Trailers

By Waron Braden

As a period piece taking place in the early 90s, Trailers is not just a gripping e-book screenplay that delves into the world of low-level street crime and the lives of its characters, but it is also a valuable resource for actors, directors, budding young filmmakers or anyone wanting to break into the film business. This screenplay provides fresh, non-produced scenes that can be used for demos, scene studies, workshops, film school seminars, or to secure funding for other projects. Agents, film instructors, acting coaches, and anyone else in the industry will enjoy watching and highlighting the talents of those performing or making the scenes in parts or on the whole.

 

Follow Trevor, a young man in his late twenties, as he engages in various cons and criminal activities with Ray, a man in his early thirties, and their friend Roman. Trevor falls for a pretty Russian girl named Arina, who lives in his trailer park, and also meets with an older woman, Helen, who is a former psychologist writing a book on human behavior. She helps him see that he may not be as hopeless as he thinks.

 

As the story unfolds, the characters become increasingly entangled in a dangerous world of crime, murder, and death, leading to a thrilling climax that will keep you glued to the page. Trailers is a must for anyone who enjoys a gritty, action-packed story with complex characters and an unpredictable plot in screenplay form for a serious but fun "movie reading" experience.

• Language: English
• Publisher: Simon Miller
• Release date: Apr 17, 2023
• ISBN: 9798223500889

Waron Braden

Waron Braden is an author who always strives to write with a unique blend of humor, drama, and emotion in his plays, screenplays, and short stories. His works explore the complexities of human relationships and the power of the human imagination. Although not yet a household name, Braden is quickly becoming a recognized and respected voice in the literary world. With his trademark wit and insight, his writing is sure to entertain and inspire no matter what form it takes.

Book preview

Table of Contents

Trailers

FADE IN:

––––––––

INT. LIVING ROOM - DAY - 1993

––––––––

A beautiful landscape painting hangs on the wall when suddenly, a man’s head is slammed into the painting, breaking the glass, his nose, and this picturesque scene. TREVOR, a young man in his late twenties with boyish good looks and an otherwise charming personality, grabs the man by the hair and forces him into a chair.

––––––––

TREVOR

Now, do I have your full undivided attention?

––––––––

RAY, the man in his early thirties who has just been assaulted, holds his nose as it starts to bleed.

––––––––

TREVOR

Do I?

––––––––

RAY

Yes!

––––––––

TREVOR

Don’t fuck with me! Don’t you fuck with me! I don’t like it. You hear me? This is your ass on the line. Understand? Do you?

––––––––

RAY

Yes! You made your point clear!

––––––––

TREVOR

Don’t be a smart-ass!

––––––––

Trevor sticks the gun in Ray’s mouth and cocks the hammer.

––––––––

TREVOR

Cause if I don’t see my money on that table in three minutes, I’m going to pull this trigger and there’s not a goddamn thing you can do about it. I hope you can appreciate the serious nature of the situation you’re in... Two minutes!

––––––––

At this moment, a teenager sitting across the room with three other teenagers about the same age interrupts Trevor’s admonishment of Ray.

––––––––

FIRST TEEN

I don’t think that was a full minute.

––––––––

TREVOR

I think you should consider shutting the fuck up just about now.

––––––––

Suddenly two teens, a boy, and a girl. burst into the room and then freeze at the sight of the gun.

––––––––

TREVOR

The cartoon cavalry.

––––––––

TEEN BOY

I don’t know what to...

––––––––

TREVOR

Sit it on the table and step back.

––––––––

The boy does as he is instructed as Trevor slowly pulls the gun out of Ray’s mouth and puts the money in his shirt pocket.

––––––––

TREVOR

Now, if you know what’s good for you, you’ll have a real bad memory about what went down here today. Cause I got a real good memory. I remember each and every one of you. I’m telling you if even one cocksucker outside this room comes up to me and asks me what went down here today, I’m coming back with your friend here, and this time I might not go so easy on this lovely wallpaper.

(putting the gun behind Ray’s head and pushing him forward)

Start walking you lucky motherfucker.

––––––––

They slowly exit the house through the front door as the remaining teens stay motionless in fright.

––––––––

INT. CAR - DAY

––––––––

Trevor, Ray, and ROMAN, a friend and accomplice around Trevor’s age, are driving through the city as Ray is changing clothes and is still nursing his nose which has started bleeding again while Trevor is packing the gun away in a bag with some other clothes to discard later.

––––––––

RAY

I can’t believe you broke my fucking nose! I can’t believe it! What’s the matter with you, huh?

––––––––

TREVOR

Just keeping it real.

––––––––

RAY

A little too fucking real. Look at my nose. It won’t stop bleeding. I look like I just lasted thirty-five seconds with Mike Tyson.

––––––––

TREVOR

Sorry.

––––––––

RAY

Yeah. Yeah. I know. You just need to learn to act more professional. That’s all.

––––––––

TREVOR

I said I was sorry. What do you want?

––––––––

RAY

I want you to be more careful. That’s what I want. I want to walk away from a job with my blood inside my body. That’s what I fucking want. Is that too much to ask?

––––––––

TREVOR

Alright, I’ll try. But I mean I’m no stuntman or nothing. I can’t believe we’re still doing this... You’re still doing it.

––––––––

RAY

This has worked for us since right outta high school.

––––––––

TREVOR

Exactly.

––––––––

RAY

Well, frankly, I don’t trust anybody else to pull it off right... Just you... Until you smashed my face.

––––––––

TREVOR

What can I say? You’re just too fragile.

(to Roman who is driving)

Hey, pull over here.

––––––––

They pull into the parking lot of a liquor store. Trevor goes inside to buy a bottle of booze while Roman and Ray, still nursing his nose with an old t-shirt, stay in the car.

––––––––

INT. LIQUOR STORE - DAY

––––––––

Trevor goes right to the shelf and grabs his usual bottle and then notices ARINA, a pretty dark-haired girl in her early twenties, paying at the counter. As he walks to the counter to pay, she is walking out. He pays and quickly exits the store.

––––––––

EXT. PARKING LOT -