短編映画の脚本例：The Night Ferry の本読み
声に出して読む、短編映画の完全な脚本例：The Night Ferry、3ページ、5シーン、登場人物2人。物語のどれほど多くが、言葉ではなく画と音で語られているかを聴いてください。
このレッスンで学ぶこと
- 本読みとは何か、そしてなぜプロの現場では必ず行うのか
- 3ページの完全な短編映画の脚本が、声に出すとシーンごとにどう展開するか
- 腕時計、エンジン、コンパス、写真といった小道具が、どのように物語を語るか
- なぜ脚本はまず画と音であり、言葉は必要なときだけなのか
- 自分の脚本の本読みをして、書き直す箇所を見つける方法
実際に耳で聴ける短編映画の脚本例をお探しですか。このレッスンは、講座のプロジェクトである The Night Ferry の本読みです。ScreenWeaver にあるとおりの脚本を声に出して読み、ページが声を追っていきます。
老いた渡し守の Elias が、午前0時2分に桟橋を離れようとしたとき、黄色いレインコートを着た Maya が、向こう岸へ渡してほしいと懇願します。船室、霧に閉ざされた甲板、そして夜明けの島の港と続く5つのシーンを通して、止まったエンジンと小さな真鍮のコンパスが、彼女が何者なのかを明かします。3ページ、5シーン、登場人物2人、そして始まりと転換と結末のある物語です。言葉を使わずにどれだけ語られているかに注目し、それから演習に取り組みましょう：自分の脚本を声に出して読み、つかえた行すべてに印を付けます。無料の脚本講座のレッスン6.3です。
全文の文字起こし
英語ナレーションの文字起こしです。
0:04Before we polish and export, let's hear the whole thing. Professional productions always do a table read, the script read out loud from the first line to the last. You hear what works, and above all, what doesn't. Here is The Night Ferry, exactly as it stands in Screenweaver.
0:24Fade in. Exterior. The jetty. Night. Rain on black water. A single lamp swings above an old ferry. Elias, 60, white beard, coils a rope with slow, exact gestures. A hand -painted sign on the cabin, last crossing, 1145. He checks his pocket watch. 1202. He unhooks the mooring line.
0:50Footsteps on the wet planks. Maya, 20s, yellow raincoat, drags a battered suitcase down the jetty. Maya, wait, please, I need to cross tonight. Elias, no passengers after midnight. Maya, it's two minutes past. Elias, that's after midnight.
1:10She doesn't move. Rain runs down her face. He looks at the suitcase, then at her. Elias, sighing. Get in. Don't touch anything.
1:21Interior. The ferry cabin. Night. A tiny wheelhouse. Brass instruments, a thermos, a faded photo turned face down. Elias starts the engine. Maya sits on the bench, dripping. Maya, you've done this crossing a long time. Elias. Long enough. She watches him tap the old compass on the dashboard. Twice, before every turn.
1:47Exterior. The ferry deck. Night. Fog swallows the lights of the shore. Silence. The engine coughs, then dies. Elias, not tonight. Come on. He hits the engine housing. Nothing. Maya steps past him. Kneels, and hits it twice in the same spot. Maya, to the engine. Wake up, old girl. The engine roars back to life. Elias stares at her.
2:16Interior. The ferry cabin. Night. Later. Elias grips the wheel. His jaw is tight. Elias. Who taught you that? Maya. Someone who talked to his engines. Elias. Who are you?
2:34She doesn't answer. She opens her hand. A small brass compass, engraved E to M. She sets it on the dashboard, next to his. Two identical compasses. Elias's hand trembles. Elias. Maya. Hi, Dad.
2:54Exterior. The island harbour. Dawn. The fog lifts. Pale light on the water. The ferry glides toward a small harbour. In the wheelhouse, two silhouettes, side by side. Elias turns the faded photo face up. A man and a little girl in a yellow raincoat. Fade out.
3:18Three pages. Five scenes. Two characters. And a story with a beginning, a turn, and an end. Notice how much of it is told without words. The watch. The engine. The compass. The photo. That's what a screenplay is. Images and sounds first. Words when they matter. Your exercise. Read your own script out loud. All of it. And mark every line that made you stumble. Those are your rewrites.