The Fame
Treatment/ outline by
Raymond Leggs
The film opens with FLICK strumming his guitar in the darkened bedroom of his upscale los Angeles apartment, his girlfriend JEZEBEL WALKER, typical young twenty two year old blonde bombshell. lays on the bed in her bikini, out cold. Patch cables, and musical equipment are scattered haphazardly on the floor.
His Fellow Bandmates, Woodrow and Nate, do cocaine in the bathroom, BRANDON sits outside the bathroom door swilling at a bottle of vodka.
UPSCALE NIGHT CLUB, lots of beautiful bodies grinding, RILEY JOHANSOON a beautiful, brunette, pixie haircut sporting seductress, eyes a man from across the room, 80’s esque pop music throbs in the background. Suddenly the two are dancing, kissing, grinding on the dance floor, the erotic bliss turns into a beautiful night mare as she bites is neck and drains him dry.
UPSCALE RESTAURANT typical stuck up, stuck in the 80’s restraint, ELIJAH BARRINGTON, checks his messages, on his phone as his wife, ELIZABETH tries to talk at him, she knocks it out of his hand, causing him to go apeshit.
MUSIC VIDEO SET, Flick, Nate, Woodrow, and Brandon, synch to a playback of their song against a green screen, their Black T-shirts all have the words THE FAME written on the front of them,
after the DIRECTOR wrap’s the scene, Barrington pulls Flick aside and tries to goad him to make the band put out a more commercial track, Less “Depeche Mode” and more the killers or One republic.
PUBLIC RESTROOM Riley changes her blood soaked clothes and stuffs them in a garbage bag.
LOUISVILLE KENTUCKY, we have a sweeping daytime helicopter shot of the city.
Run-down house, IAN CAREY smakes a cigar as he leers at the drugged out teenage girl laying on his ruined matress, the room is dingy, under lit, and an absolute mess. he has a video camera recording the girl as she starts to writhe and moan.
LA. A sweeping nighttime helicopter shot (stock footage) of the city.
ANOTHER CLUB, Jezebel, Flick, brandon and Woodrow sit at the bar conversing, as Nate tries his luck on some Emo chick. she throws her martini in his face. Brandon sees His father AARON, laeaning agains the wall drinking a mint julep. His father comes to the bar, and sits by him. he begins harassing him, he asks if he is “fucking” any of any of the dudes in his band, and goes on about “fags and whores”, and “niggers” as he so eloquently puts it. Brandon punches the shit out of him and he falls off the stool.
RIVERSIDE. NIGHT Brandon smokes a cigarette, he loosens his suit jacket and button down shirt. Riley seems to drift from the shadows, wearing a beautiful dress, he takes a look at her, she puts her hand on his shoulder, they start a conversation, they seem to vaguely hit it off.
RESTRAUNT. DAY Woodrow, Brandon, flick, and nate riff on Barrington, and the excesses of fame and the fact that nobody wants to meet people face to face anymore and instead hide on the internet, behind fake personalities.
HOUSE PARTY- NIGHT
The band rocks the house with their new single.
Treatment/ outline by
Raymond Leggs
The film opens with FLICK strumming his guitar in the darkened bedroom of his upscale los Angeles apartment, his girlfriend JEZEBEL WALKER, typical young twenty two year old blonde bombshell. lays on the bed in her bikini, out cold. Patch cables, and musical equipment are scattered haphazardly on the floor.
His Fellow Bandmates, Woodrow and Nate, do cocaine in the bathroom, BRANDON sits outside the bathroom door swilling at a bottle of vodka.
UPSCALE NIGHT CLUB, lots of beautiful bodies grinding, RILEY JOHANSOON a beautiful, brunette, pixie haircut sporting seductress, eyes a man from across the room, 80’s esque pop music throbs in the background. Suddenly the two are dancing, kissing, grinding on the dance floor, the erotic bliss turns into a beautiful night mare as she bites is neck and drains him dry.
UPSCALE RESTAURANT typical stuck up, stuck in the 80’s restraint, ELIJAH BARRINGTON, checks his messages, on his phone as his wife, ELIZABETH tries to talk at him, she knocks it out of his hand, causing him to go apeshit.
MUSIC VIDEO SET, Flick, Nate, Woodrow, and Brandon, synch to a playback of their song against a green screen, their Black T-shirts all have the words THE FAME written on the front of them,
after the DIRECTOR wrap’s the scene, Barrington pulls Flick aside and tries to goad him to make the band put out a more commercial track, Less “Depeche Mode” and more the killers or One republic.
PUBLIC RESTROOM Riley changes her blood soaked clothes and stuffs them in a garbage bag.
LOUISVILLE KENTUCKY, we have a sweeping daytime helicopter shot of the city.
Run-down house, IAN CAREY smakes a cigar as he leers at the drugged out teenage girl laying on his ruined matress, the room is dingy, under lit, and an absolute mess. he has a video camera recording the girl as she starts to writhe and moan.
LA. A sweeping nighttime helicopter shot (stock footage) of the city.
ANOTHER CLUB, Jezebel, Flick, brandon and Woodrow sit at the bar conversing, as Nate tries his luck on some Emo chick. she throws her martini in his face. Brandon sees His father AARON, laeaning agains the wall drinking a mint julep. His father comes to the bar, and sits by him. he begins harassing him, he asks if he is “fucking” any of any of the dudes in his band, and goes on about “fags and whores”, and “niggers” as he so eloquently puts it. Brandon punches the shit out of him and he falls off the stool.
RIVERSIDE. NIGHT Brandon smokes a cigarette, he loosens his suit jacket and button down shirt. Riley seems to drift from the shadows, wearing a beautiful dress, he takes a look at her, she puts her hand on his shoulder, they start a conversation, they seem to vaguely hit it off.
RESTRAUNT. DAY Woodrow, Brandon, flick, and nate riff on Barrington, and the excesses of fame and the fact that nobody wants to meet people face to face anymore and instead hide on the internet, behind fake personalities.
HOUSE PARTY- NIGHT
The band rocks the house with their new single.