WINTER The Screenplay

WINTER

Written by Valerio Ventura

WINTER ©1998 V2 FILMS All rights reserved.
Unauthorized copying, hiring, lending, e-mailing, scanning, dissemination, public performance and broadcasting of this screenplay prohibited and is a violation of applicable laws.

FADE IN:

EXT. HOLIDAY INN - DAY
The exterior on the towering structure of the Holiday Inn.
A SLOW PUSH IN on the hotel 14th floor windows.
a CELL PHONE RINGS.
INT. SUITE 1407 - SAME TIME
SIR CHARLES BARTON, 60, a thin distinguished man, is sitting on a chair, adjusts his tie. BOBBY, mid-thirties, built like a tired ex-boxer, is sitting across from him and he’s examining a SNOW DOME playing Auld Lang Syne.
a CELL PHONE RINGS.
CLOSE ON SNOW DOME
Falling snow sparkles as it collects on a figure depicting PINOCCHIO, the marionette is slumped lifeless on a chair. On the table top, in front of Bobby, we see a CELL PHONE, a roll of BARBWIRE and the remanence of a breakfast.
the CELL PHONE RINGS again.
SIR CHARLES
(annoyed)
Bobby! Put the bloody globe down and answer the telephone!
BOBBY grabs it.
BOBBY
(still examining the globe)
Hello. Yeah, off course.
(he takes a deep breath waiting impatiently)
Blonde, brunette, whatever, as long as she cooperates.
(looks over at Sir Charles)
Auld Lang Syne stops. In the background Sir Charles continues to work on his tie, content.
BOBBY
No, we’ll negotiate “that” here. Yeah, 20k plus that.
(annoyed)
That’s right.
Bobby hangs up and puts the phone down.

Sir Charles looks over at Bobby, his wheels turning.
SIR CHARLES
(full of himself)
And here she comes, to part the glory of another day. That’s Shakespeare Bobby.
EXT. FRENCH STYLE HOME - SAN MARINO STREET - DAY
A very elegant too-many-bedroom house in the wealthy suburb of San Marino, California. A BLACK MERCEDES, and a JEEP are parked in the gated driveway.
a PHONE rings.
INT. ENTRY WAY
CAMERA PANS through a hallway into a STUDY by a bank of TELEPHONE and a FAX MACHINE resting on a book case. One of the phones is ringing.
STUDY
JOSH, a thirty-something tall, handsome, jock type, sits at a large wooden desk typing on a LAP TOP. He stops, gives the phone a harsh look. Types again.
the phone continues to ring.
CAMERA PANS over to a living room.
LIVING ROOM
on the couch we see a young woman is resting, and she is--
WINTER, 24, drop-dead beautiful, slim, with ghostly white skin. Next to her on the floor is an open carton of MILK and an empty PIZZA BOX.
CLOSE ON HER FACE
Her closed eyes. She’s listening to music through an old school walkman.
Josh walks up to her and removes the headset. She opens her eyes.
JOSH
It’s your line, it’s been ringing forever.
Winter stands up and walks over to the study.
BACK TO JOSH
He’s pissed off.
STUDY
Winter picks up. Josh enters and sits back down at his lap top.
WINTER
(over the phone)
One of the four seasons?
(listening intensely)
I’ll see you in spring.
She walks out back towards the Living room.
Josh resumes his typing.
The FAX MACHINE rings and begins to transmit a document. Josh shots a glare over at it.
LIVING ROOM
Winter is back on the couch.
BACK TO JOSH
He get’s up walk over to the fax machine, takes the fax, and walk over to Winter.

JOSH
Don’t you even want to look at it?
She looks up at him.
Josh throws the fax at her.
JOSH
Do you know what bothers me?
Winter sits up upset.
WINTER
No.
JOSH
You’re liking your fucking job.
She stand up, but he’s towering over her.
WINTER
You knew when we met what I am, Now you whine every time I get a call. Looks like you’re not bothered by the money Josh. At least it’s paying our fucking bills!
JOSH
You know what I mean!
WINTER
Hey! Maybe, I could be your personal whore. But could you afford me!
JOSH
Fuck you!
(pause)
Look, I’ve been thinking.
WINTER
Thinking what!?
JOSH
About us.
WINTER
Do you love me?
JOSH
I love you to death.
WINTER
Death is good.
JOSH
Death can be claustrophobic.
WINTER
Be patient. This will stop one day, you could write forever.
JOSH
Writing? Fuck writing, writing is what I do when you not here to keep me sane! I wanna be with you! You...
She steps up on the coffee table, now she’s a bit taller than him.
Winter puts her hand over his mouth and kisses him.
It’s a passionate sensual kiss.
EXT. FRENCH STYLE HOME - TWO HOURS LATER
Winter rushes out of the front door carrying a SMALL BLACK CLUTCH. She walks right pass a rose bush and out the entry gate.
Each step Winter takes is definite, firm, angry. She slips behind the wheel of the black Mercedes and drives off.
CAMERA PANS BACK to the ENTRY GATE to reveal--
Josh stands behind the gate, bangs his hands on it and walks off back in the house.
INT. HOLIDAY INN - SUITE 1407 - SAME TIME
Bobby is standing by the couch and is being reprimanded by a red-faced Sir Charles.
SIR CHARLES
(angry, matter-of-fact)
What do you mean Bobby? It was like a trivia game? You told an absolute stranger?
BOBBY
(stumbling thru his words)
At the airport, When I went for a pee. The guy... I thought you knew him!
SIR CHARLES
Knew him an absolute stranger?
BOBBY
I thought you knew him!
SIR CHARLES
(angry, matter-of-fact)
You thought I knew an absolute stranger? You IDIOT!
(calling)
Jimmy!
Bobby startled looks at the bathroom door. We hear a toilet flush as the door opens.
The bathroom door swings open and, JIMMY, a tall thick man, ex-military type, walks out running his wet hands through his short cropped hair. He’s stripped down to his black slacks, wife beater and strapped with a shoulder holster, packing a 45 equipped with a SILENCER.
Jimmy strides over to Bobby and stands in front of him. He towers over him. Jimmy stretches his neck, twisting it side to side, almost uncontrollably, like a glitch in his system. His neck cracks, loud, like bones snapping. Bobby flinches.
Sir Charles picks up a cell phone from the wet bar and punches in a number.
SIR CHARLES
(into the phone)
Mr. Helger Janss, please. Yes, I’ll hold.
Jimmy sits down on the sofa next to Bobby.
JIMMY
(whispering)
How did you get the code?
BOBBY
What?
JIMMY
The code, how did you get the code?
SIR CHARLES (O.S.)
(bothered)
You tell him it is urgent.
BOBBY
(whispering)
I don’t want to die.
JIMMY
What did you say?
BOBBY
(swallowing, under his breath)
I don’t wanna die, Jimmy.

JIMMY
Neither do I Bobby, neither do I. Come on, we’re friends you and I. What can possibly go wrong.


(whispering)
Where’d you get the code?
ON SIR CHARLES
SIR CHARLES
(into the phone)
Helger! It’s Barton here.
(pause)
What! Closed? Listen to me, the deposit was wired two days ago! Your secretary confirmed it!
(pause)
What do you mean you don’t have a secretary? Rutherford... her name was Rutherford...
Bobby give you the code for a transfer?
Jimmy cracks his neck again.
SIR CHARLES
(livid)
No, you listen here! I wired you twenty-one million dollars! No you wait!
Helgert? Hello? Hello?
The phone goes dead.
ON SIR CHARLES JIMMY AND BOBBY
Jimmy has Bobby pinned down on the couch with his 45’s silencer shoved half way inside Bobby’s mouth.
Bobby’s eyes are wide with terror. Bobby tries to free himself with all the strength he can muster, but Jimmy is too strong.
SIR CHARLES
You insignificant pile of flesh! Do it!
The 45 goes off. Bobby’s blood spatters the side of JIMMY’S face.
EXT. HOLIDAY INN - DRIVEWAY - LATER
Winter’s Mercedes stops on the Hotel’s driveway. It’s quiet, a DELIVERY TRUCK drives, a PEDESTRIAN strolls away from the Hotel revolving doors.
Winter steps out and walk over to the entrance and into the lobby.

INT. AIRPORT HOTEL - SUITE 1407
Sir Charles stares into Jimmy’s snow dome.
Jimmy is wearing a white plastic apron, surgical gloves, and a paper painter’s mask. He finishes rolling up some of the blood spattered plastic sheeting. Then he uses a bottle of glass cleaner and a sponge to wipe off blood over spray from the wall.
SIR CHARLES
(mumbling to himself)
This is not the end Jimmy, this is not the end.
JIMMY
Yes, Boss?
Sir Charles looks over.
SIR CHARLES
(concerned)
Oh! Jimmy?
Jimmy turns around.
JIMMY
Yes Boss.
SIR CHARLES
You missed a spot. Right there on the right.
JIMMY
(to himself)
What?
Jimmy looks to his right and finds a the blood spatter on the wall.
JIMMY
Yes boss. Got it.
SIR CHARLES
Ah! Carry on, carry on my friend, carry on.
JIMMY
Whatever you say Boss.
Jimmy resume cleaning.

INT. 14TH FLOOR - HOTEL ELEVATORS LANDING
The elevator bell chimes. The doors open. Winter steps out and walks up a long hallway.
She comes up to a CLEANING CART and continues on to room 1407. She stops, and knocks on the door.
The door opens. It’s Jimmy.
He scans her up and down. In the background, SIR CHARLES looks out the window holding a CANE with a silver handle.
BACK TO THE HALLWAY
Unbeknownst to Winter, a MAID watches her entering the room.
BACK TO JIMMY
Jimmy closes the door. Winter squeezes by him. He grabs her arm and pulls her closer, towering over her, smelling the top of her head.
JIMMY
What’s your bloody name?
WINTER
Winter.
JIMMY
Yeah, hey boss, Winter’s here.
He nudges her forward, then cracks his neck.
Sir Charles turns away from the window and looks at her.
SIR CHARLES
Now is the Winter of our discontent
made glorious, made glorious, made glorious...
(dead serious)
This is a nasty day, Winter... you depress me. That’s why I like Los Angeles, you can be depressed and still have a sunny day after all.
He walks up to Winter. Jimmy watches.
SIR CHARLES
I like this town, everybody is so cool, are you cool, Winter?
Jimmy cracks his neck.
SIR CHARLES
You are so frail, so slender, smooth, so cold, like an icicle. Are you cold, Winter?
WINTER
No. Would you like to negotiate “extra” service?
Winter reaches for her purse and pulls put a cigarette.
With an unexpected, explosive blow, Jimmy slaps Winter across the face. The blow sends Winter back and downward. She goes down on her knees.
Sir Charles moves in closer.
SIR CHARLES
(in charge)
I will tell you when you can so much as flex a muscle. You move again and I’ll unleash Jimmy here. And believe me when I say, he is mad. Indeed he is just that.
She looks up. Her left eye is blood red. Jimmy towers over her and cracks his neck.
Winter struggles to her feet. Jimmy wraps his arms around Winter, almost crushing her. She gasps. Sir Charles moves closer, looking at her like if about to examine an insect he’s about to flick off his lapel.
SIR CHARLES
(threatening)
Are you going to discontent me Winter? Are you?
Jimmy cracks a sadistic smile. Sir Charles pushes his cane against her throath, she gasps for air.
WINTER
(labored breathing)
I thought that pain had to be negotiated.
In one swift move, Sir Charles pulls the cane away and backs up. Jimmy releases her of his grasp and takes her clutch dumping the contents on a table; a MAKE-UP COMPACT, CONDOMS, CAR KEYS, a PACK OF MARLBORO and a LIGHTER.
Winter looks at Sir Charles. It’s a submissive look.
SIR CHARLES
(monotone)
To put it simply, we want to wrap you up with barbed wire and desecrate you. Do you think you can handle that? Winter.
WINTER
Yes, but I have to get approval for that...
Sir Charles moves in closer, inches away from her face.
SIR CHARLES
(enjoying it)
I’ll give you an extra five thousand, and I’ll try very hard...
(whispers in her ear)
...not to hurt your pretty little breasts.
WINTER
Sounds like a 15K job to me.
SIR CHARLES
(big smile)
Very well, make your call, but make it short.
Jimmy cracks his neck.
Jimmy plops down on the sofa.
Winter shifts gear, she becomes seductive, reaches for the cell phone on the desk. She walks over to the coffee table facing Jimmy. She steps on the table with one foot, revealing just enough to taunt Jimmy. She punches a number. Jimmy stares at her legs. He looks over at Sir Charles.
JIMMY
Rather nice sight from here, sir.
Jimmy is fixed on her every move. She strokes her leg with her free hand, slowly up her inner thigh, and under her dress.
Jimmy looks over to Sir Charles as if waiting for approval to pounce. Then he looks back at her crotch and his expression changes to that of shock.
Winter pulls a .22 WALTER PPK from under her dress. Jimmy reaches for his gun.
Winter fires the .22.
A perfect shot, Jimmy is hit in the heart.
Behind her Sir Charles bolts for the bathroom.
Winter spins around, her arm fully extended.
A SECOND POP, drills the bathroom door as it closes.
IN THE BATHROOM
Light pierces the darkness through the bullet hole in the door.
Sir Charles holds his cane, whimpering on the floor squeezed between the tub and the toilet.
BOBBY’S CORPSE lies in the tub wrapped in plastic.
SIR CHARLES
(whispering at Bobby)
It’s all your fault Bobby!
BACK TO WINTER AND JIMMY
Jimmy twitches slightly, blood flows out of his mouth. Air escapes from his gun shot wound, hissing.
Winter tosses the .22 back on the coffee table.
ON JIMMY
With a silent burst of life, Jimmy wakes up wide-eyed. He instinctively reaches for his gun, struggling to pull it out of the holster.
Jimmy groans and raises the .45.
Winter hears him and turns to him.
She steps up in front of him, he points the gun at her chest. His finger barely on the trigger. The barrel is pushed against her, but Jimmy’s fading fast.
Winter glances at the gun, defiant.
Jimmy doesn’t have the strength to hold the gun up, much less to pull the trigger. The barrel glides down to her crotch.
Winter grabs the gun by the silencer. She begins to stroke her crotch with it.
WINTER
What a big gun you’ve got! Do you want to fuck me with that?
Jimmy coughs, choking on his own blood.
WINTER
Come on die big boy, die.
Jimmy gasps in pain, then there’s one final ghastly groan.
BACK TO SIR CHARLES
he lights a cigarette.
BACK TO WINTER
she picks up the stereo remote control and turns on the audio system. The sound of Vivaldi’s Four Seasons fills the room.
She lights up a cigarette. Takes a long drag.
BACK TO SIR CHARLES
His moving close to the door.
BACK TO WINTER
The wheels in Winter’s head start to spin. It’s a painful look on her face, something horrifying is surfacing. She digs her fingers into her face, messing up her make up, smearing her lipstick. She clenches her teeth, trying not to think. Pushing forbidden thoughts out of her head.
BACK TO SIR CHARLES
He inches toward the hole in the door. He takes a peek.
SIR CHARLES
(to himself)
Maybe the bitch is gone, maybe the bitch is gone.
BACK TO WINTER AT THE BATHROOM DOOR
Vivaldi’s Four Seasons fills the room.
Winter strokes her own hair gently, she is holding the compact mirror.
ECU - MAKE UP COMPACT MIRROR
In the compact we see the reflection of the bathroom door and the bullet hole.
BACK TO SIR CHARLES
His eye moves in on the hole and takes a peek.
ON WINTER
Her back against the wall next to the door frame, holding the compact and the .22.
SUDDENLY, in one single move, she snaps the compact closed, turns, jams the .22 in the hole, and fires--
E.C.U. OF SIR CHARLES EYE EXPLODING
FLASHCUT TO:
INT. AIRPORT HOTEL SUITE 1407 - HALLWAY - 15 MINUTES LATER
The door opens and Winter emerges from the room. She backs up slowly, then notices to her right it’s the cleaning cart. SUDDENLY she stops as a gun barrel is jammed to her side.
It’s MAID we saw earlier.
THE CLEANER
Very slow darling, put the gun on the cart. Come on! Do it, very slowly now. Make mama happy.
Winter reaches for he .22 Under her dress and puts it on the cart.
THE CLEANER
I’m The Cleaner, you can go now.
She shoves Winter away from the door and she enters the room.
Winter walks away towards the elevator.
DISSOLVE TO:
The Mercedes hood reflects trees and the sky as it comes to a stop by a sidewalk.
CAMERA PANS over to the windshield. Winter is on her cell.
JOSH
Winter?
WINTER
I’m safe Josh.
JOSH
What is it?
WINTER
Cleaners, they like to fuck with you.
JOSH
(a sigh of relief)
I love you.
WINTER POV thru the open sunroof
The trees, the sky, the clouds.
Winter drives off.
FADE TO BLACK.

Written by Valerio Ventura

WINTER ©1998 V2 FILMS All rights reserved.
Unauthorized copying, hiring, lending, e-mailing, scanning, dissemination, public performance and broadcasting of this screenplay prohibited and is a violation of applicable laws.

WINTER Proposal

PROPOSAL FOR:
Persons interested in having a credit as Executive Producers / Producers / Associate Producers

$5k gets:
1). Associate Producer on multiple names card MAIN TITLE credit (listed under the current A.P.)
2). Associate Producer single card END CREDIT (in the same order.)
3). Associate Producer credit in the POSTERS.
4). Associate Producer credit on the DVD Cover.
5). 100 DVDs.
6). Your name in the WINTER Press Kit and Web Site
7). Your name in IMDb.

$10k gets:
1). Producer multiple names card MAIN TITLE credit (listed in alphabetical order with the exception of Karen Tatevosian 1st and Laura Miekle 2nd.)
2). Producer single card END CREDIT (in the same order.)
3). Producer credit in the POSTERS.
4). Producer credit on the DVD Cover .
5). 100 DVDs.
6). Your name in the WINTER Press Kit and Web Site
7). Your name in IMDb.


$25k gets:
1). Executive Producer single card list MAIN TITLE credit (under the current E.P.)
2). Executive Producer single card list END CREDIT (under the current E.P.)
3). Executive Producer credit in the POSTERS.
4). Executive Producer credit on the DVD Cover.
5). Executive Producer credit on the movie trailer.
6). 200 DVDs.
7). Your name in the WINTER Press Kit and Web Site.
8). Your name in IMDb.
9). V2 FILMS Productions Bus Cards.
10). A private film screening and after-party (with no admission fee) at the DOWNTOWN INDEPENDENT THEATER in DT LA.


$35k gets:
1). Executive Producer single card list MAIN TITLE credit (under the current E.P.)
2). Executive Producer single card list END CREDIT (under the current E.P.)
3). Your Company Name single card on the MAIN TITLES (after V2 Films, on the actual picture.)
4). Your Company Name on the end rolling credit (last credit above the THANKS.)
5). Executive Producer credit in the POSTERS.
6). Executive Producer credit on the DVD Cover.
7). Executive Producer credit on the movie trailer.
8). 300 DVDs.
9). You can THANK 5 people in the THANK YOUS section.
10). Your name in the WINTER Press Kit and Web Site.
11). Your name in IMDb.
12). V2 FILMS Productions Bus Cards.
13). A private film screening and after-party (with no admission fee) at the DOWNTOWN INDEPENDENT THEATER in DT LA.


A TOTAL OF 2 PRODUCERS MAX WILL BE ACCEPTED.
A TOTAL OF 3 ASSOCIATE PRODUCERS MAX WILL BE ACCEPTED.
A TOTAL OF 3 EXECUTIVE PRODUCERS MAX WILL BE ACCEPTED.
A TOTAL OF 1 COMPANY NAME MAX WILL BE ACCEPTED.

ALL NAMES ACCEPTED WILL BE ADDED IN ALPHABETICAL ORDER AND ADDED BY THE PRODUCTION COMPANY ON IMDb.com

The film is currently being shopped to the networks as a 30 min program.

The funds collected will be used for:

Promotion
Press Kits
Posters
Film festivals
DVD Mastering / Packaging
5.1 Dolby Surround mix
5.1 Dolby Surround Sound License
HD version

WINTER

Poster Design by V2 - Photo by James Hunter


Poster Design by V2 - Photo by Valerio Ventura


Poster Design by V2 - Photo by Valerio Ventura


Poster Design by V2 - Photo by James Hunter


Poster Design by V2 - Photo by James Hunter


Poster Design by V2 - Photo by James Hunter

All rights reserved. Winter ©2008 V2 FILMS
Unauthorized duplication is a violation of applicable laws.

This is a post about my short film. Eleven years ago I decided to do a short like those I used to watch in Italy growing up, called Telefilms. Last year I was watching some of the footage and decided to finish it. This project was shot on film and I got so much support in order to get where I am... one of the reasons why it took me so long to finish it, it's because I started to direct commercials soon after. At this point I have finished the edit and gave the film to three different group in the post production phase. 1) a central post house where I can finish the project and on-line all updates, this is Avenue Digital (post producer: Alex Agoston), the second facility is Modern Video Film where the incredibly talented Todd Botchner (Colorist) works at. Jon Johnson is the VP of Sales there and it has been the instrumental person to make this happen for me. Todd has given the whole movie a bleach bypass look, also known as skip bleach or silver retention look. The third party in the mix here is my brother Bruno, who has been working in sound editing, sound FX, and music scores all his life. He has just finished two movies, the latest Dario Argento and the latest Roberto Benigni project. He is now finishing the first pass on the music and already has completed the sound. We decided to leave the Dial editing and sweetening to the end. I'm extremely excited, the whole film is looking great and can't wait to share it first of all with all those who gave so much to help me shoot it. Thanks also to James Hunter, he was helping with the behind the scene stills, and took various photos of us including the shot of Lisa that I used for the new poster. I'm very pleased with that, great job James!
I will continue to update you with this as I get ahead on the final stage of my film. Ciao V2

IFF Interview