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You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "The Cellar\n\nby\nJosh Campbell & Matt Stuecken\n\fDARKNESS\n\nAnd then --\n\nA GUNNED ENGINE --\n\nBLURRED HEADLIGHTS flash across the screen --\nTIRES SQUEAL on asphalt --\n\nA split second of unnerving silence and --\nCRAAASSSSH!\n\nLightning quick, CLOSE UP snippets of --\nGLASS SHATTERING --\n\nMETAL BENDING and RIPPING --\n\nA VEHICLE coming to rest --\n\nA TIRE SPINNING upside down --\n\nSMASH CUT TO:\n\nBLACK\n\nAnd SILENCE.\n\nThe soft, rhythmic HUM of a distant generator fades in.\nFollowed by a deep, pained BREATH.\n\nA dim light flickers, then steadies, revealing a --\n\nPOV SHOT\n\nBut everything is out of focus -- blurred shades of grey.\nThe light fades as consciousness slips away, replaced again\nby --\n\nDARKNESS\n\nThe generator continues its rhythmic HUM.\n\nA slow FADE IN --\n\nDIM FLUORESCENT LIGHT illuminates --\n\fA SMALL ROOM\n\nA young woman lies on a sheet-less mattress on the floor. A\nthin blanket covers her body. Her eyes remain closed.\n\nThis is MICHELLE BURKE (18). Classic Mid-Westerner --\nattractive and smart with a slight edge that does little to\nmask her deep-rooted wholesomeness.\n\nBut right now she’s bandaged, bruised and barely conscious.\nSomewhere nearby -- the MUFFLED THUMP of a closing door.\nMichelle’s EYES SNAP OPEN -- glassy but aware.\n\nShe touches her temple and winces. Her fingers come away\ntinged with blood from the soaked-through gauze that’s taped\nto her forehead.\n\nHer eyes adjust. Take in her surroundings --\n\nLow ceiling. Unpainted cinder block walls. Cement floor. No\nwindows. A closed door.\n\nShe turns her head causing her to MOAN.\n\nAnd -- seemingly in response to her moan -- there's a\nSHUFFLING SOUND on the other side of the door.\n\nMichelle goes silent.\n\nShe waits, listens -- but the shuffling sound doesn’t return.\nHer eyes flit around the room as her confusion builds.\n\nShe peels back the blanket --\n\nShe's in her underwear and there’s a makeshift brace wrapped\naround her knee. Her shirt is crusted with blood and torn at\n\nthe collar. Confusion quickly turns to panic.\n\nShe moves to swing her legs off the mattress but searing pain\nstops her. She grabs the brace, struggles not to cry out.\n\nHer jeans sit in a crumpled pile next to the bed.\n\nKeeping her leg steady, she reaches out and pulls them toward\nher. A shaky hand digs her cell phone from a pocket.\n\nShe ignores the display telling her she has new texts. She\npunches 911 -- but there’s no signal.\n\nShe holds up the phone, moves it around -- still nothing.\n\fMichelle starts to sob. Stops. Takes a deep breath and --\nRolls off the bed. Gritted teeth muffle her agony.\n\nShe drags herself toward the door.\n\nA lone TWO-BY-FOUR rests against the wall. She uses it to\nhaul herself up onto her good foot, shock and adrenaline help\n\nher fight through the pain.\n\nSteadying herself on the wooden crutch, she turns the door\nhandle. It doesn’t budge -- the bolt is locked.\n\nMichelle looks around the room for another escape.\nAnd then --\n\nFOOTSTEPS on the other side of the door. Getting LOUDER with\neach step. Growing CLOSER with each step.\n\nShe hops to the side of the door, grips the two-by-four like\na baseball bat... and waits.\n\nThe bolt lock slides --\n\nThe handle turns --\n\nThe door CREAKS open --\n\nA foot steps into the room --\nMichelle swings for the fences --\n\nThe two-by-four smashes into a man's shoulder. A tray of food\nflies through the air as the man tumbles to the ground.\n\nWe'll come to know the man as HOWARD STAMMLER (40s), but\nright now, he's batting practice.\n\nMichelle lifts the wood. Howard raises his hands.\n\nHOWARD\nWait! Stop!\n\nMichelle slams down the two-by-four with all she’s got.\nHoward’s forearm absorbs the brutal blow.\n\nHOWARD (CONT'D)\nJust listen to me for a sec!\n\nMichelle swings again, for his head this time.\n\fHoward rolls out of the way. The two-by-four splinters\nagainst the cement floor. He reaches back, latches onto the\nwood and jerks it from her hands.\n\nMichelle chokes back panicked sobs as she hops toward the\nopen door. Her knee cracks against the frame. She cries out\nin pure agony, collapses hard to the floor.\n\nBlood seeps from under her bandages.\n\nHoward gets up, his body blocking the doorway. He towers over\nMichelle, the two-by-four gripped tightly.\n\nHe stares down at her -- breathing hard -- his expression\nsomewhere between surprise and anger.\n\nHOWARD (CONT'D)\nI’m only trying to help you!\n\nMichelle frantically crawls away from him, her bad leg\ndragging limply behind.\n\nHoward steps after her.\n\nMICHELLE\nStay away from me!\n\nMichelle struggles onto her good foot, SCREAMS from the pain.\nShe hops toward a shovel that rests against the back wall.\n\nHoward drops the two-by-four.\n\nHOWARD\nI’m not going to hurt you.\n\nMichelle hops faster, stumbles, falls. Her busted knee hits\nthe floor. She blacks out from the excruciating pain.\n\nHoward stands over her for a beat. Then he walks to the back\nof the room and grabs the shovel that rests against the wall.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM - LATER
Michelle's eyes slowly open. She's back on the mattress, the
thin blanket covering her again.
A tray of food sits on the floor next to the bed. The two-by-
four and shovel are gone.
Howard sits on a folding chair by the door, his forearm is
now wrapped with a bandage where she hit him with the wood.
She peers at him through the dim light. Is he sleeping? She
props herself up.
His voice cuts through the darkness, startling her --
HOWARD
You should eat the eggs. You’1ll be
dreaming of fresh food before long.
Michelle looks at the tray of food, then back to Howard --
detachment in his voice, intelligence in his weary eyes. A
combination that makes him hard to read.
HOWARD (CONT'D)
In a couple of weeks, everything's
going to be from a can.
Panic sets in again. Michelle grabs her cell. Holds it up.
MICHELLE
I called the police. They'll be
here any minute. Let me go now.
You'll be in a lot less trouble.
Michelle shoots him a defiant look.
Howard shakes his head --
HOWARD
You've got no idea what happened,
do you?
Michelle lowers her cell but doesn’t respond.
HOWARD (CONT'D)
There was an attack last night.
Some kind of bomb exploded. The
city’s destroyed.
Michelle looks at Howard like he’s a lunatic.
MICHELLE
Yeah... Right.
HOWARD
I was rushing back here when I came
across your wrecked car. I couldn’t
just leave you there.
MICHELLE
If you're such a good samaritan why
the hell am I locked in this room?
HOWARD
I spent all night setting your leg
and closing that wound on your
head. I needed some sleep and
didn't want you wandering off.
(rubs his bandaged arm)
Or cracking my head open with a
shovel.
MICHELLE
You really think I'm stupid enough
to fall for this?
HOWARD
I think you're smart enough to know
that if I was gonna do something, I
would have done it already.
MICHELLE
How do I know you didn't? I woke up
in my underwear with no idea where
I am or how I got here. That's
pretty fucking disturbing.
HOWARD
I’m a doctor. I had to take off
your jeans to set your knee.
MICHELLE
I want out of here. Now.
HOWARD
You can’t leave. The entire
countryside is blanketed with...
with some sort of poisonous
chemical.
MICHELLE
You’re out of your mind.
HOWARD
You go outside, you die. But this
place has a filtration system. It
should protect us from whatever is
floating in the air out there.
MICHELLE
What's gonna protect me from you?
Howard shakes his head, knows he's not going to convince her
of anything right now. He stands up.
Michelle pulls the blanket tighter around her neck.
HOWARD
You need to rest.
(pointing at the tray)
That's Ketamine in the small cup.
It'll help with the pain. I
recommend you take it... but I'll
leave that up to you.
MICHELLE
Special K? We going clubbing?
HOWARD
I'm a veterinarian. It's the
strongest painkiller I have.
MICHELLE
Thought you said you were a doctor.
HOWARD
A veterinarian is a doctor.
He points to her leg as he tries for a little levity.
HOWARD (CONT'D)
Hey. Consider yourself lucky. If
you were a horse, I would’ve had to
put you down.
Michelle’s not laughing.
MICHELLE
Thanks, Doc. But I’m not taking a
date rape drug while being held
prisoner.
He takes a step toward her... and there’s a tiny shift in
Howard, something stirs beneath his calm exterior --
HOWARD
If I wanted to drug you, I would've
crushed it up in your food or hid
it in your drink. Or shot you up
with it while you were already
unconscious. And then I could’ve
done what ever I wanted.
Michelle looks sick to her stomach. Howard takes a deep
breath, knows he went too far.
HOWARD (CONT'D)
This is a lot to take in. For both
of us. You need to eat and you need
to sleep.
(MORE )
HOWARD (CONT'D)
There will be plenty of time to
talk when you're feeling better.
Michelle pulls the tray onto her mattress and starts picking
at the eggs. She’s not convinced of Howard's story but
realizes that either way, she's fucked.
HOWARD (CONT'D)
Call me if you need anything. I'll
be right outside.
That doesn't make her feel any better. He exits the room,
leaving the door open behind him. Michelle waits a beat...
She sets the food tray back on the floor.
Her hand lingers, grabs the butter knife.
She tries to pull herself up, but her weight shifts to her
busted knee. The pain is excruciating.
Michelle grits her teeth, falls back onto the mattress, eyes
watering. She can’t take it. She grabs the Ketamine off the
tray and drinks it.
She tucks the butter knife under her pillow and passes out.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM - LATER\n\nMichelle's eyes slowly open. She's back on the mattress, the\nthin blanket covering her again.\n\nA tray of food sits on the floor next to the bed. The two-by-\nfour and shovel are gone.\n\nHoward sits on a folding chair by the door, his forearm is\nnow wrapped with a bandage where she hit him with the wood.\n\fShe peers at him through the dim light. Is he sleeping? She\nprops herself up.\n\nHis voice cuts through the darkness, startling her --\n\nHOWARD\nYou should eat the eggs. You’1ll be\ndreaming of fresh food before long.\n\nMichelle looks at the tray of food, then back to Howard --\ndetachment in his voice, intelligence in his weary eyes. A\ncombination that makes him hard to read.\n\nHOWARD (CONT'D)\nIn a couple of weeks, everything's\ngoing to be from a can.\n\nPanic sets in again. Michelle grabs her cell. Holds it up.\n\nMICHELLE\nI called the police. They'll be\nhere any minute. Let me go now.\nYou'll be in a lot less trouble.\n\nMichelle shoots him a defiant look.\nHoward shakes his head --\n\nHOWARD\nYou've got no idea what happened,\ndo you?\n\nMichelle lowers her cell but doesn’t respond.\n\nHOWARD (CONT'D)\nThere was an attack last night.\nSome kind of bomb exploded. The\ncity’s destroyed.\n\nMichelle looks at Howard like he’s a lunatic.\n\nMICHELLE\nYeah... Right.\n\nHOWARD\nI was rushing back here when I came\nacross your wrecked car. I couldn’t\njust leave you there.\n\nMICHELLE\nIf you're such a good samaritan why\nthe hell am I locked in this room?\n\fHOWARD\n\nI spent all night setting your leg\nand closing that wound on your\nhead. I needed some sleep and\ndidn't want you wandering off.\n\n(rubs his bandaged arm)\nOr cracking my head open with a\nshovel.\n\nMICHELLE\nYou really think I'm stupid enough\nto fall for this?\n\nHOWARD\nI think you're smart enough to know\nthat if I was gonna do something, I\nwould have done it already.\n\nMICHELLE\nHow do I know you didn't? I woke up\nin my underwear with no idea where\nI am or how I got here. That's\npretty fucking disturbing.\n\nHOWARD\nI’m a doctor. I had to take off\nyour jeans to set your knee.\n\nMICHELLE\nI want out of here. Now.\n\nHOWARD\nYou can’t leave. The entire\ncountryside is blanketed with...\nwith some sort of poisonous\nchemical.\n\nMICHELLE\nYou’re out of your mind.\n\nHOWARD\nYou go outside, you die. But this\nplace has a filtration system. It\nshould protect us from whatever is\nfloating in the air out there.\n\nMICHELLE\nWhat's gonna protect me from you?\n\nHoward shakes his head, knows he's not going to convince her\nof anything right now. He stands up.\n\nMichelle pulls the blanket tighter around her neck.\n\fHOWARD\nYou need to rest.\n(pointing at the tray)\nThat's Ketamine in the small cup.\nIt'll help with the pain. I\nrecommend you take it... but I'll\nleave that up to you.\n\nMICHELLE\nSpecial K? We going clubbing?\n\nHOWARD\nI'm a veterinarian. It's the\nstrongest painkiller I have.\n\nMICHELLE\nThought you said you were a doctor.\n\nHOWARD\nA veterinarian is a doctor.\n\nHe points to her leg as he tries for a little levity.\n\nHOWARD (CONT'D)\n\nHey. Consider yourself lucky. If\nyou were a horse, I would’ve had to\nput you down.\n\nMichelle’s not laughing.\n\nMICHELLE\nThanks, Doc. But I’m not taking a\ndate rape drug while being held\nprisoner.\n\nHe takes a step toward her... and there’s a tiny shift in\nHoward, something stirs beneath his calm exterior --\n\nHOWARD\nIf I wanted to drug you, I would've\ncrushed it up in your food or hid\nit in your drink. Or shot you up\nwith it while you were already\nunconscious. And then I could’ve\ndone what ever I wanted.\n\nMichelle looks sick to her stomach. Howard takes a deep\nbreath, knows he went too far.\n\nHOWARD (CONT'D)\nThis is a lot to take in. For both\nof us. You need to eat and you need\nto sleep.\n\n(MORE )\n\fHOWARD (CONT'D)\nThere will be plenty of time to\ntalk when you're feeling better.\n\nMichelle pulls the tray onto her mattress and starts picking\nat the eggs. She’s not convinced of Howard's story but\nrealizes that either way, she's fucked.\n\nHOWARD (CONT'D)\nCall me if you need anything. I'll\nbe right outside.\n\nThat doesn't make her feel any better. He exits the room,\nleaving the door open behind him. Michelle waits a beat...\n\nShe sets the food tray back on the floor.\nHer hand lingers, grabs the butter knife.\n\nShe tries to pull herself up, but her weight shifts to her\nbusted knee. The pain is excruciating.\n\nMichelle grits her teeth, falls back onto the mattress, eyes\nwatering. She can’t take it. She grabs the Ketamine off the\ntray and drinks it.\n\nShe tucks the butter knife under her pillow and passes out.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. HOUSE PARTY - BASEMENT - NIGHT - (FLASHBACK)
(Note: All of the flashbacks are grainy and high contrast --
it's hard to tell whether we are watching history, a memory
or something altogether different.)
Dozens of college students drink from plastic cups and bounce
to hip hop music in the basement of an off-campus house.
In a back corner Michelle stands across from PATRICK (19).
Despite the raging party going on around them, the
expressions on their faces say that they're not having fun.
PATRICK
Lauren's in my lit class. We were
just studying...
MICHELLE
It took you ten minutes to close
your books and come downstairs?
PATRICK
I didn't hear you knock. I didn't
even know you were coming.
MICHELLE
I wanted to surprise you. God, I'm
such an idiot.
Michelle takes a long drink from her cup.
PATRICK
Nothing happened.
MICHELLE
I saw the way she looked at you...
the way she looked at me.
She locks eyes with Patrick, daring him to lie.
PATRICK
Okay. She kissed me... But I didn't
kiss her back.
MICHELLE
What the hell does that even mean?
PATRICK
It means you can trust me.
MICHELLE
Trust you? Why? So you can hurt me?
PATRICK
Michelle, I love you.
MICHELLE
Yeah? You got a fucked up way of
showing it.
Michelle chugs the rest of her beer, throws the empty cup at
Patrick and charges for the stairs.
He chases after her.
PATRICK
You can't go. You need to sober up.
Michelle pushes through the crowd of bodies, ignoring him.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. HOUSE PARTY - BASEMENT - NIGHT - (FLASHBACK)\n\n(Note: All of the flashbacks are grainy and high contrast --\nit's hard to tell whether we are watching history, a memory\nor something altogether different.)\n\nDozens of college students drink from plastic cups and bounce\nto hip hop music in the basement of an off-campus house.\n\nIn a back corner Michelle stands across from PATRICK (19).\n\nDespite the raging party going on around them, the\nexpressions on their faces say that they're not having fun.\n\nPATRICK\nLauren's in my lit class. We were\njust studying...\n\nMICHELLE\nIt took you ten minutes to close\nyour books and come downstairs?\n\nPATRICK\nI didn't hear you knock. I didn't\neven know you were coming.\n\fMICHELLE\nI wanted to surprise you. God, I'm\nsuch an idiot.\n\nMichelle takes a long drink from her cup.\n\nPATRICK\nNothing happened.\n\nMICHELLE\nI saw the way she looked at you...\nthe way she looked at me.\nShe locks eyes with Patrick, daring him to lie.\nPATRICK\nOkay. She kissed me... But I didn't\nkiss her back.\n\nMICHELLE\nWhat the hell does that even mean?\n\nPATRICK\nIt means you can trust me.\n\nMICHELLE\nTrust you? Why? So you can hurt me?\n\nPATRICK\nMichelle, I love you.\n\nMICHELLE\nYeah? You got a fucked up way of\nshowing it.\n\nMichelle chugs the rest of her beer, throws the empty cup at\nPatrick and charges for the stairs.\n\nHe chases after her.\n\nPATRICK\nYou can't go. You need to sober up.\n\nMichelle pushes through the crowd of bodies, ignoring him.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM
Michelle wakes up. The fluorescent bulb is off but a bit of
light bleeds through the open door along with some noise --
HAMMERING and SANDING. It puts an anxious look on her face.
10.
The food tray is gone. She reaches under her pillow. The
butter knife is gone too. A folded t-shirt and women’s
drawstring athletic shorts sit on the floor next to her cell.
Michelle reaches over, grabs her cell and opens up her texts -
- all six from Patrick. The last one at 2:42 a.m. -- “Sorry
had to end this way. I wish we could be 2gether 4ever.”
Is he referring to the attack? She shakes the thought from
her head.
Michelle swaps her torn, blood-crusted blouse for the t-
shirt. It’s skintight but it’s clean. She then gingerly pulls
the shorts on over her wounded knee.
Michelle looks around the empty room. She calls out --
MICHELLE
Hey, Doc? These luxury
accommodations come with a
bathroom?
Howard enters carrying crutches made out of some nailed
together pieces of wood -- there’s material wrapped around
the tops, sanded hand grips and duct taped feet at the
bottom. They're rudimentary, but nonetheless impressive.
He sets the crutches down by her mattress.
HOWARD
My name’s Howard.
Michelle doesn’t say anything as she pulls herself up onto
the crutches. Howard reaches for her arm to steady her.
She instinctively pulls away from his touch.
He gets the message, turns and leads the way out of the room.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM\n\nMichelle wakes up. The fluorescent bulb is off but a bit of\nlight bleeds through the open door along with some noise --\nHAMMERING and SANDING. It puts an anxious look on her face.\n\f10.\n\nThe food tray is gone. She reaches under her pillow. The\nbutter knife is gone too. A folded t-shirt and women’s\ndrawstring athletic shorts sit on the floor next to her cell.\n\nMichelle reaches over, grabs her cell and opens up her texts -\n- all six from Patrick. The last one at 2:42 a.m. -- “Sorry\nhad to end this way. I wish we could be 2gether 4ever.”\n\nIs he referring to the attack? She shakes the thought from\nher head.\n\nMichelle swaps her torn, blood-crusted blouse for the t-\nshirt. It’s skintight but it’s clean. She then gingerly pulls\nthe shorts on over her wounded knee.\nMichelle looks around the empty room. She calls out --\nMICHELLE\n\nHey, Doc? These luxury\n\naccommodations come with a\n\nbathroom?\nHoward enters carrying crutches made out of some nailed\ntogether pieces of wood -- there’s material wrapped around\nthe tops, sanded hand grips and duct taped feet at the\nbottom. They're rudimentary, but nonetheless impressive.\nHe sets the crutches down by her mattress.\n\nHOWARD\nMy name’s Howard.\n\nMichelle doesn’t say anything as she pulls herself up onto\nthe crutches. Howard reaches for her arm to steady her.\n\nShe instinctively pulls away from his touch.\n\nHe gets the message, turns and leads the way out of the room.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Michelle enters the cramped living area. It’s windowless with
the same low ceilings and cinder block walls.
Her eyes dart around, studying every square inch --
In the middle there’s a small table with two folding chairs.
To her right, there's a kitchenette alongside a cupboard.
Next to the cupboard, an open door leads to another room.
11.
To her left, a worn couch blocks a set of stairs that
disappear up into darkness.
And on the far side of the room, there's a fully stocked,
floor-to-ceiling wine rack that takes up the entire wall but
for one corner where there's a closed steel door with a
deadbolt above the handle.
Howard leads Michelle through the main living area into --
HOWARD’S ROOM
A mattress on the floor. A small chest of drawers against a
wall. In the back, two shower curtains come together to
square off the corner.
Howard pulls one of the curtains aside to reveal a toilet, a
sink, a small mirror, and a tub.
Michelle crutches by him.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\n\nMichelle enters the cramped living area. It’s windowless with\nthe same low ceilings and cinder block walls.\n\nHer eyes dart around, studying every square inch --\n\nIn the middle there’s a small table with two folding chairs.\nTo her right, there's a kitchenette alongside a cupboard.\n\nNext to the cupboard, an open door leads to another room.\n\f11.\nTo her left, a worn couch blocks a set of stairs that\ndisappear up into darkness.\nAnd on the far side of the room, there's a fully stocked,\nfloor-to-ceiling wine rack that takes up the entire wall but\nfor one corner where there's a closed steel door with a\ndeadbolt above the handle.\n\nHoward leads Michelle through the main living area into --\n\nHOWARD’S ROOM\n\nA mattress on the floor. A small chest of drawers against a\nwall. In the back, two shower curtains come together to\nsquare off the corner.\n\nHoward pulls one of the curtains aside to reveal a toilet, a\nsink, a small mirror, and a tub.\n\nMichelle crutches by him.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. BATHROOM
Howard lets the curtain go but stands right outside.
MICHELLE
Yeah, um, a little privacy, Doc.
Howard heads toward the door.
HOWARD
Let me know if you need any help.
MICHELLE
You can help by closing the door on
your way out.
Through the slit in the shower curtain Michelle watches
Howard exit. He closes the bedroom door behind him.
Michelle quickly crutches into --
HOWARD’S ROOM
She hobbles to the chest of drawers and starts rooting
through them. The top drawer is filled with women’s clothes.
The second drawer down contains men’s clothes.
12.
Michelle opens the third drawer revealing a cornucopia of
pharmaceuticals, including the Ketamine, antibiotics and a
few syringes.
Michelle grabs a syringe. As she lifts it, she notices a
collection of old survival magazines underneath --
A headline on the cover of one of them catches her eye --
“HOW TO MAKE A WEAPON OUT OF ANYTHING.”
HOWARD (0.S.)
You okay in there, Michelle?
Michelle startles at hearing her name. She drops the syringe
and shuts the drawer. Hobbles over and opens the door.
Howard all but tumbles into the room, having had his ear
against the door.
Michelle tamps down her surprise and makes her way around him
back into the --
MAIN ROOM
Leaning on her crutches, she opens the cupboard. Every square
inch is taken up with canned goods and dried foods.
Michelle turns to Howard.
MICHELLE
How do you know my name?
HOWARD
I looked in your purse, saw your
driver’s license.
She works her way to the back corner. She tries the steel
door next to the wine rack. The deadbolt is locked.
Howard watches her but doesn't say anything.
Michelle takes a seat on the couch, cranes her head to look
up the stairwell but she can't see where it ends.
She tries to act calm and confident --
MICHELLE
Okay. So where the hell are we?
HOWARD
Near Kenosha. 40 miles outside of
Milwaukee. Underneath my farmhouse.
13.
MICHELLE
(looking at the wine rack)
Where you just happen to have a
fully stocked dungeon.
HOWARD
I converted this cellar into a
fallout shelter right after 9/11.
The electricity comes from solar
panels mounted on the barn roof.
Water’s piped in from a well
underneath the house then it goes
through a reverse osmosis filter.
Completely self contained.
Howard leans against the table.
HOWARD (CONT'D)
Started to think I went a little
overboard, but figured, even if it
never serves its purpose, it makes
a decent wine cellar.
MICHELLE
How were you able to figure out
what happened? The TV and radio
would have stopped broadcasting the
instant the bomb went off.
HOWARD
The ones from Milwaukee did. But I
was able to pick up a station from
Chicago... until that cut out too.
But it was enough info to know I
needed to get here quick.
Michelle loses a bit of confidence.
MICHELLE
You saying Chicago was hit?
HOWARD
All I know is that they’re not
broadcasting anymore.
MICHELLE
That’s where I’m from. That’s where
my mom is. I need to call her. I
need to make sure she’s okay.
The look on Howard's face says that she’s probably not.
Michelle tears up. Howard’s not sure what to do, what to say.
14.
HOWARD
I have a daughter in Washington,
D.C. I don’t know if anything
happened there. But, I mean, it’s
Washington, D.C.
He fights back his own emotions.
HOWARD (CONT'D)
Never should have let her go.
MICHELLE
We need to go outside. Find a cell
signal. Figure out what happened.
Howard comes over, reaches out to comfort her.
HOWARD
I’m sorry. I know it’s hard, but I
can’t let --
She suddenly swings her crutch --
MICHELLE
Get the hell away from me, you
lying son of a bitch!
Michelle struggles to her feet, backs against a wall. She
keeps Howard at bay with her crutch.
MICHELLE (CONT'D)
You're full of shit! There was no
attack. You’re just a sick pervert
trying to keep me down here.
Howard looks at her, his face a blank slate. And then -- a
flash of anger. He pulls the couch away from the stairs.
HOWARD
You want to see what’s out there?
(motioning toward stairs)
Go ahead.
Howard keeps his distance as Michelle cautiously crutches her
way to the steps, struggles to climb them.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. BATHROOM\nHoward lets the curtain go but stands right outside.\n\nMICHELLE\nYeah, um, a little privacy, Doc.\n\nHoward heads toward the door.\n\nHOWARD\nLet me know if you need any help.\n\nMICHELLE\nYou can help by closing the door on\nyour way out.\n\nThrough the slit in the shower curtain Michelle watches\nHoward exit. He closes the bedroom door behind him.\n\nMichelle quickly crutches into --\n\nHOWARD’S ROOM\n\nShe hobbles to the chest of drawers and starts rooting\nthrough them. The top drawer is filled with women’s clothes.\nThe second drawer down contains men’s clothes.\n\f12.\n\nMichelle opens the third drawer revealing a cornucopia of\npharmaceuticals, including the Ketamine, antibiotics and a\nfew syringes.\n\nMichelle grabs a syringe. As she lifts it, she notices a\ncollection of old survival magazines underneath --\n\nA headline on the cover of one of them catches her eye --\n“HOW TO MAKE A WEAPON OUT OF ANYTHING.”\n\nHOWARD (0.S.)\nYou okay in there, Michelle?\n\nMichelle startles at hearing her name. She drops the syringe\nand shuts the drawer. Hobbles over and opens the door.\n\nHoward all but tumbles into the room, having had his ear\nagainst the door.\n\nMichelle tamps down her surprise and makes her way around him\nback into the --\nMAIN ROOM\n\nLeaning on her crutches, she opens the cupboard. Every square\ninch is taken up with canned goods and dried foods.\n\nMichelle turns to Howard.\n\nMICHELLE\nHow do you know my name?\n\nHOWARD\nI looked in your purse, saw your\ndriver’s license.\n\nShe works her way to the back corner. She tries the steel\ndoor next to the wine rack. The deadbolt is locked.\n\nHoward watches her but doesn't say anything.\n\nMichelle takes a seat on the couch, cranes her head to look\nup the stairwell but she can't see where it ends.\n\nShe tries to act calm and confident --\n\nMICHELLE\nOkay. So where the hell are we?\n\nHOWARD\nNear Kenosha. 40 miles outside of\nMilwaukee. Underneath my farmhouse.\n\f13.\n\nMICHELLE\n(looking at the wine rack)\nWhere you just happen to have a\nfully stocked dungeon.\n\nHOWARD\nI converted this cellar into a\nfallout shelter right after 9/11.\nThe electricity comes from solar\npanels mounted on the barn roof.\nWater’s piped in from a well\nunderneath the house then it goes\nthrough a reverse osmosis filter.\nCompletely self contained.\n\nHoward leans against the table.\n\nHOWARD (CONT'D)\nStarted to think I went a little\noverboard, but figured, even if it\nnever serves its purpose, it makes\na decent wine cellar.\n\nMICHELLE\nHow were you able to figure out\nwhat happened? The TV and radio\nwould have stopped broadcasting the\ninstant the bomb went off.\n\nHOWARD\nThe ones from Milwaukee did. But I\nwas able to pick up a station from\nChicago... until that cut out too.\nBut it was enough info to know I\nneeded to get here quick.\n\nMichelle loses a bit of confidence.\n\nMICHELLE\nYou saying Chicago was hit?\n\nHOWARD\nAll I know is that they’re not\nbroadcasting anymore.\n\nMICHELLE\nThat’s where I’m from. That’s where\nmy mom is. I need to call her. I\nneed to make sure she’s okay.\nThe look on Howard's face says that she’s probably not.\n\nMichelle tears up. Howard’s not sure what to do, what to say.\n\f14.\n\nHOWARD\nI have a daughter in Washington,\nD.C. I don’t know if anything\nhappened there. But, I mean, it’s\nWashington, D.C.\n\nHe fights back his own emotions.\n\nHOWARD (CONT'D)\nNever should have let her go.\n\nMICHELLE\nWe need to go outside. Find a cell\nsignal. Figure out what happened.\n\nHoward comes over, reaches out to comfort her.\n\nHOWARD\nI’m sorry. I know it’s hard, but I\ncan’t let --\n\nShe suddenly swings her crutch --\n\nMICHELLE\nGet the hell away from me, you\nlying son of a bitch!\n\nMichelle struggles to her feet, backs against a wall. She\nkeeps Howard at bay with her crutch.\n\nMICHELLE (CONT'D)\nYou're full of shit! There was no\nattack. You’re just a sick pervert\ntrying to keep me down here.\n\nHoward looks at her, his face a blank slate. And then -- a\nflash of anger. He pulls the couch away from the stairs.\n\nHOWARD\nYou want to see what’s out there?\n(motioning toward stairs)\nGo ahead.\nHoward keeps his distance as Michelle cautiously crutches her\nway to the steps, struggles to climb them.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. STAIRWELL - EVENING
Michelle arrives at the top of the stairs and finds a thick
lead door with a small 4x6 inch window.
Howard comes halfway up the stairs behind Michelle.
15.
HOWARD
Have a look.
Michelle leans in and stares out the window --
MICHELLE’S POV - EVENING
Late afternoon. Faint sunlight. A thin strip of the outside
world is visible along the top of the exterior stairwell --
Sunlight kicks off the front end of a dented pickup which
barely sticks out from behind the corner of a rundown barn.
Outside the barn, there’s a fenced in pen occupied by --
TWO DEAD PIGS. But not just dead -- their skin is completely
gone -- peeled, sliced or melted away. All that remains are
two huge blobs of blood-stained muscle and fat.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. TOP OF STAIRS - EVENING\nMichelle pulls away. Terror pulses through her body.\n\nHOWARD\nBelieve me now?\n\nHoward climbs the stairs as Michelle tries to get her\npanicked breathing under control.\n\nHOWARD (CONT'D)\nMildred and Frank. They seemed fine\nwhen we got here. I looked out a\nfew hours later. That’s what I saw.\n\nMICHELLE\nWhat happened to them?\n\nHOWARD\nI don’t know.\n\nHoward flips a switch on a kluged together piece of\nelectronic equipment by the door. A steady CLICKING SOUND\nemanates from the machine as the meter fluctuates slightly.\n\nHOWARD (CONT'D)\nThis is a Geiger counter.\n\nA wire runs from the device to a wand. Howard threads the\nwand through a small hole in the door. The clicking speeds up\nand the meter moves but only a little.\n\f16.\n\nHOWARD (CONT'D)\nDefinitely radioactive fallout in\nthe air, but not enough to do that\nkind of damage, not that quickly.\n\nMICHELLE\nYeah. Looks more like the work of\nsome twisted freak with a knife.\nHOWARD\n(to himself)\nGod grant me the serenity...\nHoward pulls the wand in. Looks up at Michelle.\nHOWARD (CONT'D)\nThere’s something else out there.\nSome sort of chemical, like mustard\ngas... or worse.\nMichelle subtly braces herself against the wall.\nHOWARD (CONT'D)\nWhatever it is, we sure as hell\ncan’t open this door.\n\nWithout warning -- Michelle shoves Howard as hard as she can.\nHe loses balance, tumbles down the steps, ass over elbows.\n\nMichelle grabs the door handle, turns it. But it's locked.\n\nHOWARD (0.S.) (CONT'D)\nGod damn it!\n\nMichelle frantically pulls at the door.\n\nHoward gets to his feet -- his body fills the bottom of the\nstairwell, blocking the light from the room.\n\nMichelle bangs on the small window.\n\nMICHELLE\nHelp! Somebody help me!\n\nHoward rubs his shoulder as he climbs the stairs.\n\nHOWARD\nWhat the hell is wrong with you?!\n\nThere's real anger in his voice.\n\f17.\n\nMichelle smashes her crutch against the glass, against the\nhandle, but it’s pointless. She begins sobbing, slides down\nthe wall until her butt hits the stairs.\n\nMICHELLE\nPlease let me go. Please. I\npromise, I won’t tell anyone.\nHoward stops a few steps below her.\nHOWARD\n(bordering on creepy)\nThere’s no one to tell.\n\nMichelle looks up at Howard, horrified.\n\nMICHELLE\nHow long are you going to keep me\nhere?\n\nHOWARD\n\nYou're not a prisoner.\n\nMICHELLE\n(through her sobs)\nThen open the fucking door.\n\nHoward leans in, breathing right in her ear.\n\nMichelle cowers as his hand reaches toward her... then past\nher. He switches off the Geiger counter.\n\nHOWARD\nYou're not thinking straight.\nProbably have a concussion. Then\nthere’s the shock of all this info.\n\nHoward stands back up, towering over her.\nHOWARD (CONT'D)\n\nYou open that door and whatever’s\n\nout there comes in here. Is that\n\nwhat you want? To end up looking\n\nlike my hogs?\nMichelle can’t tell if it’s a warning or a threat.\nThey stare at each other for a long moment.\n\nShe finally shakes her head... surrenders.\n\nHoward turns, lumbers back down the stairs. And as he goes,\nthe sun sets outside, leaving Michelle in near darkness.\n\f18.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. BATHROOM - LATER
Looking in the mirror, Michelle peels the blood-crusted gauze
off her forehead. The cut is still gruesome, but the bleeding
has stopped. She tapes on a clean piece of gauze.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. BATHROOM - LATER\n\nLooking in the mirror, Michelle peels the blood-crusted gauze\noff her forehead. The cut is still gruesome, but the bleeding\nhas stopped. She tapes on a clean piece of gauze.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Howard sits at the table fiddling with a small radio but
nothing's being broadcast.
Michelle crutches into the room. Howard looks over.
HOWARD
(spinning the dial)
See?
MICHELLE
I see a broken radio.
Howard shakes his head as Michelle crutches by him.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\n\nHoward sits at the table fiddling with a small radio but\nnothing's being broadcast.\n\nMichelle crutches into the room. Howard looks over.\nHOWARD\n(spinning the dial)\nSee?\n\nMICHELLE\nI see a broken radio.\n\nHoward shakes his head as Michelle crutches by him.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM
Michelle sleeps restlessly.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM\n\nMichelle sleeps restlessly.", "movie_title": "10 Cloverfield Lane_1179933"}
|
EXT. HOUSE PARTY - NIGHT - (FLASHBACK)
Michelle pushes through partying students on the porch as she
storms out of the house toward her car.
Patrick continues after her.
PATRICK
Come on, Michelle. I made a
mistake. Give me another chance.
MICHELLE
(slurring slightly)
Same thing my dad used to say. And
my mom was stupid enough to believe
it. Until he left her for good.
PATRICK
This is about you and me. Not them.
Michelle opens her car door.
19.
MICHELLE
You're right. It's about you and
me. And Lauren. And that's one too
many.
She gets in the car and slams the door. Patrick grabs the
handle but it's already locked.
PATRICK
Get out of the car. You're not
alright to drive. Seriously.
Michelle peels away from the curb --
Two students jump out of the way.
She squeals around a corner and disappears into the night...
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM\n\nMichelle wakes with a start. She looks over to --\n\nHOWARD standing silently in the doorway. He turns and walks\naway without a word.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. BATHROOM
Michelle inspects her damaged knee. Then she glances at
Howard’s dresser drawers. She crutches toward them, keeping a
nervous eye on the door to the main room.
HOWARD (0.S.)
You alright in there?
She stops.
MICHELLE
Yeah. I’m fine.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. BATHROOM\n\nMichelle inspects her damaged knee. Then she glances at\nHoward’s dresser drawers. She crutches toward them, keeping a\n\nnervous eye on the door to the main room.\n\nHOWARD (0.S.)\nYou alright in there?\n\nShe stops.\nMICHELLE\nYeah. I’m fine.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Howard and Michelle sit at the table, eating in silence. He
looks at her, but she keeps her eyes on her plate.
HOWARD
(trying for small talk)
What were you doing in Milwaukee?
Eyes down, Michelle pushes her food around with her fork.
20.
MICHELLE
(almost robotic)
Visiting a friend.
(a beat)
But he’s probably dead, right?
So what’s the point in talking
about it?
So much for small talk. Howard bites his tongue as he pushes
away from the table.
FADE TO BLACK.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\n\nHoward and Michelle sit at the table, eating in silence. He\nlooks at her, but she keeps her eyes on her plate.\n\nHOWARD\n(trying for small talk)\nWhat were you doing in Milwaukee?\n\nEyes down, Michelle pushes her food around with her fork.\n\f20.\n\nMICHELLE\n(almost robotic)\nVisiting a friend.\n(a beat)\nBut he’s probably dead, right?\nSo what’s the point in talking\nabout it?\n\nSo much for small talk. Howard bites his tongue as he pushes\naway from the table.\n\nFADE TO BLACK.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. BATHROOM
A few days have passed. Michelle looks at herself in the
mirror. She peels the gauze from her head. The wound is
healed enough that she doesn’t replace the gauze.
She runs water but sneaks from the bathroom -- using the
noise to mask her movement. She hobbles into --
HOWARD’S ROOM
She crosses the room without her crutches, limping but moving
reasonably well.
Michelle opens a drawer and takes the magazine with the “HOW
TO MAKE A WEAPON OUT OF ANYTHING” cover.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. BATHROOM\n\nA few days have passed. Michelle looks at herself in the\nmirror. She peels the gauze from her head. The wound is\nhealed enough that she doesn’t replace the gauze.\n\nShe runs water but sneaks from the bathroom -- using the\nnoise to mask her movement. She hobbles into --\nHOWARD’S ROOM\n\nShe crosses the room without her crutches, limping but moving\nreasonably well.\n\nMichelle opens a drawer and takes the magazine with the “HOW\nTO MAKE A WEAPON OUT OF ANYTHING” cover.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - MOMENTS LATER
Michelle maneuvers through the main room -- past Howard. She
leans heavily on the crutches making it appear that she’s
completely dependent on them to get around.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - MOMENTS LATER\n\nMichelle maneuvers through the main room -- past Howard. She\nleans heavily on the crutches making it appear that she’s\ncompletely dependent on them to get around.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM
Using the sharp edge of a soup can lid, Michelle whittles
away at the end of one of her crutches, slowly shaping it
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM\n\nUsing the sharp edge of a soup can lid, Michelle whittles\naway at the end of one of her crutches, slowly shaping it", "movie_title": "10 Cloverfield Lane_1179933"}
|
into a point. She hears Howard moving outside and quickly
rewraps the end with tape.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "into a point. She hears Howard moving outside and quickly\nrewraps the end with tape.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM - LATER
Michelle lies on her mattress as Howard unwraps the bandage
on her knee. Michelle winces as the last layer sticks to her
pus-covered wound. Howard tugs it off.
21.
MICHELLE
Ow! Damn it. That hurt.
They both stare at the wound. It’s gruesome.
MICHELLE (CONT'D)
I need to go to a hospital. I need
a real doctor.
Howard ignores the dig.
HOWARD
Where are you hiding them?
MICHELLE
What are you talking about?
HOWARD
The antibiotics.
Michelle doesn’t answer.
HOWARD (CONT'D)
Think you'll still be able to
refuse medicine when this turns
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM - LATER\n\nMichelle lies on her mattress as Howard unwraps the bandage\non her knee. Michelle winces as the last layer sticks to her\npus-covered wound. Howard tugs it off.\n\f21.\n\nMICHELLE\nOw! Damn it. That hurt.\n\nThey both stare at the wound. It’s gruesome.\n\nMICHELLE (CONT'D)\nI need to go to a hospital. I need\na real doctor.\n\nHoward ignores the dig.\n\nHOWARD\nWhere are you hiding them?\n\nMICHELLE\nWhat are you talking about?\n\nHOWARD\nThe antibiotics.\n\nMichelle doesn’t answer.\n\nHOWARD (CONT'D)\n\nThink you'll still be able to\nrefuse medicine when this turns", "movie_title": "10 Cloverfield Lane_1179933"}
|
into gangrene... and I have to saw
your leg off?
Michelle looks from the wound to Howard. He’s serious.
She reaches into a small slit on the side of her mattress and
digs out a dozen pills. She sets them on the bed.
Howard separates them into two piles.
HOWARD (CONT'D)
(pointing at one pile)
You’re welcome to suffer through
the pain all you want...
(points at the other pile)
But you will take the antibiotics.
Michelle picks up one pill from each pile. Pops them both
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "into gangrene... and I have to saw\nyour leg off?\n\nMichelle looks from the wound to Howard. He’s serious.\n\nShe reaches into a small slit on the side of her mattress and\ndigs out a dozen pills. She sets them on the bed.\n\nHoward separates them into two piles.\n\nHOWARD (CONT'D)\n(pointing at one pile)\nYou’re welcome to suffer through\nthe pain all you want...\n(points at the other pile)\nBut you will take the antibiotics.\n\nMichelle picks up one pill from each pile. Pops them both", "movie_title": "10 Cloverfield Lane_1179933"}
|
into her mouth and swallows.
MICHELLE
Happy?
Howard rewraps Michelle’s knee with a clean bandage then gets
up and heads for the door.
HOWARD
I’m stuck down here too, you know.
22.
He pulls the door shut on his way out.
Michelle reaches over and grabs her crutch. She unravels the
duct tape and goes back to work, sharpening it into a point.
The painkiller kicks in. She groggily tucks the lid back
under the mattress then lies down and drifts to sleep.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "into her mouth and swallows.\n\nMICHELLE\nHappy?\n\nHoward rewraps Michelle’s knee with a clean bandage then gets\nup and heads for the door.\n\nHOWARD\nI’m stuck down here too, you know.\n\f22.\n\nHe pulls the door shut on his way out.\n\nMichelle reaches over and grabs her crutch. She unravels the\nduct tape and goes back to work, sharpening it into a point.\n\nThe painkiller kicks in. She groggily tucks the lid back\nunder the mattress then lies down and drifts to sleep.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. /EXT. MICHELLE'S CAR - NIGHT - (FLASHBACK)
Michelle speeds on a winding country road. A truck pulls up
behind her. Its LIGHTS GLARE in her rearview mirror. It seems
to get closer and closer.
Michelle swerves across the road drunkenly. The truck HONKS.
She guns the engine, accelerates. The truck keeps pace,
tailgating her yet again.
She glances at her rearview. The glare blinds her...
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. /EXT. MICHELLE'S CAR - NIGHT - (FLASHBACK)\n\nMichelle speeds on a winding country road. A truck pulls up\nbehind her. Its LIGHTS GLARE in her rearview mirror. It seems\nto get closer and closer.\n\nMichelle swerves across the road drunkenly. The truck HONKS.\n\nShe guns the engine, accelerates. The truck keeps pace,\ntailgating her yet again.\n\nShe glances at her rearview. The glare blinds her...", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM
Michelle jolts awake.
The bedroom door is open, but she’s alone. She reaches for
her crutches, notices that the tape at the foot of one of
them is unraveled, the carved point clearly visible.
She grabs it and tapes it up. But she has no idea if Howard
was in the room to see it or not.
She lies back on the bed for a moment, listens. Nothing but
the WHOOSH of air coming in through the vent above her.
Michelle stares up at the vent -- an idea comes to her. She
grabs her crutches and limps out of the room.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM\n\nMichelle jolts awake.\n\nThe bedroom door is open, but she’s alone. She reaches for\nher crutches, notices that the tape at the foot of one of\nthem is unraveled, the carved point clearly visible.\n\nShe grabs it and tapes it up. But she has no idea if Howard\nwas in the room to see it or not.\n\nShe lies back on the bed for a moment, listens. Nothing but\nthe WHOOSH of air coming in through the vent above her.\n\nMichelle stares up at the vent -- an idea comes to her. She\ngrabs her crutches and limps out of the room.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Michelle peeks into Howard’s room. He snores on his mattress.
She quietly closes his door then stares up at the ventilation
system above the kitchenette where two air ducts branch off
from the main register and pipe into the bedrooms.
23.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\n\nMichelle peeks into Howard’s room. He snores on his mattress.\nShe quietly closes his door then stares up at the ventilation\n\nsystem above the kitchenette where two air ducts branch off\nfrom the main register and pipe into the bedrooms.\n\f23.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM
Michelle strips the cover from her pillow. She uses the spear-
point on her crutch to rip one end open and begins pulling
out the polyester stuffing.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM\n\nMichelle strips the cover from her pillow. She uses the spear-\npoint on her crutch to rip one end open and begins pulling\nout the polyester stuffing.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Michelle climbs onto a folding chair beneath the main vent.
She pulls off the cover and shoves the stuffing into the
ventilation system.
When she has it all in, she takes a crutch and pushes it as
far into the duct as possible.
She climbs off the chair then reaches up and BANGS on the
vent with her crutch until Howard's snoring stops.
She hears him moving and quickly limps back into her room.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\n\nMichelle climbs onto a folding chair beneath the main vent.\nShe pulls off the cover and shoves the stuffing into the\n\nventilation system.\n\nWhen she has it all in, she takes a crutch and pushes it as\nfar into the duct as possible.\n\nShe climbs off the chair then reaches up and BANGS on the\nvent with her crutch until Howard's snoring stops.\n\nShe hears him moving and quickly limps back into her room.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM - MOMENTS LATER
Michelle catches a glimpse of Howard through the open door.
She waits a beat then hobbles out of the bedroom.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM - MOMENTS LATER\nMichelle catches a glimpse of Howard through the open door.\n\nShe waits a beat then hobbles out of the bedroom.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - CONTINUOUS
Howard is on a chair underneath the main duct. His ear and
his hand are pressed up against the vent.
Howard turns to Michelle -- deadly serious look on his face.
HOWARD
The ventilation system is failing.
Michelle’s face gives nothing away.
MICHELLE
What are you gonna do?
HOWARD
Don’t know. If it’s the solar
panels we’re screwed because I
can’t go outside to repair them.
He turns valves on the ducts that lead into the bedrooms.
24.
HOWARD (CONT'D)
I’m shutting down the bedroom flow.
We'll have to limit ourselves to
this room. Keep the system from
having to work so hard.
He gets down from the chair.
MICHELLE
What about the bathroom?
HOWARD
I‘ll keep a bucket in here. Short
of that, you'll have to be quick.
Howard seems to be staring at the tape on the bottom of
Michelle’s crutches as he speaks.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - CONTINUOUS\n\nHoward is on a chair underneath the main duct. His ear and\nhis hand are pressed up against the vent.\n\nHoward turns to Michelle -- deadly serious look on his face.\n\nHOWARD\nThe ventilation system is failing.\n\nMichelle’s face gives nothing away.\n\nMICHELLE\nWhat are you gonna do?\n\nHOWARD\nDon’t know. If it’s the solar\npanels we’re screwed because I\ncan’t go outside to repair them.\n\nHe turns valves on the ducts that lead into the bedrooms.\n\f24.\n\nHOWARD (CONT'D)\nI’m shutting down the bedroom flow.\nWe'll have to limit ourselves to\nthis room. Keep the system from\nhaving to work so hard.\n\nHe gets down from the chair.\n\nMICHELLE\nWhat about the bathroom?\n\nHOWARD\nI‘ll keep a bucket in here. Short\nof that, you'll have to be quick.\n\nHoward seems to be staring at the tape on the bottom of\nMichelle’s crutches as he speaks.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - LATER
Michelle sets two plates on the table, unidentifiable blobs
of canned meat and pale vegetables on both.
MICHELLE
Two years worth of food down here
and not a single piece of
chocolate.
Howard stands on a folding chair, his face against the vent.
HOWARD
Surviving is about the essentials.
Michelle drops into a chair, exhausted. She stares at the
wall of wine, looks around the rest of the sparse room.
MICHELLE
Yeah, there’s no way a bag of
chocolates would've fit in here.
HOWARD
Tell you what. Next time I’m
planning for the apocalypse, I'1l
make sure to buy candy bars. Right
now we have more pressing problems.
He gets down from the chair and joins Michelle at the table.
They both struggle to catch their breath.
HOWARD (CONT'D)
(somber )
We're not getting enough oxygen.
(MORE )
25.
HOWARD (CONT'D)
I might have to go outside and see
if I can fix it.
MICHELLE
Thought it was poisonous outside.
HOWARD
It is. But we’re facing carbon
dioxide poisoning down here.
Something has to be done.
Howard picks up a fork and starts eating. Michelle just
stares at her plate. Is she having second thoughts?
MICHELLE
If this crap is our last meal, we
need something better than water to
wash it down.
She crutches over to the wine rack and grabs a random bottle.
HOWARD
You’re not old enough for that.
MICHELLE
Feel free to call the cops.
She sets the bottle on the table, hobbles over and digs
through the utensil drawer.
HOWARD
You were drinking the night you
crashed. I could smell it on you.
MICHELLE
(laughs)
Then drunk driving saved my life.
Otherwise I’d be a skinless corpse,
right?
(frustrated)
Where’s the corkscrew?
HOWARD
I’ve never opened a bottle down
here. It’s just storage. Guess
we'll have to make do with water.
Michelle pulls off her shoe. She grabs the bottle and puts
the base of it in the bottom of the shoe then starts gently
banging it against the nearby door frame.
HOWARD (CONT'D)
What are you doing?
26.
MICHELLE
Most parents won't notice if a
bottle of wine disappears, but they
will notice a missing corkscrew.
Michelle is breathing heavily from the lack of oxygen, but
little by little the wine forces the cork from the bottle.
When it’s halfway up, she twists it the rest of the way out.
She takes a moment to catch her breath, then fills her glass.
She goes to fill Howard’s glass. He holds his hand over it.
HOWARD
I don’t drink.
Michelle looks over at the wall of wine.
MICHELLE
That just decorative?
Howard looks down at his dinner plate.
HOWARD
I used to. I don’t anymore.
Michelle raises her glass.
MICHELLE
More for me then. Cheers.
She takes a big swig.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - LATER\n\nMichelle sets two plates on the table, unidentifiable blobs\nof canned meat and pale vegetables on both.\n\nMICHELLE\nTwo years worth of food down here\nand not a single piece of\nchocolate.\n\nHoward stands on a folding chair, his face against the vent.\n\nHOWARD\nSurviving is about the essentials.\n\nMichelle drops into a chair, exhausted. She stares at the\nwall of wine, looks around the rest of the sparse room.\n\nMICHELLE\nYeah, there’s no way a bag of\nchocolates would've fit in here.\n\nHOWARD\nTell you what. Next time I’m\nplanning for the apocalypse, I'1l\nmake sure to buy candy bars. Right\nnow we have more pressing problems.\n\nHe gets down from the chair and joins Michelle at the table.\nThey both struggle to catch their breath.\n\nHOWARD (CONT'D)\n(somber )\nWe're not getting enough oxygen.\n(MORE )\n\f25.\n\nHOWARD (CONT'D)\nI might have to go outside and see\nif I can fix it.\n\nMICHELLE\nThought it was poisonous outside.\n\nHOWARD\nIt is. But we’re facing carbon\ndioxide poisoning down here.\nSomething has to be done.\n\nHoward picks up a fork and starts eating. Michelle just\nstares at her plate. Is she having second thoughts?\n\nMICHELLE\nIf this crap is our last meal, we\nneed something better than water to\nwash it down.\n\nShe crutches over to the wine rack and grabs a random bottle.\n\nHOWARD\nYou’re not old enough for that.\n\nMICHELLE\nFeel free to call the cops.\n\nShe sets the bottle on the table, hobbles over and digs\nthrough the utensil drawer.\n\nHOWARD\nYou were drinking the night you\ncrashed. I could smell it on you.\n\nMICHELLE\n(laughs)\nThen drunk driving saved my life.\nOtherwise I’d be a skinless corpse,\nright?\n(frustrated)\nWhere’s the corkscrew?\n\nHOWARD\nI’ve never opened a bottle down\nhere. It’s just storage. Guess\nwe'll have to make do with water.\n\nMichelle pulls off her shoe. She grabs the bottle and puts\nthe base of it in the bottom of the shoe then starts gently\nbanging it against the nearby door frame.\n\nHOWARD (CONT'D)\nWhat are you doing?\n\f26.\n\nMICHELLE\nMost parents won't notice if a\nbottle of wine disappears, but they\nwill notice a missing corkscrew.\n\nMichelle is breathing heavily from the lack of oxygen, but\nlittle by little the wine forces the cork from the bottle.\n\nWhen it’s halfway up, she twists it the rest of the way out.\n\nShe takes a moment to catch her breath, then fills her glass.\nShe goes to fill Howard’s glass. He holds his hand over it.\n\nHOWARD\nI don’t drink.\n\nMichelle looks over at the wall of wine.\n\nMICHELLE\nThat just decorative?\n\nHoward looks down at his dinner plate.\n\nHOWARD\nI used to. I don’t anymore.\n\nMichelle raises her glass.\n\nMICHELLE\nMore for me then. Cheers.\n\nShe takes a big swig.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - LATER
Michelle’s food is still uneaten but the wine bottle is half
empty. The lack of oxygen mixed with the booze has her tipsy.
She refills her glass.
HOWARD
You’ve had enough.
Michelle picks up her glass and takes a gulp. She looks at
the full wine rack.
MICHELLE
Why keep all those bottles if you
don’t drink?
HOWARD
It’s a long story.
27.
MICHELLE
(sarcastic)
Yeah, maybe you can tell me some
day when we have more time.
Howard shrugs.
HOWARD
Maybe I‘11 tell you some day when
you’re ready to listen.
Michelle stares at the unappetizing food on the plate in
front of her.
MICHELLE
I can’t look at this shit anymore.
Michelle, still tipsy, grabs her plate and limps over to the
sink WITHOUT HER CRUTCHES.
Howard watches her intently as she makes her way back to the
table and sits down next to her forgotten crutches.
HOWARD
(suspiciously)
Your knee’s getting a lot better.
Michelle takes another drink of wine, plays it cool.
MICHELLE
Guess the alcohol numbs the pain.
Howard nods dubiously. All of a sudden, he gets up from his
chair and walks to the back of the room. He digs a small key
ring out of his pocket and opens up the locked closet door.
Howard pulls out the shovel before closing the door and
locking it.
MICHELLE (CONT'D)
What are you doing?
HOWARD
Wondering how I could be so naive.
Howard walks underneath the main duct, tapping it with the
shovel handle as he goes.
TAP -- a hollow echo. TAP -- another hollow echo. TAP -- same
hollow sound. Howard glances at Michelle.
She fights to keep a disinterested look on her face.
28.
He walks a few more feet. Reaches up, TAPS again -- and this
part of the duct answers with a muted THUMP.
Howard climbs onto a chair. He pushes the shovel deep into
the vent and starts fishing around.
Michelle surreptitiously unwraps the tape from the bottom of
her crutch under the table as she keeps her eyes on Howard.
Howard pulls the shovel out, bringing a big chunk of
polyester pillow stuffing with it.
Air immediately starts flowing into the room again.
Howard looks at Michelle. He’s furious.
HOWARD (CONT'D)
I pulled you from a crushed car.
Kept you safe from whatever’s in
the air out there. I gave you
antibiotics from my limited supply.
He climbs off the chair, shakes the edge of the shovel at her
as he speaks. He doesn’t seem to notice her shaky hands
working underneath the table.
HOWARD (CONT'D)
You were a stranger. I owed you
nothing. But I helped you anyhow.
And instead of thanking me, you try
to kill us both.
Howard takes a step toward Michelle. She jumps up from the
table and thrusts her spike-tipped crutch at Howard. He
knocks it aside with the shovel.
She pulls it back, ready to strike again.
MICHELLE
Is that your plan? Lock me up and
keep telling me how thankful I
should be until I throw myself at
you? Well, it’s never gonna happen.
(raises the spear higher)
I won’t let you hurt me.
HOWARD
That’s the beauty of it. I don’t
have to.
He throws the shovel down.
29.
HOWARD (CONT'D)
I’m gonna let you hurt yourself.
He reaches into his pocket and pulls out his key ring. Sets
it on the table.
HOWARD (CONT'D)
It’s the small brass one.
Michelle hesitates for a long moment, not sure if she
believes him, not sure if this is some kind of a test.
HOWARD (CONT'D)
You're free to go.
Howard drags the couch away from the stairwell.
Keeping the crutch pointed in front of her, Michelle steps
forward, grabs the keys off the table.
She limps toward the exit, crutch at the ready.
HOWARD (CONT'D)
There's just one thing...
Howard’s voice wavers between menace and regret.
HOWARD (CONT'D)
Once you leave, you can't come
back. You'll be covered with
whatever it is that melted the skin
off my hogs. Go ahead and kill
yourself if you like. But I’m not
going to let you kill me too. Your
choice.
Michelle makes her way into the --
STAIRWELL - DAY
She slowly climbs the stairs. Daylight filters in through the
tiny window above.
She gets to the top, fumbles with the key ring --
She sticks the small brass key in the lock --
She pauses, looks back down the stairs. Howard’s nowhere to
be seen. But he calls out --
30.
HOWARD (0.S.)
Leave the keys in the door. And be
quick to close it.
Michelle pauses... Decision time. She hesitates --
And then the daylight from the window suddenly goes DARK.
Michelle spins around -- a man in a hazmat hood presses
against the window -- looking right at her.
He BANGS frantically.
MAN
(muffled)
Open the door! Open the god damn
door!
Michelle SCREAMS in terror.
Howard rushes to the bottom of the stairs, sees the figure on
the other side of the window --
HOWARD
Do not open that door!
Michelle panics, spins the key, unlocking the door.
Before Howard can get up to her, the man pulls open the door
and enters, pushing into Michelle -- TOUCHING HER --
The man blocks Michelle from getting out. He spins back,
shuts and locks the door. Then strips off his hazmat hood.
MAN
(whispering)
Shh! We don’t want them to find us.
This is NATE (20s), his matted hair and dirty face only
enhance his rugged good looks.
MICHELLE
Who?
NATE
(whispering)
Get back! Get away from me!
Howard disappears down the stairwell. Michelle hesitates...
Maybe it’s the booze or the lack of oxygen -- or maybe it’s
something in Nate’s voice that convinces her. But Michelle
backs down the stairs, away from the door.
31.
Nate looks out the window one more time before he heads down
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - LATER\n\nMichelle’s food is still uneaten but the wine bottle is half\nempty. The lack of oxygen mixed with the booze has her tipsy.\nShe refills her glass.\n\nHOWARD\nYou’ve had enough.\n\nMichelle picks up her glass and takes a gulp. She looks at\nthe full wine rack.\n\nMICHELLE\nWhy keep all those bottles if you\ndon’t drink?\n\nHOWARD\nIt’s a long story.\n\f27.\n\nMICHELLE\n(sarcastic)\nYeah, maybe you can tell me some\nday when we have more time.\n\nHoward shrugs.\nHOWARD\nMaybe I‘11 tell you some day when\nyou’re ready to listen.\n\nMichelle stares at the unappetizing food on the plate in\nfront of her.\n\nMICHELLE\nI can’t look at this shit anymore.\n\nMichelle, still tipsy, grabs her plate and limps over to the\nsink WITHOUT HER CRUTCHES.\n\nHoward watches her intently as she makes her way back to the\ntable and sits down next to her forgotten crutches.\n\nHOWARD\n(suspiciously)\nYour knee’s getting a lot better.\nMichelle takes another drink of wine, plays it cool.\n\nMICHELLE\nGuess the alcohol numbs the pain.\n\nHoward nods dubiously. All of a sudden, he gets up from his\nchair and walks to the back of the room. He digs a small key\nring out of his pocket and opens up the locked closet door.\n\nHoward pulls out the shovel before closing the door and\nlocking it.\n\nMICHELLE (CONT'D)\nWhat are you doing?\n\nHOWARD\nWondering how I could be so naive.\n\nHoward walks underneath the main duct, tapping it with the\nshovel handle as he goes.\n\nTAP -- a hollow echo. TAP -- another hollow echo. TAP -- same\nhollow sound. Howard glances at Michelle.\n\nShe fights to keep a disinterested look on her face.\n\f28.\n\nHe walks a few more feet. Reaches up, TAPS again -- and this\npart of the duct answers with a muted THUMP.\n\nHoward climbs onto a chair. He pushes the shovel deep into\nthe vent and starts fishing around.\n\nMichelle surreptitiously unwraps the tape from the bottom of\nher crutch under the table as she keeps her eyes on Howard.\n\nHoward pulls the shovel out, bringing a big chunk of\npolyester pillow stuffing with it.\n\nAir immediately starts flowing into the room again.\nHoward looks at Michelle. He’s furious.\n\nHOWARD (CONT'D)\nI pulled you from a crushed car.\nKept you safe from whatever’s in\nthe air out there. I gave you\nantibiotics from my limited supply.\n\nHe climbs off the chair, shakes the edge of the shovel at her\nas he speaks. He doesn’t seem to notice her shaky hands\nworking underneath the table.\n\nHOWARD (CONT'D)\nYou were a stranger. I owed you\nnothing. But I helped you anyhow.\nAnd instead of thanking me, you try\nto kill us both.\n\nHoward takes a step toward Michelle. She jumps up from the\ntable and thrusts her spike-tipped crutch at Howard. He\nknocks it aside with the shovel.\n\nShe pulls it back, ready to strike again.\n\nMICHELLE\nIs that your plan? Lock me up and\nkeep telling me how thankful I\nshould be until I throw myself at\nyou? Well, it’s never gonna happen.\n(raises the spear higher)\nI won’t let you hurt me.\n\nHOWARD\nThat’s the beauty of it. I don’t\nhave to.\n\nHe throws the shovel down.\n\f29.\nHOWARD (CONT'D)\nI’m gonna let you hurt yourself.\n\nHe reaches into his pocket and pulls out his key ring. Sets\nit on the table.\n\nHOWARD (CONT'D)\nIt’s the small brass one.\n\nMichelle hesitates for a long moment, not sure if she\nbelieves him, not sure if this is some kind of a test.\n\nHOWARD (CONT'D)\nYou're free to go.\n\nHoward drags the couch away from the stairwell.\n\nKeeping the crutch pointed in front of her, Michelle steps\nforward, grabs the keys off the table.\n\nShe limps toward the exit, crutch at the ready.\n\nHOWARD (CONT'D)\nThere's just one thing...\n\nHoward’s voice wavers between menace and regret.\n\nHOWARD (CONT'D)\nOnce you leave, you can't come\nback. You'll be covered with\nwhatever it is that melted the skin\noff my hogs. Go ahead and kill\nyourself if you like. But I’m not\ngoing to let you kill me too. Your\nchoice.\n\nMichelle makes her way into the --\n\nSTAIRWELL - DAY\n\nShe slowly climbs the stairs. Daylight filters in through the\ntiny window above.\n\nShe gets to the top, fumbles with the key ring --\nShe sticks the small brass key in the lock --\n\nShe pauses, looks back down the stairs. Howard’s nowhere to\nbe seen. But he calls out --\n\f30.\n\nHOWARD (0.S.)\nLeave the keys in the door. And be\nquick to close it.\n\nMichelle pauses... Decision time. She hesitates --\nAnd then the daylight from the window suddenly goes DARK.\n\nMichelle spins around -- a man in a hazmat hood presses\nagainst the window -- looking right at her.\n\nHe BANGS frantically.\n\nMAN\n(muffled)\nOpen the door! Open the god damn\ndoor!\n\nMichelle SCREAMS in terror.\n\nHoward rushes to the bottom of the stairs, sees the figure on\nthe other side of the window --\n\nHOWARD\nDo not open that door!\n\nMichelle panics, spins the key, unlocking the door.\n\nBefore Howard can get up to her, the man pulls open the door\nand enters, pushing into Michelle -- TOUCHING HER --\n\nThe man blocks Michelle from getting out. He spins back,\nshuts and locks the door. Then strips off his hazmat hood.\n\nMAN\n(whispering)\nShh! We don’t want them to find us.\n\nThis is NATE (20s), his matted hair and dirty face only\nenhance his rugged good looks.\n\nMICHELLE\nWho?\n\nNATE\n(whispering)\nGet back! Get away from me!\n\nHoward disappears down the stairwell. Michelle hesitates...\nMaybe it’s the booze or the lack of oxygen -- or maybe it’s\n\nsomething in Nate’s voice that convinces her. But Michelle\nbacks down the stairs, away from the door.\n\f31.\n\nNate looks out the window one more time before he heads down", "movie_title": "10 Cloverfield Lane_1179933"}
|
into the --
MAIN ROOM
Howard stands on a chair under the vent, turning the valves
on the ducts that lead to the bedrooms.
HOWARD
We need to get that suit cleaned
off. Right now.
Nate hurries past Michelle into Howard’s room -- he clearly
knows his way around.
MICHELLE
What the hell is going on?
HOWARD
(a concerned look)
That’s Nate.
MICHELLE
You know him?
Howard nods, but not happily. He gets down from the chair and
heads for his bedroom.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "into the --\nMAIN ROOM\n\nHoward stands on a chair under the vent, turning the valves\non the ducts that lead to the bedrooms.\n\nHOWARD\nWe need to get that suit cleaned\noff. Right now.\n\nNate hurries past Michelle into Howard’s room -- he clearly\nknows his way around.\n\nMICHELLE\nWhat the hell is going on?\n\nHOWARD\n(a concerned look)\nThat’s Nate.\n\nMICHELLE\nYou know him?\n\nHoward nods, but not happily. He gets down from the chair and\nheads for his bedroom.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. BATHROOM
Nate strips off the suit. Underneath he’s only wearing a pair
of boxers and few tattoos. He throws the suit in the tub.
Howard comes in and starts running the water over it.
Nate looks back, sees Michelle in the bedroom doorway. He
hurries into --
HOWARD’S ROOM
-- in just his boxers. Michelle can’t help but notice Nate is
in great shape.
NATE
You touched the suit. You need to
get washed off right away.
He reaches for her. She doesn’t resist. He leads her back to
the --
32.
BATHROOM
Howard scrubs the suit which is completely submerged. Nate
holds a towel under the faucet -- but the water flow has
reduced to a drip. Nate begins to put the towel in the tub.
HOWARD
No! Water might be contaminated.
Howard closes the faucet.
HOWARD (CONT'D)
Try the sink.
Nate spins the sink faucet. It sputters and a weak stream of
water flows out.
Nate wets the towel as he turns to Michelle.
NATE
Those clothes have to go. Throw ‘em
in the tub with the suit. Then wash
yourself down.
MICHELLE
What?
NATE
If you want to keep your skin, you
need to lose your clothes. Now!
Michelle takes the towel, pauses, looks at Nate then Howard,
who’s paying no attention as he cleans the hazmat suit.
Nate sighs, turns away from her.
NATE (CONT'D)
No time to be modest.
Michelle strips down to her underwear.
Nate keeps his back to her, but turns enough to sneak a peek
in the mirror as Michelle washes herself down with the towel.
ON HOWARD
He turns the hazmat suit inside out to scrub the rest.
And he sees -- written on the inside in permanent marker:
PROPERTY OF JOHN BENNETT, PIKEVILLE FIRE DEPT.
33.
Howard stares at the name, his face tightening up. He glances
at Nate, who still has his back turned.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. BATHROOM\n\nNate strips off the suit. Underneath he’s only wearing a pair\nof boxers and few tattoos. He throws the suit in the tub.\n\nHoward comes in and starts running the water over it.\nNate looks back, sees Michelle in the bedroom doorway. He\nhurries into --\n\nHOWARD’S ROOM\n\n-- in just his boxers. Michelle can’t help but notice Nate is\nin great shape.\n\nNATE\nYou touched the suit. You need to\nget washed off right away.\n\nHe reaches for her. She doesn’t resist. He leads her back to\nthe --\n\f32.\n\nBATHROOM\n\nHoward scrubs the suit which is completely submerged. Nate\nholds a towel under the faucet -- but the water flow has\nreduced to a drip. Nate begins to put the towel in the tub.\n\nHOWARD\nNo! Water might be contaminated.\n\nHoward closes the faucet.\n\nHOWARD (CONT'D)\nTry the sink.\n\nNate spins the sink faucet. It sputters and a weak stream of\nwater flows out.\n\nNate wets the towel as he turns to Michelle.\nNATE\nThose clothes have to go. Throw ‘em\nin the tub with the suit. Then wash\nyourself down.\n\nMICHELLE\nWhat?\n\nNATE\nIf you want to keep your skin, you\nneed to lose your clothes. Now!\n\nMichelle takes the towel, pauses, looks at Nate then Howard,\nwho’s paying no attention as he cleans the hazmat suit.\n\nNate sighs, turns away from her.\n\nNATE (CONT'D)\nNo time to be modest.\n\nMichelle strips down to her underwear.\n\nNate keeps his back to her, but turns enough to sneak a peek\nin the mirror as Michelle washes herself down with the towel.\nON HOWARD\n\nHe turns the hazmat suit inside out to scrub the rest.\n\nAnd he sees -- written on the inside in permanent marker:\nPROPERTY OF JOHN BENNETT, PIKEVILLE FIRE DEPT.\n\f33.\n\nHoward stares at the name, his face tightening up. He glances\nat Nate, who still has his back turned.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - LATER
Nate, now in a pair of Howard’s jeans and a t-shirt, sits at
the table with Howard. They speak in tense whispers.
HOWARD
Got some nerve showing up here now.
NATE
You said I was always welcome.
HOWARD
A lot’s changed since then. And you
know it.
Michelle walks in, dressed in a different set of clothes.
Nate eyes her as she heads for the couch.
NATE
(to Howard)
A little greedy wanting to keep
this all for yourself.
She sits on the couch and looks at the men distrustfully.
MICHELLE
(to Howard, re: Nate)
He was out there. He seems fine.
HOWARD
Because of the hazmat suit.
(stares at Nate)
Lucky you happened to have that.
MICHELLE
(to Howard)
This all part of the plan? You
couldn’t convince me so you called
for backup.
NATE
What’s her problem?
HOWARD
Not sure where to start.
34.
MICHELLE
You're both full of shit and now
you’re sitting there trying to get
your lies straight.
NATE
You seriously think I’ve been
standing at the top of the stairs
in a hazmat suit for a week -- just
waiting for you to open the door?
When he puts it that way, it does sound like a stretch.
MICHELLE
I don’t know what to think anymore.
NATE
Lucky you. This is one of those
cases where ignorance is bliss.
HOWARD
(under his breath)
Then she should be ecstatic.
Nate gets up from the table, walks over to Michelle. He
offers his hand along with his most charming look.
NATE
I’m Nate. I built this place --
HOWARD
You helped.
Nate ignores him -- keeps his focus on Michelle.
NATE
What’s your name?
MICHELLE
Michelle.
He reaches out and she gives him a half-hearted shake. Nate
takes a seat on the couch next to her still holding her hand.
NATE
I wasn’t expecting to find anyone
but Howard here.
(flashes a magnetic smile)
Guess my luck finally took a turn.
Nate squeezes Michelle’s hand. She pulls it away guardedly.
35.
NATE (CONT'D)
Nice to meet you, Michelle.
Out of the corner of her eye, Michelle glimpses Howard
furrowing his eyebrows at the sight of Nate next to her.
Michelle turns, offers Nate a forced smile.
MICHELLE
Nice to meet you too, Nate.
HOWARD
(interrupting the moment)
So how is it out there?
NATE
Something’s still in the air. Not
as bad as it was but...
(a beat)
On the way here, I came across a
guy that looked like he’d been
dropped in a deep-fryer. That'd
been me if I didn’t have a suit.
MICHELLE
Did everyone but me know the world
was about to end?
Howard stands, moves closer to them.
HOWARD
So what happened? Who’s behind it?
NATE
Well, there was a lot of talk...
But not a lot of answers.
Nate leans forward on the couch. Howard and Michelle stare
with anticipation. This guy knows how to tell a story.
NATE (CONT'D)
It’s all just rumors... But word
is, Iran got hold of some Russian
stockpiles -- nuclear, chemical,
the works. Hired some fanatical
whack jobs to hand deliver the
bombs. Then they exploded the
chemical stuff everywhere else.
MICHELLE
Russians probably made it easy for
them.
36.
HOWARD
Hold on a second. I rescue you.
Keep you safe. And you refuse to
believe a word I say. But this guy
shows up and tells us the obvious
and you buy in?
NATE
I have an honest face.
MICHELLE
I didn't say I believed him. It’s
just his story makes sense.
Michelle startles as the ventilation system GROANS... then
starts emitting a cyclical CLUNKING sound.
HOWARD
Christ. Your little stunt must've
damaged the system.
MICHELLE
Can you fix it?
HOWARD
I'd have to go out for that.
MICHELLE
I‘ll do it.
NATE HOWARD
No! Not a chance in hell.
Michelle’s taken aback by their adamant response.
HOWARD
You’ve done enough damage already.
NATE
And it’s not safe. There are people
out there. Not a lot, but a few.
Scavengers. They’re desperate.
MICHELLE
Shouldn't we try to help them?
HOWARD
The water pump’s stressed. The
ventilation system’s struggling.
There are too many of us down here
already.
37.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - LATER\n\nNate, now in a pair of Howard’s jeans and a t-shirt, sits at\nthe table with Howard. They speak in tense whispers.\n\nHOWARD\n\nGot some nerve showing up here now.\nNATE\n\nYou said I was always welcome.\nHOWARD\n\nA lot’s changed since then. And you\n\nknow it.\nMichelle walks in, dressed in a different set of clothes.\nNate eyes her as she heads for the couch.\n\nNATE\n(to Howard)\nA little greedy wanting to keep\nthis all for yourself.\n\nShe sits on the couch and looks at the men distrustfully.\n\nMICHELLE\n(to Howard, re: Nate)\nHe was out there. He seems fine.\n\nHOWARD\nBecause of the hazmat suit.\n(stares at Nate)\nLucky you happened to have that.\n\nMICHELLE\n(to Howard)\nThis all part of the plan? You\ncouldn’t convince me so you called\nfor backup.\n\nNATE\nWhat’s her problem?\n\nHOWARD\nNot sure where to start.\n\f34.\n\nMICHELLE\nYou're both full of shit and now\nyou’re sitting there trying to get\nyour lies straight.\n\nNATE\nYou seriously think I’ve been\nstanding at the top of the stairs\nin a hazmat suit for a week -- just\nwaiting for you to open the door?\n\nWhen he puts it that way, it does sound like a stretch.\n\nMICHELLE\nI don’t know what to think anymore.\n\nNATE\nLucky you. This is one of those\ncases where ignorance is bliss.\n\nHOWARD\n(under his breath)\nThen she should be ecstatic.\n\nNate gets up from the table, walks over to Michelle. He\noffers his hand along with his most charming look.\n\nNATE\nI’m Nate. I built this place --\nHOWARD\nYou helped.\nNate ignores him -- keeps his focus on Michelle.\nNATE\n\nWhat’s your name?\n\nMICHELLE\nMichelle.\n\nHe reaches out and she gives him a half-hearted shake. Nate\ntakes a seat on the couch next to her still holding her hand.\n\nNATE\nI wasn’t expecting to find anyone\nbut Howard here.\n(flashes a magnetic smile)\nGuess my luck finally took a turn.\n\nNate squeezes Michelle’s hand. She pulls it away guardedly.\n\f35.\n\nNATE (CONT'D)\nNice to meet you, Michelle.\n\nOut of the corner of her eye, Michelle glimpses Howard\nfurrowing his eyebrows at the sight of Nate next to her.\n\nMichelle turns, offers Nate a forced smile.\n\nMICHELLE\nNice to meet you too, Nate.\n\nHOWARD\n(interrupting the moment)\nSo how is it out there?\n\nNATE\n\nSomething’s still in the air. Not\nas bad as it was but...\n\n(a beat)\nOn the way here, I came across a\nguy that looked like he’d been\ndropped in a deep-fryer. That'd\nbeen me if I didn’t have a suit.\n\nMICHELLE\nDid everyone but me know the world\nwas about to end?\nHoward stands, moves closer to them.\n\nHOWARD\nSo what happened? Who’s behind it?\n\nNATE\nWell, there was a lot of talk...\nBut not a lot of answers.\n\nNate leans forward on the couch. Howard and Michelle stare\nwith anticipation. This guy knows how to tell a story.\n\nNATE (CONT'D)\n\nIt’s all just rumors... But word\nis, Iran got hold of some Russian\nstockpiles -- nuclear, chemical,\n\nthe works. Hired some fanatical\nwhack jobs to hand deliver the\nbombs. Then they exploded the\n\nchemical stuff everywhere else.\n\nMICHELLE\nRussians probably made it easy for\nthem.\n\f36.\n\nHOWARD\nHold on a second. I rescue you.\nKeep you safe. And you refuse to\nbelieve a word I say. But this guy\nshows up and tells us the obvious\nand you buy in?\n\nNATE\nI have an honest face.\n\nMICHELLE\nI didn't say I believed him. It’s\njust his story makes sense.\n\nMichelle startles as the ventilation system GROANS... then\nstarts emitting a cyclical CLUNKING sound.\n\nHOWARD\nChrist. Your little stunt must've\ndamaged the system.\n\nMICHELLE\n\nCan you fix it?\nHOWARD\n\nI'd have to go out for that.\nMICHELLE\n\nI‘ll do it.\n\nNATE HOWARD\nNo! Not a chance in hell.\n\nMichelle’s taken aback by their adamant response.\n\nHOWARD\nYou’ve done enough damage already.\n\nNATE\nAnd it’s not safe. There are people\nout there. Not a lot, but a few.\nScavengers. They’re desperate.\n\nMICHELLE\nShouldn't we try to help them?\n\nHOWARD\nThe water pump’s stressed. The\nventilation system’s struggling.\nThere are too many of us down here\nalready.\n\f37.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. HOWARD’S ROOM
Howard puts on the hazmat suit. He doesn’t pull down the mask
yet. He walks out into the --
MAIN ROOM
Michelle and Nate are on the couch -- and too close to each
other. Howard looks them over, grits his teeth.
HOWARD
If I can’t get it fixed, then I’m
not sure we can support three
people down here.
NATE
What are we gonna do, draw straws?
HOWARD
It’s my cellar. I decide.
NATE
Get on out there.
(laughs)
You could use some fresh air.
Howard exhales irritably, closes the mask without responding.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. HOWARD’S ROOM\n\nHoward puts on the hazmat suit. He doesn’t pull down the mask\nyet. He walks out into the --\n\nMAIN ROOM\n\nMichelle and Nate are on the couch -- and too close to each\nother. Howard looks them over, grits his teeth.\n\nHOWARD\nIf I can’t get it fixed, then I’m\nnot sure we can support three\npeople down here.\n\nNATE\nWhat are we gonna do, draw straws?\nHOWARD\nIt’s my cellar. I decide.\nNATE\nGet on out there.\n(laughs)\n\nYou could use some fresh air.\n\nHoward exhales irritably, closes the mask without responding.", "movie_title": "10 Cloverfield Lane_1179933"}
|
EXT. FARM HOUSE - LATE AFTERNOON
Dark and overcast.
The modest farm house sits in the middle of nowhere. Fallow
fields in front, thick woods in back.
The dead pigs rot in their pen.
The cellar door opens. Howard steps out. He looks back as the
door slams shut.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "EXT. FARM HOUSE - LATE AFTERNOON\nDark and overcast.\n\nThe modest farm house sits in the middle of nowhere. Fallow\nfields in front, thick woods in back.\n\nThe dead pigs rot in their pen.\n\nThe cellar door opens. Howard steps out. He looks back as the\ndoor slams shut.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - CONTINUOUS
Michelle stands by the table. Nate comes down the stairs and
takes a seat on the couch.
MICHELLE
You really think he’d make you
leave?
38.
NATE
(shrugs)
He didn’t say it’d be me. He just
said he gets to decide.
Michelle walks over and sits down next to Nate.
MICHELLE
You'd let him kick me out?
NATE
Howard’s shit when it comes to
people, but he’s good with
machines. He’ll fix it.
Not exactly the answer Michelle was looking for.
MICHELLE
Something happen between you two?
NATE
He hired me to help him convert
this place to what it is now. About
halfway through, he started
changing everything. But didn’t
want to pay. So I walked. Guess
he’s still pissed off about it.
MICHELLE
And you think... you think he’s
alright?
NATE
Did something happen between you
two?
MICHELLE
No. It’s just, he seems off.
NATE
Everyone thought he was nuts when
he built this place. But then
again, I guess he was right.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - CONTINUOUS\n\nMichelle stands by the table. Nate comes down the stairs and\ntakes a seat on the couch.\n\nMICHELLE\nYou really think he’d make you\nleave?\n\f38.\n\nNATE\n(shrugs)\nHe didn’t say it’d be me. He just\nsaid he gets to decide.\n\nMichelle walks over and sits down next to Nate.\n\nMICHELLE\nYou'd let him kick me out?\n\nNATE\nHoward’s shit when it comes to\npeople, but he’s good with\nmachines. He’ll fix it.\n\nNot exactly the answer Michelle was looking for.\n\nMICHELLE\nSomething happen between you two?\n\nNATE\nHe hired me to help him convert\nthis place to what it is now. About\nhalfway through, he started\nchanging everything. But didn’t\nwant to pay. So I walked. Guess\nhe’s still pissed off about it.\n\nMICHELLE\nAnd you think... you think he’s\nalright?\n\nNATE\nDid something happen between you\ntwo?\n\nMICHELLE\n\nNo. It’s just, he seems off.\n\nNATE\nEveryone thought he was nuts when\nhe built this place. But then\nagain, I guess he was right.", "movie_title": "10 Cloverfield Lane_1179933"}
|
EXT. BARN ROOF - LATE AFTERNOON
Howard climbs to the top of a ladder. As he steps onto the
roof, something catches his leg.
He looks back -- it’s a bent nail, tugging at the hazmat
suit, nearly causing it to rip.
39.
Howard carefully takes a step back and releases himself from
the nail.
He then moves across the roof in the wan light. His BREATH
FOGS the plastic mask.
He stops at the solar panels. A large tree branch has fallen
across the panels. Two of the four are cracked. Howard shoves
the branch to the side.
The branch rolls off the edge of the barn and lands with an
echoing WHACK! Howard freezes, looks around...
Nothing but emptiness and silence. And then --
THWOCKA-THWOCKA-THWOCKA-THWOCKA. Howard spins around and --
HOWARD'S POV
On the horizon, something in the air, way out in the distance
-- maybe a helicopter?
Howard wipes the fog from his face mask...
His hand moves away but whatever it was has slipped behind a
hill before Howard can make heads or tails of it.
CUTTING WIDE
Howard stares at the horizon but it’s empty. He turns back to
the roof, looks over the rest of the solar panels.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "EXT. BARN ROOF - LATE AFTERNOON\n\nHoward climbs to the top of a ladder. As he steps onto the\nroof, something catches his leg.\n\nHe looks back -- it’s a bent nail, tugging at the hazmat\nsuit, nearly causing it to rip.\n\f39.\nHoward carefully takes a step back and releases himself from\nthe nail.\n\nHe then moves across the roof in the wan light. His BREATH\nFOGS the plastic mask.\n\nHe stops at the solar panels. A large tree branch has fallen\nacross the panels. Two of the four are cracked. Howard shoves\nthe branch to the side.\n\nThe branch rolls off the edge of the barn and lands with an\nechoing WHACK! Howard freezes, looks around...\n\nNothing but emptiness and silence. And then --\n\nTHWOCKA-THWOCKA-THWOCKA-THWOCKA. Howard spins around and --\n\nHOWARD'S POV\n\nOn the horizon, something in the air, way out in the distance\n-- maybe a helicopter?\n\nHoward wipes the fog from his face mask...\n\nHis hand moves away but whatever it was has slipped behind a\nhill before Howard can make heads or tails of it.\n\nCUTTING WIDE\n\nHoward stares at the horizon but it’s empty. He turns back to\nthe roof, looks over the rest of the solar panels.", "movie_title": "10 Cloverfield Lane_1179933"}
|
EXT. FARM HOUSE - LATE AFTERNOON
Howard heads for the cellar door. He stops, turns and makes
for the front door of the farm house instead.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "EXT. FARM HOUSE - LATE AFTERNOON\n\nHoward heads for the cellar door. He stops, turns and makes\nfor the front door of the farm house instead.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. FARM HOUSE - BEDROOM - LATE AFTERNOON
Howard opens the closet door in his bedroom. He pulls out a
small safe and sets it on his bed.
He unlocks it --
The safe door opens revealing a revolver and a box of ammo.
40.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. FARM HOUSE - BACK STAIRWELL - LATE AFTERNOON\n\nHoward comes down the stairs into the --\n\nKITCHEN\n\nHoward grabs a plastic trash bag from under the sink. He\nstuffs the gun and ammo into it, then pulls open a cabinet.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. STAIRWELL - MOMENTS LATER
Howard enters the cellar, locking the door behind him. He
hurries down the stairs, trash bag in hand.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. STAIRWELL - MOMENTS LATER\n\nHoward enters the cellar, locking the door behind him. He\nhurries down the stairs, trash bag in hand.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Howard gives Nate and Michelle a thumbs up as he rushes past
them toward his room.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. BATHROOM\n\nHoward steps into the bathroom, takes the gun out of the\ntrash bag and quickly wraps it in a towel. He throws the bag\nin the tub. Then he begins stripping out of the hazmat suit.\nMichelle pulls aside the shower curtain.\n\nMICHELLE (0.S.)\nSee anything out there?\n\nHoward pauses, considers his answer.\n\nHOWARD\nNope... Nothing.\n\nHoward turns on the water -- a weak stream drips.\nNate steps up behind Michelle.\n\nNATE\nWhat’s in the bag?\n\nHoward pulls the bag from the tub, reaches inside and pulls\nout a sealed bag of Hershey’s miniature chocolates. He wipes\nit with a wet towel, then throws it to Michelle with a smile.\n\nHOWARD\nDessert.\n\f4l.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Howard and Michelle sit at the table as Nate works at the
kitchenette behind them.
Michelle fills two glasses to the brim with wine. Howard
watches, a look of disappointment on his face.
NATE
(with flair)
The house special for the lady.
Nate sets a plate down in front of Michelle. It’s the same
canned food but he’s arranged things to look almost
appetizing.
Michelle smiles.
Howard rolls his eyes, turns a suspicious eye to Nate.
HOWARD
Where did you get that hazmat suit?
Howard keeps his eyes on Nate who pauses before he answers --
NATE
I’m a volunteer firefighter. When
the attack happened, I went
straight to the firehouse. We all
suited up waiting for orders. But
nothing came. Land lines, cell
phones, radios -- everything was
dead. Didn’t take long before most
of the guys went home to check on
their families. When none of them
came back, I figured I’d take my
chances and come here.
HOWARD
I didn’t know you were volunteering
at the fire department.
NATE
Just started a few months back.
(pointed)
If you came into town more often,
you'd know that.
HOWARD
Charlie still running the show down
there?
42.
NATE
Charlie? Yeah. He sure is.
Howard locks eyes with Nate.
HOWARD
My old pal John Bennett volunteers
too. You must know John.
A moment of tension -- Nate’s eyes say be careful.
NATE
Nope. Must not have the same shift.
Howard and Nate stare each other down.
Nate turns to Michelle, takes a sip of his wine. Swishes it
in his mouth.
NATE (CONT'D)
Oh that’s nice. A little oaky with
hints of raspberry. Mmmm. Smooth
finish.
Howard looks up from his plate.
HOWARD
Don’t know what you’re talking
about, do you?
Nate holds his glass out to Howard.
NATE
Wanna show me how it’s done?
Howard ignores the question -- he just stares at Nate.
NATE (CONT'D)
(turns to Michelle)
What do you taste, Michelle?
Michelle takes a sip. Swishes it the same way Nate did.
MICHELLE
I do taste the raspberry.
NATE
(smiles at Howard)
How can you argue with that?
Howard struggles to cover up his irritation.
43.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\n\nHoward and Michelle sit at the table as Nate works at the\nkitchenette behind them.\n\nMichelle fills two glasses to the brim with wine. Howard\nwatches, a look of disappointment on his face.\n\nNATE\n(with flair)\nThe house special for the lady.\n\nNate sets a plate down in front of Michelle. It’s the same\ncanned food but he’s arranged things to look almost\nappetizing.\n\nMichelle smiles.\nHoward rolls his eyes, turns a suspicious eye to Nate.\n\nHOWARD\nWhere did you get that hazmat suit?\n\nHoward keeps his eyes on Nate who pauses before he answers --\n\nNATE\nI’m a volunteer firefighter. When\nthe attack happened, I went\nstraight to the firehouse. We all\nsuited up waiting for orders. But\nnothing came. Land lines, cell\nphones, radios -- everything was\ndead. Didn’t take long before most\nof the guys went home to check on\ntheir families. When none of them\ncame back, I figured I’d take my\nchances and come here.\n\nHOWARD\nI didn’t know you were volunteering\nat the fire department.\n\nNATE\nJust started a few months back.\n(pointed)\nIf you came into town more often,\nyou'd know that.\n\nHOWARD\nCharlie still running the show down\nthere?\n\f42.\nNATE\nCharlie? Yeah. He sure is.\nHoward locks eyes with Nate.\nHOWARD\nMy old pal John Bennett volunteers\ntoo. You must know John.\n\nA moment of tension -- Nate’s eyes say be careful.\n\nNATE\nNope. Must not have the same shift.\n\nHoward and Nate stare each other down.\n\nNate turns to Michelle, takes a sip of his wine. Swishes it\nin his mouth.\n\nNATE (CONT'D)\nOh that’s nice. A little oaky with\nhints of raspberry. Mmmm. Smooth\nfinish.\nHoward looks up from his plate.\nHOWARD\nDon’t know what you’re talking\nabout, do you?\nNate holds his glass out to Howard.\n\nNATE\nWanna show me how it’s done?\n\nHoward ignores the question -- he just stares at Nate.\nNATE (CONT'D)\n(turns to Michelle)\nWhat do you taste, Michelle?\n\nMichelle takes a sip. Swishes it the same way Nate did.\n\nMICHELLE\nI do taste the raspberry.\n\nNATE\n(smiles at Howard)\nHow can you argue with that?\n\nHoward struggles to cover up his irritation.\n\f43.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - LATER
Empty dinner plates and crumpled candy wrappers. Nate washes
down the last of the wine.
Howard pushes his dish and silverware toward Nate.
HOWARD
I bought dinner. How about you do
the washing up.
Nate pushes the plate back toward Howard.
NATE
I’m still thirsty. Michelle, why
don’t you grab another bottle.
(still looking at Howard)
It’s not like we have to drive
anywhere.
Michelle gets up -- drunkenly wobbles to the wine rack.
HOWARD
(quietly to Nate)
Remember, this is my cellar and
that’s my wine. You’re just a
guest.
NATE
(leans in close)
Then start treating me like a
guest.
Howard stands up, walks into his room and closes the door.
Michelle limps back over with a new bottle of wine.
MICHELLE
What was that all about?
NATE
Howard used to have a drinking
problem.
MICHELLE
I know. He told me.
NATE
He also tell you about his wife?
Michelle shakes her head.
44,
NATE (CONT'D)
I guess he wouldn’t. About three
years ago she was killed. He wasn’t
charged, but most folks around here
figured it fairly suspicious.
Michelle drops into her seat.
MICHELLE
Oh my god. That’s awful. Then who
has his daughter?
NATE
What daughter?
MICHELLE
He told me that he has a daughter
in Washington, D.C.
NATE
Howard never had any kids.
Michelle sets the wine bottle on the table, suddenly her
thoughts a jumble.
MICHELLE
Why would he lie about that?
Nate takes the bottle, starts opening it.
NATE
(ominous )
I don’t know. Maybe to gain your
trust. But we ought to be watching
out for each other. Pressure seems
to be getting to him down here.
Nate fills Michelle's empty glass with more wine.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - LATER\n\nEmpty dinner plates and crumpled candy wrappers. Nate washes\ndown the last of the wine.\n\nHoward pushes his dish and silverware toward Nate.\n\nHOWARD\nI bought dinner. How about you do\nthe washing up.\n\nNate pushes the plate back toward Howard.\n\nNATE\nI’m still thirsty. Michelle, why\ndon’t you grab another bottle.\n(still looking at Howard)\nIt’s not like we have to drive\nanywhere.\n\nMichelle gets up -- drunkenly wobbles to the wine rack.\n\nHOWARD\n(quietly to Nate)\nRemember, this is my cellar and\nthat’s my wine. You’re just a\nguest.\n\nNATE\n(leans in close)\nThen start treating me like a\nguest.\nHoward stands up, walks into his room and closes the door.\nMichelle limps back over with a new bottle of wine.\n\nMICHELLE\nWhat was that all about?\n\nNATE\nHoward used to have a drinking\nproblem.\n\nMICHELLE\nI know. He told me.\n\nNATE\nHe also tell you about his wife?\n\nMichelle shakes her head.\n\f44,\n\nNATE (CONT'D)\nI guess he wouldn’t. About three\nyears ago she was killed. He wasn’t\ncharged, but most folks around here\nfigured it fairly suspicious.\n\nMichelle drops into her seat.\n\nMICHELLE\nOh my god. That’s awful. Then who\nhas his daughter?\n\nNATE\nWhat daughter?\n\nMICHELLE\nHe told me that he has a daughter\nin Washington, D.C.\n\nNATE\nHoward never had any kids.\n\nMichelle sets the wine bottle on the table, suddenly her\nthoughts a jumble.\n\nMICHELLE\nWhy would he lie about that?\n\nNate takes the bottle, starts opening it.\nNATE\n(ominous )\nI don’t know. Maybe to gain your\ntrust. But we ought to be watching\nout for each other. Pressure seems\nto be getting to him down here.\n\nNate fills Michelle's empty glass with more wine.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - LATER
Nate sits on the couch, very close to Michelle. She holds a
nearly empty glass of wine in her lap. Her head bobs. Nate
takes the glass off her lap and sets it on the floor.
He turns and leans in for a kiss.
MICHELLE
Nooo... mmmmmm.
Michelle pushes him away clumsily.
45.
Howard opens his door, comes into the room.
Nate breaks off from his attempted make-out session.
Howard grabs some crackers out of the cupboard. He sits at
the table and slowly goes about opening them, staring daggers
at Nate the entire time.
Nate stares right back as Michelle falls sideways on the
couch and passes out. Nate looks at her, then back at Howard.
Nate gets up off the couch.
NATE
Guess I’1l take the bed tonight.
Nate goes into the small bedroom and slams the door.
Howard eats his crackers while staring at Michelle.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - LATER\n\nNate sits on the couch, very close to Michelle. She holds a\nnearly empty glass of wine in her lap. Her head bobs. Nate\ntakes the glass off her lap and sets it on the floor.\n\nHe turns and leans in for a kiss.\n\nMICHELLE\nNooo... mmmmmm.\n\nMichelle pushes him away clumsily.\n\f45.\n\nHoward opens his door, comes into the room.\n\nNate breaks off from his attempted make-out session.\n\nHoward grabs some crackers out of the cupboard. He sits at\nthe table and slowly goes about opening them, staring daggers\nat Nate the entire time.\n\nNate stares right back as Michelle falls sideways on the\ncouch and passes out. Nate looks at her, then back at Howard.\n\nNate gets up off the couch.\n\nNATE\nGuess I’1l take the bed tonight.\n\nNate goes into the small bedroom and slams the door.\n\nHoward eats his crackers while staring at Michelle.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Howard SAWS and HAMMERS on a piece of wood.
The bedroom door opens. Nate comes out holding his head,
looking like complete shit.
Howard whacks at a nail, notices Nate wincing with each
strike.
NATE
What the hell time is it?
Howard looks around the windowless cellar.
HOWARD
Does it matter?
NATE
Where’s Michelle?
HOWARD
She’s in the bathroom. Throwing up.
You must be proud of yourself.
Nate settles into a chair as Howard goes back to his
hammering -- a big smile on his face each time Nate winces.
Michelle stumbles in, holding her head with both hands. She
collapses to the couch. Her face is the same color as the
cinder block walls.
46.
MICHELLE
I think that stuff is seeping in
here. Feels like my skin is peeling
off.
HOWARD
So you finally believe me.
Howard pounds in another nail.
NATE
Can you stop hammering for a
minute!
Howard stops hammering. He looks over to Nate.
HOWARD
Almost done.
NATE
With what?
HOWARD
The frame on one of the solar
panels was broken. This should hold
it for a while at least.
NATE
When’re you gonna take it out?
HOWARD
I’m not. You are.
NATE
Why me?
HOWARD
Because it’s time you start earning
your keep.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\nHoward SAWS and HAMMERS on a piece of wood.\n\nThe bedroom door opens. Nate comes out holding his head,\nlooking like complete shit.\n\nHoward whacks at a nail, notices Nate wincing with each\nstrike.\n\nNATE\nWhat the hell time is it?\n\nHoward looks around the windowless cellar.\n\nHOWARD\nDoes it matter?\n\nNATE\nWhere’s Michelle?\n\nHOWARD\nShe’s in the bathroom. Throwing up.\nYou must be proud of yourself.\n\nNate settles into a chair as Howard goes back to his\nhammering -- a big smile on his face each time Nate winces.\n\nMichelle stumbles in, holding her head with both hands. She\ncollapses to the couch. Her face is the same color as the\ncinder block walls.\n\f46.\n\nMICHELLE\nI think that stuff is seeping in\nhere. Feels like my skin is peeling\noff.\n\nHOWARD\nSo you finally believe me.\n\nHoward pounds in another nail.\n\nNATE\nCan you stop hammering for a\nminute!\n\nHoward stops hammering. He looks over to Nate.\n\nHOWARD\nAlmost done.\n\nNATE\nWith what?\n\nHOWARD\nThe frame on one of the solar\npanels was broken. This should hold\nit for a while at least.\n\nNATE\nWhen’re you gonna take it out?\nHOWARD\nI’m not. You are.\nNATE\nWhy me?\nHOWARD\n\nBecause it’s time you start earning\n\nyour keep.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - LATER
Nate climbs the stares in the hazmat suit, holding the wooden
corner. Howard waits until he hears the door close then he
walks up the --
STAIRWELL
And locks the door behind Nate.
47.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - LATER\nNate climbs the stares in the hazmat suit, holding the wooden\ncorner. Howard waits until he hears the door close then he\nwalks up the --\nSTAIRWELL\n\nAnd locks the door behind Nate.\n\f47.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - MOMENTS LATER
Howard sits down next to Michelle on the couch.
HOWARD
Nate’s a liar.
MICHELLE
What are you talking about?
HOWARD
The hazmat suit. It had someone
else’s name in it.
MICHELLE
So he grabbed the wrong suit in the
panic.
HOWARD
He also said Charlie Winston was
still fire chief. But Charlie
retired years ago. I was at the
party.
MICHELLE
What’s your point?
HOWARD
If he doesn’t work at the fire
department, how'd he get the suit?
And what happened to the guy who’s
name is on it?
MICHELLE
Why don’t you just ask him?
HOWARD
Look, Nate’s been in and out of
trouble for as long as I’ve known
him. Spent some time in prison --
mostly small stuff. But he’s got a
violent streak in him. You should
be careful.
Just then -- pounding from the top of the stairwell.
Howard doesn’t move.
MICHELLE
Let him in.
48.
HOWARD
Did you hear what I just told you?
He can’t be trusted.
MICHELLE
Let. Him. In.
Howard gets up, heads for the stairwell.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - MOMENTS LATER\nHoward sits down next to Michelle on the couch.\n\nHOWARD\nNate’s a liar.\n\nMICHELLE\nWhat are you talking about?\n\nHOWARD\nThe hazmat suit. It had someone\nelse’s name in it.\n\nMICHELLE\nSo he grabbed the wrong suit in the\npanic.\n\nHOWARD\n\nHe also said Charlie Winston was\nstill fire chief. But Charlie\nretired years ago. I was at the\nparty.\n\nMICHELLE\nWhat’s your point?\n\nHOWARD\nIf he doesn’t work at the fire\ndepartment, how'd he get the suit?\nAnd what happened to the guy who’s\nname is on it?\n\nMICHELLE\nWhy don’t you just ask him?\n\nHOWARD\nLook, Nate’s been in and out of\ntrouble for as long as I’ve known\nhim. Spent some time in prison --\nmostly small stuff. But he’s got a\nviolent streak in him. You should\nbe careful.\n\nJust then -- pounding from the top of the stairwell.\nHoward doesn’t move.\n\nMICHELLE\nLet him in.\n\f48.\n\nHOWARD\nDid you hear what I just told you?\nHe can’t be trusted.\n\nMICHELLE\nLet. Him. In.\n\nHoward gets up, heads for the stairwell.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Howard and Nate finish their meal. Michelle stands at the
sink, watching water drip from the open faucet into her empty
glass.
MICHELLE
It’s getting worse.
HOWARD
We're using too much water.
Nate takes his dish over to Michelle. Tosses it in the sink.
NATE
Leave ‘em. Howard’ll figure it out.
He playfully slaps her ass. She jumps, swats at him --
MICHELLE
(flirting)
Can you please not do that?
NATE
It’s really hard not to.
Nate winks. Michelle smiles.
MICHELLE
God...
Howard’s stomach turns as he watches them. He pushes back his
chair. It SCRAPES loudly, grabbing Nate and Michelle's
attention.
HOWARD
Fuck it.
He crosses to the wine rack, selects a bottle. He turns back
and hands it to Michelle.
HOWARD (CONT'D)
Go on, open it.
49,
Michelle goes through the process.
Howard pulls out TWO wine glasses, sets them on the table.
Michelle pulls the cork out and puts the bottle down. Howard
pours two small portions into the glasses.
HOWARD (CONT'D)
1986 Montrachet. Best bottle in the
cellar. You don’t want to know what
it’s worth. But the idea of it
sitting down here, untouched, as
the world ends -- or worse yet,
having you two heathens drink it on
your own, without half a clue
what’s on your lips -- well, that
thought is more than I can bear.
Howard sets one glass in front of Michelle, picks up the
other himself. He swirls the wine, puts his nose to the glass
and inhales deeply. He smiles.
HOWARD (CONT'D)
Cheers.
Michelle doesn’t touch her glass. Howard clinks it anyway
then takes a mouthful of the wine.
HOWARD (CONT'D)
That’s the stuff!
Howard picks the bottle up, fills his glass to the rim. And
chugs the entire glass as Nate and Michelle watch in silence.
NATE
Don’t you want to savor it?
Howard ignores him.
HOWARD
(to Michelle)
Try it.
She doesn’t move.
HOWARD (CONT'D)
What’s wrong with you? That’s a few
hundred dollars worth of wine in
your glass. It’s oaky. With a hint
of raspberries.
Michelle watches as Howard pours himself another full glass.
50.
MICHELLE
Maybe you should slow down.
Howard pounds the wine.
HOWARD
(glares at Michelle)
What’s the problem, princess? You
couldn’t get enough last night.
NATE
Back off.
HOWARD
I wasn't talking to you.
(back to Michelle)
Were you visiting your boyfriend in
Milwaukee?
Michelle doesn’t answer.
HOWARD (CONT'D)
Pretty girl like you. You've
probably had plenty of boyfriends.
Those poor saps. They didn’t have a
clue what they were getting into.
NATE
(growling)
I said, leave her alone.
Howard’s gaze shifts to Nate. He lifts his glass, but doesn’t
drink.
HOWARD
You know what this is? This thing
I’ve done for both of you? It’s
called charity. And when someone
provides you with charity, the
polite thing to do is thank them.
NATE
You wouldn’t have this place if it
weren’t for me.
HOWARD
I could've hired any old vagrant to
do a half-assed job.
(a beat)
Hindsight being what it is, I wish
I had.
Nate picks up the wine bottle but keeps his eyes on Howard.
51.
NATE
You spent all your money on this
cellar. And for what?
Nate takes a big swig straight from the bottle. He swishes it
in his mouth, leans over, and spits it on the floor.
NATE (CONT'D)
To protect a bunch of shitty wine.
Howard’s expression turns dark and unhinged...
He jumps up -- flings his wine glass at Nate. It CRASHES into
the table. Glass and wine splatter into Nate’s face.
Howard charges --
HOWARD
You fucking ingrate!
Nate wipes the wine from his eyes as Howard SLAMS into him.
They collide into the wall. Nate takes the brunt of the hit
in his back -- the oxygen rushes out of his lungs.
MICHELLE
Stop it!
Howard steps back, throws a haymaker.
Nate ducks the punch and swings a fist into Howard’s gut.
Howard GROANS in drunken pain. And just like that, the fight
has turned. Howard has lost the initiative. Older, drunker
and weaker -- he’s in trouble.
Nate comes up with a crushing upper cut --
Howard stumbles backwards -- stunned. Nate stalks forward,
jabs Howard, follows with a right hook --
SMACK! Full impact. Howard's head snaps back, his body
careens into the wine rack and --
Dozens of bottles SHATTER. Wine EXPLODES in all directions.
Glass rips through Howard’s skin as he tumbles to the ground.
Nate kicks Howard in the ribs. Hard.
MICHELLE (CONT'D)
That’s enough!
Michelle grabs Nate around the stomach, pulls him away.
52.
Howard groggily looks up from the ground, encircled by broken
glass and Cabernet.
NATE
You fuckin’ come at me again, and I
won’t stop. Hear me?
Nate stomps into Michelle’s bedroom leaving Howard and
Michelle to stare at each other.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\n\nHoward and Nate finish their meal. Michelle stands at the\nsink, watching water drip from the open faucet into her empty\nglass.\n\nMICHELLE\nIt’s getting worse.\n\nHOWARD\nWe're using too much water.\n\nNate takes his dish over to Michelle. Tosses it in the sink.\n\nNATE\nLeave ‘em. Howard’ll figure it out.\n\nHe playfully slaps her ass. She jumps, swats at him --\nMICHELLE\n(flirting)\nCan you please not do that?\n\nNATE\nIt’s really hard not to.\n\nNate winks. Michelle smiles.\n\nMICHELLE\nGod...\n\nHoward’s stomach turns as he watches them. He pushes back his\nchair. It SCRAPES loudly, grabbing Nate and Michelle's\nattention.\n\nHOWARD\nFuck it.\n\nHe crosses to the wine rack, selects a bottle. He turns back\nand hands it to Michelle.\n\nHOWARD (CONT'D)\nGo on, open it.\n\f49,\n\nMichelle goes through the process.\nHoward pulls out TWO wine glasses, sets them on the table.\n\nMichelle pulls the cork out and puts the bottle down. Howard\npours two small portions into the glasses.\n\nHOWARD (CONT'D)\n1986 Montrachet. Best bottle in the\ncellar. You don’t want to know what\nit’s worth. But the idea of it\nsitting down here, untouched, as\nthe world ends -- or worse yet,\nhaving you two heathens drink it on\nyour own, without half a clue\nwhat’s on your lips -- well, that\nthought is more than I can bear.\n\nHoward sets one glass in front of Michelle, picks up the\nother himself. He swirls the wine, puts his nose to the glass\nand inhales deeply. He smiles.\n\nHOWARD (CONT'D)\nCheers.\n\nMichelle doesn’t touch her glass. Howard clinks it anyway\nthen takes a mouthful of the wine.\n\nHOWARD (CONT'D)\nThat’s the stuff!\n\nHoward picks the bottle up, fills his glass to the rim. And\nchugs the entire glass as Nate and Michelle watch in silence.\n\nNATE\nDon’t you want to savor it?\n\nHoward ignores him.\n\nHOWARD\n(to Michelle)\nTry it.\n\nShe doesn’t move.\n\nHOWARD (CONT'D)\nWhat’s wrong with you? That’s a few\nhundred dollars worth of wine in\nyour glass. It’s oaky. With a hint\nof raspberries.\n\nMichelle watches as Howard pours himself another full glass.\n\f50.\n\nMICHELLE\nMaybe you should slow down.\n\nHoward pounds the wine.\n\nHOWARD\n(glares at Michelle)\nWhat’s the problem, princess? You\ncouldn’t get enough last night.\n\nNATE\nBack off.\n\nHOWARD\nI wasn't talking to you.\n(back to Michelle)\nWere you visiting your boyfriend in\nMilwaukee?\n\nMichelle doesn’t answer.\n\nHOWARD (CONT'D)\n\nPretty girl like you. You've\nprobably had plenty of boyfriends.\nThose poor saps. They didn’t have a\nclue what they were getting into.\n\nNATE\n(growling)\nI said, leave her alone.\n\nHoward’s gaze shifts to Nate. He lifts his glass, but doesn’t\ndrink.\n\nHOWARD\nYou know what this is? This thing\nI’ve done for both of you? It’s\ncalled charity. And when someone\nprovides you with charity, the\npolite thing to do is thank them.\n\nNATE\nYou wouldn’t have this place if it\nweren’t for me.\n\nHOWARD\nI could've hired any old vagrant to\ndo a half-assed job.\n(a beat)\nHindsight being what it is, I wish\nI had.\n\nNate picks up the wine bottle but keeps his eyes on Howard.\n\f51.\n\nNATE\nYou spent all your money on this\ncellar. And for what?\n\nNate takes a big swig straight from the bottle. He swishes it\nin his mouth, leans over, and spits it on the floor.\n\nNATE (CONT'D)\nTo protect a bunch of shitty wine.\n\nHoward’s expression turns dark and unhinged...\n\nHe jumps up -- flings his wine glass at Nate. It CRASHES into\nthe table. Glass and wine splatter into Nate’s face.\n\nHoward charges --\n\nHOWARD\nYou fucking ingrate!\n\nNate wipes the wine from his eyes as Howard SLAMS into him.\nThey collide into the wall. Nate takes the brunt of the hit\nin his back -- the oxygen rushes out of his lungs.\n\nMICHELLE\nStop it!\n\nHoward steps back, throws a haymaker.\n\nNate ducks the punch and swings a fist into Howard’s gut.\nHoward GROANS in drunken pain. And just like that, the fight\nhas turned. Howard has lost the initiative. Older, drunker\nand weaker -- he’s in trouble.\n\nNate comes up with a crushing upper cut --\n\nHoward stumbles backwards -- stunned. Nate stalks forward,\njabs Howard, follows with a right hook --\n\nSMACK! Full impact. Howard's head snaps back, his body\ncareens into the wine rack and --\n\nDozens of bottles SHATTER. Wine EXPLODES in all directions.\nGlass rips through Howard’s skin as he tumbles to the ground.\n\nNate kicks Howard in the ribs. Hard.\n\nMICHELLE (CONT'D)\nThat’s enough!\n\nMichelle grabs Nate around the stomach, pulls him away.\n\f52.\nHoward groggily looks up from the ground, encircled by broken\nglass and Cabernet.\nNATE\nYou fuckin’ come at me again, and I\nwon’t stop. Hear me?\nNate stomps into Michelle’s bedroom leaving Howard and\nMichelle to stare at each other.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. BATHROOM
Howard looks at himself in the mirror, picks shards of glass
from his back.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. BATHROOM\nHoward looks at himself in the mirror, picks shards of glass\nfrom his back.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Michelle sweeps up the mess. She looks shaken. Whatever the
hell is going on, it’s getting worse and she’s starting to
lose her composure.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\nMichelle sweeps up the mess. She looks shaken. Whatever the\nhell is going on, it’s getting worse and she’s starting to\nlose her composure.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. HOWARD’S ROOM
Howard is now bandaged up. He listens to Michelle SWEEPING
GLASS. Then climbs into his bed, each cut and bruise
screaming at him.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. HOWARD’S ROOM\nHoward is now bandaged up. He listens to Michelle SWEEPING\nGLASS. Then climbs into his bed, each cut and bruise\nscreaming at him.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
Michelle lies down on the couch with a blanket. Her spike-
tipped crutch lies on the floor in front of her.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\nMichelle lies down on the couch with a blanket. Her spike-\ntipped crutch lies on the floor in front of her.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - MORNING
A GLASS held under the faucet, but no water comes out.
Michelle stands at the sink, a concerned look on her face as
she stares at her empty glass.
Howard walks out of his room. His REVOLVER is holstered on
his hip.
Michelle eyes the gun.
MICHELLE
It’s not working at all.
53.
Howard comes over to have a look as Nate enters from
Michelle’s room.
NATE
(conciliatory)
Listen, Howard, I gotta say...
But his words fade away as he sees the gun.
NATE (CONT'D)
What the hell is that for?
HOWARD
This cellar is mine. I’m in charge
down here. You either get in line
or you get the hell out.
Nate releases a blustery chuckle.
Howard reaches down, touches the butt of the gun.
HOWARD (CONT'D)
You want to try me?
NATE
Okay, Howard. Whatever you say.
Howard nods then turns his attention to the faucet.
HOWARD
(under his breath)
Too damn many of us down here.
Michelle eyes both men, an uneasy look on her face.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - MORNING\nA GLASS held under the faucet, but no water comes out.\n\nMichelle stands at the sink, a concerned look on her face as\nshe stares at her empty glass.\n\nHoward walks out of his room. His REVOLVER is holstered on\nhis hip.\n\nMichelle eyes the gun.\n\nMICHELLE\nIt’s not working at all.\n\f53.\n\nHoward comes over to have a look as Nate enters from\nMichelle’s room.\n\nNATE\n(conciliatory)\nListen, Howard, I gotta say...\n\nBut his words fade away as he sees the gun.\n\nNATE (CONT'D)\nWhat the hell is that for?\n\nHOWARD\nThis cellar is mine. I’m in charge\ndown here. You either get in line\nor you get the hell out.\n\nNate releases a blustery chuckle.\nHoward reaches down, touches the butt of the gun.\n\nHOWARD (CONT'D)\nYou want to try me?\n\nNATE\nOkay, Howard. Whatever you say.\n\nHoward nods then turns his attention to the faucet.\n\nHOWARD\n(under his breath)\nToo damn many of us down here.\n\nMichelle eyes both men, an uneasy look on her face.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - LATER
Howard removes a throw rug from the floor. Underneath,
there’s a trap door. He pulls it open, revealing a narrow
crawl space. Howard nods to Nate, hands him a flashlight --
HOWARD
You first.
Nate grimaces, but climbs down into the crawl space. Howard
turns to Michelle.
HOWARD (CONT'D)
I want you up by the door. If you
see any water running through the
yard, you come let me know.
54.
Michelle nods as Howard drops down into the crawl space. She
climbs over the couch and into the --
STAIRWELL
At the top of the stairs, Michelle looks out the window --
MICHELLE’S POV
The yard. The dead pigs. The barn. And the front end of the
pickup. This time it’s not obscured by reflecting sunlight.
CLOSE ON
MICHELLE -- staring at the yellow paint and large dent on the
old truck.
Suddenly her blood runs cold as her memory kicks in --
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - LATER\n\nHoward removes a throw rug from the floor. Underneath,\nthere’s a trap door. He pulls it open, revealing a narrow\ncrawl space. Howard nods to Nate, hands him a flashlight --\n\nHOWARD\nYou first.\n\nNate grimaces, but climbs down into the crawl space. Howard\nturns to Michelle.\n\nHOWARD (CONT'D)\nI want you up by the door. If you\nsee any water running through the\nyard, you come let me know.\n\f54.\n\nMichelle nods as Howard drops down into the crawl space. She\nclimbs over the couch and into the --\nSTAIRWELL\n\nAt the top of the stairs, Michelle looks out the window --\n\nMICHELLE’S POV\n\nThe yard. The dead pigs. The barn. And the front end of the\npickup. This time it’s not obscured by reflecting sunlight.\nCLOSE ON\n\nMICHELLE -- staring at the yellow paint and large dent on the\nold truck.\n\nSuddenly her blood runs cold as her memory kicks in --", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. /EXT. MICHELLE'S CAR - NIGHT - (FLASHBACK)
Michelle is blinded by the headlight glare in her rearview.
She nearly veers off the road, wrenches the steering wheel at
the last possible moment.
The truck behind her HONKS again and pulls alongside her.
Michelle looks over at the truck -- DENTED, YELLOW, OLD.
Michelle's eyes flit back to the road, but there's a turn
ahead and it's too close.
The truck swerves -- is it trying to run her off the road, or
is it just trying to pass her?
Michelle overcompensates as she turns away from the truck,
her car weaves toward the edge of the road --
She slams on the breaks, twists the wheel --
The car SQUEALS across the pavement --
Michelle knows she won't make it. Her eyes open wide in pure
terror...
55.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. /EXT. MICHELLE'S CAR - NIGHT - (FLASHBACK)\nMichelle is blinded by the headlight glare in her rearview.\n\nShe nearly veers off the road, wrenches the steering wheel at\nthe last possible moment.\n\nThe truck behind her HONKS again and pulls alongside her.\nMichelle looks over at the truck -- DENTED, YELLOW, OLD.\n\nMichelle's eyes flit back to the road, but there's a turn\nahead and it's too close.\n\nThe truck swerves -- is it trying to run her off the road, or\nis it just trying to pass her?\n\nMichelle overcompensates as she turns away from the truck,\nher car weaves toward the edge of the road --\n\nShe slams on the breaks, twists the wheel --\nThe car SQUEALS across the pavement --\n\nMichelle knows she won't make it. Her eyes open wide in pure\nterror...\n\f55.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. STAIRWELL - DAY
Michelle stares at the old truck -- the same one as in the
flashback. She hyperventilates, struggles to regain control
of her breathing.
She tries the door handle. Locked. A long beat of shallow
breaths and then she turns and heads down the stairs.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. STAIRWELL - DAY\n\nMichelle stares at the old truck -- the same one as in the\nflashback. She hyperventilates, struggles to regain control\nof her breathing.\n\nShe tries the door handle. Locked. A long beat of shallow\nbreaths and then she turns and heads down the stairs.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - CONTINUOUS
Howard and Nate climb out of the crawl space. Nate has a
small pump in his hands.
Michelle stands by the men -- a troubled look on her face.
HOWARD
You alright?
MICHELLE
Yeah. Fine.
(changing the subject)
What’s with the engine?
HOWARD
It’s a pump. And it’s busted.
NATE
I can fix it.
HOWARD
Let’s hope you're right.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - CONTINUOUS\n\nHoward and Nate climb out of the crawl space. Nate has a\nsmall pump in his hands.\n\nMichelle stands by the men -- a troubled look on her face.\n\nHOWARD\nYou alright?\n\nMICHELLE\nYeah. Fine.\n(changing the subject)\nWhat’s with the engine?\n\nHOWARD\nIt’s a pump. And it’s busted.\n\nNATE\nI can fix it.\n\nHOWARD\nLet’s hope you're right.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - NIGHT
Nate works on the pump. Michelle puts together another meal.
Howard walks in from his room. He doesn’t say a word, just
pulls a bottle of wine off the wall and hands it to Michelle.
She opens it. Nate fidgets with the pump, doesn’t look up.
Howard pulls out a single wine glass, sets it on the table.
Michelle pulls out the cork. It drops to the floor.
As Howard reaches down for it, Michelle slips liquid Ketamine
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - NIGHT\nNate works on the pump. Michelle puts together another meal.\n\nHoward walks in from his room. He doesn’t say a word, just\npulls a bottle of wine off the wall and hands it to Michelle.\n\nShe opens it. Nate fidgets with the pump, doesn’t look up.\nHoward pulls out a single wine glass, sets it on the table.\nMichelle pulls out the cork. It drops to the floor.\n\nAs Howard reaches down for it, Michelle slips liquid Ketamine", "movie_title": "10 Cloverfield Lane_1179933"}
|
into his glass.
Howard comes up with the cork, sets it on the table.
56.
Michelle pours him a full glass of wine and forces a smile.
Howard nods, takes a sip.
HOWARD
A little off. Might be corked.
He spins the wine, sniffs it.
Michelle watches nervously.
HOWARD (CONT'D)
But I guess we can’t let it go to
waste. Especially, now that our
reserves have been... depleted.
Howard takes a big drink.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "into his glass.\n\nHoward comes up with the cork, sets it on the table.\n\f56.\n\nMichelle pours him a full glass of wine and forces a smile.\nHoward nods, takes a sip.\n\nHOWARD\nA little off. Might be corked.\n\nHe spins the wine, sniffs it.\nMichelle watches nervously.\n\nHOWARD (CONT'D)\n\nBut I guess we can’t let it go to\nwaste. Especially, now that our\nreserves have been... depleted.\n\nHoward takes a big drink.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - LATER
Howard is slumped on the couch, unconscious.
Nate and Michelle stand over him.
MICHELLE
It was his truck. He ran me off the
road that night.
(shivers)
He planned to bring me here. Guess
he figured he’d at least have a
plaything for the end of the world.
NATE
He’s never been the most stable
guy. And now that he’s drinking
again...
Nate pulls the gun from Howard’s holster.
NATE (CONT'D)
Best that we hold onto this for
safe keeping.
MICHELLE
He’s gonna freak when he wakes up.
NATE
Let him. Not much he can do if I'm
holding the gun.
MICHELLE
What about me?
57.
NATE
I’ll protect you...
(nods at the stairs)
Or we could just take care of it
for good.
MICHELLE
You want to throw him out?
He shrugs. Michelle shifts warily.
NATE
He’s been talking about doing the
same to us.
Michelle works this over in her mind, slowly shakes her head.
MICHELLE
I can’t do it.
NATE
Fine. Without the gun, he can’t
hurt us.
Nate looks deeply into her eyes.
Michelle produces a cautious smile. Nate leans in for a kiss.
And it’s decision time.
Michelle balks, turns away.
NATE (CONT'D)
What’s wrong?
MICHELLE
You’1l take care of me, right?
NATE
We'll take care of each other.
Michelle reads between the lines. She leans in, kisses Nate.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - LATER\nHoward is slumped on the couch, unconscious.\nNate and Michelle stand over him.\n\nMICHELLE\nIt was his truck. He ran me off the\nroad that night.\n(shivers)\nHe planned to bring me here. Guess\nhe figured he’d at least have a\nplaything for the end of the world.\n\nNATE\nHe’s never been the most stable\nguy. And now that he’s drinking\nagain...\n\nNate pulls the gun from Howard’s holster.\n\nNATE (CONT'D)\nBest that we hold onto this for\nsafe keeping.\n\nMICHELLE\nHe’s gonna freak when he wakes up.\n\nNATE\nLet him. Not much he can do if I'm\nholding the gun.\n\nMICHELLE\nWhat about me?\n\f57.\n\nNATE\nI’ll protect you...\n(nods at the stairs)\nOr we could just take care of it\nfor good.\n\nMICHELLE\nYou want to throw him out?\n\nHe shrugs. Michelle shifts warily.\nNATE\nHe’s been talking about doing the\n\nsame to us.\n\nMichelle works this over in her mind, slowly shakes her head.\n\nMICHELLE\nI can’t do it.\nNATE\nFine. Without the gun, he can’t\n\nhurt us.\nNate looks deeply into her eyes.\n\nMichelle produces a cautious smile. Nate leans in for a kiss.\nAnd it’s decision time.\n\nMichelle balks, turns away.\n\nNATE (CONT'D)\nWhat’s wrong?\n\nMICHELLE\nYou’1l take care of me, right?\n\nNATE\nWe'll take care of each other.\n\nMichelle reads between the lines. She leans in, kisses Nate.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM - MOMENTS LATER
Nate and Michelle naked on the bed, having the kind of wild,
passionate sex that only happens with the world coming to an
end.
Michelle MOANS in ecstasy.
58.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM - MOMENTS LATER\n\nNate and Michelle naked on the bed, having the kind of wild,\npassionate sex that only happens with the world coming to an\nend.\n\nMichelle MOANS in ecstasy.\n\f58.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - CONTINUOUS
Howard on the couch. His eyes flicker open. He rubs his face.
Michelle’s MOANS echo from the other room.
Howard’s brain slowly returns to consciousness as Michelle
works her way toward an orgasm.
Howard reaches down to his waist. His gun is missing.
The look on Howard’s face is chilling as he begins to piece
together what’s happened.
With one final SQUEAL of ecstasy, Michelle’s noise dies down.
And then Howard hears someone coming his way. He closes his
eyes, feigns like he’s still passed out.
Michelle enters and heads for the bathroom -- wearing only
her PANTIES.
Howard’s eyes open to slits. He covertly watches her pass.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - CONTINUOUS\nHoward on the couch. His eyes flicker open. He rubs his face.\nMichelle’s MOANS echo from the other room.\n\nHoward’s brain slowly returns to consciousness as Michelle\nworks her way toward an orgasm.\n\nHoward reaches down to his waist. His gun is missing.\n\nThe look on Howard’s face is chilling as he begins to piece\ntogether what’s happened.\n\nWith one final SQUEAL of ecstasy, Michelle’s noise dies down.\nAnd then Howard hears someone coming his way. He closes his\neyes, feigns like he’s still passed out.\n\nMichelle enters and heads for the bathroom -- wearing only\nher PANTIES.\n\nHoward’s eyes open to slits. He covertly watches her pass.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. HOWARD’S ROOM - LATER
Howard sits on his mattress, propped up on his pillow against
the back wall. He drinks from an open wine bottle.
Nate comes into the bedroom, the revolver tucked into his
waistband in clear view.
HOWARD
Give me back my gun.
Nate passes by him and walks into the bathroom.
NATE (0.S.)
Not gonna happen.
Howard takes another slug of wine as he’s forced to listen to
Nate PEE in the toilet.
Nate steps out of the bathroom, heads for the door.
HOWARD
Guess you never plan on sleeping
again.
Nate stops, walks over to Howard, kicking an empty wine
bottle out of the way.
59.
NATE
Good point. Give me your keys.
HOWARD
Fuck you.
Howard takes another drink.
Nate pulls the gun, points it at Howard’s head.
Nate’s demeanor is darker and colder than we’ve seen it.
NATE
Give me the fuckin’ keys or you’re
going to be lying out there next to
your dead pigs.
Michelle appears in the doorway of Howard’s room, surprised
by Nate’s tone.
HOWARD
(to Michelle)
This is who you decided to throw
your lot in with? After all I’ve
done for you.
Michelle marches over. Stands at Nate’s side.
MICHELLE
All you've done for me? You mean
like running me off the road and
nearly killing me.
Howard’s face shifts through emotions -- lands on anger.
HOWARD
(pointing at Nate)
This asshole tell you that?
MICHELLE
I saw your truck. It was you.
HOWARD
You were unconscious, you don’t
remember shit. I saved you.
MICHELLE
You have an answer for everything.
But why are there always so many
questions?
Nate pulls back the hammer on the revolver.
60.
NATE
I’m only going to say it once more.
Give me the keys.
His finger tenses on the trigger. He’s really going to shoot
Howard.
Howard reaches into his pocket, pulls out his key ring, hands
it over.
Nate smiles -- really enjoying this now.
NATE (CONT'D)
The pump is fixed. When you sober
up, take it down to the well.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. HOWARD’S ROOM - LATER\n\nHoward sits on his mattress, propped up on his pillow against\nthe back wall. He drinks from an open wine bottle.\n\nNate comes into the bedroom, the revolver tucked into his\nwaistband in clear view.\n\nHOWARD\nGive me back my gun.\n\nNate passes by him and walks into the bathroom.\n\nNATE (0.S.)\nNot gonna happen.\n\nHoward takes another slug of wine as he’s forced to listen to\nNate PEE in the toilet.\n\nNate steps out of the bathroom, heads for the door.\nHOWARD\nGuess you never plan on sleeping\n\nagain.\n\nNate stops, walks over to Howard, kicking an empty wine\nbottle out of the way.\n\f59.\n\nNATE\nGood point. Give me your keys.\n\nHOWARD\nFuck you.\n\nHoward takes another drink.\nNate pulls the gun, points it at Howard’s head.\nNate’s demeanor is darker and colder than we’ve seen it.\n\nNATE\nGive me the fuckin’ keys or you’re\ngoing to be lying out there next to\nyour dead pigs.\n\nMichelle appears in the doorway of Howard’s room, surprised\nby Nate’s tone.\n\nHOWARD\n(to Michelle)\nThis is who you decided to throw\nyour lot in with? After all I’ve\ndone for you.\n\nMichelle marches over. Stands at Nate’s side.\n\nMICHELLE\nAll you've done for me? You mean\nlike running me off the road and\nnearly killing me.\n\nHoward’s face shifts through emotions -- lands on anger.\n\nHOWARD\n(pointing at Nate)\nThis asshole tell you that?\n\nMICHELLE\nI saw your truck. It was you.\n\nHOWARD\nYou were unconscious, you don’t\nremember shit. I saved you.\n\nMICHELLE\nYou have an answer for everything.\nBut why are there always so many\nquestions?\n\nNate pulls back the hammer on the revolver.\n\f60.\n\nNATE\nI’m only going to say it once more.\nGive me the keys.\n\nHis finger tenses on the trigger. He’s really going to shoot\nHoward.\n\nHoward reaches into his pocket, pulls out his key ring, hands\nit over.\n\nNate smiles -- really enjoying this now.\n\nNATE (CONT'D)\nThe pump is fixed. When you sober\nup, take it down to the well.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM
Nate and Michelle stand at the door. Nate turns the key in
the lock.
NATE
This door requires a key on either
side. Whenever we’re in here, this
stays locked. If you get up to use
the bathroom, you wake me first. If
this door’s unlocked, I need to
know about it.
Michelle lets out a small laugh.
MICHELLE
First I’m locked in a cellar. Now
I’m locked in a room in that
cellar. Just keeps getting better.
Nate turns on her, a cold look in his eyes --
NATE
You take this seriously or you
could end up dead.
Michelle is put off by his tone. She wipes away her smile and
nods.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM\n\nNate and Michelle stand at the door. Nate turns the key in\nthe lock.\n\nNATE\nThis door requires a key on either\nside. Whenever we’re in here, this\nstays locked. If you get up to use\nthe bathroom, you wake me first. If\nthis door’s unlocked, I need to\nknow about it.\n\nMichelle lets out a small laugh.\nMICHELLE\nFirst I’m locked in a cellar. Now\nI’m locked in a room in that\ncellar. Just keeps getting better.\nNate turns on her, a cold look in his eyes --\nNATE\nYou take this seriously or you\ncould end up dead.\nMichelle is put off by his tone. She wipes away her smile and\nnods.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
The trap door to the crawl space is open. Howard pokes his
head out, looks at Nate, who is near the sink.
61.
HOWARD
Should be working.
Nate turns the faucet. Water POURS in a thick stream.
Howard pulls himself up through the trap door and closes it,
drags the throw rug back over it.
NATE
You were down there so long, I
thought you might have fallen in.
Nate smiles cheerfully. Howard sneers.
HOWARD
You’re one hell of a bastard,
coming in here, taking over.
NATE
Shit. You didn’t give me any
choice. But you were right about
one thing. This place. It’s not big
enough for three people.
HOWARD
You’re going to kick me out?
NATE
Well, I’m not going anywhere. And
neither is Michelle. Guess that
only leaves you. She needs a little
convincing, but she’ll come around.
Nate looks over as Michelle enters from the bedroom.
NATE (CONT'D)
Hey, baby.
MICHELLE
Morning...
(a beat)
If it is morning. God I hate having
no idea what time it is.
Nate opens the cupboard. Grabs a can of beans.
NATE
Being that all our meals are
basically the same, guess it really
doesn’t matter much.
Michelle offers a weak smile.
62.
Howard processes Nate’s words. His face is ashen.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\n\nThe trap door to the crawl space is open. Howard pokes his\nhead out, looks at Nate, who is near the sink.\n\f61.\n\nHOWARD\nShould be working.\n\nNate turns the faucet. Water POURS in a thick stream.\n\nHoward pulls himself up through the trap door and closes it,\ndrags the throw rug back over it.\n\nNATE\nYou were down there so long, I\nthought you might have fallen in.\n\nNate smiles cheerfully. Howard sneers.\n\nHOWARD\nYou’re one hell of a bastard,\ncoming in here, taking over.\n\nNATE\nShit. You didn’t give me any\nchoice. But you were right about\none thing. This place. It’s not big\nenough for three people.\n\nHOWARD\nYou’re going to kick me out?\n\nNATE\nWell, I’m not going anywhere. And\nneither is Michelle. Guess that\nonly leaves you. She needs a little\nconvincing, but she’ll come around.\n\nNate looks over as Michelle enters from the bedroom.\n\nNATE (CONT'D)\n\nHey, baby.\nMICHELLE\nMorning...\n(a beat)\n\nIf it is morning. God I hate having\nno idea what time it is.\n\nNate opens the cupboard. Grabs a can of beans.\nNATE\nBeing that all our meals are\nbasically the same, guess it really\ndoesn’t matter much.\n\nMichelle offers a weak smile.\n\f62.\n\nHoward processes Nate’s words. His face is ashen.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM - LATER
Nate, Michelle and Howard sit around the table finishing
their meal.
Howard’s halfway through another bottle of wine. Nate pushes
his empty plate in front of Howard.
NATE
Clean that up, would ya.
Nate gets up from the table, the revolver visible in his
waistband.
NATE (CONT'D)
This food is killing me.
He pats his belly as he walks toward Howard’s room.
NATE (CONT'D)
(with a smile)
Just remember, I tried to get you
to spend the extra money for a vent
above the toilet.
HOWARD
Least you could do is close the
door.
Nate swings Howard's bedroom door closed behind him.
Howard leans in close to Michelle. He speaks in a hushed
whisper.
HOWARD (CONT'D)
You were right.
MICHELLE
About what?
HOWARD
This is all a put on. There was no
attack. Nate and I planned this
from the start. He talked me into
it. Said we could get a girl down
here and nobody would ever know.
Michelle is caught completely off guard.
63.
MICHELLE
Why are you telling me this?
HOWARD
Isn't it obvious? I’m jealous. You
weren’t supposed to be only for
him.
Michelle’s stomach turns.
MICHELLE
You’re lying.
HOWARD
About there being an attack or
about there not being an attack?
(a wry smile)
You fell for it. Now you’re his
little toy and I’m locked down here
to suffer until he tires of you...
And god only knows what’s gonna
happen then. He can’t just let you
walk out, can he?
MICHELLE
Why would I believe you?
HOWARD
Because you know it’s true. And
you'll never be safe as long as he
has that gun.
MICHELLE
Giving you the gun isn’t gonna make
me feel any better.
HOWARD
Tell you what, just get me the
keys. I’1l find a phone and call
the police... What do you have to
lose? Either you’re rid of me for
good, or else I'll bring back help.
Michelle looks doubtful.
HOWARD (CONT'D)
I can get you out of here, back to
your family, to your life. But only
if you help me.
The toilet FLUSHES.
Howard peers at Michelle. She doesn’t say a word.
64.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM - LATER\n\nNate, Michelle and Howard sit around the table finishing\ntheir meal.\n\nHoward’s halfway through another bottle of wine. Nate pushes\nhis empty plate in front of Howard.\n\nNATE\nClean that up, would ya.\n\nNate gets up from the table, the revolver visible in his\nwaistband.\n\nNATE (CONT'D)\nThis food is killing me.\n\nHe pats his belly as he walks toward Howard’s room.\n\nNATE (CONT'D)\n(with a smile)\nJust remember, I tried to get you\nto spend the extra money for a vent\nabove the toilet.\n\nHOWARD\nLeast you could do is close the\ndoor.\n\nNate swings Howard's bedroom door closed behind him.\n\nHoward leans in close to Michelle. He speaks in a hushed\nwhisper.\n\nHOWARD (CONT'D)\nYou were right.\n\nMICHELLE\nAbout what?\n\nHOWARD\nThis is all a put on. There was no\nattack. Nate and I planned this\nfrom the start. He talked me into\nit. Said we could get a girl down\nhere and nobody would ever know.\n\nMichelle is caught completely off guard.\n\f63.\n\nMICHELLE\nWhy are you telling me this?\n\nHOWARD\nIsn't it obvious? I’m jealous. You\nweren’t supposed to be only for\nhim.\n\nMichelle’s stomach turns.\n\nMICHELLE\nYou’re lying.\n\nHOWARD\n\nAbout there being an attack or\nabout there not being an attack?\n\n(a wry smile)\nYou fell for it. Now you’re his\nlittle toy and I’m locked down here\nto suffer until he tires of you...\nAnd god only knows what’s gonna\nhappen then. He can’t just let you\nwalk out, can he?\n\nMICHELLE\nWhy would I believe you?\n\nHOWARD\nBecause you know it’s true. And\nyou'll never be safe as long as he\nhas that gun.\n\nMICHELLE\nGiving you the gun isn’t gonna make\nme feel any better.\n\nHOWARD\nTell you what, just get me the\nkeys. I’1l find a phone and call\nthe police... What do you have to\nlose? Either you’re rid of me for\ngood, or else I'll bring back help.\n\nMichelle looks doubtful.\nHOWARD (CONT'D)\nI can get you out of here, back to\nyour family, to your life. But only\nif you help me.\nThe toilet FLUSHES.\n\nHoward peers at Michelle. She doesn’t say a word.\n\f64.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. HOWARD’S ROOM
Howard sleeps on the mattress.
Michelle comes in and nudges him awake.
Howard’s eyes open. Michelle’s kneeling next to him. The key
ring JANGLES softly in her hand.
Howard shakes off the cobwebs and grabs the keys from her.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. HOWARD’S ROOM\nHoward sleeps on the mattress.\nMichelle comes in and nudges him awake.\n\nHoward’s eyes open. Michelle’s kneeling next to him. The key\nring JANGLES softly in her hand.\n\nHoward shakes off the cobwebs and grabs the keys from her.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. MAIN ROOM
The door to the small bedroom is closed. Michelle sits on the
couch, anxiously picking at her fingernails.
Howard comes out dressed in a hazmat suit. They whisper --
MICHELLE
If it’s all the lie, why are you
wearing the suit?
HOWARD
Nate still has a gun. If he’s awake
when I come back, we’ll tell him I
had to check on the solar panels.
MICHELLE
Are you coming back?
Just then, the bedroom door whips open.
Nate comes out, gun drawn.
NATE
Where the hell you think you're
going?
HOWARD
The electricity’s shorting out. I
need to check the panels.
Nate sees the key ring in Howard’s hand. He turns to
Michelle, eyes ablaze with rage.
MICHELLE
He said it was an emergency.
NATE
And you didn’t wake me?
65.
MICHELLE
I was scared. I panicked.
Nate flicks on the overhead light. It’s working fine.
NATE
(to Howard)
You’re free to go. But the suit
stays here.
Howard turns and heads back toward his bedroom.
NATE (CONT'D)
The keys. Leave them on the table.
Howard complies.
Nate steps toward Michelle, a menacing look on his face.
NATE (CONT'D)
I thought we were getting
somewhere, you and me...
He reaches up and gently rubs her chin with his hand that
still holds the revolver. A shiver runs through Michelle when
the cold metal touches her face.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. MAIN ROOM\n\nThe door to the small bedroom is closed. Michelle sits on the\ncouch, anxiously picking at her fingernails.\n\nHoward comes out dressed in a hazmat suit. They whisper --\n\nMICHELLE\n\nIf it’s all the lie, why are you\n\nwearing the suit?\nHOWARD\n\nNate still has a gun. If he’s awake\n\nwhen I come back, we’ll tell him I\n\nhad to check on the solar panels.\n\nMICHELLE\nAre you coming back?\n\nJust then, the bedroom door whips open.\n\nNate comes out, gun drawn.\n\nNATE\nWhere the hell you think you're\ngoing?\n\nHOWARD\n\nThe electricity’s shorting out. I\nneed to check the panels.\n\nNate sees the key ring in Howard’s hand. He turns to\nMichelle, eyes ablaze with rage.\n\nMICHELLE\nHe said it was an emergency.\n\nNATE\nAnd you didn’t wake me?\n\f65.\n\nMICHELLE\n\nI was scared. I panicked.\n\nNate flicks on the overhead light. It’s working fine.\nNATE\n(to Howard)\nYou’re free to go. But the suit\nstays here.\n\nHoward turns and heads back toward his bedroom.\n\nNATE (CONT'D)\nThe keys. Leave them on the table.\n\nHoward complies.\nNate steps toward Michelle, a menacing look on his face.\nNATE (CONT'D)\n\nI thought we were getting\n\nsomewhere, you and me...\nHe reaches up and gently rubs her chin with his hand that\nstill holds the revolver. A shiver runs through Michelle when\nthe cold metal touches her face.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM
Nate sleeps on the mattress. Michelle sits next to him,
propped against her pillow, staring at the blank wall.
She moves to get out of bed but stops. Shakes Nate. His hand
whips from under the pillow, gun pointed at Michelle.
She flinches. Then gently pushes his gun arm away from her.
MICHELLE
I gotta use the bathroom.
Nate sits up. He unties the key ring from his waistband,
hands it to Michelle.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM\n\nNate sleeps on the mattress. Michelle sits next to him,\npropped against her pillow, staring at the blank wall.\n\nShe moves to get out of bed but stops. Shakes Nate. His hand\nwhips from under the pillow, gun pointed at Michelle.\n\nShe flinches. Then gently pushes his gun arm away from her.\n\nMICHELLE\nI gotta use the bathroom.\n\nNate sits up. He unties the key ring from his waistband,\nhands it to Michelle.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. HOWARD’S ROOM
Howard snores loudly on his mattress. Two empty wine bottles
rest on the cement floor next to his bed.
Michelle tiptoes by him into the --
66.
BATHROOM
She pulls the curtain closed.
Howard’s snoring stops.
Michelle finishes peeing. She pulls up her underwear, parts
the shower curtains to leave --
Howard stands there, leering at her with drunken eyes.
MICHELLE
It’s all yours.
She moves to slide by him. But he steps in front of her.
HOWARD
You’re too good for me. But you’1ll
lie down with that cretin.
MICHELLE
Get out of the way.
HOWARD
You’ve given me nothing but trouble
since you got here. I should’ve
left you in that ditch...
Michelle steps around him into --
HOWARD’S BEDROOM
Howard matches her steps, blocks her path to the door.
MICHELLE
Get away from me!
HOWARD
...-would’ve made my life so much
easier.
Howard steps toward her.
Michelle reaches down, grabs a wine bottle and swings it.
Howard jumps back, avoids the impact.
HOWARD (CONT'D)
You bitch.
He grabs Michelle around the neck, a crazed look in his eyes.
67.
And then --
WHAM! The revolver smashes Howard in the back of the head.
Howard collapses forward into Michelle, knocking both of them
onto the mattress, leaving Michelle underneath his limp body.
Nate stands over them both, looking down at Michelle.
NATE
You ready to deal with this problem
for good?
Michelle looks up at Nate. He waits for a response.
She stares at him a long beat... and shakes her head no.
Nate turns and leaves the room as Michelle frantically
struggles to get out from under Howard’s leaden weight.
Michelle finally manages to push Howard off of her. She
scurries for the door.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. HOWARD’S ROOM\n\nHoward snores loudly on his mattress. Two empty wine bottles\nrest on the cement floor next to his bed.\n\nMichelle tiptoes by him into the --\n\f66.\n\nBATHROOM\nShe pulls the curtain closed.\nHoward’s snoring stops.\n\nMichelle finishes peeing. She pulls up her underwear, parts\nthe shower curtains to leave --\n\nHoward stands there, leering at her with drunken eyes.\n\nMICHELLE\nIt’s all yours.\n\nShe moves to slide by him. But he steps in front of her.\nHOWARD\nYou’re too good for me. But you’1ll\nlie down with that cretin.\n\nMICHELLE\nGet out of the way.\n\nHOWARD\nYou’ve given me nothing but trouble\nsince you got here. I should’ve\nleft you in that ditch...\n\nMichelle steps around him into --\n\nHOWARD’S BEDROOM\nHoward matches her steps, blocks her path to the door.\n\nMICHELLE\nGet away from me!\n\nHOWARD\n...-would’ve made my life so much\neasier.\nHoward steps toward her.\nMichelle reaches down, grabs a wine bottle and swings it.\n\nHoward jumps back, avoids the impact.\n\nHOWARD (CONT'D)\nYou bitch.\n\nHe grabs Michelle around the neck, a crazed look in his eyes.\n\f67.\n\nAnd then --\nWHAM! The revolver smashes Howard in the back of the head.\n\nHoward collapses forward into Michelle, knocking both of them\nonto the mattress, leaving Michelle underneath his limp body.\n\nNate stands over them both, looking down at Michelle.\nNATE\nYou ready to deal with this problem\nfor good?\nMichelle looks up at Nate. He waits for a response.\n\nShe stares at him a long beat... and shakes her head no.\n\nNate turns and leaves the room as Michelle frantically\nstruggles to get out from under Howard’s leaden weight.\n\nMichelle finally manages to push Howard off of her. She\nscurries for the door.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. HOWARD’S ROOM - LATER
Howard comes to -- reaches to the back of his head and finds
it crusted with blood.
He wobbles to his feet, stumbles into the --
MAIN ROOM
Michelle stands at the sink pouring out full wine bottles.
Judging by the dozen or so empty bottles on the counter,
she’s been at it awhile.
HOWARD
What are you doing?
Michelle ignores him. Howard hurries over and grabs a bottle
out of Michelle’s hand.
MICHELLE
Don’t touch me!
Nate saunters into the room. He walks right up and holds the
revolver against Howard's skull.
NATE
I’ve just about had enough of you.
68.
HOWARD
That’s my wine.
NATE
Can't drink it if you’re dead.
Howard lets go of the bottle and backs away.
Nate locks eyes on Howard, a chilling look on his face --
NATE (CONT'D)
You enjoy attacking women, don’t
you?
HOWARD
I didn’t attack her. I would never
do that. I...
Howard reaches a hand out to Michelle -- she backs away from
him.
HOWARD (CONT'D)
Look, I got emotional. I’m sorry.
But that’s not me.
NATE
This whole set up has just about
run its course... Michelle, go in
the other room.
Tears form in Michelle’s eyes.
HOWARD
Wait, no. Michelle. Don't go!
She turns away from Howard, walks into the bedroom and closes
the door.
Howard backs away from Nate. Nate grabs him by the scruff of
the neck with one hand, holds the gun to his temple with the
other.
NATE
Up the stairs.
HOWARD
Nate, please don’t.
NATE
Get up the FUCKIN’ STAIRS!
Nate shoves him forward. Howard stumbles, falls at the bottom
of the stairs. Tears form in his eyes.
69.
Nate kicks Howard in the ass.
NATE (CONT'D)
Move!
HOWARD
Please, please no.
NATE
It’s not like I didn’t give you
enough chances.
Howard stumbles to his feet. Nate shoves the gun barrel in
his back, pushes him into the --
STAIRWELL
HOWARD
(sobbing hysterically)
Don’t, Nate. Please. What do I have
to do? I’1l do anything!
Nate pulls out the keys.
<|end_of_scene|>
|
10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. HOWARD’S ROOM - LATER\n\nHoward comes to -- reaches to the back of his head and finds\nit crusted with blood.\n\nHe wobbles to his feet, stumbles into the --\n\nMAIN ROOM\n\nMichelle stands at the sink pouring out full wine bottles.\nJudging by the dozen or so empty bottles on the counter,\nshe’s been at it awhile.\n\nHOWARD\nWhat are you doing?\n\nMichelle ignores him. Howard hurries over and grabs a bottle\nout of Michelle’s hand.\n\nMICHELLE\nDon’t touch me!\n\nNate saunters into the room. He walks right up and holds the\nrevolver against Howard's skull.\n\nNATE\nI’ve just about had enough of you.\n\f68.\n\nHOWARD\nThat’s my wine.\n\nNATE\nCan't drink it if you’re dead.\n\nHoward lets go of the bottle and backs away.\nNate locks eyes on Howard, a chilling look on his face --\n\nNATE (CONT'D)\nYou enjoy attacking women, don’t\n\nyou?\nHOWARD\nI didn’t attack her. I would never\ndo that. I...\nHoward reaches a hand out to Michelle -- she backs away from\n\nhim.\n\nHOWARD (CONT'D)\nLook, I got emotional. I’m sorry.\nBut that’s not me.\n\nNATE\nThis whole set up has just about\nrun its course... Michelle, go in\n\nthe other room.\nTears form in Michelle’s eyes.\n\nHOWARD\nWait, no. Michelle. Don't go!\n\nShe turns away from Howard, walks into the bedroom and closes\nthe door.\n\nHoward backs away from Nate. Nate grabs him by the scruff of\nthe neck with one hand, holds the gun to his temple with the\nother.\n\nNATE\nUp the stairs.\n\nHOWARD\nNate, please don’t.\n\nNATE\nGet up the FUCKIN’ STAIRS!\n\nNate shoves him forward. Howard stumbles, falls at the bottom\nof the stairs. Tears form in his eyes.\n\f69.\n\nNate kicks Howard in the ass.\n\nNATE (CONT'D)\nMove!\n\nHOWARD\nPlease, please no.\n\nNATE\nIt’s not like I didn’t give you\nenough chances.\nHoward stumbles to his feet. Nate shoves the gun barrel in\nhis back, pushes him into the --\nSTAIRWELL\nHOWARD\n(sobbing hysterically)\nDon’t, Nate. Please. What do I have\nto do? I’1l do anything!\n\nNate pulls out the keys.", "movie_title": "10 Cloverfield Lane_1179933"}
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INT. SMALL BEDROOM - CONTINUOUS
Michelle stands with her ear to the door, listening...
HOWARD (0.S.)
You can’t do this! It’s murder...
Tears form in her eyes.
HOWARD (0.S.) (CONT'D)
We can work this out. I'll stay out
of your way. You won’t even know
I’m here.
Michelle reaches for the door handle... hesitates.
HOWARD (0.S.) (CONT'D)
Please, Nate! Please...!
Michelle pulls open the door. Rushes to the --
STAIRWELL
MICHELLE
No! Stop!
70.
Nate keeps his eyes on Howard, who’s kneeling on the stairs.
MICHELLE (CONT'D)
Don’t do it, Nate.
Nate pauses, considering...
Howard looks up to him with pleading eyes.
Nate pushes Howard back down the stairs.
HOWARD
Thank you.
NATE
Shut up.
Howard stumbles into the --
MAIN ROOM
Nate follows on his heels.
NATE
There are gonna be some changes.
You stay in your room. Always. You
wanna come out, you ask for my
permission and you do it when she’s
not out here. You don’t go anywhere
near her, no matter what. Got me?
HOWARD
Okay. However you --
NATE
And stop talking. I’ve heard enough
out of you for a lifetime. So do us
all a favor. And shut the fuck up.
Nate sneers at Howard. Howard returns an empty look --
something has snapped inside of both of them.
<|end_of_scene|>
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10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. SMALL BEDROOM - CONTINUOUS\nMichelle stands with her ear to the door, listening...\n\nHOWARD (0.S.)\nYou can’t do this! It’s murder...\n\nTears form in her eyes.\nHOWARD (0.S.) (CONT'D)\nWe can work this out. I'll stay out\nof your way. You won’t even know\nI’m here.\nMichelle reaches for the door handle... hesitates.\n\nHOWARD (0.S.) (CONT'D)\nPlease, Nate! Please...!\n\nMichelle pulls open the door. Rushes to the --\n\nSTAIRWELL\n\nMICHELLE\nNo! Stop!\n\f70.\n\nNate keeps his eyes on Howard, who’s kneeling on the stairs.\n\nMICHELLE (CONT'D)\nDon’t do it, Nate.\n\nNate pauses, considering...\nHoward looks up to him with pleading eyes.\nNate pushes Howard back down the stairs.\n\nHOWARD\nThank you.\n\nNATE\nShut up.\n\nHoward stumbles into the --\n\nMAIN ROOM\nNate follows on his heels.\n\nNATE\nThere are gonna be some changes.\nYou stay in your room. Always. You\nwanna come out, you ask for my\npermission and you do it when she’s\nnot out here. You don’t go anywhere\nnear her, no matter what. Got me?\n\nHOWARD\nOkay. However you --\n\nNATE\nAnd stop talking. I’ve heard enough\nout of you for a lifetime. So do us\nall a favor. And shut the fuck up.\n\nNate sneers at Howard. Howard returns an empty look --\nsomething has snapped inside of both of them.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. HOWARD’S ROOM - LATER
Howard sits at the edge of his bed. He doesn’t move an inch.
There’s a feral look in his eyes.
71.
<|end_of_scene|>
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10 Cloverfield Lane_1179933.txt
|
You are a screenwriter. Given the details of a movie and the content of the preceding scene, write the next scene for the script.
|
{"movie_details": {"genre": "Psychological Thriller", "theme": "Survival, paranoia, and the psychological struggle against an uncertain, escalating threat.", "tone": "Tense, claustrophobic, and suspenseful"}, "previous_scene": "INT. HOWARD’S ROOM - LATER\n\nHoward sits at the edge of his bed. He doesn’t move an inch.\nThere’s a feral look in his eyes.\n\f71.", "movie_title": "10 Cloverfield Lane_1179933"}
|
INT. SMALL BEDROOM
Michelle awakens -- next to Nate -- from a bad dream. Cold
sweat runs down her face. She shivers.
NATE
(half asleep)
You okay?
MICHELLE
Yeah.
She burrows into his arms. He pushes her away, pulls off the
covers.
NATE
I gotta piss.
Nate climbs out of bed and crosses to the door. He unlocks
it, walks out, closing it behind him.
Michelle hears the sound of Nate locking the door from the
outside. She curls into her pillow, eyes flutter closed.
<|end_of_scene|>
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10 Cloverfield Lane_1179933.txt
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