang all the music,

but I never knew the words.

You knew the words.

You were a good mother.

But I forgot how to be a good wife.

Oh, Jesus, George.

I loved you. Jesus, God, I loved you.

I loved you 'cause you could love.

You made me feel loved when I was a girl.

You helped me grow into a woman.

Just now, for a minute there...

I don't know, you made me laugh, George.

You were kind.

Yes, you're right. I'm not kind anymore.

No.

Me either.

You're kind to strangers.

Yeah. Strangers are easy.

Molly threw up her clair.

I'll be right there, Sherry.

I think you better go, George.

Oh, come on, Marianne.

- Be quiet, all right?

- Sh*t!

- Come on.

- Oh. Watch it.

- Marianne, I'm not playing.

- Hey, don't be a baby about it.

- It's my tennis court as well as yours.

- It stinks.

Look what I got for you.

- What did you get for me?

- Right here, your favorite.

Oh, a piece of corn! Thanks.

I love corn. With butter on it.

- What do I get?

- A kiss.

- Wanna go dance?

- What?

- You heard me. Do you wanna go dance?

- I'm too young for you.

- Come on.

- You got all these handsome lads

standing around here,

you wanna dance with me?

- Yeah.

- Well, I tell you what.

You give me a minute with these steaks,

I'll dance with you.

Okay.

- Now what do you want?

- What? I just want to put

a little salt on mine. 'Cause I like mine

with lots of salt, and I like them black.

- That one over there. Black and crusty.

- All right.

- That'll be mine, okay?

- Whatever you want, you got it.

- Yeah?

- Yeah.

Okay.

- This it?

- Yeah, this is it.

Exactly.

- You wanna dance?

- Why not?

Okay.

Sherry, watch these steaks for me,

will you?

Give them about five minutes.

- Then flip them, okay?

- Okay.

No, I get to go. Come on, Marianne.

It's my turn! Give it to me.

Sherry, why don't you come over here

and dance with us?

- Oh, come here.

- Sherry, come on.

If you don't come over here,

I'm gonna come over there

and hug you with no mercy. Come on.

Come on.

- Now I got both of you.

- Yeah.

- Frank spending the night?

- Maybe, yeah.

- Just tonight.

- Just tonight. He brought his toothbrush.

- That's a big bag for a toothbrush.

- What do you mean?

- I mean, I saw his bag.

- Looks like he's gonna stay awhile.

Now wait a minute, Sherry.

I'm not moving in

so don't go jumping to any conclusions.

Am I jumping?

What do you mean, Sherry?

You f***ed Daddy last week

and you f*** Frank this week.

- Who are you gonna f*** next week?

- That's enough!

- Wait a minute. Sherry...

- No, leave me alone!

- You're not my father!

- Sherry!

Sherry!

Sherry! Sherry! Wait!

Sherry!

Sherry!

Don't be dumb, Sherry, come back!

Sherry, I'm sorry! Wait a minute!

Sherry!

Sher!

Sherry!

- Six of diamonds.

- Okay.

But your mother can see your cards.

- Quit helping.

- You're a cheater.

- I'm not cheating.

- Oh, four.

- You want me to tell you what to play?

- No.

- I don't want you to tell me what to...

- What's that?

- Good move.

- I'm not sure.

Yes, okay.

No, I'm not gonna play...

I'm gonna play that,

which is the three of diamonds.

- Three of diamonds.

- The three of diamonds.

- A big six.

- Oh, no, I didn't mean to make that play.

- She wouldn't make her play.

- That's a mistake.

- No. All right.

- Well, sorry.

I'm sorry. I'm sorry.

George, are you gonna play some more?

I think it's time for you to go to bed.

- You're a little tired, aren't you?

- One more game.

No, sweetheart.

Let's get the cards all up, okay?

Are there any on the floor?

Look and see. No?

You get them all?

I thought it was you.

What's the matter?

Nothing.

You took a walk?

By mistake.

I brought you your birthday present.

- Here. Has all the letters.

- Is it electric? I hate electric.

It's not electric.

Have you got any paper?

Oh, never mind.

You wanna come inside?

It's not dinky at all.

- You slept with Mommy up at Grandpa's.

- Yes.

You f*** Sandy

and then you f*** Mommy.

- Please.

- Please, what?

I don't think I have to take that from you.

- Well, you haven't much choice.

- Oh, I don't?

Well, I could just leave your little ass

to freeze down here.

Good.

Honey, please.

My little ass hasn't frozen yet!

Please, I'm sorry.

You're always sorry.

I just don't wanna get zapped

with a hanger again.

Please. Sherry, please, please.

Why did you leave?

Do you love her more than Mom?

Something happened

between me and Mommy.

- What?

- I don't know.

I've got to figure it out.

You've been staying at Sandy's a month

now and you haven't figured it out?

I like it at Sandy's.

You mean you like sleeping with her

more than Mom?

She's so...

Bony.

What about what's-his-name? Timmy?

Yeah?

- You love him more.

- No.

Is he good at cards?

He's fair.

- What were you playing?

- Hearts.

- Did he shoot the moon?

- No, I did.

- You're lying.

- He shot it twice.

Are you gonna take him on trips?

Remember the trip we took to SeaWorld?

- Mommy got that speeding ticket?

- You yelled at her.

- She told that cop off.

- Sandy wouldn't.

Mommy's crazy, huh?

Yeah.

Do you hate her?

Oh, no.

You love her.

Yeah, I guess I do.

Why don't you tell her that?

I can't.

Are you gonna let her get a divorce?

I think I'm gonna have to.

- What happens to me?

- I'll love you more.

- Why?

- Because I'll have more time for you.

I'll be closer to you.

I think you'll be closer to Timmy.

It's Daddy!

Sherry.

Sherry, you all right? You okay?

Okay, huh?

I know. I know. Where did you get that?

- It's my present from Daddy.

- Yeah?

- Do you like it?

- I like it. Do you like it?

- It's not electric.

- Well, it's what you wanted.

Sort of.

She okay?

- You don't like it?

- Just the opposite.

- Well, what do you mean?

- You did it. You really did it.

- Did what?

- The court. The tennis court.

- How you doing?

- How are you? Good.

So what do you think?

- What do I think about what?

- The court. What do you think?

Oh! Oh, the court. Yeah.

The court looks good.

Yeah?

- You really like it?

- I do. It adds.

That really pleases me.

I was anxious, somewhat,

- there to know how you feel.

- I like it very much.

That's good. Can I offer you a drink of wine

or something?

My partner over there brought back

some really nifty tequila from Mexico.

- No, thank you.

- You sure?

Well, let me know

when you change your mind.

- I can tell Sherry likes your typewriter.

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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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