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DRAMA RADIO BERSEMARAK KEMBALI DI RADIO KEDAH (KEDAH FM)

ALHAMDULILLAH. Itulah yang mampu Abang Ad ucapkan. Kelmarin (07/01/2010) jam 10 pagi Abang Ad dijemput bertemu dan berbincang dengan Pengarah Penyiaran Kedah; En. Md Radzi Bin Lim mengenai penerbitan drama untuk siaran KedahFM. Turut sama dalam perbincangan ialah dua orang pegawai KedahFM iaitu YM Tengku Abdullah Tengku Ahmad (TATA) dan Puan Khadijah Ismail selaku penerbit serta dua orang penulis yang enggan nama mereka disiarkan.

Dalam perbincangan tersebut KedahFM berhasrat untuk menerbitkan drama pendek yang durasinya antara lima ke tujuh minit selama tiga hari berturut-turut. Hari yang dicadangkan ialah Selasa, Rabu dan Khamis bersiaran jam 8.15 pagi dan siaran ulangannya jam 4.15 petang hari yang sama. Tarikh dan masa siaran tersebut mungkin berubah mengikut kesesuaian dan keputusan muktamad pihak Kedah FM.

Perbincangan dua jam dalam suasana mesra dan santai telah memutuskan bahawa Batu Tiga Simpang Empat dijadikan tajuk rancangan tersebut. Berlatarkan suasana kampong menggunakan dialek Kedah. Tajuk itu dipilih kerana batu membawa erti keras dan bersemangat. Tiga membawa erti tiga sahabat berlainan etnik iaitu Cikgu Salleh, Maniam dan Ah Chuan. Simpang empat membawa erti simpang dan liku-liku kehidupan seharian yang akan diutarakan melalui rancangan tersebut berkonsepkan 1Malaysia.

Abang Ad rasa gembira kerana diberi penghormatan untuk menulis episod pertama hingga tiga yang akan disiarkan awal bulan Februari kelak.

Mengambilkira bahawa drama radio adalah salah satu wadah penyampaian maklumat berkesan terhadap rakyat dan pendengar, KedahFM mengambil langkah tepat untuk mengembalikan kegemilangan drama radio seperti yang pernah disiarkan suatu masa dulu melalui corongnya iaitu Serambi Pak Ndak, Keluarga Encik Mohamad dan lain-lain.

Sebagai seorang pencinta drama radio Abang Ad sokong sepenuhnya usaha KedahFM dan sanggup bekerjasama samada sebagai penulis skrip atau memberi khidmat nasihat.

Diharap peminat-peminat drama radio di kawasan Utara khususnya, nantilah kemunculan Batu Tiga Simpang Empat melalui corong KedahFM bermula Februari ini setelah lebih sepuluh tahun stesen berkenaan tidak menyiarkan drama sedemikian. Berilah sokongan anda demi memartabatkan seni tanahair.

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NOSTALGIA KENDURI KAHWIN DAN PERSEMBAHAN SENI.

Semasa Abang Ad kanak-kanak, jika ada kenduri kahwin dikampung, seperti kanak-kanak lain, Abang Ad cukup seronok. Seronok kerana bukan senang nak dapat makan daging dan masakan-masakan yang enak kerana keluaga kurang mampu. Kenduri zaman dulu bukan macam sekarang, pantang ada cuti terutamanya musim cuti sekolah, hari-hari ada kenduri. Zaman kanak-kanak dulu oleh sebab Abang Ad hidup dikampung yang kelompoknya rata-rata petani yang mengusahakan sawah; termasuk bapa Abang Ad juga, maka kenduri kahwin akan diadakan selepas selerah musim menuai. Zaman itu musim menuai cuma setahun sekali bukannya dua kali setahun atau lima kali dua tahun seperti sekarang. Kalau ada anak teruna yang teringinkan mana-mana anak dara kenalah tunggu setahun baru boleh kahwin sebab belanja kahwin dan kenduri kendara semuanya bergantung dari hasil tuaian padi.

Kenduri zaman itu cukup meriah. Jamuannya diadakan pada sebelah siang dan malam. Lagi beberapa minggu hendak kenduri beras dah habis entah berapa gantang kerana dijamu kepada jiran tetangga yang datang menolong mendirikan bangsal memasak yang dipanggil kedohok. Kedohok diperbuat daripada buluh beratapkan nipah. Juga membuat tempat jamuan berupa sebuah pentas besar yang dipanggil balai. Balai ini juga diperbuat daripada buluh beratapkan nipah dan berlantai papan yang mana tiang sebelah bawahnya adalah batang kelapa. Balai ini biasanya adalah tempat jamuan untuk tetamu lelaki manakala tetamu perempuan akan dijamu diatas rumah atau dibawah rumah yang dihampar tikar sebagai pengalas tempat duduk.

Buluh, batang kelapa dan daun nipah amatlah penting. Sebab itulah pokok-pokok tersebut amat mudah didapati dikampung-kampung ketika itu.

Pelaminnya pula dihias indah diruang tamu diatas rumah. Bunga rampai dan bunga telur juga dibuat sendiri daripada kertas berwarna yang dipanggil kertas bunga atau diperbuat saja dari kertas surat khabar. Batang buluh yang diracik diraut untuk menggantung telur dicacakkan dibatang pisang. Bunga telur disapu perada untuk kelihatan berkilat-kilat. Kerja-kerja tersebut dilakukan oleh orang-orang perempuan manakala orang lelaki membelah kayu api dan lain-lain kerja berat. Semuanya itu perlu dibantu oleh jiran tetangga. Semua kerja-kerja waktu itu dilakukan secara bergotong royong hinggalah selesai kenduri kendara.

Pengusung dibuat daripada buluh dan dihias indah untuk mengusung pengantin lelaki ketika berkunjung kerumah pengantin perempuan. Ketika berada diatas pengusung, pengantin lelaki segak berseri persis seorang raja. Patutlah dipanggil raja sehari!

Seminggu sebelum kenduri diadakan, tuan rumah akan menjemput semua orang kampong untuk mengadakan mesyuarat. Dalam mesyuarat tersebut tuan rumah akan membentangkan berapa ramai tetamu dijemput, berapa ekor lembu atau kerbau dan ayam diperuntukkan dan perbincangan mengenai susun atur kerja dan sebagainya bagi melancarkan perjalanan kenduri. Pekerja yang paling penting didalam majlis kenduri ialah ketua tukang masak yang dipanggil Tok Gerau dan ketua mengangkat hidangan makanan yang dipanggil Ketua Mentara. Mereka akan melantik orang-orang mereka masing-masing bagi membantu melancarkan kerja.

Sehari sebelum kenduri diadakan, orang-orang perempuan sibuk mengadakan persiapan terakhir seperti menyiang bawang, menumbuk kerisek dan sebagainya.

Pada hari kenduri, lembu atau kerbau dikorbankan. Pagi-pagi para pekerja yang bertungkus-lumus dijamu sarapan pagi dinamakan nasi serok selalunya pulut kukus dimakan bersama ikan kering dan kelapa parut. Kueh-mueh juga bermacam-macam jenis. Semua kueh tradisional seperti wajik atau dipanggil pulut kacau, karas, bauhulu, dodol, peneram dan lain-lain. Kueh-mueh ini akan dijaga oleh seorang petugas khas yang selalunya dibuat satu tempat khas yang dipanggil para yang terletak ditibar layar rumah. Selalunya para ini telah disediakan semasa rumah tersebut mula-mula didirikan. Para ini dipanggil “para buang”. Sebab dipanggil para buang kerana barang-barang yang jarang digunakan disimpan disitu.

Untuk mendapatkan bekalan air, ia perlu diangkut atau dikandar menggunakan dua tin bekas minyak masak. Airnya pula diambil dari telaga yang terletak tidak begitu jauh dari rumah. Pengandar yang dilantik ialah mereka yang berbadan sasa.

Bagi menghiburkan tetamu pertunjukkan silat dipersembahkan. Jamuan makan pula lauk-pauknya dihidangkan didalam talam untuk dimakan tiga atau empat orang satu hidang. Resipi lauk-pauknya selalunya gulai daging, ayam masak korma, acar rampai, acar limau, paceri nanas atau terung dan kadang-kadang ikan masak kicap untuk mereka yang tidak makan daging atau ayam. Masakan dulu-dulu memang sedap dan tidak menggunakan banyak serbuk perasa seperti sekarang yang mendatangkan pelbagai penyakit.

Jika ada mana-mana orang yang akan mengadakan kenduri pada tahun berikutnya mereka akan berbincang dengan tuan kenduri untuk “menanam kueh”. Berpuluh-puluh talam kueh pelbagai jenis yang disediakan orang kampong akan dihantar kerumah kenduri dan akan dibawa oleh anak-anak muda seorang satu talam berjalan secara konvoi diiringi dengan ramai orang. Rombongan ini dipanggil “hantar pengusung”. Hantar pengusung dilakukan sekitar jam 2 petang. Mengepalai rombongan ialah sebuah pengusung yang diperbuat daripada buluh dihias indah diusung oleh pemuda-pemuda sasa. Diatas pengusung diletakkan beberapa talam kueh dan ketua pengusung berada disitu.

Dihadapan pengusung ialah seorang pendekar yang membawa bendera merah yang memakai lilit kepala dan lilit pinggang serta tidak berbaju yang mana badannya berminyak bermandi peluh akan menunjukkan kependekarannya bila tiba dirumah kenduri kelak. Bila sampai dirumah kenduri, seorang pendekar pihak tuan rumah akan menunggu disana. Mereka akan bersilat, bergomol, berhempas diselangseli dengan aksi lawak yang mencuit hati orangramai.

Pada sebelah malamnya, bagi golongan yang berada mereka akan menjemput kumpulan wayang kulit, ghazal parti atau hadrah (sama seperti persembahan bangsawan) mengadakan persembahan. Bagi yang kurang mampu, wayang pacak jabatan penerangan dipanggil untuk memeriahkan suasana atau sekurang-kurangnya disewa sebuah televisyen diletakkan diatas balai untuk tontonan orangramai.

Sebelum persembahan wayang kulit atau ghazal parti ditamatkan, pengantin akan disandingkan untuk tatapan penonton. Ada juga persandingan kedua mempelai diadakan jam 4 pagi. Selepas majlis bersanding, bunga telur dan bungkusan kueh akan diberikan kepada semua yang hadir.

Perkara paling menarik bagi Abang Ad pada hari kenduri ialah sebelum jamuan makan dihidangkan untuk para jemputan, jamuan untuk kanak-kanak diadakan terlebih awal iaitu sekitar jam 1 tengahari dan jamuan sulong untuk semua jemputan diadakan selepas Zohor.

Demikianlah penghargaan terhadap kanak-kanak ketika itu. Semasa kanak-kanak sedang menikmati makanan, seorang dua orang dewasa mengawasi untuk menambah lauk-pauk atau nasi kepada mereka.

Atas penghargaan, penghormatan dan kasihsayang seperti itu, agaknyalah sebab itu kanak-kanak sezaman Abang Ad atau yang sebelumnya hormat dan takut terhadap orang-orang tua. Mereka tidak berani melakukan perkara buruk dihadapan orang tua. Bila berjumpa dengan orang tua, mereka hormat; mereka menegur. Jika orang itu minta sampai salam pada ibubapa mereka, mereka akan sampaikan salam tersebut.

Begitu juga kalau anak orang lain membuat salah dan diberitahu kepada ibubapanya, mereka tidak marah pada orang yang memberitahu sebaliknya mengucapkan terimakasih kerana mengambil berat hal akhlak anak mereka. Tapi orang sekarang tidak begitu!
Satu lagi perkara menarik ialah orang dulu-dulu amat menghargai seni dan adat resam. Persembahan silat, wayang kulit, ghazal parti dan hadrah adalah persembahan seni yang sering diadakan ketika kenduri perkahwinan.

Walaupun begitu persembahan berzanji, marhaban dan dikir bardah diadakan pada sebelah siang. Satu perkara wajib sebelum jamuan diadakan ialah tahlil dan doa selamat diadakan untuk memberkati majlis. Semasa tahlil dan dia selamat semua petugas berhenti untuk sama-sama menyertai majlis tersebut.

Jika tidak diadakan persembahan wayang kulit, ghazal parti atau hadrah, bacaan Al Quran akan dipersembahkan oleh qari dan qariah tempatan diselangseli dengan persembahan nasyid. Malam berinai iaitu malam sebelum kenduri selalunya diadakan majlis qatam Quran.

Melihat persembahan hadrah iaitu satu persembahan seperti bangsawan yang mana diselang seli dengan persembahan lawak jenaka menguatkan semangat Abang Ad untuk menulis cerita. Abang Ad berangan-angan alangkah seronoknya kalau Abang Ad dapat menulis satu cerita untuk persembahan hadrah. Cerita-ceritanya ialah adaptasi dari cerita sejarah Melayu seperti cerita Hang Tuah atau cerita-cerita lisan. Cerita yang menarik minat Abang Ad ialah cerita Si Buruk dan Awang Lotong.

Pelawak-pelawak ghazal parti dan hadrah ketika itu yang Abang Ad masih ingat ialah Hasan Putu Mayong, Husin Kacong, Kasim Botak Khan. Saad Bubur Kacang, Hasan Keropok, Pak Kob Lawak, Kak Chah, Non Pendek dan beberapa lagi.

Itulah nostalgia Abang Ad ketika zaman kanak-kanak. Apa yang Abang Ad kagum ialah perhargaan orangramai terhadap persembahan seni ketika itu. Rata-rata persembahan mendapat sambutan menggalakkan. Mungkin selain wayang gambar itu sahaja hiburan yang ada ketika itu.

Sesungguhnya zaman tersebut sudah jauh berbeza dengan ketika ini. Kadang-kadang sebak hati Abang Ad bila mengenangkan itu semua. Inilah yang dikatakan Kenangan Mengusik Jiwa......

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THE RESPONSIBILITIES OF WRITER AND PRODUCER.

If we are determined to make writing as course work and as our responsibility; full or partime we need to do it with enthusiasm and discipline. We need to write with full of responsibility and responsible to give awareness to the audiences through our works.

It no need highlighted scenes which are too violent or any negatives elements just to attract audiences. They just need quality stories to entertain them.

One way to win the audiences is to present series on TV. For example series of drama that shown on TV three or five times a week can attract viewers. Nur Kasih, a series of drama shown on TV3 need to repeat again to meet the viewers demand. As same as Qalesya, series of drama on Astro channel successfully attract viewers.

As a suggestion, TV channel such as RTM and Media Prima need to improve their series of drama everyday to attract more viewers. If it successfully gets audience’s response, they might not be ignoring this effort.

Writing is fun and exciting. That’s why people always overshooting when they are write about politics and gossip. But this becomes much worse than good.

When we write scripts on drama or film, we need to consider all or many aspects of element, such as the theme, plots and the important issue it must be funned our audiences because if we didn’t consider all of these, our work will be rejected because of low quality. Thus, this just waste of time.

What is the purpose of writing? Being published doesn’t have anything to do with writer. It has to do with earning money as a writer. Getting some kind of validation and recognition, perhaps notoriety and fame. Getting published is the aim of many of us. After all, we also write to communicate and having audiences is the flip side of communication coin. But it is not the reason we write, we write because it is what we must do. We also need to mind about the element of education and awareness when writing. Make writing an element of worship and avoid defamation.

Defamation not only prohibited, but also gives no benefits. We need to write from our soul and being honesty because it make us to be respected and remembered.

Note: This article is dedicated to my friend Mark Williams; his beloved wife, Laura and their child, Emma in Salisbury, England.
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TANGGUNGJAWAB PENULIS DAN PENERBIT.

Jika kita bertekad menjadikan menulis sebagai kerja dan tanggungjawab tidak kira separuh atau sepenuh masa tentunya kita mesti melakukannya dengan penuh disiplin.Kita perlu menulis dengan penuh tanggungjawab. Tanggungjawab kita ialah untuk memberi pengajaran dan kesedaran kepada penonton melalui hasil karya kita.

Tidak perlu tonjolkan adegan terlalu ganas atau apa-apa unsur negatif untuk menarik perhatian penonton. Penonton hanya perlukan cerita yang bermutu untuk menghiburkan mereka.

Salah satu cara untuk memikat penonton ialah dengan mempersembahkan drama bersiri melalui TV. Drama tersebut pula harus disiarkan tiga atau lima kali seminggu. Ternyata drama sedemikian dapat menarik minat penonton. Lihat saja siri Nur Kasih yang ditayangkan di TV3 hinggakan terpaksa diulangsiaran bagi memenuhi permintaan penonton. Begitu juga dengan drama Qalesya yang ditayangkan disaluran Astro berjaya menarik minat penonton untuk melekat dikaca TV kerana disiarkan lima kali seminggu.
Saluran TV seperti RTM dan saluran Media Prima perlu memperbanyakkan siri-siri bersambung setiap hari sedemikian bagi menarik minat penonton.

Jika perkara demikian mendapat sambutan penonton, kenapa perlu diabaikan kerana setiap drama atau filem yang kita hasilkan adalah untuk tatapan penonton.Menulis memang seronok dan mengasyikkan. Sebab itulah bila orang menulis mengenai politik dan fitnah selalunya akan terlajak. Bila dah terlajak banyak buruk dari baiknya.

Tetapi bila kita menulis drama atau filem kita jangan terlajak. Kalau terlajak bukan saja karya kita tidak menjadi pilihan malah merugikan. Inilah yang perlu kita fikirkan secara mendalam.

Apakah tujuan kita menulis? Mencari wang atau mencari nama? Kalau jawapannya ya, itu tidak salah. Cumanya kita perlu ada batasan. Unsur-unsur pendidikan dan kesedaran jangan diabaikan. Jadikan menulis satu ibadah dan jauhkan dari unsur fitnah.

Fitnah bukan saja dilarang tetapi tidak mendatangkan banyak faedah. Kita perlulah menulis dengan jujur. Kejujuran perlu ditanam dalam jiwa setiap penulis. Kejujuran akan menjadikan kita dihormati dan dikenang.

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MELANGKAH KE GERBANG 2010

Dalam kesibukan meredah kemeriahan Disember yang merupakan bulan bersatu dua jiwa, bertaut kasih senada teruna dan dara, berkumpul sanak saudara meraikan kenduri kendara dan dalam masa yang sama ibu bapa sibuk memilih pakaian sekolah anak-anak hinggakan kocek kempis tak terasa, rupanya kita hampir memasuki gerbang 2010.

Begitu juga Disember diserikan lagi dengan kepulangan sanak saudara serta kawan rakan dari menunaikan haji. Wajah-wajah mereka kelihatan berseri-seri. Tahniah kerana telah selamat menjalankan ibadah haji. Semoga mendapat haji yang mabrur.

2009 mencatatkan pelbagai rona-rona peristiwa terutamanya alun politik yang kadangkalanya mengeliru dan menggelikan hati kita!

Kalau dalam politik soal lompat parti, pijak kepala kawan, tikam dari belakang, kawan jadi lawan serta sebaliknya dan bodek-membodek adalah perkara biasa. Malah lebih dahsyat lagi jika seseorang pemimpin itu telah jatuh atau bersara dia akan di tibai habis-habisan tanpa rasa hormat atau kenang jasa jika dia mengeluarkan sesuatu pendapat yang agak pedas padahal semasa berada dipuncak dia disanjung, dihormati dan disegani malah tiada siapa berani menegur! Demikianlah drama politik. Tapi apa yang Abang Ad masih ingat, seorang Cina pomen pernah berkata: kalau lu mau masuk politik, lu jangan betui sangat nanti orang marah dan lu jangan banyak tak betui, nanti orang marah juga!

Itu drama politik. Tapi drama yang difilemkan untuk menghiburkan orang lain, janganlah demikian jadinya. Sebabnya orang-orang yang terlibat dengan drama atau filem adalah orang-orang yang kreatif serta halus jiwa seninya.

Orang yang kreatif dan halus jiwa seninya adalah orang yang cintakan perdamaian, keindahan dan ketenangan. Orang-orang yang begini mempunyai cita-cita yang besar-besar adakalanya melangkaui cita-cita golongan lain.

Orang-orang sebegini tidak sepatutnya banyak mencalit onar didalam dunia seni. Orang-orang begini adakalanya menjadi ikon kepada masyarakat terutamanya golongan muda yang bakal menjadi pewaris masa hadapan.

Apabila kita menjadi ikon atau perhatian umum, sanggupkah kita menunjukkan teladan buruk serta menjadi cemuhan orang? Benar, kita adalah manusia seperti orang lain juga, tetapi bukanlah mustahil kalau kita menjaga nama baik supaya tidak dicerca orang. Kita perlu membatas atau membuang terus sikap buruk yang ada pada kita.
Sesama kita dan juga terhadap orang tidak perlulah kita menipu. Tukang bikin drama atau filem janganlah tipu tukang tulis skrip. Janganlah tipu tukang pelakun dan sebagainya. Kalau kita penat bekerja, orang lain pun penat juga. Orang lain pun makan nasi juga bukannya makan pasir.

Apa yang cuba ditonjolkan ialah penghargaan. Kalau pihak kerajaan memberikan bintang dan pingat kebesaran kepada golongan artis dan seniman sebagai menghargai jasa dan sumbangan terhadap perkembangan dan teknologi seni tanahair malah dilantik pula sebagai senator bagi mewakili golongan seperti kita, kenapa kita sendiri tidak menghargai sesama kita?

Kenapa kita sesama kita bercakaran hingga terpaksa membuat penyelesaian dihadapan tuan hakim? Kenapa golongan artis dan seniman dipandang lekeh walaupun ada yang hidup mewah? Semuanya itu ada kaitan dengan maruah dan harga diri.

Maruah dan harga dirilah yang menimbulkan rasa hormat orang lain terhadap kita. Jika kita tidak menjaganya dengan baik, masyarakat akan hilang rasa hormat terhadap kita.

Kita tentunya mempunyai keazaman masing-masing untuk melangkah kegerbang 2010. Bagi orang seusia Abang Ad 2010 terasa terlalu sayup jarak perjalanan hidup. Namun syukur, kita masih mampu melangkah!

Melangkah kegerbang 2010 kita mengharapkan penghargaan dari peminat-peminat filem kita. Keadaan filem kita ibarat sinar ditelan kabus. Untuk mengembalikan penghargaan peminat, filem kita mestilah dapat menghiburkan mereka. Kalau filem yang kita hidangkan tidak dapat menghiburkan mereka, bagaimana mereka harus memberi penghargaan kepada kita?

Bukan salah peminat kalau filem yang di hasilkan tidak mendapat sambutan. Penampilan pelakun-pelakun hebat lagi popular bukan tiket untuk menarik perhatian penonton. Skrip yang kemas, jalan cerita yang menarik dan pengarahan yang teliti serta gaya penggambaran yang menarik merupakan tarikan utama. Peminat jarang mempertikaikan lokasi penggambaran. Walaupun lokasi kurang menarik tetapi jika jalan cerita ditambah dengan corak pengarahan yang menarik, tentunya meruntun jiwa peminat untuk menontonnya. Sama-samalah kita berusaha memartabatkan filem kita.

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WADI UNUNG : DRAMA BERSIRI MENARIK 2009.

SEPANJANG Ramadhan lalu, Abang Ad meluangkan masa sambil menunggu waktu berbuka menonton drama bersiri Wadi Unung yang disiarkan sebanyak 26 episod melalui saluran Astro. Buah tangan Raja Ahmad Alauddin tersebut bagi Abang Ad adalah menarik dari segi idea, teknik penggambaran dan juga lokasi ditambah pula dengan lakunan dari pelakun-pelakun hebat pilihan Raja Ahmad Alauddin. Lokasi sekitar Gunung Keriang, Kedah dan Padang Besar, Perlis memang kelihatan indah dan menarik hasil garapan kreativiti Raja Ahmad Alauddin.

Lakunan yang dijayakan oleh Faizal Yusuf, Intan Azura, Eja, Yalal Chin, Zakaria Ariffin, Maimon Mutalib dan lain-lain memang cukup berkesan.

Sekalung tahniah kepada pelakun-pelakun membawa watak dengan berkesan sekali. Namun lakunan Eja nampak seperti ada kekurangan kerana intonasi suaranya kadangkala seperti dibuat-buat. Lakunan pelakun-pelakun veteran berpengalaman seperti Yalal Chin, Zakaria Ariffin dan Maimon Mutalib memang tidak dinafikan kehebatannya. Ternyata mereka adalah pelakun-pelakun hebat yang boleh membawa apa saja watak diberikan kepada mereka. Mereka adalah sebahagian aset bagi industri lakunan tanahair.

Drama tersebut memapar kesetiaan persahabatan, cemburu, dilema cinta dan kasihsayang terhadap ibu bapa dan orang tua.

Cerita berkisar terhadap dua orang sahabat karib yang berkawan sejak kecil hingga dewasa sanggup berkongsi susah senang hinggakan kadangkalanya seolah-olah sanggup mengabaikan hal-hal lain hinggakan menimbulkan rasa cemburu terhadap ibubapa masing-masing.

Olehkerana terlalu mengambil berat terhadap Fatihah, ibu Azrin bermasam muka dengan ibu Fatihah dengan menuduh Azrin terlalu mengambil berat terhadap Fatihah dan ibubapanya hinggakan mengabaikan ibubapanya sendiri.

Kisah cinta terpendam Nazir terhadap Azrin dan sebaliknya juga dipaparkan dengan gaya yang cukup menarik.

Cerita ini pada pengamatan Abang Ad bergantung kepada tujuh watak yang semuanya memainkan peranan utama bagi menguatkan drama tersebut. Watak-watak selain Azrin dan Fatihah ialah Pak Man, Mak Mah, Pak Husin, Mak Nah dan Nazir.

Konflik Wadi Unung akan dimusnahkan oleh pemilik tanah juga menarik perhatian penonton ternanti-nanti episod seterusnya.

Namun apa yang agak mengecewakan Abang Ad sebagai penonton, drama tersebut terlalu banyak memaparkan flash back yang berulang-ulang. Perkara tersebut memang menjemukan penonton kerana seolah-olah drama tersebut mahu dipanjangkan dengan paparan teknik flash back.

Flash back memang perlu untuk menguatkan cerita dan pemahaman penonton terhadap sesuatu cerita. Tetapi jika terlalu banyak dan adakalanya seolah-olah disengajakan, ianya menjemukan!

Kita bukan hendak kondem hasil kerja orang lain kerana hasil kerja kita juga belum tentu baik! Tetapi sebagai penonton, rasanya kita berhak untuk memberi komen apatah lagi kita menonton secara berbayar! Seperkara yang harus kita ingat, hasil kerja sesiapa pun pastinya tidak seratus peratus sempurna. Kita cuma insan yang lemah...

LETER-LETER DRAMA (20)

SELOKA RAYA ABANG AD 2009

Alhamdulillah, Ramadhan dilengkapi Syawal pula menjelma
Insyaallah, bolehlah sama-sama menyambut raya
Puasa, terawih, zakat fitrah, sedekah jariah semua sempurna
Moga-moga Allah Taala berkati amalan kita.

Abang Ad sekeluarga macam dulu juga
Duduk tang tu tak pindah mana-mana
Rumah taklah elok cuma boleh tidur lena
Setakat makan minum cukuplah belanja
Hidup Abang Ad sekeluarga hanyalah sederhana.

Persiapan raya Abang Ad ikut adat sekeliling kita
Ketupat, rendang, kueh mueh ala-ala saja
Buat tetamu, kawan rakan menjamu selera
Makan tu bukan utama, yang penting terjalin rasa mesra.

Pakaian raya sedondon corak dan warna
Suami isteri anak pinak serupa belaka
Bukan niat nak menunjuk kat sapa-sapa
Kalau nak menunjuk pun sapa nak heran ke kita
Lebih dari kita pun orang boleh belanja
Cuma nak seronok suka sesama keluarga
Asalkan tak salah syariat Allah Taala.

Kita dah berusia nak seronok tera mana
Takkan nak cucuh bunga api meriam buluh meriahkan suasana
Tengok budak-budak pun dah berlinang airmata
Teringat zaman kita budak-budak tak tau apa-apa
Mak bapak dalam perut dok bergelora
Dok pikir nak dapat duit tang mana
Barang kemas habis semua tinggal lengan saja
Kedai pajak pi jugak buat tebal muka
Itulah pengorbanan kedua ibu bapa.

Masa buka posa Abang Ad teringat aruah bapa yang telah tiada
Nasi ulam sayur keladi hari-hari pun tak apa
Masa nak suap tak sedar airmata jatuh keriba
Bapa hidup susah tapi bersyukur dengan apa yang ada
Semua diterima dengan hati terbuka
Amal ibadat tak pernah alpa.

Beraya dulu-dulu tak serupa la
Nak dapat duit raya kena makan hidangan depan mata
Jamu budak-budak dapat berkat orang tua-tua kata
Lepas makan bersalam biar sempurna
Orang la la main senang semua
Sua duit kot tingkap, budak-budak pun cempera.

Lepas bersolat kunjung mengunjung jiran tetangga
Bab makan tu taklah setera mana
Cuma nak erat hubungan mesra.
Abang Ad nak makan pun kena tengok jenis juga
Bukan tak sudi bukan menghina, bukan tekak tak terima
Macam-macam penyakit dah dok ada
Orang sibuk-sibuk gula nak beli tang mana
Abang Ad banyak stok sampai terlebih pula!
Tapi syukur masih boleh dok kawal dok jaga.

Kedua belah tangan Abang Ad hulurkan
Ampun maaf kalau ada kesalahan
Kita ni semua hamba Tuhan
Silap salah jangan disimpan
Bersama kita bermaaf-maafan
Panjang umur jumpa lagi tahun depan.

Salam Aidilfitri dari Abang Ad sekeluarga.
Ramadhan - Syawal 1430

LETER-LETER DRAMA (19)

YANG BAIK JADIKAN TELADAN.

Jika anda membuka web orang putih, sebagai contoh: http://www.moviescriptsandscreenplays.com/ berlambak-lambak contoh skrip filem popular yang telah ditayangkan dipaparkan disitu. Ada antara skrip disitu ditandakan : For Educational Purposes Only.

Lihatlah bagaimana sikap orang putih dalam menyebarkan ilmu pengetahuan. Mereka bangga kalau mereka dapat menyebarkan ilmu untuk dijadikan rujukan dan panduan kepada orang lain. Mereka rasa apa yang mereka tahu mesti dikongsi bersama orang lain.

Bagaimana pula sikap kita? Kalau anda nak tengok contoh-contoh skrip filem P. Ramlee, Mat Sentul atau filem-filem lama juga filem-filem baru seperti filem Jins Shamsuddin, Yusof Haslam, Erma Fatima, Aziz M. Osman dan lain-lain bolehkah anda dapat melalui laman web?

Tidak tahulah samada skrip-skrip tersebut tidak mendapat kebenaran untuk disiarkan atau tiada pihak yang mengusahakannya.

Kalau tidak mendapat kebenaran syarikat filem, perkara ini adalah sesuatu yang ketinggalan zaman. Sikap kedekut ilmu adalah sesuatu yang sudah lama berlalu.Dengan penyiaran contoh skrip didalam laman web dapat memberi publisiti dan menarik minat ramai penulis untuk mencipta skrip yang lebih bermutu.

Kalau tidak ada pihak yang mengusahakannya,“kepala-kepala” pihak yang bertanggung jawab secara langsung berkaitan hal-hal ini perlu dicantas dan digantikan dengan yang baru; yang lebih dinamik dan berwawasan!

Bila berbicara mengenai mutu filem Melayu, banyak perkara negatif yang dilabelkan terhadap industri tersebut. Apakah punca dan masalahnya? Selain daripada beberapa faktor ialah mutu penulisan skripnya. Jika kelompok yang sama juga menulis tentulah hasilnya juga tidak banyak berbeza.

Lihatlah orang putih yang tidak pernah takut skrip mereka diciplak. Filem telah lama ditayangkan; semua orang tahu tentang cerita tersebut kenapa pula harus takut tentang ciplakan!

Penyiaran contoh-contoh skrip filem dilaman web amat berguna untuk bakat-bakat baru menjadikannya sebagai panduan untuk mereka menulis. Sebagai bakat baru mereka tercari-cari ruang untuk belajar menulis. Memang ada ruang-ruang lain bagi mereka untuk menimba ilmu, tapi bagaimana bagi yang tidak mampu mengeluarkan perbelanjaan yang agak besar?

Usaha Persatuan Karyawan Malaysia (Karyawan) mengadakan bengkel-bengkel penulisan skrip filem amatlah dihargai. Namun dalam masa yang sama Karyawan juga perlu mencadang dan mendesak pihak-phak tertentu supaya mengusahakan penyiaran contoh skrip dilaman web. Atau dengan kepakaran yang ada, Karyawan sendiri yang mengusahakannya. Kita harus bergerak maju seiring dengan orang lain. Kita tidak perlu lagi kedekut dan mengamalkan sikap ketinggalan zaman. Biarlah skrip-skrip kita bertebaran keseluruh dunia dan dibaca oleh mereka yang memahaminya.

LETER-LETER DRAMA (18)

AWAT, IDEA KITA TAK BAGUIH KA?

Kalau anda pernah menonton filem Sleeping Beauty, I Know What You Did Last Summer atau siri TV bertajuk Secreto de Amor yang wataknya bernama Maria Clara (sekadar contoh) anda tentu teringat bahawa gambar Melayu pun ada juga cerita begitu. Hebat betul cerita Melayu sampai orang putih pun tiru!

Kalau cerita lagenda seperti Aladdin atau cerita-cerita dari Tales Of Arabian Nights tak kisahlah kalau Melayu pun ada buat cerita, orang putih pun ada, Hindustan pun ada. Begitu juga dengan kisah Badang,Tanggang atau Bawang Putih Bawang Merah kita pun ada cerita, Indonesia pun ada cerita. Tapi kalau bukan cerita lagenda, orang putih pun ada, kita pun ada rasa pelik jugalah.

Kalau sesuatu cerita itu benar-benar perlu ditiru kerana ceritanya cukup menarik dan bagus tiada tandingannya serta wajib ditonton oleh semua warga Malaysia untuk dijadikan panduan dan pengajaran, Abang Ad cadangkan kita tulis saja besar-besar: Cerita ini ditiru dari filem sekian sekian keluaran syarikat sekian sekian. Penonton pun tak rasa tertipu dan tak rasa nak marah. Kalau kena saman kerana tak minta kebenaran pun mungkin dendanya ringan kot sebab kita dah beri credit title!

Cakap fasal persamaan jalan cerita beserta plotnya sekali jarang berlaku secara kebetulan. Tentu berlaku adaptasi atau lebih mudah lagi ditiru! Kalau kita hanya meniru konsep saja rasanya boleh lagi diterima. Tapi kalau tiru jalan ceritanya termasuk babak dan dialognya sekali bagaimana pula?

Kita sudah terlalu kontang ideakah hinggakan sanggup mencedok cerita orang lain yang seolah-olah dialih bahasa? Bukan sekadar cerita orang putih malah filem-filem Hong Kong juga menjadi mangsa adaptasi penulis skrip dan pengarah filem kita. Dimana maruah kita?

Kalau produk tidak tulin, orang akan tahu!. Jadi lebih baiklah kita tak usah meniru. Kita buatlah dengan idea kita sendiri. Kita buatlah cerita mengenai masyarakat kita. Atau kalau kita mahu pergi lebih jauh, mahu buat filem bertaraf antarabangsa buatlah dengan idea yang lahir dari fikiran kita sendiri. Jadilah penulis dan pengarah yang tulin.

Bagi Abang Ad sendiri, bila Abang Ad tahu bahawa filem atau siri TV itu adalah ciplakan dari idea orang lain, Abang Ad akan alih siaran atau tutup saja TV. Abang Ad turut malu dengan sikap orang yang muka tidak malu atau lebih tepat lagi orang yang tidak ada maruah. Orang-orang begitu tidak perlu menempek didalam industri penulisan atau perfileman kita. Bikin malu kompeni saja!

Bagi anda yang mahu menulis skrip atau membikin filem, kita hendaklah jujur pada diri sendiri. Kejujuran adalah sesuatu yang teramat mahal harganya. Kejujuran akan membuahkan hasil yang tidak ternilai. Kejujuran akan menjadikan maruah kita kekal dan dihormati serta sentiasa dikenang walaupun kita telah tiada.

LETER-LETER DRAMA (17)

DRAMA RADIO: BERKUBUR TAK BERNISAN

Wartawan akhbar Kosmo, Adham Shadan menghubungi Abang Ad pada hari Khamis malam Jumaat (16/7/2009) bertanyakan pendapat dan pengalaman Abang Ad dalam penulisan skrip drama radio. Katanya dia mendapat nombor telefon Abang Ad melalui RTM Alor Star. Wartawan memang cekap dalam mencari dan mendapatkan maklumat!(Sebenarnya dia ada menghantar email, tapi atas beberapa urusan, Abang Ad tidak sempat membaca email yang ditujukan pada Abang Ad)

Dalam temubual Kuala Lumpur – Alor Star memakan masa lebihkurang empat puluh minit, beliau banyak bertanyakan pengalaman dan nostalgia Abang Ad dalam bidang penulisan skrip drama radio. Katanya beliau terpikat dengan tulisan Abang Ad mengenai kegemilangan drama pada tahun 60-an hingga 80-an.

Bagi generasi seangkatan Adham, mungkin apa yang Abang Ad ceritakan agak melucukan mereka. Terpaksa menjemur bateri cap kambing (bateri Five Rams yang mana kulitnya adalah kertas tebal seperti manila card dan akan mengeluarkan asid jika telah lama digunakan), mengikat wayar atau dawai pada antena radio dan disambungkan pada tin susu berfungsi seolah-olah piring Astro sekarang ini untuk mendapatkan siaran yang jelas bagi mendengar slot “Bangsawan Di udara” dari radio Singapura. Jenama radio yang Abang Ad gunakan pada masa itu ialah Errays cap burung merpati. Tapi yang pasti radio klasik tersebut mempunyai dua tombol besar dihadapan kiri kanan iaitu satu untuk “volume” dan satu lagi pemutar jarum untuk mencari “channel”. Manakala ditengahnya terdapat punat-punat untuk menentukan “band”nya iaitu samada “shot wave” atau “medium wave”. Bagi mendapatkan siaran lebih jelas arial radio tersebut kadangkalanya perlu dipegang sepanjang masa; mungkin mendapatkan tenaga elektrik sokongan dari badan kita! Radio itu pula perlu diletakkan ditempat tertentu dan bukannya boleh mendapat “coverage” dimana-mana saja tempat.

Berbalik pada isu drama radio, Abang Ad memberitahu Adham bahawa pada pendapat dan pandangan Abang Ad secara peribadi, ianya memang masih diminati. Cuma ianya tidak diminati oleh pihak tertentu yang mengendali siaran radio untuk diudarakan. Buktinya pada Ramadhan yang lepas, Radio Era menerbitkan drama pendek setiap hari dan ianya mendapat sambutan menggalakkan dari pendengar. Begitu juga pada suatu ketika dulu Ikim.fm pernah menerbitkan siaran drama pendek dan mendapat sambutan yang begitu menggalakkan.

Sekarang ini drama yang disiarkan di Radio RTM seolah-olah melukut ditepi gantang atau hanya untuk menutup mulut penulis dan peminat drama radio sahaja. Nak kata tak ada, ada. Tapi ada pun macam tak ada!

Bukti bahawa drama dan penulisan skrip drama radio masih diminati ialah bila Abang Ad membuka e-mail, banyak pertanyaan dari peminat-peminat yang Abang Ad boleh agak berapakah usia mereka dengan melihat alamat e-mail mereka. Contohnya, zanacomei88; bermakna mungkin penghantar e-mail baru berusia 21 tahun. Begitu juga dengan mamatjiwalara89, emir1990, cincau1985 dan ramai lagi. Oleh kerana mereka menghantar e-mail secara peribadi dan bukannya didalam blog, maka Abang Ad tidak dapat “publish”kan sebagai bukti.

Pada zaman 60-an dan 70-an dulu, jika slot “Bangsawan Di Udara” disiarkan melalui corong radio Singapura, pendengar serta peminat ketika itu jika hendak dibandingkan dengan peminat masakini, mereka seolah-olah sedang menumpukan perhatian pada slot Akademi Fantasia ataupun siaran bolasepak yang disiarkan secara langsung melalui TV.

Keesokannya, surirumah pasti akan bercakap sesama mereka mengenai bangsawan yang mereka dengar pada malam tadi. Mereka pasti mengaku bahawa mereka amat meluat dengan hilai tawa Jah Lelawati. Mereka pasti berkata mereka terpikat dengan suara Osman Zailani. Mereka pasti tertarik dengan suara romantis dramatis S. Sahlan, S. Ahmad dan ramai lagi.

Kalau drama radio RTM pasti peminat masih merindui drama-drama seperti Bila Kelopak Berkembang yang berkisar mengenai kisah cinta, Panggung Drama, Sandiwara Radio dan sebagainya. Peminat pasti merindui suara-suara dramatis seperti Asmahani Husin, Rubiah Suparman, Lai Joo Lian, Abu Bakar Omar, Baharuddin Haji Omar dan sebagainya. Namun semuanya itu hanyalah nostalgia semata-mata.

Samada pengendali stesen radio masakini tidak berminat atau terlalu berkira untuk menyediakan bajet bagi bayaran royalti penulis skrip dan pelakun tidaklah pula diketahui. Namun hakikatnya drama radio memang masih diminati. Suatu ketika dulu, walaupun Klasik Nasional menyiarkan drama pada jam 1.45 pagi dan jam 3.15 pagi masih ada peminat yang mengikutinya.

Siaran radio masakini banyak memberi tumpuan terhadap penyiaran lagu-lagu. Tak kiralah samada lagu-lagu masakini atau lagu lama. Rancangan berinfomasi dan rancangan bercorak keagamaan juga seperti diabaikan. Apatah lagi drama radio. Mungkin untuk memudahkan kerja, siarkan lagu saja kerana siaran lagu tak perlu apa-apa yang hendak difikirkan. Jika demikian, DJ majlis kahwin pun boleh kendalikannya dengan cekap malah ada dikalangan mereka suaranya lebih sedap serta celoteh mereka lebih menghibur dari DJ radio!

Tidak boleh dinafikan bahawa jika hendak menjadi penulis skrip TV atau filem yang baik, seseorang perlu mengasah bakat terlebih dahulu dalam bidang penulisan skrip drama radio. Ini adalah untuk memahirkan penulis didalam penciptaan dialog. Tetapi jika radio pula sudah tidak berminat untuk menyiarkan drama, dimana penulis mahu mengasah bakat?

Kalau sekadar untuk mendengar lagu, dimana-mana pun orang boleh mendapatnya. Tetapi drama radio, dimana nak dapat?

Apa yang Abang Ad harap, stesen-stesen radio dapat memikirkan perkara ini terutamanya radio RTM kerana drama boleh dijadikan pemangkin untuk penyampaian maklumat dalam bentuk hiburan yang berkos murah. (Ini kata kita, orang lain?)

Dalam hal ini badan-badan penulis seluruh negara mungkin telah beberapa kali dan mungkin juga telah berasa kecewa untuk menghantar memorandum kepada pihak berkenaan merayu dan mendesak agar siaran drama radio dirancakkan semula. Tetapi apa nak buat, kita tak punya apa-apa kuasa dan kepentingan! Kita cuma tahu menulis dan tidak berminat mengenai hal-hal lain. Tak tahulah kalau suatu masa nanti mereka yang diberi bertanggungjawab tertinggi adalah dikalangan penulis pula. Mungkin waktu itu apa yang diharapkan oleh seluruh penulis dan pencinta seni akan menjadi kenyataan. Kita doakan saja......

Berikut (dengan izin) Abang Ad sertakan petikan tulisan Adham Shadan untuk tatapan anda. Pada hari rencana ini disiarkan diakhbar, talian telefon Abang Ad sesak dengan panggilan dari kawan-kawan dan kenalan yang mengucapkan tahniah. Bukan kerana muka keluar suratkhabar. Tapi mereka bangga kerana Abang Ad telah mewakili suarahati mereka dalam memperjuangkan drama radio. Banyak saranan bernas yang mereka berikan, namun apa yang kita boleh buat. Kita hanyalah penulis.....

RENCANA UTAMA (KOSMO: Selasa 28 Julai, 2009 - muka surat 20)

Rahsia drama radio bertahan
Oleh ADHAM SHADAN
adham.shadan@kosmo.com.my

Berasaskan faktor zaman, barangkali ada yang beranggapan drama radio sudah kurang mampu mendapat sambutan. Benarkah?

PENGGEMAR drama radio tetap ada khalayaknya. - Gambar hiasan

"SAYA ingat lagi sekitar tahun 1960-an, betapa orang ramai begitu menanti-nanti drama di radio. Saya sendiri terpaksa mengikat wayar atau dawai pada antena radio dan disambungkan pada tin susu seolah-olah piring Astro sekarang untuk mendapatkan siaran yang jelas bagi mendengar slot Bangsawan Di Udara dari radio Singapura.
"Apabila drama radio berkumandang, suasana jadi sepi. Yang kedengaran hanyalah bunyi orang berlakon dalam radio. Topik ketawa mengilai Jah Lelawati pula antara yang hangat disembangkan di kedai-kedai kopi," kata Nasir Awang, 49, yang aktif menulis skrip drama radio sejak 1980-an. Dia yang berada di Alor Setar, Kedah dihubungi Kosmo! baru-baru ini.

Ceritanya lagi, bermula tahun 1970-an, drama-drama radio di RTM Radio Malaysia Kuala Lumpur menjadi hit. Antara yang begitu popular dan mengesankan adalah Kebun Pak Awang diikuti Fajar Di Bumi Permata, No.5 Persiaran 1 dan Bila Bunga Berkembang.
"Drama-drama radio ini memang popular dan meninggalkan kesan. Sebagai contoh, ada pendengar mahu melihat kawasan Felda Bukit Putra yang sebenarnya hanya ciptaan dalam drama radio Fajar Di Bumi Permata (FDBP)," kata Nasir sambil memberitahu dia ialah penulis skrip drama radio FDBP.

"Drama-drama ini begitu hebat sehingga ia bertahan mencecah sedekad. Kebun Pak Awang misalnya sampai ada sekuelnya, Anak Pak Awang dan Cucu Pak Awang," tambahnya lagi.

Mesej

Kosmo! menemui satu kajian di Internet yang menunjukkan drama radio berperanan memberi mesej dalam perubahan hidup masyarakat di negara ini.

Kertas kerja bertajuk The Use of TV and Radio Entertainment For Development Communication: The Malaysian Experience oleh Salleh Hassan dan Narimah Ismail itu dibentangkan dalam satu seminar di Singapura pada tahun 1991.

Menurut kajian tersebut, sesuai dengan era kemajuan pertanian pada masa itu, drama Kebun Pak Awang berperanan menyampaikan kisah masalah petani dan mengajak mereka agar mengguna pakai kaedah baru. Ia juga mengingatkan orang ramai bahawa menangkap burung wak-wak yang dilindungi undang-undang boleh dikenakan denda. Pengkaji melihat penyampaian mesej menerusi drama lebih bermakna.

Tanggapan palsu

Zaman sekarang bagaimana? Jangan mudah membuat telahan. Memang benar, dunia sudah berubah. Sekarang ini, lebih kepada era visual berbanding semata-mata audio. Mungkin ada yang beranggapan, drama radio sudah tidak dilayan dan tiada sambutan. Ramai orang sibuk, mana ada masa hendak mendengar radio. Persoalannya, benarkah tanggapan itu?

Bagi Nasir, tanggapan itu palsu. Cuma yang menjadikannya kelihatan tidak popular dan kurang sambutan adalah slot yang ditawarkan oleh industri radio terlalu sedikit.

"Berapa banyak stesen radio yang mempunyai slot drama radio? Bagaimana pula dengan waktu siarannya? Pernah tak lama dulu, drama radio diletakkan siaran pada 1.45 pagi dan 3.15 pagi. Sesuaikah? Mujur masih ada kelompok penggemar yang mengikuti.

"Ada pula orang kata, ramai orang muda tak minat drama radio. Benarkah? Pada bulan Ramadan lalu, Radio Era ada menerbitkan drama pendek dan saya dapati, ia mendapat sambutan menggalakkan daripada pendengar.

"Saya sendiri menerima banyak permintaan daripada orang muda yang minta saya mengajar penulisan skrip radio," katanya.

Slot khas

Ketua Bahagian Rancangan di Perak FM, Fauzi Ramli berkata, sebelum ini, stesen radio itu ada slot khas drama radio bersiaran pada setiap minggu. Tetapi sekarang, drama radio hanya disiarkan ketika peristiwa tertentu seperti Hari Raya Aidilfitri, Hari Raya Aidiladha atau Hari Kebangsaan, di samping sketsa-sketsa pendek.
Pengarah drama radio, Fauziah Mohd. Sidek, 27, berkata, Klasik Nasional kini memperkenalkan satu lagi slot drama radio Katarsis bermula November tahun lalu. Berlainan dengan slot Panggung Drama yang bertahan lama, fokus Katarsis adalah isu orang muda.

Beliau mengakui penggemar drama radio tetap ada khalayaknya. Fauziah berkata, hakikatnya drama radio masih disukai oleh pelbagai kaum.

"Di stesen radio RTM, bukan sahaja drama radio ada di Klasik Nasional, bahkan ada di stesen radio berbahasa Cina, Ai FM dan stesen radio berbahasa Tamil, Minnal FM.

"Tanggapan orang sahaja yang kata tidak ada orang mahu mengikuti drama radio. Masa saya pergi ke bengkel kereta, saya sendiri boleh dengar drama radio berbahasa Cina terpasang dan ada pekerja di situ mendengarnya. Kata pekerja itu, 'memang ikut ma...'" ujar Fauziah

LETER-LETER DRAMA (16)

SCREENWRITER, SCREENPLAY TU MENATANG APA?

Kalau anda seorang penulis yang kreatif, berhati-hati serta inginkan skrip anda difilemkan menepati kehendak dan imaginasi anda serta menarik untuk ditonton, pengarahan skrip beserta dialog yang kemas (screenwriter) adalah penting untuk anda tuliskan.

Sebenarnya dalam penulisan skrip, penulis hanya mencipta skrip semata-mata. Soal pengarahan, pemilihan pelakun dan lain-lain berkaitan adalah tugas pengarah dan lain-lain petugas produksi. Bermakna, pengarahan skrip tidak perlu anda tulis secara detail atau panjang lebar. Tetapi jika anda mampu menulisnya serta mahu skrip tersebut difilemkan menepati kehendak anda, ianya adalah penting bagi anda menulisnya.

Kadangkala bila anda menulis skrip, anda membayangkan pelakun-pelakun yang anda minati membawa watak yang anda tulis. Jadi anda pun menulis dialog bersesuaian dengan karektor pelakun-pelakun berkenaan. Perkara ini adalah baik untuk anda menulis dengan lancar kerana anda seolah-olah mempunyai ikon yang sedang anda fokuskan. Anda juga boleh memberikan cadangan kepada penerbit untuk mengambil mana-mana pelakun untuk membawakan watak yang anda tulis. Tetapi kebanyakan syarikat produksi mempunyai residen atau favourite artis mereka sendiri. Ini semua terpulanglah kepada syarikat penerbitan.

Mungkin apa yang anda tulis dalam bentuk pengarahan tidak diikuti sepenuhnya oleh pengarah. Tetapi jika gandingan idea anda dan kreativiti serta kepakaran pengarah dicantumkan,tentulah hasil dari skrip anda akan menjadi lebih kemas dan menarik. Demikian juga dengan dialog yang anda tulis, mungkin tidak diikuti sepenuhnya oleh pelakun. Ada pelakun yang mahir, mereka akan “add-lip” dialog mereka sendiri tetapi tidak lari maksud dengan dialog asal yang anda tulis.

Kalau anda pernah mengikuti krew produksi mengadakan penggambaran, tentu mudah bagi anda untuk menulis pengarahan skrip.

Macamana nak tulis? O.K. Abang Ad akan berikan contoh dan panduan kepada anda.Abang Ad pun bukannya pandai sangat. Kalau salah anda boleh tegur. Demi kebaikan Abang Ad tak kisah. Tegurlah kalau Abang Ad salah. Kalau ada yang tidak faham, anda boleh emailkan soalan pada Abang Ad. Insyaallah Abang Ad akan bantu sekadar yang Abang Ad tahu.

Contohnya begini. Kita ambil balik contoh skrip yang Abang Ad berikan sebelum ini. Kita cuba kembang dan rendangkan supaya ia menjadi lebih cantik dan menarik.

BABAK 1/KELAB DANGDUT/MALAM

PERALATAN/KEPERLUAN
1. LOKASI DISEBUAH KELAB DANGDUT.
2. EFFECT: LAGU DANGDUT BERKUMANDANG.

KAMERA ZOOM IN DAN ZOOM OUT BERSELANG SELI BEBERAPA KALI KEARAH AKMAL DAN PASANGANNYA YANG SEDANG MENARI.SESEKALI FOKUSKAN PADA PASANGAN-PASANGAN LAIN YANG SEDANG MENARI/MINUM-MINUM DAN BERBUAL-BUAL. ZOOM IN KEARAH AKMAL YANG TERHOYONG-HAYANG.CUBA MENCIUM PASANGANNYA (LIANA). MELARIKAN MUKA.BERPELUKAN.FOKUSKAN PADA TANGAN LIANA YANG MENYELUK SAKU SELUAR AKMAL. MENGAMBIL BEBERAPA KEPING WANG KERTAS LIMA PULUH RINGGIT.

BABAK 2/RUMAH TERES/MALAM

PERALATAN/KEPERLUAN

1. SEBUAH RUMAH TERES SATU TINGKAT
2. SEBUAH KERETA
3. SEBUAH JAM DINDING JENIS BERDENTING
4. KERETA MAINAN/ANAK PATUNG/LAIN-LAIN MAINAN

SETELAH KELUAR DARI KERETA, AKMAL MEMEGANG GRILL PINTU DENGAN KEDUA BELAH TANGAN. MELEKAPKAN KEPALA SEKETIKA DI GRILL. MENGGONCANG-GONCANG GRILL DENGAN KUAT. PINTU TERBUKA. NURUL MEMBUKA KUNCI GRILL. KELIHATAN GOPOH/TAKUT DAN RESAH. SEMASA MEMIMPIN AKMAL KE BILIK, KETIKA MELALUI RUANG TAMU. AKMAL TERSEPAK KERETA MAINAN. LALU MENYEPAK KUAT HINGGA TERTAMPAN DINDING DAN BERKECAI.KAMERA FOKUS PADA KERETA MAINAN YANG BERKECAI.

AKMAL DIBARINGKAN DIATAS KATIL. SETELAH MEMBUKA KASUT AKMAL, NURUL DUDUK DITUBIR KATIL. MEMANDANG KEDUA ANAKNYA DIKATIL SEBELAH. FOKUSKAN PADA KEDUA-DUA ANAKNYA YANG NYENYAK TIDUR. FOKUSKAN PADA JAM DINDING YANG MENUNJUKKAN PUKUL TIGA BILA JAM BERDENTING.

BABAK 3/PEJABAT/SIANG

PERALATAN/KEPERLUAN

1. KELENGKAPAN SEBUAH BILIK PEJABAT
2. SEBUAH JAM TANGAN DIGITAL UNTUK DIPAKAI OLEH AKMAL
3. SEBUAH TELEFON BIMBIT
4. SEBUAH GLOBE

FOKUSKAN PADA JAM TANGAN AKMAL YANG MENUNJUKKAN JAM 3 PETANG.AKMAL BERDIRI RESAH. MEMUSING-MUSING GLOBE BEBERAPA KALI. MENCAPAI TELEFON BIMBIT DAN DAIL.SEMASA BERCAKAP, BERJALAN MENJENGUK KETINGKAP.FOKUSKAN KELUAR MELALUI TINGKAP MENUNJUKKAN DUA ORANG SEDANG BERADA HAMPIR KERETA AKMAL.

Demikianlah contoh yang mampu Abang Ad berikan. Kalau diteliti skrip-skrip filem Inggeris, penulis tidak banyak menulis tentang pengarahan didalam skrip. Tugas untuk menjadikan ia sebuah “screenplay” adalah tugas pengarah hasil gandingan kreativiti jurukamera. Sebab itulah dalam contoh sebelum ini Abang Ad tidak banyak menulis pengarahan didalam skrip. Abang Ad beri contoh yang simple sahaja supaya anda terutamanya para pendatang baru tidak pening dan merasa sukar untuk mencipta skrip.

Tetapi harus diingat, jika sesuatu perkara itu penting dan anda rasakan jika perkara itu tidak dimasukkan didalam cerita anda, ianya akan mencacatkan jalan cerita, eloklah pengarahannya anda tulis dengan detail dan teliti. Pengarahan ini boleh juga anda tulis dibawah sesuatu dialog. Contohnya begini.

AKMAL
Huh…kalau aku mahu…jangankan rumah dan harta benda engkau… dengan engkau engkau sekali aku boleh beli!!! Pasal duit ringgit, engkau tak usah cakap, aku tak heran punya!!!! Tapi aku bukan mahu beli engkau….aku mahu nyawa engkau!!!

(AKMAL MEMUSING-MUSINGKAN KUNCI KERETA YANG DILETAKKAN DIJARI TELUNJUKNYA KETIKA BERCAKAP. MUKA DAN LAGAKNYA KELIHATAN ANGKUH. DIA BERJALAN-JALAN SEKELILING LIANA (PELAYAN KELAB DANGDUT) YANG DUDUK DISOFA. BERHENTI. MEMEGANG KERAS DAGU LIANA. MEMBERI AMARAN)

AKMAL (SAMBUNG)
Hey betina….ingat, kalau engkau sayangkan nyawa engkau…engkau jangan datang sini lagi!!! Keluar dari sini sekarang!!!!

Kalau dalam skrip anda ada adegan orang terbang, orang jatuh melayang dari bangunan, kereta remuk kemalangan, orang berjalan atas air,orang sedang dijilat api dan sebagainya, terpulanglah pada kreativiti pengarah dan jurukamera. Tetapi dengan kecanggihan teknologi sekarang ini, perkara demikian tidak sukar dilakukan. Ianya boleh dilakukan dengan camera trick atau menggunakan skrin komputer sahaja. Zaman P. Ramlee pun tikar boleh terbang, takkan sekarang ni tak boleh!

Anda tidak perlu memikirkan sangat tentang pengarahan skrip. Apa yang penting anda tulis cerita dan dialog yang menarik. Pastinya ia menjadi menarik apabila difilemkan dan dipertontonkan kelak. Belum cuba belum tahu! Selamat menulis dan selamat maju jaya.

LETER-LETER DRAMA (15)

MAI KITA START TULIH SKRIP.

Banyak sangat dok cerita macam-macam, kali ini Abang Ad nak balik pada tajuk asal. Macamana nak tulis skrip? Susah sangatkah nak tulis skrip? O.K sekarang mari kita cuba.

Katakanlah anda telah punya idea yang sarat ibarat bisul yang bernanah menanti masa untuk pecah. Apa yang anda harus buat? Anda harus mulai dengan membuat draf perjalanan babak terlebih dulu untuk memudahkan anda mencipta dialog. Draf itu biarlah macamana ia keluar dari kamar fikiran anda. Tulis apa saja yang keluar. Jangan fikirkan soal susunan atau yang mana lebih dulu hendak ditulis. Anda hentam saja. Kalau anda fikirkan mana hendak diletak dulu, mana yang kemudian, anda jadi pening dan akhirnya anda tidak jadi menulis. Susunannya boleh dibuat kemudian. Apa nak susah hati, zaman mesin taip ketuk sudah berlalu. Sekarang ni guna komputer. Nak susun bukannya susah. Boleh main cut and paste saja. Kalau anda gunakan teknik begini, penulisan anda akan jadi lebih mudah malah ianya akan bertambah cantik dan menarik bila anda membuat susunan kelak. Percayalah!

Kalau anda seorang yang kuat ingatan, mungkin anda boleh terus menulis dialog. Tetapi membuat rangka cerita adalah lebih baik supaya anda tidak mudah terlupa. Ini semua bergantunglah pada stail dan keselesaan masing-masing. Apa yang penting skrip mestilah siap dan bermutu! Tetapi sebelum itu anda perlu juga membuat draf tentang jalan cerita atau synopsis drama yang hendak anda tulis.

Contoh sinopsis adalah begini.

SINOPSIS:
Cerita ini berkisar tentang seorang suami yang suka berfoya-foya dan menghabiskan masa dengan menggilai perempuan-perempuan jalanan. Isterinya yang taat cuba menasihatinya. Tetapi nasihat dari isterinya tidak dipedulikan. Akmal, seorang usahawan berjaya tetapi akhirnya menjadi muflis akibat suka berfoya dan boros berbelanja. Dia juga sentiasa dikejar along.

Dia kembali kepangkal jalan setelah dua anaknya meninggal dunia angkara perbuatan tidak berhati perut along..
(sehingga habis cerita..)

Penulis juga perlu menyiapkan satu senarai perwatakan pelakun seperti contoh berikut:

PERWATAKAN:
1. AKMAL
Watak utama. Berusia lebihkurang 40 tahun. Seorang usahawan. Sentiasa
berwajah serius dan panas baran.

2. NURUL
Isteri Akmal. Berusia 35 tahun. Penyabar, taat dan lemah lembut. Surirumah.

3. HASAN
Berusia 40 an. Orang suruhan Akmal. Berwatak bengis. Sentiasa memakai jeans,
kemeja T dan topi.

4. SETERUSNYA WATAK-WATAK LAIN. WATAK-WATAK TAMBAHAN JUGA PERLU ANDA MASUKKAN
KERANA SEMUA ITU DIAMBILKIRA DIDALAM SKRIP.

Kerangka cerita atau susunan babak yang anda draf contohnya begini. (Ini contoh yang mudah untuk anda fahami)

1. Akmal menari separuh mabuk disebuah kelab dangdut bersama seorang wanita seksi.
2. Marahkan isteri kerana lambat buka pintu. Isterinya penyabar. Tanpa berleter
terus memimpin Akmal kekatil.
3. Dalam pejabat. Akmal resah kerana ada orang menunggunya dikereta. Dia
menalipon orang suruhannya minta bantuan.
(Kalau boleh draf hingga habis cerita. Tentang susunan babak boleh fikir untuk diubah, ditambah atau dibuang kemudian. Yang penting siapkan draf dulu.)


O.K, sekarang macamana pula nak tulis dialog? Abang Ad bagi contoh mudah seperti ini:

BABAK 1/KELAB DANGDUT/MALAM.

BUNYI MUZIK BERKUMANDANG. RAMAI ORANG YANG MENARI DENGAN PASANGAN MASING-MASING. AKMAL DAN PASANGANNYA, SEORANG WANITA SEKSI (AIDA) SEDANG MENARI KERIANGAN. SESEKALI KELIHATAN AKMAL TERHOYONG-HAYANG.

CUT TO…..

BABAK 2/RUMAH AKMAL/MALAM.

MENGETUK-NGETUK PINTU DENGAN KUAT. KELIHATAN MARAH DAN BENGIS. BEBERAPA KETIKA NURUL (ISTERI) MEMBUKA PINTU. NURUL MEMIMPIN AKMAL MASUK.

AKMAL

Bodoh…!!! Kenapa lambat buka pintu hah?

NURUL TIDAK MENJAWAB. TERUS MEMIMPIN DAN BARINGKAN AKMAL DIKATIL. SETELAH AKMAL DIBARINGKAN, NURUL MEMBUKA KASUT AKMAL. NURUL DUDUK DITUBIR KATIL DAN MERENUNG JAUH. SESEKALI MERENUNG WAJAH KEDUA-DUA ANAKNYA YANG NYENYAK TIDUR. AIRMATA KELIHATAN MEMBASAHI PIPI NURUL. TERSENTAK BILA JAM BERDENTING MENUNJUKKAN JAM TIGA PAGI. KAMERA DIFOKUSKAN KEARAH JAM YANG BERDENTING.

CUT TO…..

BABAK 3/PEJABAT/SIANG.

KAMERA DIFOKUSKAN KE JAM TANGAN AKMAL YANG MENUNJUKKAN JAM 3.00 PETANG. AKMAL KELIHATAN RESAH. MENCAPAI TELEFON TANGAN. DAIL DAN MENUNGGU.

AKMAL

Hello Hasan…engkau kena datang sekarang juga. Kalau tidak matilah aku.
(AKMAL BERJALAN DAN MENJENGUK DITINGKAP)
Hasan…dia orang tunggu dekat kereta aku. Engkau datang bawa dua tiga orang kawan.
Belasah dia orang tu cukup-cukup. Biar dia orang tahu siapa Akmal!!!


Ini adalah secebis contoh skrip TV/filem. Walaupun penggambaran dan mencari sudut sesuai dan menarik adalah kerja pengarah dan jurukamera, tetapi penulis boleh memberikan arahan didalam skrip mengenai dimana dan apa yang harus difokuskan oleh jurukamera. Mungkin penulis mempunyai teknik dan idea menarik. Arahan seperti ini penting jika sesuatu babak itu tidak mempunyai dialog langsung. Contohnya:

BABAK 4/DALAM BANDAR/SIANG/HUJAN

HASAN BERJALAN SAMBIL MEMANDANG KIRI KANAN MELINTASI JALAN MEREDAH HUJAN. MENYELIT DICELAH-CELAH KENDERAAN YANG BERHENTI DILAMPU ISYARAT. TIBA-TIBA SEBUAH KERETA MEMBREK KUAT HAMPIR TERLANGGAR HASAN. HASAN MEMBELIAKKAN MATANYA TANDA MARAH. KAMERA DIFOKUSKAN TEPAT KEMATA HASAN. HASAN MENUMBUK-NUMBUK BONET KERETA. DIA BEGITU MARAH. PEMANDU KERETA MELURU KELUAR. DUA ORANG LAGI KELUAR. MENANGKAP DAN MENGGARI HASAN. HASAN TIDAK SEMPAT MERONTA ATAU BERBUAT APA-APA. MEREKA MENYUMBATNYA KEDALAM KERETA. KERETA MELUNCUR LAJU.

CUT TO...

Lihat contoh yang Abang Ad berikan antara Babak 2 dan Babak 3. Diakhir Babak 2 kamera fokuskan jam dinding menunjukkan pukul 3 pagi manakala permulaan Babak 3 kamera fokuskan jam tangan menunjukkan pukul 3 petang. Penulis boleh memberi arahan seperti fokuskan pada pelakun yang tersengih menampakkan gigi rongak, fokuskan pada seluar yang terkoyak dipunggung, pada kaki kerana memakai kasut terbalik atau stoking berlainan warna dan sebagainya mengikut jalan cerita yang disusun.

Selain itu untuk memudahkan penerbit/pengarah penulis perlu juga menyenaraikan
peralatan-peralatan yang diperlukan untuk penggambaran. Sebenarnya penerbit/pengarah berpengalaman tentunya tahu apa peralatan yang perlu digunakan. Tetapi penulis boleh senaraikan untuk membantu penerbit/pengarah. Contohnya begini.

PERALATAN DIPERLUKAN

1. BABAK 1
a.Peralatan/kelengkapan sebuah kelab dangdut..

2. BABAK 2
a.Jam dinding jenis berdenting
b.Lain-lain peralatan/kelengkapan rumah/bilik tidur

3. BABAK 3
a.Jam tangan jenis digital untuk dipakai oleh Akmal.

Senarai peralatan ini tidak perlu disusun babak demi babak. Kecuali sesuatu peralatan khusus sahaja perlu dicatatkan jika diperlukan untuk sesuatu babak itu.Jika sesuatu babak itu perlukan beca, binatang atau apa-apa saja yang agak sukar diperolehi, perlulah dicatatkan bagi memudahkan urusan penerbit.

Seseorang penerbit/pengarah yang berpengalaman, selalunya mereka tahu apa peralatan yang diperlukan bila mereka membaca skrip. Tetapi seseorang penulis juga berhak menentukan apa yang perlu digunakan kerana mungkin penulis mempunyai alasan tersendiri kenapa peralatan tersebut perlu digunakan.

Sekiranya anda telah selesai menulis skrip, ulang bacalah berkali-kali. Anda cuba berlakon menggunakan dialog-dialog yang anda tulis. Kalau rasa tak sedap, gantikan dengan dialog yang lebih sedap. Jangan tergesa-gesa untuk menghantarnya kepada penerbit. Anda perlu berhati-hati agar anda tidak berputih mata.

Sekali lagi Abang Ad ingatkan: Orang hanya mahu duit kita bukannya nak memberi duit pada kita! Kita akan dapat duit kalau kita berusaha dan bekerja dengan ikhlas.

Ikhlas dari Abang Ad (malam Jumaat yang berkat)

LETER-LETER DRAMA (14)

PELAKUN MANA YANG ABANG AD MINAT?

SETIAP orang yang meminati drama atau filem tentunya mempunyai minat terhadap lakunan seseorang. Abang Ad juga tidak terkecuali.

Sebenarnya ramai pelakun drama tempatan yang Abang Ad minat lakunan mereka. Tetapi pelakun yang Abang Ad minat kerana lakunannya bersahaja, nampak real, bersungguh-sungguh serta boleh membawa apa saja watak ialah Fauziah Nawi.

Lakunan-lakunan Fauziah Nawi (Kak Yah) memang memikat hati Abang Ad terutamanya kalau dia membawa watak-watak ala kampong. Kak Yah bukan saja Abang Ad minat lakunannya, malah Abang Ad minat juga suaranya yang jelas dan baik “pronunciation”nya ketika dia menjadi juruhebah Rangkaian Biru RTM (siaran bahasa Inggeris).

Kak Yah petah bercakap; sepetah cakapnya ketika berlakun drama. Kak Yah sering muncul dalam drama TV terbitan RTM. Selain itu Kak Yah juga sering berlakun drama radio RTM.

Bagi Abang Ad, Kak Yah adalah seorang pelakun yang versatile. Boleh membawa apa-apa saja watak yang dipertanggungjwabkan kepadanya. Apatah lagi jika watak-watak ala kampong dan watak-watak berat. Kak Yah mampu membawanya dengan baik. Begitu juga dengan watak-watak komedi. Kak Yah membawa watak komedi; Timah TL dalam Santan Berlada.

Lakunan Kak Yah yang masih Abang Ad ingat ialah dalam drama Angin Bila Menderu karya Johan Jaafar bersama Mohamad Abdullah, Karim Latif dan lain-lain. Lakunannya bersahaja dan berkesan.

Setiap kali Abang Ad mengunjungi Angkasapuri sekitar tahun 80-an, Abang Ad amat berharap untuk bertemu Kak Yah. Abang Ad berhajat berbual dengan Kak Yah bertanyakan pengalamannya dalam bidang lakunan drama. Yang peliknya Abang Ad tidak pernah menalipon Kak Yah menyatakan hasrat! Abang Ad berharap pada nasib semata-mata!

Bertahun-tahun Abang Ad mengunjungi Angkasapuri atas urusan penulisan skrip atau bertemu kawan-kawan jika ada urusan di Kuala Lumpur, tidak juga dapat bertemu Kak Yah. Yang Abang Ad kerap terjumpa di kantin Wisma Radio (dulu panggil kantin, sekarang baru panggil café) ialah Omar Abdullah, Abdullah Abdul Rahman, Normah Damanhuri, Omardin Kardin dan beberapa pelakun serta penyanyi-penyanyi yang membuat rakaman rancangan RTM.

Suatu hari ketika Abang Ad minum di kantin bersama Manan Selamat (penerbit Fajar Di Bumi Permata) Abang Ad ternampak Kak Yah memasuki ruang kantin. Kak Yah dengan sifat ramahnya menyapa beberapa orang disekelilingnya.

Abang Ad menegur Kak Yah dan mempelawa duduk semeja. Perbualan kami berkisar tentang lakunan dan perkembangan drama termasuk penulisan skrip. Kak Yah menceritakan pelbagai pengalamannya ketika berlakun. Tetapi satu nasihat yang Kak Yah pesan dan Abang Ad amalkan ialah: kita mesti lakukan sesuatu amanah dan tanggungjawab yang diberikan dengan jujur. Mesti jujur pada diri sendiri dan pada orang lain. Kalau kita dipihak yang benar, pedulikan apa orang kata. Orang lebih suka lihat kita jatuh daripada kita berjaya.

Pelakun lelaki yang Abang Ad minat lakunannya ialah Ismail Din (Allahyarham). Abang Ad kenal semasa dia menjadi penerbit drama di RTM. Lakunannya juga bersahaja dan real ketika didalam drama. Tetapi kurang berkesan ketika berlakun filem. Dia juga boleh membawa pelbagai watak dengan baik. Dia juga ada berpesan pada Abang Ad: buat bersungguh-sungguh, jangan bertangguh-tangguh. Jika dia menerbitkan “drama dalam syair” dia suka menjemput M. Daud Kilau (Dato’) dan S.M Salim (Tan Sri) untuk bersyair. Memang kemerduan suara kedua-dua tokoh ini sukar ditandingi ketika bersyair.

Abang Ad doakan semoga Kak Yah sihat sejahtera dan semoga roh Allahyarham Ismail Din ditempatkan bersama solihin.

LETER-LETER DRAMA (13)

ANTARA PELAKUN TV DAN PELAKUN FILEM

MENONTON TV. Kalau dibuat kajian, Abang Ad rasa rating orang yang suka menonton TV tentunya lebih ramai dari orang yang suka membaca.

Begitu juga dengan Abang Ad. Abang Ad juga suka menonton TV. Di samping itu Abang Ad juga tidak abaikan amalan membaca.

Mengenai menonton TV, Abang Ad akan menonton apa saja rancangan dari semua rangkaian TV kalau ada kesempatan. Sesekali Abang Ad akan menemani anak lelaki bungsu, Mohammad Amar menonton rancangan kegemarannya: kartun, bolasepak dan sukan, gusti, filem-filem Allahyarham Tan Sri P. Ramlee dan filem-filem Melayu lama. Abang Ad akan menemani anak perempuan ketiga Abang Ad; Nor Aliyya menonton Akademi Fantasia, rancangan-rancangan hiburan bercorak muzikal dan rancangan drama bersiri. Abang Ad akan menemani isteri, Noraini Hashim menonton rancangan kegemarannya yang disiarkan di TV9, Muqaddimah dan Tanyalah Ustaz pada sebelah pagi. Ada ketikanya Abang Ad sekeluarga menonton rancangan yang sama.

Bagi Abang Ad sendiri, Abang Ad suka menonton drama/telefilem Melayu dan filem-filem Inggeris. Sebagai seorang peminat seni, Abang Ad bukan sekadar menonton dan menghayati jalan ceritanya sahaja, tetapi Abang Ad akan perhatikan cara lakunan; gerak geri dan tutur dialog pelakun, teknik dan lokasi penggambaran. Perkara ini mungkin tidak dipedulikan oleh kebanyakan orang. Abang Ad cuba bertanya pada anak-anak dan isteri; mereka sendiri tidak menyedari perkara tersebut bila Abang Ad mengulas kembali tentang apa yang telah sama-sama ditontoni.

Apa yang Abang Ad maksudkan ialah cara sesuatu filem itu dibikin dan cara seseorang pelakun itu membawa wataknya. Bagi Abang Ad walau baik dan bagus sekalipun sesuatu skrip itu jika cara pembikinan dan lakunannya tidak menarik, tidak ramai yang akan suka menonton. Begitulah juga sebaliknya.

Abang Ad akan memberikan beberapa contoh yang sering kita tontoni tetapi mungkin ramai tidak menyedari.

Dalam satu babak, sepasang kekasih sedang berbual didalam sebuah kereta yang sedang bergerak. Si Teruna sedang memandu dan Si Dara berada disebelahnya. Katakan kenderaan mereka sedang menghala utara. Semasa Si Teruna sedang bercakap, kamera akan memfokus kewajahnya yang mana kenderaan sedang menuju utara. Tetapi bila Si Dara pula bercakap, kamera akan memfokus kewajahnya dan kenderaan seolah-olah sedang menuju selatan pula! Abang Ad tidak tahu adakah itu satu teknik kontinuti dalam pembikinan filem? Tetapi perkara demikian jarang berlaku dalam filem Inggeris! Begitu juga jika Si Teruna menalipon Si Dara. Sebaik saja habis mendail dan telefon dilekapkan di telinga, terus saja bercakap. Logiknya jika kita mendail, ia akan mengambil masa lima enam saat untuk sampai ketalian penerima. Itu belum dikira masa yang diambil oleh penerima mengeluarkan telefon untuk menjawab panggilan. Biarpun ianya adalah lakunan, tetapi logik dan “real”nya mestilah ada. Kalau ceritanya sememangnya tidak logik seperti sesetengah filem komedi P. Ramlee dan hanya untuk memberi pengajaran kepada penonton semata-mata, itu lain halnya.

Jika dilihat pada lakunan pula, Abang Ad agak hairan dengan sesetengah pelakun yang begitu baik lakunannya di dalam drama tetapi hambar dan adakalanya hancur bila masuk filem. Dalam drama cukup bagus, tetapi didalam filem jadi tergedik-gedik dan “over acting”. Perkara ini tentunya ada kaitan dengan pengalaman dan kepakaran pengarah.

Lihat saja lakunan Allahyarham Ismail Din atau Azean Irdawaty dalam filem arahan-arahan Prof. A. Razak Mohaideen. Lawak mereka agak dibuat-buat dan tergedik-gedik berbanding lawak mereka dalam drama/telefilem arahan pengarah lain. Mereka ini adalah pelakun-pelakun hebat, tetapi lakunan mereka hancur! Salah siapa jika ini semua berlaku? Begitu juga dengan lakunan Jalil Hamid, Abu Bakar Omar atau Abu Bakar Juah. Mereka tidak hebat bila masuk filem sedangkan mereka adalah pelakun handalan jika beraksi dalam drama.

Kesemua pelakun yang disebutkan, mereka cukup hebat lakunannya semasa membawa watak didalam drama-drama terbitan RTM. Bagi Abang Ad, pengarah-pengarah drama RTM memang mempunyai bakat yang terserlah.

Drama-drama terbitan RTM yang rasanya masih diingat oleh penonton seangkatan Abang Ad seperti Dayang Suhana dan Lembayung Petang; lakunan Rubiah Suparman memang hebat. Begitu juga dengan Anjang Aki lakunan Baharuddin Haji Omar dan Tok Perak lakunan Ahmad Marbawi memang melekat diingatan.

Bila RTM menswastakan rancangan dramanya, pengarah-pengarah drama berbakat RTM entah apa nasib mereka.

Sebab itulah suatu ketika dulu zaman kegemilangan drama-drama TV RTM, penyunting skripnya; Atondra begitu bangga dengan pelakun-pelakun drama RTM. Katanya (dalam kebanyakan ceramah penulisan) RTM memang banyak melahirkan bakat-bakat lakunan yang mana sesudah itu mereka dilamar menjadi pelakun filem pula.

Drama-drama bersiri arahan Dato’ Yusof Haslam atau Aziz M. Osman agak menonjol di TV.
Telefilem arahan Erma Fatima, Ahmad Fuad Onah atau Jinggo juga sering menghiasi skrin TV. Telefilem arahan mereka agak menarik jalan ceritanya.

Drama-drama terbitan dan arahan Yusof Haslam memang menarik dan mendapat perhatian ramai. Yang kurang menariknya tentang drama terbitan Yusof Haslam ialah cara penyampaian dialognya. Dialognya agak baku dan kadangkala menjemukan. Bahasa drama sepatutnya bahasa pertuturan harian yang tidak perlu dibakukan sangat. Kalau drama cerita polis/pasukan unifom mungkin dialog sebegitu boleh diterima, tetapi lain-lain drama juga ada stail demikian. Bila melihat kepada drama dan lakunan Yusof Haslam, Abang Ad teringat lakunan Tan Sri Jins Shamsuddin. Lakunan Yusof Haslam ada mirip Jins Shamsudin. Serius dan bersuara lantang.

Suatu ketika dulu, Nurhalim Ismail (Nur Iskandar – orang Perlis) cukup hebat drama arahan-arahannya. Tetapi dia juga tidak bertahan lama.

Zaman filem Melayu kembali ke puncak pada penghujung 70-an dan awal 80-an, filem-filem arahan Jins Shamsudin seperti Tiada Esok Bagimu, Menanti Hari Esok dan Esok Masih Ada semuanya Abang Ad tonton di Panggung Cathay Alor Star. Begitu juga dengan filem-filem arahan Deddy M. Borhan seperti Keluarga Si Comat, Pendekar, Si Badol dan Hapuslah Airmatamu semuanya Abang Ad tonton. Lain-lain filem yang Abang Ad tonton di pawagam ialah Sayang Anakku Sayang lakunan Azizah dan Aziz M. Osman, Loceng Maut lakunan Omar Sharif (orang Gurun) dan Mukhtaruddin (orang Perlis), Jiwa Remaja lakunan Hail Amir, Cinta dan Lagu lakunan Hail Amir dan Norzie Nani, Pemburu lakunan Rahim Razali, Ahmad Tarmimi dan Ahmad Yatim, Adik Manja lakunan Dharma Aminurrashid, Noorkumalasari dan Adibah Amin dan beberapa filem lagi.

Masa itu filem-filem yang banyak ditayangkan ialah filem Indonesia dan filem Hindustan. Banyak filem-filem tersebut Abang Ad tonton. Filem-filem Inggeris jarang ditayangkan. Filem-filem Inggeris yang Abang Ad tonton dipawagam seperti The Man With The Golden Gun, The Spy Who Love Me dan beberapa filem-filem James Bond serta filem Grease, Rambo,The God Must Be Crazy dan banyak lagi.

Filem-filem tersebut memangnya tidak layak untuk dibandingkan dengan filem-filem Melayu. Abang Ad tidak berani mengulas tentang kelemahan filem Melayu kerana Abang Ad bukanlah pakar. Tetapi sebagai penonton, rasanya Abang Ad berhak untuk memberikan komen. Filem Melayu bukan tak bagus kerana banyak sekatan seperti tidak boleh membuat cerita berunsur tahyul, mendedahkan aurat secara keterlaluan dan bercumbu-cumbuan. Namun itu bukanlah alasan. Tanpa tahyul, mendedahkan aurat atau bercumbuan, sesuatu filem boleh jadi bagus dan menarik jika lakunan dan pengarahannya dilakukan dengan teliti.

Drama-drama bersiri Inggeris yang bercorak kekeluargaan yang tidak mempunyai unsur mendedahkan aurat keterlaluan juga menarik untuk ditonton seperti Little House on Prairie yang pernah ditayangkan diTV suatu masa dahulu. Begitu juga dengan drama-drama koboi seperti High Chapparel atau drama penyiasatan seperti Hawaii Five O cukup menarik ditonton. Begitu juga dengan drama ChiPs, penonton tidak kering gusi dengan watak lurus-lurus alang polis trafik bernama Perkins yang berbadan gempal.Lain-lain siri ialah Bionic Women, Six Millions Dollar Man, Three Stoges, Combat dan banyak lagi menjadi kegemaran ramai.

Drama/telefilem Melayu juga boleh jadi menarik jika ianya dibuat dengan perancangan yang teratur dan teliti dalam beberapa aspek. Lakunan dan dialognya mestilah disusun dengan kemas. Jika lakunan atau dialog yang membabitkan soal agama ianya mestilah dilakukan dengan betul tanpa sedikitpun kesalahan. Dialog seperti “saekom atau semekom” bagi ucapan assalamualaikum hendaklah diucapkan dengan betul. Begitu juga dengan menjawab salam. Jawablah dengan tepat iaitu waalaikumussalam bukan waalaikum salam. Perkara begini jika menjadi ikutan orang lain ianya adalah satu dosa besar yang perlu ditanggung oleh si pemula atau si perintis!

Abang Ad pernah ditertawa dan dipermain bila menyuarakan perkara ini kepada seorang kenalan yang bergiat aktif dalam bidang drama. Katanya apa yang Abang Ad suarakan hanya layak untuk pak-pak lebai dimasjid atau ketika tok guru membaca kitab saja. Masyaallah! Kalau kita tidak menjaga agama kita, siapa yang hendak menjaganya? Perlulah diingat bahawa kita hanya berdrama bukan nak menggadaikan agama!

LETER-LETER DRAMA (12)

AFFRINI ADHAM : KENANGAN ABADI TERPAHAT DISANUBARI.

AHMAD ARIFFIN. Mungkin ada yang kurang mengenali nama ini. Tapi bila sebut
Affrini Adham atau lebih dikenali sebagai Pak Affrini, ramai yang mengenalinya.

Abang Ad kenal Pak Affrini awal 80-an disuatu majlis sastera di Taman Budaya Alor Star. Pak Affrini yang Abang Ad kenal ialah seorang yang jujur, suka menolong orang, sentiasa tersenyum ketika berbicara, mudah mesra, boleh bergaul dengan semua golongan; orang muda, orang sebaya, orang politik hinggakan menteri, pegawai-pegawai kerajaan atau swasta, peniaga, penjaja, pemandu teksi, penarik beca dan lain-lain.

Setiap petang, bermula jam 2.30 “port” Pak Affrini ialah disebuah pejabat seorang usahawan di Bangunan Serbanika, Telok Wanjah. Pak Affrini akan berada disitu hingga jam 7 petang. Bertemankan sebuah mesin taip lama, Pak Affrini menjadi seorang “petition writer” sambilan. Surat-surat sewa, jual beli tanah, surat nak jumpa menteri, anak nak masuk universiti, komplen tak puashati dan apa-apa surat boleh dikarang oleh Pak Affrini.

Abang Ad dan kawan-kawan boleh kata setiap hari tumpang “tui” disitu. Kami berbincang dan bersembang mengenai perkembangan sastera tanahair. Pak Affrini banyak memberi bimbingan selain menceritakan pelbagai pengalamannya samada berkaitan sastera atau kehidupan biasa.

Jika tiada disitu, Pak Affrini akan kepejabat Koperasi Penulis melangsaikan kerja-kerja disana.

Pak Affrini tidak boleh duduk diam. Selalunya jika lapang, pada sebelah pagi tempatnya ialah diperpustakaan awam Alor Star.

Selain itu hobi Pak Affrini ialah memungut bahan-bahan bacaan yang dibuang orang seperti suratkhabar, majallah dan sebagainya. Kertas-kertas yang sebelah belakangnya kosong dan masih boleh diguna juga akan dipungut oleh Pak Affrini untuk dijadikan kertas deraf.

Pak Affrini cuma berbasikal sahaja kalau meronda bandar Alor Star. Walaupun boleh memandu, tetapi beliau tidak punya kereta. Kalau Abang Ad datang dan Pak Affrini tidak ada dipejabatnya, Abang Ad akan kembarkan motosikal Abang Ad dengan basikal Pak Affrini dan rantaikan. Ini bagi memastikan Pak Affrini terpaksa jumpa Abang Ad kerana waktu itu “handset” tidak sepopular sekarang.

Pak Affrini sering dijemput kemajlis-majlis sastera terutamanya deklamasi puisi didalam dan diluar Kedah.

Suatu hari Pak Affrini beritahu Abang Ad bahawa beliau ada jemputan baca puisi di Universiti Sains Malaysia Pulau Pinang. Kawan-kawan yang dihubungi tidak dapat membantu membawanya kesana atas pelbagai alasan. Kasihankan Pak Affrini, Abang Ad jadi bidan terjun. Kami bermotosikal kapcai dari Alor Star ke USM kerana kereta Toyota KE30 Abang Ad tersadai dibengkel.

Kami tiba jam 8.30 malam ketika majlis hampir bermula dan mendapat tepukan gemuruh dari hadirin bila pengacara mengumunkan bahawa Pak Affrini cuma memboceng motosikal dari Alor Star sejauh 100 kilomter menghadiri majlis tersebut. Kami bertolak selepas waktu pejabat dan keesokan harinya Abang Ad bercuti kerana kami bermalam di USM.

Malam itu kami bertemu dengan Pyanhabib, Wan Hanafisu, dan ramai penulis Pulau Pinang.

Bila hadir disesuatu majlis Pak Affrini selalu berpesan: kita jangan duduk dalam kelompok atau kalangan kawan-kawan yang kita kenali saja. Kita perlu berkenalan dan bermesra dengan kawan-kawan lain kerana mereka juga sealiran dengan kita. Barulah kita mendapat ramai kawan. Atas sikap itulah Pak Affrini memang mempunyai ramai kawan dan kenalan.

Rumah Pak Affrini di Seberang Nyonya, berhadapan dengan Masjid Zahir Alor Setar cuma dipisahkan dengan Sungai Kedah sering Abang Ad kunjungi. Abang Ad akan beli teh tarik dan beberapa kueh kegemaran Pak Affrini bila Abang Ad kesana. Kalau malas nak berpusing menggunakan jalan darat, Abang Ad akan bersampan dengan tambang 50 sehala kerumah Pak Affrini.

Walaupun hidupnya agak daif Pak Affrini sentiasa ceria. Seorang yang ramah dan sentiasa merendah diri. Pak Affrini sentiasa berpakaian kemas. Baju batik menjadi kegemarannya. Kasutnya sentiasa berkilat. Beg kecil yang didalamnya tersimpan buku nota, pen dan kacamata sentiasa dibawanya kemana-mana. Rumahnya yang sempit penuh dengan buku-buku dan gambar-gambar koleksinya. Semuanya tersusun rapi kerana Pak Affrini seorang yang teliti.

Enam September, 1988 Pak Affrini dinobatkan sebagai Tokoh Budaya Kedah Darulaman 1987. Ramai kawan-kawan kalangan penulis diseluruh Kedah datang meraikan Pak Affrini. Pak Jihaty (Drs. Jihaty Abadi) dilantik sebagai Pidato Umum. Puzi Hadi diberi penghormatan mendeklamasikan puisi Pak Affrini; Malaya Pasti Merdeka. Majlis akan dimulakan jam 8.30 malam di Dewan Dato’ Syed Omar (telah dirobohkan dan didirikan pusat beli belah) dan akan disempurnakan oleh KDYMM Sultan Kedah Darulaman.

Malam bersejarah itu agak malang kerana bekalan elektrik tiba-tiba terputus di dewan tersebut sebelum keberangkatan tiba Tuanku Sultan.

Walaupun pihak bertanggungjawab puas berusaha, bekalan elektrik tidak juga pulih hinggakan jam sepuluh malam. Majlis terpaksa dibatalkan. Atas titah Tuanku Sultan, majlis diadakan semula keesokan malamnya.

Bermula saat itu, terangkatlah Pak Affrini sebagai tokoh budaya pertama Kedah Darulaman. Maka “saham” Pak Affrini bertambah melonjak. Jemputan datang bertalu-talu berhajat beliau hadir kemajlis-majlis sastera dan budaya.

Mengikut cacatan dibuku cenderamata Majlis Anugerah Budaya Kedah Darulaman 1987 Pak Affrini mula menulis sekitar tahun 1949 dengan menghasilkan 3 buah novel, 2 buah drama, 26 cerpen dan ratusan puisi. Manakala himpunan puisinya yang diterbitkan oleh Dewan Bahasa ialah Ladang Cinta.

Semasa hayatnya Pak Affrini telah dianugerahkan pingat Bintang Kebaktian Masyarakat (BKM) dan Pingat Jasa Kebaktian (PJK) oleh KDYMM Tuanku Sultan Kedah.

Abang Ad agak terkilan kerana semasa Pak Affrini menghembuskan nafas akhir pada 22 September, 2005 dalam usia 78 tahun, Abang Ad berada di Kuala Lumpur atas suatu urusan.

Semoga roh Pak Affrini dicucuri rahmat oleh Allah Subhanahu Wataala bersama para solihin. Al Fatihah.

(Keterangan gambar: Gambar pertama kali kami bertemu dan berkenalan serta Allahyarham Affrini Adham menerima anugerah Tokoh Budaya)

LETER-LETER DRAMA (11)

ABDUL HALIM “R”: GURU DAN SAHABAT.

AWAL Januari tahun 1974, Abang Ad melangkah masuk ke perkarangan Kolej Sultan Abdul Hamid (KSAH) sebagai seorang pelajar yang ditempatkan di Remove Class. Abang Ad anak kampung yang terpilih memasuki KSAH atas biasiswa Rancangan Khas Kedah. Mula-mula masuk KSAH rasa “perak” sikit kerana sana sini semua orang cakap orang putih. Apatah lagi anak-anak Cina dan India, semua cakap orang putih. Guru Besar masa itu Joginder Singh Jessey. Guru kelas Abang Ad Mr Durbara Singh, seorang pemain tenis yang handal. Beliau juga adalah penyelia petang. Guru-guru yang mengajar Abang Ad yang Abang Ad masih ingat ialah Puan Yeoh Hock Ann (guru kelas Form 1), Mr. Wong Tong Poh, Mr Wai Siew Long (Why So Long?) Mr. Lim Eng Hui (Mr LEH) Ustaz Ghazali Yaacob (Dato’: kini Setiausaha Zakat Negeri Kedah-guru kelas Form 2), Ustaz Abu Bakar Minai, Ustaz Ahmad Mehat, Ustaz Azizan Abdul Hamid( Almarhum - selepas bersara jadi Imam Masjid Tandop) Cikgu Murad Mohd Noor, Mr N. Nagarajah, Mr. R. Thiagarajah, Mr Ganesan, Mr. Ramachandran, Mr. Ooi, Cikgu Md. Salleh, Puan Ainon, Mr. Lim Cheng Moh dan ramai lagi.

Tetapi dalam ramai-ramai guru tersebut, seorang guru yang amat istimewa bagi Abang Ad ialah Cikgu Abdul Halim Haji Salleh. Cikgu Halim orang Kodiang. Beliau selalu mempromosi minyak angin buatan bapanya; Haji Salleh Kodiang: Minyak Ajaib. Cikgu Halim seorang yang kuat merokok. Kalau tak silap Abang Ad, Cikgu Halim hisap rokok Rothmans. Masa itu beliau memandu kereta Ford Escort warna merah hati. Cikgu Halim dengan rambut berketak remos ala P. Ramlee gemar memakai baju berjalur atau berpetak-petak. Seluar pun begitu, berjalur halus atau berpetak halus. Kasut yang dipakai ketika itu kasut Johnson ala boot yang berzip atau kasut Clark baldu separas buku lali. Cikgu Halim memang seorang yang cukup bergaya. Kalau hari Ahad, semasa perhimpunan didalam dewan, Cikgu Halim akan memakai talileher berjalur sebesar tapak tangan! Kadang-kadang pakai talileher kecil ala P. Ramlee. Memang Cikgu Halim seorang yang menjaga imej sejak dulu hingga sekarang. Tetapi beliau adalah seorang yang suka merendah diri dan berhati-hati dalam tutur katanya.

Cikgu Halim seorang guru Bahasa Melayu. Beliau memang pandai berpantun. Beliau selalu mempromosi buku tulisannya: Pantun Serbanika dan novel Buas. Abang Ad cukup tertarik dengan perwatakan Cikgu Halim. Beliau nampak serius ketika mengajar tetapi suka bercerita dan kadang-kadang membuat lawak. Abang Ad memang gerun bila memasuki kelas Cikgu Halim. Beliau akan marah sampai merah muka jika ada kesilapan ejaan atau guna tatabahasa yang salah dalam tulisan atau karangan Bahasa Melayu. Kadang-kadang terhambur kata-kata pedih: nama saja orang Melayu, tulis bahasa Melayu pun tak reti!

Demikianlah seriusnya Cikgu Halim dalam mempertahankan Bahasa Melayu. Setelah Abang Ad meninggalkan alam persekolahan dan memasuki alam pekerjaan, Abang Ad menyertai persatuan penulis: Angkatan Sasterawan Nasional Kedah (ASASI) Disitu Abang Ad bertemu semula dengan Cikgu Halim: Abdul Halim “R”. Kalau sebut Abdul Halim Haji Salleh, mungkin orang akan tertanya-tanya. Tetapi jika disebut Abdul Halim “R”, rata-rata khalayak pencinta karya sastera pasti mengenali Cikgu Halim. Bukan sekadar di Kedah malah mungkin seantero Malaysia.

Barulah Abang Ad tahu bahawa Cikgu Halim adalah seorang yang lemah lembut budi bahasanya. Senyuman sentiasa terukir dibibir bila berbicara. Sangat menghormati dan menghargai kawan rakan tanpa mengira usia.

Dikala alam persekolahan dulu Abang Ad tidak mengesan itu semua akibat rasa gerun dengan keseriusan Cikgu Halim. Apatah lagi ketika mengajar suaranya amat kuat. Jerkahannya boleh didengari satu blok sekolah. Demikian seriusnya Cikgu Halim dalam mendidik anak-anak bangsanya demi menguasai dan memartabatkan bahasa sendiri.

Semasa bersama ASASI, Abang Ad bersama Cikgu Halim dan rakan-rakan yang lain sering bertemu dimajlis-majlis berkaitan sastera dan budaya. Hubungan Abang Ad dengan Cikgu Halim bertambah erat. Banyak kenangan-kenangan Abang Ad bersama Cikgu Halim ketika mengendalikan bengkel penulisan dan menguruskan hal-hal persatuan.

Cikgu Halim juga seorang yang bersifat gigih dan sanggup memberikan kerjasama sepenuhnya kepada sesiapa saja yang berminat untuk belajar menulis atau ingin mengetahui latarbelakangnya sebagai seorang penulis. Abang Ad rasa penuntut-penuntut pusat pengajian tinggi patut mengambil kesempatan ini. Datanglah interbiu Cikgu Halim. Pasti beliau akan beri kerjasama. Cikgu Halim tidak mengira masa atau wang ringgit. Beliau amat cintakan bahasa dan budaya Melayu. Cikgu Halim adalah seorang pencinta Bahasa Melayu yang tulin. Beliau memang mahir berpantun. Mampu mencipta pantun secara spontan yang mana rima dan bahasanya tersusun kemas. Setakat ini di Kedah, tak ada siapa yang boleh “celen” atau “teng” Cikgu Halim. Beliau memang nombor satu. Begitu juga dengan bahasa-bahasa Kedah lama, Cikgu Halim memang cukup mahir. Tanyalah beliau apa makna dan definasi perkataan segagan, pereyam, teng, mengeroh, kecok, berlepong, terbungking, terkejung, terkedang, terhenam, terdehak, kedehok, kelolo, mengkala, mengkalu dan lain-lain. Pasti Cikgu Halim boleh jawab dengan mudah. Cikgu Halim juga seorang sejarahwan ulung selain Dato’ Wan Shamsudin Mohd Yusof. Tanyalah sejarah tentang kampung halamannya; Kodiang, pasti beliau boleh perinci satu persatu. Tetapi jika ditanya perkataan "R" dihujung nama penanya, beliau akan menjawab : Rahmi, nama isteri kesayangannya. Tetapi Abang Ad tahu "R" itu membawa maksud yang lain!

Cikgu Halim cuma bersara dari lapangan perguruan, tetapi diarena sastera dan budaya tanahair, sumbangan dan buah fikiran serta mata pena Cikgu Halim pastinya tidak akan tumpul.

Gelaran Dato’ yang dianugerahkan kepadanya memang tepat dan berbaloi. Tahniah bekas guruku; Ybgh. Dato' Haji Abdul Halim bin Haji Salleh....semoga sejahtera dan diberkati Allah sentiasa. Amin.

(Gambar atas: Cikgu Halim kanan sekali menopang dagu. Ditengah ialah Haji Safirol Haji Hashim (Allahyarham - Bekas Adun Bukit Raya) dan kiri sekali Sdr Shaidun Haji Shaari. Gambar ini diambil disuatu majlis Sembang Sastera di Balai Seni Alor Star pada tahun 80-an)

LETER-LETER DRAMA (10)

NOSTALGIA WAYANG PACAK

Tahun 60-an dan 70-an, zaman Abang Ad masih kanak-kanak dan praremaja, wayang pacak Jabatan Penerangan sentiasa ditunggu-tunggu. Selalunya wayang pacak akan ditayangkan dipadang sekolah atau ditempat lapang dengan memacakkan skrin kain putih yang besar. Dikampung Abang Ad biasanya wayang pacak ditayangkan didalam bendang selepas menuai tetapi mestilah musim kemarau. Bukan penduduk kampung berkenaan sahaja yang menonton wayang tersebut, tetapi turut ditonton oleh penduduk-penduduk kampung lain, terutamanya anak-anak muda yang sanggup berbasikal berbatu-batu semata-mata kerana dahagakan hiburan dan memeriahkan suasana.

Jika sebelah siangnya ada kenduri kahwin, pada sebelah malamnya selalunya akan ditayangkan wayang pacak bagi memeriahkan majlis perkahwinan. Perkara ini akan diuruskan oleh orang-orang kuat belia atau politik dikampung tersebut.

Filem-filem yang ditayangkan adalah filem-filem lama seperti filem-filem P.Ramlee atau lain-lain filem lama lakunan Nordin Ahmad, Mahmud June, Hussein Abu Hassan, Sarimah, Norizan dan lain-lain pelakun terkenal ketika itu. Filem-filem yang ditayangkan antaranya Jalak Lenteng, Mahsuri, Puteri Buluh Betong, Seri Mersing, Sultan Mahmud Mangkat Di Julang, Tajul Ashikin dan lain-lain.

Drama RTM yang Abang Ad paling minat ialah drama Sesat lakunan Rahim Razali dan Sharifah Aini. Satu lagi ialah Bunga Padi Berdaun Lalang lakonan Hussien Abu Hassan dan Mahyon Ismail. Drama ini sering ditayangkan oleh wayang pacak. Sebelum filem cereka ditayangkan, wayang pacak akan menayangkan filem dokumentari keluaran Filem Negara Malaysia untuk tontonan umum. Antara dokumentari yang ditayangkan ialah Makyung, Lambaian Kaabah dan Kisah Hussin yang dirawat dihospital sakit jiwa Tampoi.

Semasa filem sedang rancak ditayangkan, tiba-tiba filem diberhentikan. Selalunya ianya akan diberhentikan ketika pertarungan hebat sedang berjalan. Terdengar keluhan penonton. Pegawai Penerangan akan mengambil masa kira-kira setengah jam untuk menyampaikan ceramah pembangunan dan penerangan dasar-dasar kerajaan. Masa inilah penjual aiskrim, rojak, kacang rebus, kacang putih, makanan ringan seperti sotong kering mesin, gula kapas, bertih jagung dan minuman sibuk melayan pelanggan. Harganya pula bukanlah macam sekarang. Sebungkus kacang rebus atau kacang putih yang sama besar bungkusannya seperti sekarang ini cuma tiga puluh sen sahaja!

Zaman itu juga selain wayang pacak Jabatan Penerangan ada lagi wayang pacak yang ditayangkan oleh syarikat minuman seperti Milo dan Coca-cola. Biasanya syarikat-syarikat ini akan menayangkan cerita-cerita perang atau koboi dari filem inggeris.
Mereka mempromosi minuman dari syarikat mereka. Harga yang dijual adalah harga istimewa. Satu cawan Milo kalau tak silap Abang Ad, cuma dua puluh sen sahaja.

Demikian hiburan yang terdapat pada zaman kanak-kanak Abang Ad. Bagi para gadis dan teruna, tak kurang juga yang bertemu jodoh ketika wayang pacak. Mungkin mereka telah bercucu cicit sekarang ini jika mereka masih ada! Selamat berbahagia hingga ke akhir hayat.

LETER-LETER DRAMA (9)

GEMILANGAN DRAMA RADIO ERA 60-an, 70-an dan 80-an.

Pada tahun 60-an dan 70-an, siapa yang tidak kenal pelakun Jah Lelawati dengan ketawa mengilainya dan Osman Zailani dengan suara garaunya. Walaupun mereka adalah pelakun radio Singapura, tetapi nama mereka cukup popular di Malaysia kerana pada zaman tersebut siaran Radio Bahagian Melayu Singapura boleh diikuti hingga ke Utara Semenanjung.

Abang Ad masih ingat, tahun 60-an Abang Ad masih kanak-kanak lagi. Abang Ad mencari wayar yang agak panjang dan diikat pada ariel radio manakala penghujung wayar satu lagi Abang Ad ikatkan pada tin susu yang diikatkan pada buluh yang dicacakkan diluar rumah semata-mata untuk mendapatkan siaran yang lebih jelas bagi mengikuti drama radio dari Singapura. Pada sebelah siangnya Abang Ad menjemur bateri cap kambing sejumlah enam biji dipanas matahari; seolah-olah mengecasnya untuk menambahkan kuasa bateri! Demikian kuatnya tarikan minat terhadap drama radio pada zaman itu.

Era 70-an hingga 80-an drama radio dari RTM; Radio Malaysia Kuala Lumpur juga tidak kurang hebatnya. Drama Kebun Pak Awang, Fajar DiBumi Permata, Panggung Drama, Sandiwara Radio, No. 5 Persiaran Satu, Bila Kelopak Berkembang, Telatah Pak Tani, Purbawara Radio dan banyak lagi. Tetapi yang skrip Abang Ad tidak boleh masuk ialah rancangan terbitan Kak Chah (Habsah Hassan); Bila Kelopak Berkembang. Abang Ad cukup hairan kenapa Kak Chah tidak pernah memilih skrip Abang Ad untuk siaran!

Pada era tersebut, drama di TV ialah Drama Minggu Ini yang diterbitkan oleh Roslee Jalil, Abdul Rahman Hamid, Abdullah Zainol, Zahora Gany Bathusha dan ramai lagi. Manakala penyunting skripnya ialah ATONDRA (Haji Mohd Nordin Abdul Rahman yang menghimpun pingat PJK nya dari hampir seluruh negeri di Malaysia) dan Ramlah Md Jalee (seorang OKU yang Abang Ad cukup kagum dengan kebolehan dan kegigihannya)

Sesudah itu muncul pula drama bersiri Opah yang turut dilakunkan oleh Yasmin Yusoff dan Mustaffa Noor yang sentiasa dinanti-nantikan penonton setia RTM. Begitu juga dengan drama bersiri Santan Berlada yang turut mempopularkan nama pelakun Os.

Pelakun-pelakun popular pada ketika itu antaranya Aziz Singah, Baharuddin Haji Omar, Khatijah Abu Hassan, Ismail Hudson, Zainordin Ismail, Rahim Razali, Hussein Abu Hassan, M. Osman, Afida Es, Fauziah Nawi, Fauziah Samad, Noraini Hashim, Rubiah Suparman, Normah Damanhuri, Asmahani Husin, Nancy Foo, Margaret Tan, Lai Joo Lian, Abu Bakar Omar, Omar Abdullah, Ismail Din, Yalal Chin, Ahmad Tarmimi Seregar, Karim Latif, Abu Bakar Juah, Mohamad Abdullah, Ahmad Busu, Khairul Azhar, Tawil, Abdullah Abdul Rahman, Omardin Kardin, Sidek Hussin, Marlia Musa (pelakun kanak-kanak), Aziz M. Osman (pelakun kanak-kanak), Asdayanti Daut (pelakun kanak-kanak; pelakun drama Jodoh karya Abang Ad) Omar Manan, Sani Ahmad, Musa Al Bakri, Samat Arshad, Razali Buyung, Zaiton Hussein, Asiah Sarji dan ramai lagi.

Zaman tersebut drama baik diradio dan di TV cukup meriah. Siapa yang tidak kenal dengan nama pelakun yang disebutkan itu. Siapa yang tidak kenal dengan telatah Pak Chat lakunan Ahmadi Hassan dengan loghat Kedah nya dalam Fajar Dibumi Permata. Siapa yang tidak kenal dengan telatah Sani Ahmad atau Baharuddin Haji Omar dengan loghat Perak dalam drama-drama lakunan mereka. Siapa tidak kenal Ishak Ubah dengan peranan Sahak atau Abu Bakar Ahmad (Pak Awang) dalam drama Kebun Pak Awang.

IPTAR (Institut Penyiaran Tun Abdul Razak) yang terletak bersebelahan Angkasapuri adalah sebuah pusat latihan kakitangan Jabatan Penerangan dan Penyiaran. Para penulis juga dijemput untuk mengikuti kursus-kursus penulisan skrip yang dianjurkan disitu. Semasa kursus para penulis didedahkan pelbagai teknik menulis oleh penulis-penulis terkenal seperti Malina Manja (Bidin Subari), Syed Alwi, Johan Jaafar, Othman Haji Zainuddin (yang begitu popular dan begitu banyak sekali skrip dramanya baik radio atau TV menjadi pilihan RTM), S.A. Takiyuddin, Adibah Amin dan ramai lagi. Penerbit-penerbit dari bahagian drama radio dan TV juga dijemput untuk memberikan ceramah dan bimbingan. Antara penerbit-penerbit popular ialah Norela Samad, Rukiah Haji Ramlan, Mahani Ujang, Habsah Hassan, Razali Buyung dan beberapa lagi.

Semasa berkursus, para penulis dibawa melawat kestudio untuk melihat sendiri rakaman drama radio dan TV untuk memudahkan penulis mencipta skrip. RTM juga sedia memberikan kerjasama dengan menghantar penerbit-penerbit bahagian drama radio atau TV untuk memberikan ceramah kepada peminat dan bakal-bakal penulis jika dijemput oleh mana-mana persatuan penulis yang mengadakan kursus penulisan drama diseluruh negara.

Pada tahun 80-an, bila Abang Ad mula mencipta nama, Abang Ad juga terlibat dalam banyak ceramah-ceramah penulisan skrip drama samada anjuran persatuan penulis atau Jabatan Belia bersama-sama rakan seperjuangan seperti M.Z. Halim Hassan, Azizi Abdullah, Shamsuddin Tahir, Amelia Hashim dan ramai lagi.

Demikianlah usaha RTM dalam melahirkan ramai penulis skrip drama radio dan TV ketika itu kerana drama dilihat sebagai salah satu ejen penyebaran maklumat dalam bentuk hiburan terhadap pendengar dan penonton. Namun kini semuanya itu semakin terhakis. Apakah drama radio atau drama TV terbitan RTM tidak lagi relevan kepada rakyat Malaysia masakini?

Kini yang muncul ialah drama-drama swasta di kaca TV yang adakalanya tidaklah sehebat mana serta lebih cenderung untuk mencari keuntungan dan kini lebih berminat pula terhadap cerita-cerita jenayah, tahyul dan lawak bodoh yang memaksa penonton ketawa!

(Tulisan ini berdasarkan kepada memori Abang Ad semata-mata tanpa membuat rujukan dari mana-mana sumber. Maaf kalau Abang Ad tersilap atau terlupa sebut mana-mana nama yang berkaitan. Juga maaf jika Abang Ad tidak sebut nama-nama rakan penulis lain yang sepersatuan yang tiada kaitan dengan drama)

LETER-LETER DRAMA (8)

TULIS DRAMA UNTUK RTM?

RTM menerusi radionya yang satu ketika dulu berjenama Radio Malaysia Kuala Lumpur, kemudian bertukar ke Rangkaian Nasional kemudian Radio Satu dan bertukar pula ke Klasik Nasional sebenarnya sudah hilang bisa dan identitinya.

Suatu ketika dulu radio RTM cukup meriah dengan siaran drama dan pelbagai rancangan berinformasi. Radio RTM seolah-olah kalah dalam bersaing dengan rangkaian radio swasta. Namun begitu Abang Ad yakin, radio RTM masih mempunyai peminatnya tersendiri.

Bagi Abang Ad kalau sekadar nak menyiarkan lagu-lagu lama atau baru, tidak ada apa istimewanya. Yang istimewanya kalau ada siaran drama. Sebabnya rangkaian radio lain tidak menyiarkan rancangan drama. Kalaupun ada menyiarkan drama, contohnya Radio Era tetapi untuk masa tertentu dan selepas itu tiada lagi siaran dramanya. Kalau RTM kekalkan identitinya dengan drama sepanjang masa, itulah RTM sebenarnya.

Tapi kita masih bersyukur kerana RTM menerusi rangkaian Klasik Nasional masih mengekalkan rancangan Panggung Drama pada setiap hari Ahad. Cuma masa siarannya diubah jam 12.30 tengahari dengan jangkasamasa 30 minit berbanding dulu 45 minit.
Selain itu Klasik Nasional juga ada menyiarkan drama bersiri Katarsis selama 15 minit setiap hari Isnin, Selasa dan Rabu jam 1.45 tengahari.

Itu sajalah ruang dan peluang untuk penulis menghantar skrip. Abang Ad ambil kesempatan disini mengucapkan terima kasih dan tahniah kepada RTM kerana prihatin terhadap rancangan drama. Jika tidak tentu idea-idea yang ada pada penulis-penulis skrip drama radio berkarat dan berkubur begitu saja.

Menulis skrip sebenarnya memerlukan kesungguhan dan kesabaran. Selain itu kita perlu banyak belajar teknik-teknik terbaru agar kita tidak dilabelkan sebagai penulis ketinggalan zaman. Tetapi untuk belajar menulis secara percuma apatah lagi melalui laman blog memang susah. Kebanyakan blog yang ditulis oleh bloggers Malaysia yang Abang Ad jumpa lebih cenderung menulis hal-hal politik. Ada yang memberikan informasi tentang keagamaan, tetapi tetap diselitkan hal politik! Informasi ilmiah jarang diperolehi melalui blog kecuali melalui website. Namun informasi mengenai penulisan skrip drama beserta contoh skrip yang lengkap sukar juga ditemui!

Menulis skrip juga memerlukan pembaharuan. Penulis perlu mencari idea-idea baru yang boleh menarik perhatian pendengar. Cerita yang dipersembahkan tidak perlu meleret-leret dan tidak membebankan fikiran pendengar. Pendengar hanya mahukan hiburan dan serba sedikit pengetahuan dan pengajaran.

Jadi apa ditunggu lagi, komputer didepan mata, idea tersarat dikepala, tulislah skrip untuk dijadikan drama, kalau tersiar dapatlah sekupang dua!

Selamat menulis dan selamat maju jaya.

LETER-LETER DRAMA (7)

ADAKAH ORANG YANG BACA BLOG ABANG AD?

Itu adalah soalan dari seorang kawan Abang Ad. Kawan tersebut hampir sepuluh tahun terputus hubungan dengan Abang Ad. Katanya dia terjumpa blog Abang Ad ketika dia membuka blog Kedahlanie. Lalu dia menghubungi email Abang Ad meminta nombor telefon.
Sesudah itu kami membuat temujanji untuk berjumpa di Pekan Pendang, Kedah.

Dia agak terkejut bila melihat Abang Ad menunggang motosikal Jaguh. Katanya macam orang muda. Abang Ad kata padanya, tidak salah kalau kita berjiwa muda, kerana muda itu adalah lambang kekuatan, bersemangat tinggi dan tahan menghadapi cabaran. Tetapi dalam masa yang sama kita perlu akur bahawa kita ini telah tua. Jadi jangan kita lupa tentang amalan dan bekalan untuk menghadap Allah, tanggungjawab terhadap anak isteri dan ibubapa jika mereka masih ada. Disamping itu kita jangan lupa berbaik-baik dengan jiran-jiran dan kawan-kawan. Kita layanlah mereka sekadar yang termampu. Kalau mereka perlukan pertolongan, tolonglah mereka jika kita mampu.

Kami bertemu disebuah kedai makan. Kawan Abang Ad makan nasi ayam. Abang Ad makan makanan kegemaran Abang Ad, koteow goreng dan minum teh O suam.

Kami bercerita panjang. Dari zaman persekolahan hinggalah tentang anak pinak.
Dalam pada itu dia banyak bertanya tentang karier dan minat Abang Ad dalam bidang penulisan. Satu soalan cepumas yang dia tanya: Adakah orang yang membaca blog Abang Ad atau Abang Ad sekadar syok sendiri?

Abang Ad kata padanya: Abang Ad tak kisah kalau tak ada siapa yang minat untuk membaca blog Abang Ad. Memang blog Abang Ad tak cantik. Abang Ad tak pandai nak buat dekorasi. Tapi Abang Ad berasa puas kerana telah tercapai hajat untuk mendedahkan segala ilmu penulisan sekadar termampu melalui blog. Mana tahu kalau-kalau ada sesiapa yang sedang tercari-cari contoh skrip drama serta bimbingan cara-cara menulis, terjumpa blog Abang Ad. Sebabnya beberapa tahun lalu, ada seorang pelajar USM sanggup datang dari Pulau Pinang berjumpa Abang Ad minta salinan skrip drama radio untuk tujuan kajian pengajiannya. Jadi dengan cara begini, sesiapa saja boleh buat salinan tanpa perlu datang berjumpa Abang Ad.

Kawan Abang Ad termenung seketika. Lalu dia berkata: Begini rupanya jiwa orang seni! Biarpun tak ada orang yang baca, tetap menulis selagi jiwa bergelora!
Tak guna kita kedekut ilmu.

ILMU YANG ADA PADA KITA TIDAK AKAN LUAK ATAU HABIS WALAUPUN KITA BERIKAN KESEMUANYA PADA ORANG LAIN MALAH IANYA AKAN BERTAMBAH! (Ini adalah kata-kata Saidina Ali Karamallahu Wajhah)

LETER-LETER DRAMA (6)

BAGAIMANA ABANG AD DAPAT IDEA UNTUK MENULIS?

Semasa Abang Ad dirawat disebuah hospital swasta di Alor Star (masalah usus tersumbat)pada 21 hingga 23 Disember 2008, seorang sahabat yang menziarahi Abang Ad bertanya:Duduk dalam bilik macam bilik hotel, boleh bawa anak isteri tinggal bersama, takkan tak boleh dapat idea menulis kot? Jawab Abang Ad: Dalam keadaan sakit dan tidak selesa, idea apa pun tak boleh datang. Nasib baik ada isteri dan tiga orang anak menemani Abang Ad sepanjang dirawat. Apa-apa berita pun cuma bertanya pada anak yang melayari internet. Idea datang pun tenggelam timbul akibat menahan kesakitan!

Memang benar, dalam keadaan sakit dan tidak selesa memang kita tidak boleh mendapat apa-apa idea. Tetapi setelah kita sihat, memang kita banyak dihujani idea.

Tetapi bagi Abang Ad, idea memang boleh datang pada bila-bila masa. Kadang-kadang masa kita berbual dan bergurau, berloyar buruk dengan kawan-kawan, idea boleh datang pada ketika itu. Ada kalanya melalui pembacaan. Bila sampai disuatu ayat yang memikat dari segi bahasanya yang puitis, Abang Ad akan catat ayat tersebut. Kadang-kadang duduk seorang diri dikedai kopi, tidak bercakap dengan sesiapa pun, tapi orang duduk disebelah meja, bersembang dan bercerita sakan, Abang Ad pasang telinga, kalau-kalau ada yang menarik, Abang Ad akan catat.

Pendikata, Abang Ad akan guna buku catatan yang mudah dibawa, buku kecil saja, saiz buku 555 sentiasa ada dalam poket bersama sebatang ballpoint. Abang Ad akan catat apa saja yang Abang Ad rasa tertarik. Kadang-kadang masa memandu atau menunggang motosikal, kalau ada kenderaan yang langgar lampu isyarat pun, Abang Ad akan catat nombor kenderaannya lengkap dengan tempat, tarikh dan masanya sekali!

Maknanya catatan adalah penting. Bila kita mendapat sesuatu idea, kita perlu catatkan idea tersebut untuk menghindarkan kita dari terlupa. Daripada catatan tersebut kita bina kerangka cerita. Kita bina plot dan babak. Conteng-conteng pun tak apa. Culang caling pun tak apa. Semuanya kita boleh susun kemudian. Itulah cara Abang Ad mendapat atau mencari idea untuk menulis.

Selamat menulis.

LETER-LETER DRAMA (5)

ABANG AD NI GILA GLAMOUR KA?

Ada orang hantar email marah-marah pada Abang Ad kerana mendedahkan banyak ilmu-ilmu mengenai penulisan skrip melalui blog. Kata sipengirim email, Abang Ad ni gila glamour kerana beri ilmu secara percuma pada orang lain sedangkan Abang Ad boleh buat duit. Katanya lagi, mungkin apa yang Abang Ad lakukan ini boleh menjejaskan pihak-pihak yang menyediakan kursus penulisan secara berbayar. Ingin Abang Ad tegaskan bahawa Abang Ad amat kecewa dengan sikap orang-orang yang kedekut ilmu. Lantaran itu Abang Ad berkeputusan memberikan segala ilmu yang Abang Ad ada dan mampu secara percuma sahaja kepada sesiapa yang berminat. Memang didalam dunia sekarang ini kata kebanyakan orang, tidak ada yang percuma. Tapi bagi Abang Ad, takkan semuanya mesti berbayar?

Kita boleh mendapatkan ilmu melalui kursus atau bengkel penulisan, tapi mesti berbayar. Kita boleh mendapatkan ilmu melalui buku, tetapi mesti dibeli. Apa salahnya kalau Abang Ad berikan secara percuma?

Abang Ad tabik kepada Amaruszati dalam web “menudrama” kerana menyiarkan beberapa contoh skrip drama radio yang telah disiarkan. Tetapi beliau tidak memberikan bimbingan dan penerangan mengenai penulisan skrip drama. Begitu juga kepada Muhammad Isa Al-Jambuli dalam “anakbungsu’s home page” yang menyiarkan skrip drama pentas dan TV.

Abang Ad percaya bahawa mereka berdua juga mempunyai pendapat dan fikiran yang serupa dengan Abang Ad: apa salahnya kalau sedikit ilmu yang ada disebarkan kepada orang lain. Ilmu yang ada pada kita tidak akan luak walaupun diberikan kesemuanya kepada orang lain!

Abang Ad banyak buka web mengenai penulisan skrip tetapi setakat ini tidak terjumpa penulis-penulis terkenal Melayu Malaysia yang memberikan contoh skrip drama mereka secara percuma untuk diteliti peminat. Jika ada pun, mestilah berbayar!

Namun tak apalah, masih ada penulis-penulis bilis yang “gila glamour” macam Abang Ad ni sanggup memberikan khidmat secara percuma kepada bakal-bakal penulis yang tercari-cari tempat untuk mendapatkan bimbingan.

Al Faqir Ilallah
NASIR BIN AWANG

LETER-LETER DRAMA (4)

MENULIS SKRIP DRAMA RADIO UNTUK RTM?

Abang Ad banyak menerima email dari rakan-rakan dan pembaca yang berminat untuk menulis skrip drama radio untuk RTM. Ini menunjukkan bahawa RTM memang masih diminati. Tetapi buat masa sekarang RTM dengan dasar pengurangan siaran drama, Abang Ad pun rasa kecewa juga. Apa yang diharapkan supaya RTM dapat mengkaji semula dasar tersebut demi memberi peluang kepada penulis-penulis Malaysia yang cukup berbakat serta ingin menyumbangkan idea mereka terhadap RTM. Tetapi tak apalah, Abang Ad akan cuba turunkan serba sedikit apa yang Abang Ad tahu tentang penulisan skrip drama radio RTM.

Cadangan untuk menghasilkan drama-drama bermutu dan menuju perubahan.

RTM sebagai media rasmi kerajaan, maka kita tidak dapat elak untuk mematuhi beberapa panduan dan prosedur supaya skrip kita diberi perhatian atau menjadi pilihan penerbit. Ini adalah perkara biasa. Untuk menulis disesuatu stesyen radio atau TV, penulis perlu mengetahui konsep dan mematuhi prosedur yang ditetapkan.

Penulis perlulah memilih topik-topik semasa. Untuk mendapat maklumat mengenai topik yang dimaksudkan, penulis perlulah:

1. Membaca lidah pengarang dari akhbar-akhbar tempatan.
2. Membaca buku-buku saikologi kanak-kanak, buku-buku keagamaan dan lain-lain buku bersesuaian dengan keadaan hidup ketimuran kita.

3. Bahasa dalam skrip jangan terlalu rendah (bahasa pasar) dan jangan terlalu tinggi seperti bahasa sastera atau persuratan. Seeloknya gunakan bahasa perbualan harian.

4. Jangan selalu masukkan watak mendatang kerana ini akan menimbulkan kekeliruan jika drama tersebut adalah drama bersiri yang mana watak-wataknya adalah watak tetap.
5. Jangan sebutkan nama-nama jenama barangan seperti colgate, magi mee dan sebagainya.

6. Penulis perlu mengetahui dengan tepat kempen-kempen semasa kerajaan seperti kempen anti merokok, pemakain tali pinggang keledar dan sebagainya.
7. Dalam memaparkan kisah-kisah masyarakat, ada eloknya kita memaparkan idea-idea baru dan memikir selangkah kehadapan untuk maju.

Kesilapan-kesilapan biasa yang sepatutnya tidak berlaku.

1. Menyentuh keangkuhan dan kezaliman ketua masyarakat, penghulu, imam, JKKK dan lain-lain pemimpin masyarakat atau sesuatu organisasi berkaitan kerajaan.

2. Perwatakan bukan Melayu yang bertutur ala Cina atau India seperti, “Lu mau pegi mana?” atau “ Ayooo…ayooo aci, saya punya anak banyak tara guna”. Harus diingat bahawa radio ialah satu alat sebaran am yang berkesan kepada setiap pendengarnya yang ingin bertutur Bahasa Melayu sebenar.

3. Menggunakan bahasa Inggeris atau bahasa pasar yang tidak begitu sedap didengar umpamanya: hidup macam raja, tok imam kaki kelentong dan lain-lain.

4. Menimbulkan babak-babak yang mana anak-anak tidak menghormati ibu bapa atau orang-orang tua. Jika perlu diadakan babak begini, hendaklah diikuti dengan saranan yang membina, umpamanya anak derhaka akan menerima balasan yang tidak baik akhirnya dan kesal atas perbuatannya.

Kalendar RTM

Kalendar yang dimaksudkan ialah peristiwa-peristiwa penting yang dirayakan

samada diseluruh dunia atau peringkat negara samada ianya berlaku sekali sahaja atau berulang-ulang setiap tahun. Antaranya ialah:

1. Sambutan Tahun Baru – 1 Januari.
2. Hari Alam Sekitar – 5 Jun
3. Hari Kusta – 29 Jun
4. Hari Tentera Laut – 1 Julai
5. Hari Pahlawan – 31 Julai
6. Hari Sastera – 1 Ogos
7. Hari Peladang – tarikh mungkin berubah
8. Hari Ibu
9. Hari Bapa
10. Hari Jururawat – 12 Mei
11. Hari Belia – 15 Mei
12. Hari Guru – 16 Mei
13. Hari Telekom Sedunia – 17 Mei
14. Hari Tanpa Merokok
15. Hari Wanita – 25 Ogos
16. Hari Kebangsaan – 31 Ogos
17. Hari Angkatan Tentera – 16 September
18. Hari Kanak-kanak Sedunia – 1 Oktober
19. Hari Bangsa-bangsa Bersatu – 24 Oktober
20. Nisfu Syaaban
21. Musabaqah Membaca Quran
22. Awal Ramadhan
23. Nuzul Quran
24. Hari Raya Puasa
25. Hari Raya Haji
26. Hari Keputraan Nabi S.A.W
27. Hari Keputraan Yang Dipertuan Agong
28. Awal Muharram
29. Deepavali
30. Krismas
31. Tahun Baru Cina

Mungkin ada lagi yang tidak tersenarai. Namun itulah yang dimaksudkan kalendar RTM. Penulis perlu menulis sesuatu berkaitan hari-hari tertentu. Jika memilih untuk mengutarakan berkaitan Awal Ramadhan maka didalam skrip perlu dimasukkan fadilat puasa, sembahyang terawih, lailatul qadar, zakat fitrah dan sebagainya secara bersahaja tetapi tepat.

Alamat Penerbit.

Unit Drama Radio RTM

Jabatan Penyiaran Malaysia

Wisma Radio, Angkasapuri

Peti Surat 11272

50740 Kuala Lumpur.

Menulis skrip untuk RTM memang menyeronokkan. Selain bayaran yang agak lumayan, penulis dapat mempelajari banyak perkara berkaitan penulisan kerana ada dikalangan penerbit-penerbit di RTM yang cukup prihatin terhadap tugas mereka dan sanggup memberikan pandangan dan bimbingan kepada penulis demi untuk memantapkan rancangan terbitan mereka. Jika ada kesempatan, penulis juga akan diberi peluang untuk melihat rakaman yang dijalankan distudio. Tahniah kepada penerbit di RTM!

Al Faqir Ilallah

NASIR BIN AWANG.

LETER-LETER DRAMA (3)

SENARAI SYARIKAT PERFILEMAN MALAYSIA.

Dibawah ini Abang Ad sertakan senarai syarikat perfileman untuk anda hubungi jika anda ada skrip untuk diterbitkan. Mungkin ada diantara syarikat perfileman ini tidak lagi aktif ataupun telah ditutup. Abang Ad dapat senarai ini dari Asean Media Directory. Anda boleh semak sendiri samada sesuatu syarikat itu masih aktif atau tidak.

Kalau anda berminat, anda bolehlah pilih mana-mana syarikat yang anda yakini untuk mengutarakan karya terbaik anda. Seeloknya anda hubungi mereka terlebih dahulu untuk berbincang dan bertanya syarat-syarat sebelum anda menghantar skrip. Jangan sekali-kali anda menghantar skrip. Jika anda menghantar skrip, mungkin mereka akan menjawab bahawa buat masa sekarang mereka masih belum merancang untuk menerbitkan filem atau cereka TV. Skrip anda mungkin mereka akan kembalikan. Tetapi adakah anda tahu bahawa mungkin skrip anda telah difotostat untuk simpanan mereka. Lima enam bulan atau setahun dua selepas itu anda akan lihat di pawagam atau di kaca TV bahawa jalan ceritanya seperti cerita yang pernah anda hasilkan. Cuma ada sedikit perubahan disana sini untuk menafikan idea anda. Mungkin anda rasa itu suatu kebetulan tetapi ia adalah suatu kepastian bahawa itu adalah idea dari skrip anda!

Namun Abang Ad ingin beritahu sedikit maklumat kepada anda bahawa terdapat beberapa nama syarikat didalam senarai ini pernah “mencekik” Abang Ad. Tapi Abang Ad sabar; kerana Abang Ad yakin Allah sentiasa bersama-sama orang yang sabar. Abang Ad tak ada susah apa-apa. Abang Ad tak jatuh miskin dan tak pernah jadi pengemis. Abang Ad tak rugi apa-apa, cuma Abang Ad tak untung kerana skrip Abang Ad telah "dirompak".

Kepada anda Abang Ad nasihatkan supaya berhati-hati, gunakan kebijaksaan anda dalam berunding dengan syarikat-syarikat ini. Jangan terlalu ghairah untuk menyerahkan skrip berharga anda kepada mereka. Berhati-hati dan terus berhati-hati.

Ini adalah nasihat ikhlas dari Abang Ad. Pengalaman mengajar Abang Ad supaya lebih berhati-hati dalam semua hal dalam kehidupan.

Al Faqir Ilallah
NASIR BIN AWANG.

================================================================================

SENARAI NAMA SYARIKAT-SYARIKAT PERFILEMAN MALAYSIA.

Company Name
1. A-V-EIGHTY EIGHT SDN BHD.
Company Profile
VIDEO PRODUCTION, VIDEO POST PRODUCTION, MULTIMEDIA CD ROM, VIDEO MARKETING/DOCUMENTARY
Contact Person
MR. PANG HOI PING
Address
NO. 210, JALAN KIP 6, TAMAN PERINDUSTRIAN KIP
SRI DAMANSARA
52200 KUALA LUMPUR
Office Number
+603-7954 7928
Fax Number
+603-7954 7975
Email
ST88@pc.jaring.my



Company Name
2. ACE MOTION PICTURES SDN. BHD.
Company Profile
FIM PRODUCTION/TELEMOVIE FOR VCD
Contact Person
MR. AZIZ M. OSMAN
Address
NO. 6-1, JALAN 5/4C DESA MELAWATI
KUALA LUMPUR
Office Number
+603-4105 6263
Fax Number
+603-4105 6264


Company Name
3. ADDAUDIO POST-PRODUCTIONS SDN. BHD.
Company Profile
RECORDING STUDIO/ POST PRODUCTION/ DUBBING/ DOCUMENTARY.
Contact Person
MS CLAUDINE SEQUERAH
Address
11, JALAN 17/56,
46400 PETALING JAYA SELANGOR.
Office Number
603-7956 0600
Fax Number
603-7956 9581
Email
claudine@tnmh.com.my
Website
http://www.addaudio.com.my


Company Name
4. ALIRANTEK (M) SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. MOHD. ASRAF B. SULTAN MOHAMAD
Address
NO. 12-B, 2ND. FLOOR, BLOCK 1 WORLWIDE BUSINESS PARK
JALAN TINJU 13/50, SECTION 13
40100 SHAH ALAM SELANGOR

Office Number
+603-5512 2020
Fax Number
+603-5512 1700

Company Name
5. AMITY COMMERCIAL SDN. BHD.
Company Profile
ADVERTISING/CORPORATE VIDEO/FILM PRODUCTION
Contact Person
MR. AZLI SALI
Address
20-34, JALAN PANDAN 2/1
PANDAN JAYA 55100 KUALA LUMPUR

Office Number
+603-9286 1500
Fax Number
+603-9283 2502
Email

Company Name
6. ANGKATAN SENIMAN ABD XX SDN. BHD.
Company Profile
FILM PRODUCTION/TV SERIALS - SITCOM
Contact Person
MS. DATIN WAN ROHANI WAN ZIN
Address
8 USJ 11/3J UEP SUBANG JAYA
47620 PETALING JAYA SELANGOR

Office Number
+603-5633 8520
Fax Number
+603-5633 2863

Company Name
7. ANTAH-UTV (M) SDN. BHD.
Company Profile
FILM PRODUCTION/DISTRIBUTOR
Contact Person
MS. LALITA GHOSE A/P N.K. GHOSE
Address
LOT 50, KOMPLEKS SELAYANG
BATU 8 ½, JALAN IPOH
681000 BATU CAVES SELANGOR

Office Number
+603-6137 0085
Fax Number
+603-6187 0096


Company Name
8. APPLEBOX ASIA SDN. BHD.
Company Profile
PRODUCTION OF TV COMMERCIALS
Contact Person
MS.LISA SEOW
Address
15, JALAN 2, PANDAN INDAH INDUSTRIAL PARK
55100 KUALA LUMPUR

Office Number
+603-4294 6018
Fax Number
+603-4294 6019
Email
lisa@appleboxasia.com
Website
http://www.appleboxasia.com


Company Name
9. ARTICULATE TELEVISION SDN. BHD.
Company Profile
PRODUCTION OF TV PROGRAMMES – GAME SHOW
Contact Person
MS. RAMONA RAHMAN
Address
NO. 7, LORONG UTARA
46200 PETALING JAYA SELANGOR

Office Number
+603-7954 1700
Fax Number
+603-7954 6700
Email
ramonaarticulate@po.jaring.my


Company Name
10. ASIA PACIFIC VIDEOLAB (APV) SDN. BHD.
Company Profile
VIDEOGRAPHIC AND POST PRODUCTION/ DESIGN & ANIMATION/ PRODUCTION OF TV COMMERCIAL/ FILM/ DOCUMENTARY.
Contact Person
MS LILY YEO
Address
6, JALAN 13/6,
46200 PETALING JAYA SELANGOR.

Office Number
603-7954 8108
Fax Number
603-7954 8100
Email
feedback@apv.com.my
Website
http://www.apv.com.my


Company Name
11. ASTRAL NETWORK SDN. BHD.
Company Profile
FILM PRODUCTION/TV SERIALS - TAMIL
Contact Person
MR. TAHIRUDDIN AHMAD
Address
91A, JALAN CHUNG AH MING
TAMAN HOOVER, PASIR PUTIH
31650 IPOH PERAK

Office Number
+605-548 0405
Fax Number
+605-548 0462


Company Name
12. ASTRO SHAW SDN. BHD.
Company Profile
FILM PRODUCTION/DISTRIBUTOR
Contact Person
MS.GAYATRI SU LIN PILLAI
Address
ALL ASIA BROADCAST CENTRE TECHNOLOGY PARK MALAYSIA LEBUHRAYA PUCHONG-SGN. BESI
BUKIT JALIL 57000 KUALA LUMPUR

Office Number
+603-9543 6688
Fax Number
+603-9543 0127
Email
gayatri@astro.com.my
Website
http://www.astro.com.my


Company Name
13. AVIAD CORPORATION SDN. BHD.
Company Profile
AERIAL FILMING, PHOTOGRAPHY/ SURVEY FOR TV COMMERCIALS/ DOCUMENTARY/ FILM.
Contact Person
MR ROLAND YAP
Address
132, LEBUH BUKIT KECIL 5 11900 PULAU PINANG.

Office Number
604-643 7460
Fax Number
604-644 7221
Email
aviad@pd.jaring.my
Website
http://www.aviad.com

Company Name
14. AXIS FILMS SDN. BHD.
Company Profile
PRODUCTION OF TELEVISION COMMERCIALS
Contact Person
MR. REVENDRAN APPATHURAI
Address
BO.1, LORONG DATUK SULAIMAN 7
TAMAN TUN DR ISMAIL
60000 KUALA LUMPUR.

Office Number
+603-7728 8330
Fax Number
+603-7729 1079
Email
info@axisfilms-kl.com
Website
http://www.axisfilms-kl.com


Company Name
15. AZMAH ADVERTISING SDN. BHD.
Company Profile
ADVERTISING/FILM PRODUCTION/TV SERIALS
Contact Person
MS. WAN NOR AZMAH WAN ABU BAKAR
Address
50B, JALAN BURHANUDDIN HELMI
TAMAN TUN DR. ISMAIL
60000 KUALA LUMPUR

Office Number
+603-7729 8629 +603-7728 1361
Fax Number
+603-7728 1658

Company Name
16. B & W FILMS SDN. BHD.
Company Profile
PRODUCTION OF TV COMMERCIALS/ DOCUMENTARY
Contact Person
MR. WANG LING WEI
Address
43, JALAN 9/3, 46000 PETALING JAYA, SELANGOR.

Office Number
+603-7954 3797
Fax Number
+603-7954 5328
Email
bwfilms@tm.net.my


Company Name
17. BERJAYA FILM PRODUCTION SDN. BHD.
Company Profile
FILM PRODUCTION/DISTRIBUTOR
Contact Person
MR.PANCHACHARAM A/L P. NALLIAH
Address
194A, JALAN TUN SAMBANTHAN
BRICKFIELDS
50470 KUALA LUMPUR

Office Number
+603-2274 1093
Fax Number
+603-2274 2720

Company Name
18. BOOFILMS SDN. BHD.
Company Profile
PRODUCTION TV COMMERCIALS/ CORPORATE VIDEOS.
Contact Person
MR. HAROLD MONFILS
Address
B-05-06, PLAZA MONT KIARA
NO.2, JALAN 1/70C, MONT KIARA
50480 KUALA LUMPUR

Office Number
+603-6201 7800
Fax Number
+603-6201 8801
Email
ask@boofilms.com
Website
http://www.boofilms.com


Company Name
19. BORNEO FILMS SDN BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. SHUKOR KADIR
Address
SUITE 2, 2nd FLOOR, CORUS HOTEL KUALA LUMPUR
JALAN AMPANG
50470 KUALA LUMPUR.

Office Number
+603-2260 1382
Fax Number
+603-2260 1382
Email
shukork@hotmail.com
Website
http://www.borneofilms.com


Company Name
20. BRIGHT NETWORK SDN. BHD.
Company Profile
FILM PRODUCTION/TV SERIALS/DOCUMENTARY
Contact Person
MS. RAJA ALAWIAH IDRIS
Address
UNIT 4-10, BLOK IMPIAN KOTA
JALAN MANAU OFF JALAN KG. ATTAP
50460 KUALA LUMPUR

Office Number
+603-2273 4001
Fax Number
+603-2273 1004


Company Name
21. CARNABY ST.PRODUCTIONS SDN. BHD.
Company Profile
MODELLING AGENCY/ CASTING/ TV COMMERCIAL/ ADVERTISEMENT.
Contact Person
MS NANZ YAP
Address
19-3, JALAN JELATEK 2
SRI JELATEK BUSINESS CENTRE,
TAMAN SETIAWANGSA,
54200 KUALA LUMPUR.

Office Number
603-4251 9595
Fax Number
603-4251 2551
Email
carnaby_st@yahoo.com


Company Name
22. CINE COMMUNICATIONS SDN. BHD.
Company Profile
PRODUCTION OF TV COMMERCIALS/CORPORATE VIDEOS/DOCUMENTARY
Contact Person
SZE CHEE HOON
Address
29 - 31, JALAN 17/47,
46400 PETALING JAYA SELANGOR.

Office Number
+603-7957 3618
Fax Number
+603-7952 1918
Email
szenet@hotmail.com


Company Name
23. CINEMATIC SDN. BHD.
Company Profile
FILM PRODUCTION/TV SERIALS – TALK SHOW, SITCOM/POST-PRODUCTION/DOCUMENTARY/COMMERCIAL CORPORATE VIDEO
Contact Person
MR. OTHMAN HASHAM
Address
NO. 12A, JALAN 1/24B
WANGSA MELAWATI
53300 KUALA LUMPUR

Office Number
+603- 4142 1979/ +603- 4142 1977
Fax Number
+603- 4142 1981/ +603- 4107 4744
Email
hafsham9@ppp.nasionet.net

Company Name
24. COSMOVISION PRODUCTION SDN. BHD.
Company Profile
FILM PRODUCTION/TV SERIALS/DOCUMENTARY
Contact Person
MR. DATO’ MOHD ZUKI KAMALUDDIN
Address
NO. 12-3, JALAN 31/70A
DESA SRI HARTAMAS
50480 KUALA LUMPUR

Office Number
+603-2300 0755
Fax Number
+603-2300 0595

Company Name
25. CYPRESS FILM SDN BHD
Company Profile
PRODUCTION OF TV COMMERCIALS/CORPORATE VIDEO/POST PRODUCTION/3D ANIMATION
Contact Person
MR. LEONARD CASEY LEONG
Address
BLOCK D2, 3 – 2, JALAN PJU 1/39
DATARAN PRIMA
47301 PETALING JAYA SELANGOR

Office Number
+603-7803 7159
Fax Number
+603-7803 6298
Email
cyprfilm@tm.net.my

Company Name
26. DAYA PENTAS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. DATO’ HJ. MOHAMMAD MESWAN HJ. DOL
Address
ESSO KEBUN BUNGA
BATU TIGA
40000 SHAH ALAMSELANGOR

Office Number
+603-5513 3477
Fax Number
+603-5511 2182


Company Name
27. DESCO SDN. BHD.
Company Profile
PRODUCTION OF CORPORATE VIDEO/NON-LINEAR VIDEO EDITING
Contact Person
MR. ALFRED LEE
Address
28, JALAN SS19/1D,
SUBANG JAYA
47500 SUBANG, SELANGOR

Office Number
+603-5634 9927
Fax Number
+603-5633 1857
Email
desco@tm.net.my
Website


Company Name
28. DIGILOGIC (M) SDN BHD
Company Profile
SPECIAL EFFECTS - CHARACTER ANIMATION FOR TV PROGRAMMES/ COMMERCIALS, 2D/3D ANIMATION/ POST PRODUCTION/ FILM/ DOCUMENTARY.
Contact Person
MR RAMLAN SULONG
Address
132-B, JALAN BURHANUDDIN HELMI
TAMAN TUN DR ISMAIL,
60000 KUALA LUMPUR.

Office Number
603-7725 1581
Fax Number
603-7725 1582
Email
logic1010@hotmail.com


Company Name
29. DIRECTORS TEAM SDN. BHD./SERANGKAI FILM
Company Profile
FILM PRODUCTION
Contact Person
MS. HJH. HABSAH HASSAN
Address
55, JALAN 11/4
PETALING JAYA
46200 SELANGOR

Office Number
+603-7957 4313 +603-7957 1840
Fax Number
+603-7957 4313


Company Name
30. DOUBLE VISIONSDN. BHD.
Company Profile
PRODUCTION OF TV SERIALS – GAME SHOW/ SITCOM/ SOAP/ TELE-FEATURE/ DRAMA/ MAGAZINE SHOW/ DOCUMENTARY/ CHILDREN’S PROGRAMME
Contact Person
MR. PRIYA BALA
Address
7, JALAN SEMANGAT,
46200 PETALING JAYA SELANGOR

Office Number
+603-7958 6933
Fax Number
+603-7958 6930
Email
mail@visionnewmedia.net
Website
http://www.visionnewmedia.net


Company Name
31. DREAMWALK SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. AZMAN M. YUSOF
Address
31-A, JALAN SG 8/7 TAMAN SRI GOMBAK
68100 BATU CAVES SELANGOR

Office Number
+603-6189 8469
Fax Number
+603-6189 8469


Company Name
32. EDUWIDE SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. ASMAH MAHAROM
Address
744-1, JALAN SENTUL
51000 KUALA LUMPUR

Office Number
03-4044 3080
Fax Number
03-4044 3090


Company Name
33. ENTERTAINMENT VILLAGE (M) SDN BHD
Company Profile
STUDIO RENTALS/ OPTIONAL MOTION CAPTURE CAMERA/ SUPPORT AND RIGS OR DRY HIRE.
Contact Person
MR KS LAM
Address
ADMIN BUILDING, STUDIO PRECINCT,
LOT 557, BATU 5,
JALAN AIR HITAM,
43800 DENGKIL SELANGOR.

Office Number
603-8313 8840
Fax Number
603-8313 8899
Email

Website
http://www.entertainment-village.com


Company Name
34. ENUJA PRODUCTION SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. ZAINUDDIN HJ. MOHD. ISMAIL
Address
555, TAMAN JUJUR SIKAMAT
70400 SEREMBAN
NEGERI SEMBILAN

Office Number
+606-7624 820
Fax Number
+6019-660 8346


Company Name
35. EPAL FILM PRODUCTIONS SDN. BHD.
Company Profile
PRODUCTION OF TV PROGRAMMES/ COMMERCIALS/ CORPORATE VIDEO/ DOCUMENTARY/ POST PRODUCTION
Contact Person
MR. PHOO KENG HUI
Address
19, JALAN PJS 11/1, SUNWAY TECHNOLOGY PARK
46150 SUNWAY, SELANGOR.

Office Number
+603-5635 2366
Fax Number
+603-5631 7697
Email
khphoo@epalfilm.com.my


Company Name
36. EUROFINE (M) SDN. BHD.
Company Profile
FILM PRODUCTION/TV SERIALS/DOCUMENTARY
Contact Person
MS. IDA RAHAYU MD. NOOR
Address
PT 7214, JALAN BBN 1/26PUTRA POINT MALLBANDAR BARU NILAI71800 NILAI NEGERI SEMBILAN

Office Number
06-8501 552
Fax Number
06-8501 662
Email
rahayu@pc.jaring.my


Company Name
37. EVERGREEN FUTURE CRATION SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. CHAI MUN LEONG
Address
208, JALAN WAWASAN AMPANG 2/8
BANDAR BARU AMPANG
68000 AMPANGSELANGOR

Office Number
+603-4296 2986 +603-4296 4928
Fax Number
+603-4296 4817

Company Name
38. F.E.G. ENTERPRISE SDN. BHD.
Company Profile
FILM EQUIPMENT SUPPLIER/ SERVICES.
Contact Person
SHAWN JERROD
Address
WISMA FEG, 12, JALAN TAGO 11,
TAGO INDUSTRIAL PARK,
SRI DAMANSARA 52200 KUALA LUMPUR.

Office Number
603-6275 2545
Fax Number
603-6275 2845
Email
info@feg-film.com
Website
http://www.feg-film.com


Company Name
39. FAT LIZARD SDN. BHD.
Company Profile
ANIMATION FOR TV COMMERCIALS/ BROADCAST DESIGN/ VISUAL EFFECTS/ INTERACTIVE MEDIA/ DOCUMENTARY.
Contact Person
MR STEVE BRISTOW
Address
NO.7, JALAN SEMANGAT
46200 PETALING JAYA
SELANGOR.

Office Number
603-7957 2932
Fax Number
603-7957 2740
Email
info@fatlizard.com
Website
http://www.fatlizard.com

Company Name
40. FIFTY NINE COMMMUNICATIONS ND. BHD.
Company Profile
PRODUCTION OF TV PROGRAMMES, CORPORATE VIDEO/OUTDOOR ADVERTISING
Contact Person
MR. MOHD HASSAN ABU
Address
32, JALAN SS19/1D, SUBANG JAYA
47500 SUBANG, SELANGOR.

Office Number
+603-5634 5959
Fax Number
+603-5635 5959
Email
fncorpsb@tm.net.my


Company Name
41. FILEM NEGARA MALAYSIA
Company Profile
FILM PRODUCTION/ DOCUMENTARY
Contact Person
MR. RAJA ROZAIMIE RAJA DALNISH SHAH
Address
JALAN UTARA
46547 PETALING JAYA SELANGOR

Office Number
03-7954 8700; 7955 9732
Fax Number
03-7956 7463
Email
RajaRozaimie@filemnegara.gov.my
Website
http://www.filemnegara.gov.my


Company Name
42. FILMPOINT SDN. BHD.
Company Profile
PRODUCTION OF TV COMMERCIALS
Contact Person
MR.HAN CHUANG HUAT
Address
26, JLN TAGO 11
TAGO BUSINESS PARK
BANDAR SRI DAMANSARA
92200 KUALA LUMPUR

Office Number
+603- 6277 7222
Fax Number
+603- 6273 5733
Email
ptpointnetwork@pc.jaring.my
Website
http://www.pointnetwork-asia.com


Company Name
43. FINARTIS PRODUCTION SDN. BHD./KIRAWANG
Company Profile
FILM PRODUCTION
Contact Person
MR. DATO MOHD. KHALID HARUN
Address
47-1, JALAN KAMPONG PANDAN
55100 KUALA LUMPUR

Office Number
03-9283 5282
Fax Number
03-9284 8564

Company Name
44. FINE ANIMATION (M) SDN. BHD.
Company Profile
ANIMATED FILMPRODUCTION
Contact Person
MS. IDA RAHAYU MD. NOOR
Address
PT 7211, JALAN BBN 1/2G
PUTRA POINT MALL BANDAR BARU NILAI
71800 NILAI NEGERI SEMBILAN

Office Number
+606-850 1480
Fax Number
+606-850 1481
Email
rahayu@pc.jaring.my

Company Name
45. FIRST FILM & VIDEO PROD. SDN. BHD.
Company Profile
FILM PRODUCTION/TV SERIALS/DOCUMENTARY
Contact Person
MR. MALCOLM LAYANG JIMBUN
Address
NO. 144, 2ND. FLOORJALAN TUN SAMBANTHAN
BRICKFIELDS
50470 KUALA LUMPUR

Office Number
+603-2273 3543
Fax Number
+603-7493 2165


Company Name
46. FRAMES PRODUCTIONS SDN. BHD.
Company Profile
TV COMMERCIALS/ TRADITIONAL CEL ANIMATORS, CGI ARTISTS, DIGITAL COMPOSITING ARTISTS, LIVE ACTION DIRECTORS
Contact Person
MR. PIERRE NAYAGAM
Address
UNIT 801, BLOCK A,
PHILEO DAMANSARA 19,
JALAN 16/11
46350 PETALING JAYA SELANGOR.

Office Number
+603-7955 7558
Fax Number
+603-7958 7282
Email
pierre@frames.com.my
Website
http://www.frames.com.my


Company Name
47. GAMBAR TANAH LICIN SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. ZUHIR HJ. SHAARI – U-WEI
Address
32-1, JLN. 8/233 TAMAN DANAU KOTA OFF JALAN GENTING KLANG 53300 SETAPAK KUALA LUMUR

Office Number
+603-4142 4689
Fax Number

Email
tanahlicin@asia.com


Company Name
48. GAYA COLOUR LABORATORY SDN BHD
Company Profile
FILM PROCESSING LAB - 35/16mm MOTION FILM NEGATIVE.
Contact Person
MS JOSEPHINE LIEW
Address
LOT 1, JALAN PAKU 16/6
40000 SHAH ALAM, SELANGOR.

Office Number
603-5519 3305
Fax Number
603-5519 0141

Company Name
49. GAYA FILEM SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. DATO’ L. KRISHNAN
Address
SUITE 6.03, TINGKAT 6
MENARA PROMET JALAN SULTAN ISMAIL
P.O. BOX 12161
50768 KUALA LUMPUR

Office Number
03-2142 6611
Fax Number
03-2148 2305

Company Name
50. GEEANN’S & CO.SDN. BHD.
Company Profile
PRODUCTION OF TV COMMERCIALS/ DOCUMENTARY/ CORPORATE VIDEO
Contact Person
MS. NORIHAN ABD JABBAR
Address
5B, JALAN SULAIMAN 3,
TAMAN PUTRA SULAIMAN
68000 AMPANG, SELANGOR.

Office Number
+603-4257 7284
Fax Number
+603-4251 0087
Email
norihan@tm.net.my


Company Name
51.GRAND BRILLIANCE SDN. BHD.
Company Profile
FILM PRODUCTION/VCD TELEMOVIE/FILM PRODUCTION MANAGEMENT SERVICES
Contact Person
MS. LAZIZAH AHMAD
Address
2ND. FLOOR NORTH WING SRI PENTAS
NO. 3, PERSIARAN UTAMA BANDAR BARU DAMANSARA
47800 PETALING JAYA SELANGOR

Office Number
+603-7726 5900 EXT. 130
Fax Number
+603-7725 7324
Email
johari@tv3.com.my
Company Name
52. HEXAFIELD POST PRODUKSI SDN. BHD.
Company Profile
POST PRODUCTION
Contact Person
MR.DATO’ MUSTAPHA MAAROF
Address
NO. H6, TINGKAT 2, JLN. 1/BE 46050 PETALING JAYA SELANGOR

Office Number
+603-7954 2022
Fax Number
+603-7954 2022

Company Name
53. HOME VIDEO DISTRIBUTORS (M) SDN. BHD./HVD FILM PRODUCTION (M) SDN BHD
Company Profile
FILM DISTRIBUTOR/DIGITAL VIDEO AND AUDIO POST PRODUCTION, E.N.G & E.F.P COVERAGE, VIDEO PRODUCTION/TV COMMERCIALS/ DOCUMENTARY
Contact Person
MR. DANNY LEONG
Address
NO. 19, JALAN EMAS 2
TAMAN EMAS 9TH MILE
JALAN CHERAS
43200 SELANGOR

Office Number
+603-9075 8388
Fax Number
+603-9075 8288
Email
danny@hvd.com
Website
http://www.hvd.com


Company Name
54. ILLUSIONS s.k.a. SDN. BHD.
Company Profile
FILM PRODUCTION/TV PROGRAMMES
Contact Person
MR. AZRIN DATO' MOHD. NOOR
Address
38-3, JALAN 28/70A
DESA SRI HARTAMAS
50480 KUALA LUMPUR

Office Number
603-4300 700
Fax Number
603-4302 246

Company Name
55. IMAGINE PICTURES (M) SDN. BHD.
Company Profile
PRODUCTION OF TV SERIALS – DRAMA/DOCUMENTARY/ CORPORATE VIDEO/ EVENTS
Contact Person
MR. HANI MOHSIN MOHD. HANAFI
Address
83A, LORONG MAMANDA 1 AMPANG POINT 68000 AMPANG SELANGOR

Office Number
+603-4251 7118
Fax Number
+603-4256 2117
Email
imaginepic@hotmail.com

Company Profile
56. ADVERTISING/ EVENT MANGEMENT/ EXHIBITION
Contact Person
DON LAW
Address
78A, 1st FLOOR, LORONG SEGAMAT,
10400 PULAU PINANG

Office Number
604-226 6677
Fax Number
604-226 7799
Email
trasmed@po.jaring.my
Website
http://www.intasia.com


Company Name
57. JD PRODUCTIONS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. JULIE DAHLAN
Address
3497, JALAN AMPANG HILIR 5
55000 KUALA LUMPUR

Office Number
+603-4515 885
Fax Number
+603-4819 7226


Company Name
58. JEMIMA FILEM-VIDEO SDN. BHD.
Company Profile
PRODUCTION OF TV COMMERCIALS/ DOCUMENTARY/ BACK UP SERVICE EQUIPMENT AND CREW FOR FEATURE FILM
Contact Person
MR. T. GOPALA KRISHNAN
Address
251, JALAN TUN RAZAK
50400 KUALA LUMPUR

Office Number
+603-2142 1066
Fax Number
+603-2141 7578
Email
office@jemimafilms.com
Website
http://www.jemimafilms.com


Company Name
59. JHA PRODUCTIONSSDN. BHD.
Company Profile
PRODUCTION OF TV COMMERCIAL/ CORPORATE DOCUMENTARY
Contact Person
MS. JENNIFER MONTEIRO
Address
37, JALAN DUNGUN,
DAMANSARA HEIGHTS
50490 KUALA LUMPUR.

Office Number
+603-2254 3799
Fax Number
+603-2253 3207
Email
jos@pc.jaring.my


Company Name
60. JIGSAW PRODUCTIONS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. YAP YUET NGOH
Address
33-38, OG BUSINESS PARK
JALAN DATUK TAN YEW LAI
58200 KUALA LUMPUR

Office Number
+603-7782 3613
Fax Number
+603-7783 3875

Company Name
61. JINS SHAMSUDIN PROD. SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. DATO JINS SHAMSUDDIN
Address
STUDIO PANCA DELIMA,
LOT 1045 BATU 7, JALAN HULU KLANG
68000 AMPANG SELANGOR DARUL EHSAN

Office Number
+603-4107 8981
Fax Number
+603-4108 1552

Company Name
62. JUARA FILEM PROD. SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. MOHD. NIZAR MOHD. HUSAIN
Address
186, JALAN LAYANG 16
TAMAN PERLING
81200 JOHOR BAHRU, JOHOR

Office Number
+607-2892 789
Fax Number
+607-2414 676


Company Name
63. JUTA RUPA SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. SHUHAIMI BABA
Address
38, JALAN SS 20/10 DAMANSARA KIM
47400 PETALING JAYA SELANGOR

Office Number
+603-7729 1602 +603-7728 2427
Fax Number
+603-7729 1586

Company Name
64. JUTAKIRA SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. M.A. SIDEK B. NONTAK
Address
8-3, LORONG 6C/91
TAMAN SHAMELIN PERKASA
56100 KUALA LUMPUR

Office Number
+603-9282 4717 +603-9286 6100 +603-9281 3427
Fax Number
+603-9281 3427

Company Name
65. K&S PICTURES SDN. BHD./K&S VISION SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS.MUNIRAH KHADRI
Address
56-2, JALAN 1/27F KUALA LUMPUR SATELLITE CENTER
PUSAT BANDAR WANGSA MAJU
53300 KUALA LUMPUR

Office Number
+603-4149 6421
Fax Number
+603-4149 6443


Company Name
66. KAY FILEM SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. TAN SRI KAMARUL ARIFFIN
Address
16, SELEKOH TUNKU
50480 KUALA LUMPUR

Office Number
+603-9221 7055
Fax Number
+603-9222 9784


Company Name
67. KERIS MOTION SDN. BHD.
Company Profile
FILM PRODUCTION/TV PROGRAMMES
Contact Person
MR. DATUK WAN KASSIM
Address
708, BLOK A, PUTAT DAGANGAN PHILEO DAMANSARA II,
NO. 15, JALAN 16/11 OFF JALAN DAMANSARA
46350 PETALING JAYA, SELANGOR

Office Number
603-7955 5953
Fax Number
603-7958 7953


Company Name
68. KIRAWANG SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. DATUK RUSLI HARUN
Address
47-1, JALAN KAMPONG PANDAN
55100 KUALA LUMPUR

Office Number
+603-9283 5282
Fax Number
+603-9284 8564

Company Name
69. KONGS PRODUCTION SDN. BHD.
Company Profile
PRODUCTION OF CORPORATE VIDEO/ DOCUMENTARY
Contact Person
MS. WENDY HEW
Address
142 C, JALAN LOKE YEW
55200 KUALA LUMPUR.

Office Number
+603-9221 2264
Fax Number
+603-9221 8688


Company Name
70. KUASATEK PICTURES SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. MOHD. NOOR KADIR/ MS. SARIMAH
Address
BANGUNAN KUASATEK
NO. 2733, JALAN PERMATA 4
53300 KUALA LUMPUR

Office Number
+603-4105 4861
Fax Number
+603-4105 4866

Company Name
71. LENSA FILM SDN. BHD.
Company Profile
PRODUCTION OF TV COMMERCIALS/ DOCUMENTARY/ ANIMATION & 3D GRAPHIC/ CORPORATE VIDEO/ POST PRODUCTION
Contact Person
MR. DATO’ AHMAD SEAN B. SULONG
Address
NO.1, WISMA LENSA, JALAN KASAH MEDAN DAMANSARA
50490 KUALA LUMPUR

Office Number
+603-7728 6882
Fax Number
+603-7727 2967
Email
lensaweb@tm.net.my
Website
http://www.lensaweb.com.my

Company Name
72. LUNCAI EMAS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. MOHD. NASIR MOHAMAED
Address
NO. 579, JALAN 18/7 BANDAR BARU SUNGAI BULOH
47000 SELANGOR

Office Number
+603-6156 1357
Fax Number
+603-6156 2983

Company Name
73. M-VISION COMMUNICATIONS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. HJ. ZAINAL ABIDIN AHMAD
Address
LOT 3.1-D, 3RD FLOOR PERTAMA COMPLEX
JALAN TUANKU ABDUL RAHMAN
50100 KUALA LUMPUR

Office Number
+603-2697 2833
Fax Number
+603-2697 2733

Company Name
74. M.E. COMMUNICATION SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR.YUSOF KELANA
Address
65-2, JALAN 3/23A, TAMAN DANAU KOTA
OFF JALAN GENTING KLANG
53100 KUALA LUMPUR

Office Number
+603-4143 9394
Fax Number
+603-4143 9824

Company Name

75. MAKMUR MEGAH SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR.RICHARD UNG
Address
NO. 17, JALAN NIRWANA 39
TAMAN NIRWANA
68000 AMPANG SELANGOR

Office Number
+603-9281 3887
Fax Number
+603-9281 3872

Company Name
76. MATAHARI ANIMATION & PRODUCTION SDN. BHD.
Company Profile
FILM PRODUCTION/ANIMATION/ EVENT MANAGEMENT
Contact Person
MS. WAFA ABDUL KADIR
Address
THB SATU, WEST WING,
1ST. FLOOR JALAN DAMANSARA ENDAH
DAMANSARA HEIGHTS 50490 KUALA LUMPUR

Office Number
+603-2710 8880
Fax Number
+603-2710 6296


Company Name
77. MEDANMAS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. ANITA ABD. RAFAR
Address
11-1 THE HIGHWAY CENTER
JALAN 51/205
46050 PETALING JAYA

Office Number
+603-7783 8397
Fax Number
+603-7783 8403

Company Name

78. MELEWAR ENTERTAINMENT SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. TUNKU SHAHARUDDIN TUNKU MAHMUD
Address
5-0-9 (1ST FLOOR) JALAN 3/109F
DANAU BUSINESS CENTRET AMAN
DANAU DESA 58100 KUALA LUMPUR

Office Number
+603-7984 9100
Fax Number
+603-7984 9200

Company Name
79. METROWEALTH MOVIES PROD. SDN. BHD.
Company Profile
FILM PRODUCTION/TV SERIALS
Contact Person
MR.TEO CHEW HUAT
Address
NO. 2, JALAN MEWAH 2/2C
SUBANG MEWAH
47500 PETALING JAYA SELANGOR

Office Number
+603-8023 3299
Fax Number
+603-8023 4299


Company Name
80. MEWAMAS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. CT LAU
Address
NO. 1003-1004, 10TH FLOOR GAYA CENTRE
PO BOX 14205
88848 KOTA KINABALU SABAH

Office Number
+6088-247327
Fax Number
+6088-258327

Company Name
81. MOY MULTIMEDIA SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. MD. OTHMAN HJ. YUSOF
Address
NO. 22 & 22A, JALAN USJ 21/4
USJ CITY CENTRE
47630 UEP SUBANG JAYA SELANGOR

Office Number
+603-8024 2660
Fax Number
+603-8024 2602

Company Name
82. NATALIA CORPORATION SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. LOKANATHAN A/L P. VISWANATHAN
Address
SUITE 6C BLK 2 3RD FLOOR WORLD WIDE BUSINESS CENTER
JALAN TINJU 13.50
40100 SHAH ALAM SELANGOR

Office Number
+603-5513 5386
Fax Number
+603-5513 5381

Company Name
82. NATIONAL FILM DEVELOPMENT CORPORATION (FINAS)
Company Profile
COMMERCIAL/ FILM/ DOCUMENTARY/ FILM PROCESSING LAB FACILITIES
Contact Person
MR DATUK MOHD SHARIFF AHMAD
Address
LOT 1662, MERDEKKA STUDIO COMPLEX
BATU 8, JALAN HULU KELANG,
68000 AMPANG, SELANGOR

Office Number
603-4108 5722
Fax Number
603-4107 5216
Email
ashariff@tm.net.my
Website
http://www.finas.gov.my

Company Name
84. NHF PRODUCTIONS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. DATO’ MUHAMMAD FARID HJ. AHMAD RIDZWAN
Address
57-2, MEDAN SETIA SATU PLAZA DAMANSARA,
BUKIT DAMANSARA
50490 KUALA LUMPUR

Office Number
+603-2094 7221
Fax Number
+603-2096 2798


Company Name
85. NICHE FILM SDN. BHD.
Company Profile
PRODUCTION SUPPORT FOR FILM/ DOCUMENTARY
Contact Person
MR. DOMINIQUE HEE
Address
35, JALAN BUNGA ANGGERIK SATU,
DATARAN UKAY
68000 AMPANG, SELANGOR.

Office Number
+603-4257 8208
Fax Number
+603-4252 6367
Email
niche@ppp.nasionet.net


Company Name
86. NIZARMAN (M) SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. HJH. RUHANI ABD. RAHMAN
Address
64, JALAN BURHANUDDIN HELMI
TAMAN TUN DR. ISMAIL
60000 KUALA LUMPUR

Office Number
+603-7728 9766
Fax Number
+603-7727 3192

Company Name
87. NOVISTA SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. MOHD. HARUN ABD. RAHMAN
Address
NO. 19, JALAN TUNKU BUKIT TUNKU 50480 KUALA LUMPUR

Office Number
+603-2694 5501
Fax Number
+603-2694 4134

Company Name
88. NUR TV PRODUCTIONS SDN. BHD.
Company Profile
PRODUCTION OF TV SERIALS/ DOCUMENTARY/ TV COMMERCIAL
Contact Person
MR. NURHALIM ISMAIL
Address
NO. 30C, LORONG TIARA 1B
BANDAR BARU KLANG
41150 KLANGSELANGOR

Office Number
+603-3344 3564
Fax Number
+603-3344 3632

Company Name
89. OPTIDIGIT SDN BHD
Company Profile
3D ANIMATION/ POST PRODUCTION/ SUPPLIER OF PHOTO-REALISTIC/ COMPLETELY SYNTHETIC ACTORS FOR FILM AND TV COMMERCIALS.
Contact Person
ALAINE RENE ZAUGG
Address
No.8, 2nd & 3rd FLOOR, JALAN SRI HARTAMAS 8
TAMAN SRI HARTAMAS,
50480 KUALA LUMPUR.

Office Number
603-6203 1190
Fax Number
603-6203 1160
Email
admin@pptidigit.com
Website
http://www.optidigit.com


Company Name
90. PARADIGMFILM SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. ZULKIFLE M. OSMAN
Address
NO. 6-1, JALAN 1A/6,
TAMAN SETAPAK INDAH
53300 KUALA LUMPUR

Office Number
+603-4025 1554
Fax Number
+603-4021 8372
Email

Company Name
91. PASSION PICTURES
Company Profile
REPRESENTATION OF DIRECTORS/ PRODUCTION SUPPORT
Contact Person
MR. SHEEN S. SINGH
Address
210, JALAN AMPANG, 50450 KUALA LUMPUR.

Office Number
+603-2166 6448
Fax Number
+603-2166 6468
Email
sheen@passionpictures.com.my
Website
http://www.passionpictures.com.my

Company Name
92. PENGLIPURLARA SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. HJH. RUHANI ABD. RAHMAN
Address
64, JALAN BURHANUDDIN HELMI
TAMAN TUN DR. ISMAIL
60000 KUALA LUMPUR

Office Number
+603-7728 9766
Fax Number
+603-7727 3192


Company Name
93. PENINSULA PICTURES SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. HISHAM B. HARUN MAHMUD HASHIM
Address
13-15, JALAN 17/45
46400 PETALING JAYA SELANGOR

Office Number
+603-7955 3900
Fax Number
+603-7955 0739

Company Name
94. PENUMBRA COMMUNICATIONS (M) SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. IQBAL AL JOHARY/ MR. NGU CHIN HO
Address
MENARA MUTIARA BANGSAR SUITE 8-10-11,
8 JALAN LIKU
59100 BANGSAR KUALA LUMPUR

Office Number
+603-2284 9060 +603-2284 9077
Fax Number
+603-2284 9020


Company Name
95. PERKASA FILEM SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. NURZURAINE DATO’ MUHAMMAD
Address
3298-21, WISMA PERISAI WIRA
JALAN TUANKU ABDUL RAHMAN IDRIS
OFF JALAN RAJA MUDA ABDUL AZIZ
50300 KUALA LUMPUR

Office Number
+603-2698 8689
Fax Number
+603-2692 8031

Company Name
96 PESONA PICTURES SDN. BHD.
Company Profile
FILM PRODUCTION/ DOCUMENTARY/ POST PRODUCTION
Contact Person
MS. SHUHAIMI BABA
Address
38, JALAN SS 20/10
DAMANSARA KIM
47400 PETALING JAYA SELANGOR

Office Number
+603-7728 2427
Fax Number
+603-7728 1446
Email
verdi@putra.net.my

Company Name
97.PETER CREATIVE PHOTOGRAPHY
Company Profile
AERIAL PHOTOGRAPHY FOR TV COMMERCIALS/ DOCUMENTARY/ FILM.
Contact Person
MR NAVARAJAH
Address
32A, JALAN BM 1/2, TAMAN BUKIT MAYANG EMAS
47301 PETALING JAYA, SELANGOR

Office Number
603-7804 5960
Fax Number
603-7804 5961
Email

Website
http://www.petercreative.com.my

Company Name
98. PLANET FILMS SDN. BHD.
Company Profile
FILM PRODUCTION/ SUPPORT SERVICES/VISUAL EFFECT/ POST PRODUCTION
Contact Person
MS. SUNITA PETRUS
Address
3, JALAN TIMUR,
46000 PETALING JAYA SELANGOR

Office Number
+603-7955 3499
Fax Number
+603-7955 6063
Email
sunita@planetfilms.com

Company Name
99. PRODUKSI SENI DUAPULUH-DUAPULUH SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. NANCIE FOO/ MS. WENDY WONG
Address
NO. 57B, JALAN JEJAKA 7
TAMAN MALURI
55000 KUALA LUMPUR

Office Number
+603-9281 2020
Fax Number
+603-9283 2020

Company Name
100. PROJECT LIMELIGHT SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. YAP SIEW KENG
Address
20-1, JALAN 2.98 TAMAN SUPREME
56100 KUALA LUMPUR

Office Number
+603-9130 2605
Fax Number
+603-9131 8282


Company Name
101. PUJANGGA KREATIF SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. ZAIDI B. MOHAMED
Address
NO. 5A, JALAN PANDAN 3/5
55100 PANDAN JAYA KUALA LUMPUR

Office Number
+603-9286 1234
Fax Number
+603-9284 6703


Company Name
102. RCC AERODATA SDN. BHD.
Company Profile
SPECIALIST IN AERIAL PHOTOGRAPHY (OBLIQUE AND NEAR - VERTICAL)
Contact Person
MR WILLIAM ALVISSE
Address
BLOCK C-13-7, DATARAN PRIMA,
JALAN PJU 1/41 47301
PETALING JAYA, SELANGOR.

Office Number
603-7880 7312
Fax Number
603-7804 0041
Email
info@rcc-aerodata.com
Website
http://www.rcc-aerodata.com


Company Name
103. REALFILMS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. SAW TEONG HIN
Address
VR 2-13, TIARA AMPANG
68000 AMPANG SELANGOR

Office Number
+603-4270 1234
Fax Number
+603-4270 5678

Company Name
104. RIMBUNAN UNGGUL SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR.ISMAIL SASAKUL
Address
NO. 66, TAMAN SENAWANG JAYA
70450 SEREMBAN NEGERI SEMBILAN

Office Number
+606-6770 660

Company Name
105. RJ FILEM SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. HJH. ROSNANI LUDIN/ MR. HJ. JAMIL SULONG
Address
NO. 7, LORONG SS 1/20A
KAMPUNG TUNKU
47300 PETALING JAYA SELANGOR

Office Number
+603-7876 9408
Fax Number
+603-7876 9408


Company Name
106. RK STUDIOS SDN. BHD.
Company Profile
DOCUMENTARY/ OFFLINE/ ONLINE PRODUCTION/ COMPLETE PRODUCTION SUPPORT/ SUPPLY OF PRODUCERS/ DIRECTORS/ DOPs FOR TV COMMERCIALS/ MUSIC VIDEOS/ PROMOS.
Contact Person
MS. SUSAN MANEN
Address
37, JALAN SS4C/5, TAMAN RASA SAYANG,
47301 PETALING JAYA, SELANGOR.

Office Number
603-7703 9558
Fax Number
603-77040636
Email
rkstudios@putra.net.mt
Website
http://www.rkstudios.com.my

Company Name
107. RUMAH KARYA CITRA (M) SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. ERMA FATIMA RAHMAD
Address
NO. 180, JALAN G1, TAMAN MELAWATI
ULU KLANG
53100 KUALA LUMPUR

Office Number
+603-4107 3364
Fax Number
+603-4106 0407


Company Name
108. RUMAH KARYA CITRA SDN. BHD.
Company Profile
FILM PRODUCTION/DIRECTION
Contact Person
MS. ERMA FATIMA RAHMAD
Address
NO. 180, JALAN G1
TAMAN MELAWATI,
ULU KLANG 53100 KUALA LUMPUR

Office Number
+603-4107 3364
Fax Number
+603-4106 0407

Company Name
109. SALON FILMS (M) SDN. BHD.
Company Profile
FILM PRODUCTION/PRODUCTION MANAGEMENT/ TV COMMERCIAL/DOCUMENTARY
Contact Person
DATIN NURHAYATI
Address
2B, JALAN GURNEY,
54000 KUALA LUMPUR

Office Number
603-2693 9794
Fax Number
603-2693 1728
Email
salonmy@yahoo.com
Website
http://www.salonmedia.com

Company Name
110. SENSE PRODUCTIONS SDN. BHD.
Company Profile
POST PRODUCTION/PRODUCTION OF TV/ RADIO COMMERCIALS/ PRESS ADVERTISEMENT/DOCUMENTARY
Contact Person
MR ERIC LIU
Address
43A-1-11, LOT A, JALAN 1/48A,
BANDAR BARU SENTUL,
51000 KUALA LUMPUR.

Office Number
603-4045 1219
Fax Number
603-4045 8975
Email
senseproductions@email.com


Company Name
111. SERANGKAI FILEM SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MS. HJH. HABSAH HASSAN
Address
55, JALAN 11/4
46200 PETALING JAYA SELANGOR

Office Number
+603-7660 0611
Fax Number
+603-7660 0711

Company Name
112. SETEGAP ASLI SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. ABD. KUDUS MOHD. YUNUS
Address
SUITE 135, 12TH FLOOR BLOCK A3,
LEISURE COMMERCE SQUARE PUSAT DAGANG SETIA JAYA
NO. 9 JALAN PJJS 8/9 46150 PETALING JAYA SELANGOR

Office Number
+603-7877 3161
Fax Number
+603-7877 3821

Company Name
113. SHIROKU (M) SDN. BHD
Company Profile
Production support, post-production, animation, interactive multimedia and website development
Contact Person
Mr Peter Chin
Address
11A-5, Jalan PJU 8/5I, Perdana Business Centre,
Bandar Damansara Perdana,
47820 Petaling Jaya, Selangor D.E. MALAYSIA

Office Number
(603) 7726 2511
Fax Number
(603) 7722 4549
Email
marketing@shiroku.com
Website
http://www.shiroku.com


Company Name
114. SILACOM SDN BHD
Company Profile
PRODUCTION OF SYNDICATED FILMS/ TV PROGRAMMES/ DOCUMENTARY/ MAGAZINE PROGRAMME/ TV COMMERCIALS/ CASTING/ TALENTS.
Contact Person
MS NURUL ALIS AIDIL AKHBAR
Address
NO.9 - 2, JALAN 26 - 70A
DESA SERI HARTAMAS
50480 KUALA LUMPUR.

Office Number
603-2300 1630
Fax Number
603-2300 1640
Email
silacom@maxis.net.my


Company Name
115. SKOP PRODUCTION SDN. BHD.
Company Profile
FILM PRODUCTION/TV SERIALS/ TELEMOVIE/ HOME VIDEO - VCD
Contact Person
MR. DATO’ YUSOF HASLAM
Address
65-2, JALAN 3/23A TAMAN DANAU KOTA
OFF JALAN GENTING KELANG
53300 KUALA LUMPUR

Office Number
+603-4143 9825
Fax Number
+603-4143 9824

Company Name
116. SKYWALKER PRODUCTIONS SDN BHD
Company Profile
PRODUCTION OF CORPORATE VIDEOS/ TV PROGRAMMES/ INTERACTIVE CD-ROM/POST PRODUCTION/ EQUIPMENT RENTAL.
Contact Person
MR. CHEW HAN TAH
Address
801 - A&B, BLOCK B, KELANA BUSINESS CENTRE,
97, JALAN SS7/2,
47301 PETALING JAYA, SELANGOR.

Office Number
603-7805 5155
Fax Number
603-7805 5166
Email
mailbox@skywalkertv.com


Company Name
117. SPINNING GASING FILMS SDN. BHD.
Company Profile
FILM PRODUCTION/ FEATURE FILM/ TV SCRIPT WRITER & DIRECTOR/ TV COMMERCIALS DIRECTOR
Contact Person
MR TECK TAN
Address
0 - 1, SERI RITCHIE, 327B,
PERSIARAN RITCHIE, 55000 KUALA LUMPUR.

Office Number
6012-288 7871
Fax Number
603-4256 4701
Email
tecktan@pc.jaring.my

Company Name
118. SPIRAL TRADE & SERVICES SDN. BHD.
Company Profile
PRODUCTION OF DOCUMENTARY/ LOCAL PRODUCTION MANAGEMENT/ TRANSLATION/ INTERPRETATION SERVICES IN GERMAN, ENGLISH, MALAY.
Contact Person
MS LIA SYED
Address
874, JALAN NAKHODA KANAN,
KG. NAKHODA,
68100 BATU CAVES, SELANGOR.

Office Number
603-6189 8371
Fax Number
603-6186 0516
Email
syedgang@yahoo.com

Company Name
119. SPORTS & EVENTS NETWORK
Company Profile
DOCUMENTARY/ TV PROGRAMMES - SPORTS
Contact Person
MR. ROZHAN RUSLAN
Address
14-16, JALAN CEMPAKA SD 12/2,
BANDAR SRI DAMANSARA,
52200 KUALA LUMPUR

Office Number
603-6272 6363
Fax Number
603-6272 7153

Company Name
120. SUHAN MOVIES & TRADING SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. ROSYAM NOR
Address
1948, JALAN TUN SAMBANTHAN
BRICKFIELDS 50470 KUALA LUMPUR

Office Number
+603-2274 0448
Fax Number

Company Name
121. SUNNY FILM CORPORATION SDN. BHD.
Company Profile
FILM PRODUCTION/DISTRIBUTOR
Contact Person
MR. SUNNY P H LIM
Address
NO. 17, JALAN MEWAH 2/24
TAMAN SUBANG MEWAH
47500 SUBANG JAYA SELANGOR

Office Number
+603-8023 1482
Fax Number
+603-8023 1480


Company Name
122. SV PRODUCTION SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. NAGARAJ
Address
NO. 2, JALAN SS 1/43A
KG. TUNKU
47300 PETALING JAYA SELANGOR

Office Number
+603-7877 5905
Fax Number
+603-7877 2717


Company Name
122. SYED KECHIK FILM PROD. SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. DATO SYED KECHIK
Address
9TH FLOOR SYED KECHIK FOUNDATION BUILDING
59100 BANGSAR KUALA LUMPUR

Office Number
+603-2095 0066
Fax Number
+603-2095 7908

Company Name
124. TAD NETWORK SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. MOHD. TAJUDIN TAMBI ABD. WAHID
Address
40, PERSIARAN 65C,
PEKELILING BUSINESS CENTRE,
JALAN PAHANG BARAT, 53000 KUALA LUMPUR

Office Number
603-4024 1397/603-4024 1257
Fax Number
603-4024 2696


Company Name
125. TAKE ONE PROD. SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. HJ. SHARIFF HJ. SABARI
Address
9138, JALAN BANDAR 4,
TAMAN MELAWATI, HULU KELANG,
53100 KUALA LUMPUR

Office Number
603-4106 3931
Fax Number
603-4106 3930


Company Name
126. TAYANGAN UNGGUL SDN. BHD.
Company Profile
FILM PRODUCTION/TV PROGRAMMES/HOME VIDEO - VCD
Contact Person
MS. GAYATRI SU LIN PILLAI
Address
ALL ASIA BROADCAST CENTRE,
TECHNOLOGY PARK MALAYSIA,
LEBUHRAYA PUCHONG-SG. BESI BUKIT JALIL
57000 KUALA LUMPUR

Office Number
603-9543 6688
Fax Number
03-9543 0127

Company Name
127. TECHNICAL FILMS SDN. BHD.
Company Profile
PRODUCTION OF TV COMMERCIALS/ DOCUMENTARIES/ CORPORATE VIDEOS.
Contact Person
MR. GOH BEE CHOON
Address
26, JALAN WAN KADIR 1,
TAMAN TUN DR ISMAIL
60000 KUALA LUMPUR.

Office Number
603-4045 1219
Fax Number
603-4045 8975

Company Name
128. TELEVISUAL SDN. BHD.
Company Profile
FILM PRODUCTION/TV PROGRAMMES
Contact Person
MS. HJH. RUHANI ABD. RAHMAN
Address
64, JALAN BURHANUDDIN HELMI,
TAMAN TUN DR. ISMAIL, 60000 KUALA LUMPUR

Office Number
603-7728 9766
Fax Number
603-7727 3192

Company Name
129. TEN ON TEN PICTURES (M) SDN. BHD.
Company Profile
FILM PRODUCTION/ TV PROGRAMMES
Contact Person
MS. TIARA JACQUALINA EU ABDULLAH
Address
83 B, LORONG MAMANDA 1,
AMPANG POING,
68000 AMPANG, SELANGOR

Office Number
603-4251 6115/603-4252 6115
Fax Number
603-4251 3115

Company Name
130. TENK STUDIO SDN. BHD.
Company Profile
STUDIO AND EQUIPMENT RENTAL.
Contact Person
MR RAFIK VAUGHAN WILLOUGHBY
Address
10, JALAN KAMPUNG PANDAN,
55100 KUALA LUMPUR

Office Number
603-9282 0468
Fax Number
603-9283 2471
Email
vaughan@studio10k.com
Website
http://www.studio10k.co


Company Name
131. TH FILMS ASSOCIATES SDN BHD
Company Profile
PRODUCTION OF TV COMMERCIALS/ DOCUMENTARY/ CORPORATE VIDEO
Contact Person
MS BAIZURA AHMAD
Address
5, JALAN 17/56, SECTION 17
46400 PETALING JAYA, SELANGOR.

Office Number
603-7954 0800
Fax Number
603-7954 0600
Email
thfilms@maxis.net.my

Company Name
132. THE SM PRODUCTIONS (M) SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. S. MOHAN
Address
NO. 15, JALAN 21/5,
PETALING JAYA, 46300 SELANGOR

Office Number
603-7873 9660
Fax Number
603-7873 9680

Company Name
133. TRADEMORE SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. AZMAN SALLEH
Address
48, JALAN KOSAS 3/5
TAMAN KOSAS, 68000 AMPANG, SELANGOR

Office Number
603-4296 8573/603-4296 3920
Fax Number
603-4295 1214

Company Name
134. UNIPUTRA PRODUCTION
Company Profile
FILM PRODUCTION
Contact Person
ASSOC. PROF. DR. NAIM HJ. AHMAD
Address
DEWAN KULIAH PUSAT, UNIVERSITI PUTRA MALAYSIA, 43400 SERDANG, SELANGOR

Office Number
603-8656 6753/603-8948 6101 Ext: 2248
Fax Number
603-8943 5386

Company Name
135. UNITED KADILA SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. WAN KASSIM WAN AHMED
Address
8 USJ 11/3J, UEP SUBANG JAYA,
47620 PETALING JAYA, SELANGOR

Office Number
603-5633 8520
Fax Number
603-5633 2863

Company Name
136. VIDEO2 SDN. BHD.
Company Profile
PRODUCTION OF CORPORATE VIDEO/ TV COMMERCIALS/ EVENTS/ SUPPLIER OF FILM EQUIPMENT
Contact Person
MR. LOH WEI KONG
Address
4, JALAN 52/10, 46200 PETALING JAYA SELANGOR.

Office Number
603-7955 9557
Fax Number
603-7956 3639
Email
video2@po.jaring.my

Company Name
137. VISION BROADCAST FACILITIES SDN. BHD.
Company Profile
PRODUCTION OF FILM/ TV PROGRAMMES/ TV COMMERCIALS/ DOCUMENTARY/ POST PRODUCTION FACILITIES.
Contact Person
MR. DAVID CHAN
Address
7, JALAN SEMANGAT
46200 PETALING JAYA SELANGOR.

Office Number
603-7958 6933
Fax Number
603-7958 6930
Email
mail@visionnewmedia.net
Website
http://www.visionnewmedia.net

Company Name
138. VISION FOUR STUDIOS
Company Profile
STUDIO AND EQUIPMENT RENTAL.
Contact Person
ALBY WEE
Address
28, JALAN LIKU, BANGSAR
59100 KUALA LUMPUR.

Office Number
603-2282 8028
Fax Number
603-2283 3148
Email
daystar@ppp.nasionet.net


Company Name
139. VISION PLUS TELEVIDEO SDN. BHD.
Company Profile
FILM PRODUCTION/ PRODUCTION MANAGEMENT/ TV COMMERCIAL/ DOCUMENTARY
Contact Person
MR JOHNNY PART
Address
142-C, JALAN LOKE YEW,
55200 KUALA LUMPUR.

Office Number
603-2693 9794
Fax Number
603-2693 1728
Email
vp@visionplus-vp.com.my
Website
http://www.visionplus-vp.com.my


Company Name
140. VISION TELEFILM DISTRIBUTORS SDN. BHD.
Company Profile
FILM PRODUCTION/TV PROGRAMMES
Contact Person
MR. ABD. RAZAK MOHD. SAID
Address
93-C, MEDAN BUNUS,
JALAN MASJID INDIA,
50100 KUALA LUMPUR

Office Number
603-2691 7690
Fax Number
603-2694 5349

Company Name
141.VISIONWORKS SDN BHD
Company Profile
PRODUCTION OF TV PROGRAMMES/ POST PRODUCTION.
Contact Person
MS. PRISCILLA OROW
Address
12 -1, JALAN 1/27F, PUSAT BANDAR WANGSA MAJU
53300 KUALA LUMPUR.

Office Number
603-4143 5097
Fax Number
603-4143 5094
Email
dudes@acidrain.com.my


Company Name
142. WARNA MOTION PICTURES & MARKETING SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. DATO' MUSTAPHA MAAROF
Address
NO. 758, JALAN SENTUL,
TINGKAT 1, PO BOX S.62, 51000 KUALA LUMPUR

Office Number
603-4041 0010/603-4041 0019
Fax Number
603-4041 2494

Company Name
143. WARNA WARISAN SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. DATO' DASUKI AHMAD
Address
A-6-12, BLOK A PLAZA DWI, TASIK BANDAR SRI PERMAISURI
OFF JALAN TASIK PERMAISURI, 56000 KUALA LUMPUR

Office Number
603-9173 6208
Fax Number
603-9173 8046

Company Name
144. YR COMMUNICATIONS SDN. BHD.
Company Profile
FILM PRODUCTION
Contact Person
MR. YUSOFF HJ. MAYDIN
Address
3A, JALAN SS 18/1B, SUBANG JAYA, 47500 PETALING JAYA, SELANGOR

Office Number
603-5633 5240/603-5633 5741
Fax Number
603-5633 5791

LETER-LETER DRAMA (2)

SKRIP DAH SIAP, KEMANA NAK HANTAR?

Ini adalah persoalan penting. Skrip semuanya sudah lengkap. Ceritanya menarik.
Babak-babak tersusun rapi. Dialog-dialognya kemas. Ayat-ayat dan perkataan yang ditaip sudah berkali-kali disemak. Semuanya tiada kesilapan ejaan. Pendeknya, kita sudah puashati dengan skrip yang dihasilkan. Kita yakin, skrip tersebut jika dihantar kemana-mana penerbit, pasti akan jadi pilihan penerbit. Tetapi kepada penerbit mana yang nak dihantar? Kita tidak kenal penerbit. Penerbit lagi-lagilah tidak kenal kita.

Dalam hal ini kita perlu berhati-hati. Berhati-hati bersungguh-sungguh. Jangan terlalu ghairah untuk menghantar atau memberikan skrip kita kepada mana-mana penerbit swasta. Mungkin pada pandangan mereka, skrip kita tidak kemas, susunan dan olahannya tidak memenuhi citarasa mereka. Tetapi perlu diingat, idea dan jalan cerita skrip kita mungkin menarik. Disinilah kita perlu berhati-hati. Suatu masa nanti kita akan tonton sebuah cerita yang sebiji macam skrip yang pernah kita hasilkan. Cuma latar tempat, nama-nama watak, babak-babak sedikit bertukar.
Kalau perkara itu terjadi, apa yang boleh kita buat? Sekadar geram dan maki hamun?
Apa kita dapat?

Kalau kita hantar kepada penerbit di RTM, risiko tersebut mungkin tidak ada atau kecil. Tetapi RTM sekarang pun sudah tidak terbit lagi drama tv kecuali untuk sambutan perayaan tertentu atau untuk sesuatu rancangan khas. Jadi fokus kita ialah penerbit swasta.

Cerita tentang penerbit swasta, Abang Ad ada banyak pengalaman. Skrip filem lesap dan setahun dua lepas itu, keluar cerita tapi dengan nama-nama watak yang berubah dan ditokok tambah sana sini untuk memadamkan idea asal. Skrip filem rencana juga jadi macam tu. Skrip iklan untuk kempen pelaburan juga jadi mangsa.

Kalau macam tu pada siapa kita nak percaya? Skrip kita nak bawa kemana?

Seeloknya kita siasat tu tentang sesebuah syarikat penerbitan itu. Syarikat besar yang boleh dipercayai atau syarikat bilis tetapi berperangai ular sawa. Siapa pemiliknya, malaun ka atau orang-orang beriman. Kalau kita ada skrip jangan terus berikan pada mereka. Kita boleh tulis surat, hantar email, telefon dan jumpa serta bincang dulu dengan mereka. Jangan kita jadi mangsa penipuan dan putarbelit mereka.

Penerbit swasta sepatutnya memahami hasil usaha jerih payah seseorang penulis. Tetapi duit punya pasal, perkara itu semuanya diketepikan. Mereka mengaut untung atas titik peluh orang lain. Kita nak saman pun kadang-kadang bukti yang ada pada kita tidak kukuh.

Abang Ad teramat kecewa dengan perkara tersebut. Sebab itulah Abang Ad cukup tawar hati untuk menulis dengan aktif sekarang ni. Abang Ad akan menulis kalau ada kawan-kawan yang dipercayai meminta Abang Ad menulis. Perkara penipuan dan ambil kesempatan atas kelemahan orang lain amat mengguris hati dan perasaan Abang Ad. Abang Ad terguris sungguh-sungguh. Rupanya ada orang sanggup perlakukan demikian terhadap sesama insan yang memperjuang dan mempertahankan industri seni. Semuanya terpulanglah kepada Allah Taala menentukannya. Kita berjumpa di Yaumul Mahsyar.

APAKAH YANG DIKATAKAN DRAMA?

Sebelum anda menulis sebuah skrip drama, anda tentu nak tahu apakah itu drama. Anda tentu pernah mendengar drama radio, sering menonton drama/telefilem atau filem di TV juga dipawagam. Mengikut kata pakar-pakar, drama ialah satu rakaman perlakuan/kehidupan manusia yang dilakonkan semula untuk pendengaran atau tontotan umum. Maknanya kebanyakan drama atau filem yang kita tonton saban hari itu ialah mengenai pelbagai perlakuan manusia.

KENAPA KITA NAK TULIS DRAMA?

Kebanyakan orang yang menulis drama (atau lain-lain genre) ialah kerana mereka mempunyai bakat semulajadi anugerah Allah. Melalui bakat itulah mereka meluahkan idea dan rontaan perasaan yang bersarang disanubari melalui karya mereka. Mereka akan berasa puas bila idea dapat dicurahkan untuk dikongsi bersama orang lain. Ada orang yang tidak begitu berbakat, tetapi mereka mempunyai minat yang mendalam terhadap penulisan skrip drama. Hasil usaha mereka akhirnya mereka berjaya menjadi penulis drama dikagumi. Menulis drama merupakan satu dari cabang untuk meluahkan idea rasa seni untuk dipersembahkan kepada orang lain. Bila orang lain terhibur, kita akan terhibur.

SKRIP DRAMA, APA ISTIMEWANYA?

Skrip drama berbeza daripada novel dan cerpen atau puisi. Bagi novel dan cerpen, pembaca akan dijelaskan secara terperinci tentang sesuatu situasi dan latar bagi sesuatu peristiwa yang berlaku melalui penerangan pengarang. Tetapi dalam sesebuah naskhah skrip drama, seseorang pembaca hanya akan diberikan gambaran umum (deskripsi) tentang sesuatu situasi, latar atau tempat, dan dialoglah yang akan menyampaikan mesej dan pemikiran pengarang. Hal inilah yang membezakan drama daripada karya sastera yang lain. Skrip drama yang baik akan dapat memberikan gambaran jelas tentang pemikiran pengarang melalui unsur-unsur dramatik dalam dialog yang dihasilkan boleh menimbulkan perasaan marah, gembira, lucu, dan seumpamanya. Sebuah drama yang baik juga harus mempunyai unsur suspens, ketegangan dan seharusnya mampu membina rasa ingin tahu pendengar atau penonton apakah kesudahan drama tersebut.

PENDUKUNG WATAK/PELAKUN

Sebuah skrip drama mesti mempunyai watak-watak yang mampu membawa cerita untuk terus berkembang. Watak-watak inilah yang menjadi cerita, dan bakat lakunan merekalah yang menghidupkan cerita. Oleh itu watak adalah penting dalam sesebuah dalam drama. Wataklah yang menggerakkan plot cerita. Dalam sesebuah drama terdapat watak utama dan watak sampingan. Selalunya dalam sesebuah drama terdapat satu atau dua watak utama. Watak pertama ialah watak yang menyokong idea penulis. Watak kedua ialah watak yang menentang idea penulis. Mudahnya, watak baik (positif) dan watak jahat (negatif). Pertentangan idea ini akan menimbulkan konflik dan pertentangan konflik inilah yang membentuk struktur konflik dramatik yang menarik. Watak sampingan ialah watak-watak yang lain yang menyokong untuk menghidup dan memeriahkan jalan cerita hingga ke akhir.

PLOT

Plot sangat penting dalam pembinaan struktur drama. Plot adalah struktur drama yang dibina melalui dialog dan aksi setiap watak. Dialog terbina melalui kata-kata atau bahasa. Melalui dialog inilah konflik dan perkembangan cerita berlaku. Konflik memainkan peranan yang cukup penting dalam membangunkan struktur sebuah drama. Bertolak daripada konflik dan ketegangan inilah sesuatu peristiwa digerakkan dan dilanjutkan perkembangannya hingga kepada peleraiannya atau kesimpulan cerita.

BABAK

Bahagian dalam drama yang menjelaskan peristiwa yang berlaku dalam sesuatu latar tempat dan masa disebut babak. Pertukaran latar tempat dan masa membawa perubahan babak.

BAHASA/DIALOG

Asas sebuah drama ialah perkataan atau dialog. Drama terbina oleh dialog dan aksi. Oleh itu, bahasa yang menjadi asas perkataan adalah elemen yang cukup penting bagi sesebuah drama. Daripada bahasa yang dituturkan oleh pelakon itu, pemikiran dan gagasan pengarang disampaikan. Sesebuah drama yang baik akan menggunakan bahasa yang ringkas, padat dan mudah difahami supaya berkesan kepada penonton. Ringkasnya, menggunakan bahasa pertuturan harian. Bukannya bahasa surat atau bahasa berbunga-bunga seperti novel, cerpen atau puisi. Gaya bahasa atau dialog yang meleret dan sukar difahami akan menyebabkan pendengar dan penonton bosan dan akhirnya hilang tumpuan. Gaya bahasa dalam sesebuah drama akan memberikan latar zaman, masyarakat dan tempat. Justeru itu, dialek sesuatu daerah boleh digunakan oleh sesuatu watak untuk menghidupkan lagi perwatakannya, tetapi pastikan yang pendengar dan penonton dapat memahami dialek tersebut. Kekuatan sesuatu watak itu terpancar daripada cara dialog yang diucapkannya. Watak yang gagal mengucapkan dialog mengikut sesuatu keadaan lakunan akan sukar menarik perhatian penonton. Oleh itu, pemilihan ayat atau unsur bahasa penting dalam mengekalkan keinginan pendengar dan penonton sesebuah drama.

JENIS-JENIS DRAMA

Terdapat tiga jenis drama yang utama, iaitu:
• Tragedi – sebuah drama yang mengisahkan suka duka dan tragisnya kehidupan watak utamanya. Kisah watak utama ini selalunya berakhir dengan tragedi.
• Komedi – Drama ini memaparkan kisahnya dalam bentuk lucu dan menghiburkan. Ceritanya serius, tetapi disampaikan dalam bentuk kelucuan oleh watak-wataknya. Drama ini selalunya digunakan untuk menyindir masyarakat. Plot drama komedi boleh berakhir dengan kepuasan penonton (kegembiraan) dan boleh juga berakhir dengan kedukaan .
• Melodrama – Drama ini bersifat sentimental dan ceritanya sering berkisar pada persoalan keluarga atau wanita. Drama ini selalunya akan menyentuh emosi pendengar atau penonton.


BERAPA PANJANG/LEMBARAN SESUATU SKRIP?
1. Skrip drama radio 15 minit.
9 muka surat ditaip langkau dua menggunakan Times New Roman 12 point.
2. Skrip drama radio 30 minit.
18 – 20 muka surat.
3. Skrip drama radio 45 minit
25 -27 muka surat
4. Skrip drama tv/telefilem/filem
120 -150 muka surat.
5. Skrip sitcom tv 30 minit
50 – 60 muka surat
(angka yang diberikan merupakan anggaran sahaja)
DARI MANA NAK DAPAT IDEA UNTUK MENULIS?
Idea boleh datang dengan macam-macam cara. Dari pengalaman, pemerhatian, bacaan, cerita orang, perbincangan dengan kawan-kawan dan macam-macam. Yang penting bila kita dapat idea, kita tahu macamana nak diadunkan untuk dijadikan suatu cerita yang menarik. Anda perlu ada satu buku nota kecil untuk mencatatkan idea yang diperolehi. Ini memudahkan anda untuk mengingat semula idea yang datang semalam atau pagi tadi.
BANYAK PERKARA DAH TAHU, TAPI MACAMANA NAK TULIS?
Ini satu masalah. Orang lain saya tak tahu. Tapi bagi saya inilah masalah yang selalu memeningkan. Macamana nak mula? Idea dah ada, tapi nak mula dimana?
Saya atasi masalah tersebut dengan mengambil jalan mudah: tulis saja apa yang nak tulis. Bantai saja. Tak payah kira plot, tak payah fikir pasal plot, babak dan sebagainya. Kita boleh sunting dan buat susunan kemudian. Sekarang ni apa susah, guna komputer. Bukan guna mesin taip ketuk yang terpaksa buang kertas atau guna cecair pemadam. Kita keluarkan dulu apa yang terkandung difikiran kita, kemudian kita susun semula elok-elok. Bila kita tulis stail ini, percayalah bahawa hasil yang akan kita dapat adalah amat baik sekali dan adakalanya kita sendiri merasa kagum dengan apa yang terhasil. Inilah pengalaman saya selama ini. Tapi semuanya terpulang kepada stail dan ikut keselesaan masing-masing.
PERKARA-PERKARA TERLARANG
Dalam apa-apa hal pun perkara terlarang tetap ada. Demikian juga dengan penulisan skrip drama. Perkara terlarang ialah perkataan/aksi lucah, adegan jenayah melampau, sindiran politik keterlaluan, sentimen agama dan lain-lain perkara yang boeh menimbulkan keresahan dan huru hara yang mengancam kesejahteraan rakyat dan negara. Kalau anda tulis juga, skrip tersebut tentunya akan menjadi koleksi peribadi yang tersimpan di perpustakaan anda serta tidak dapat disampaikan kepada khalayak.
AKHIRUL KALAM
Setelah anda meneliti tulisan ini, diharapkan anda mendapat sedikit pengetahuan tentang kaedah-kaedah penulisan skrip drama. Ia mungkin belum cukup untuk menjadikan anda penulis skrip yang baik . Anda perlu banyak belajar melalui pembacaan dan mendengar/menonton drama. Tulisan ini juga bukanlah yang terbaik. Ia sekadar panduan untuk dikongsi bersama. Saya tidak mempunyai apa-apa kepentingan. Saya sampaikan kepada anda dengan ikhlas sekadar ilmu yang terbatas agar sekurang-kurangnya andalah pewaris penulisan skrip dimasa hadapan. Insyaallah.
Al Faqir Ilallah
NASIR AWANG.

LETER-LETER DRAMA (1)

APAKAH YANG DIKATAKAN DRAMA?

Sebelum anda menulis sebuah skrip drama, anda tentu nak tahu apakah itu drama. Anda tentu pernah mendengar drama radio, sering menonton drama/telefilem atau filem di TV juga dipawagam. Mengikut kata pakar-pakar, drama ialah satu rakaman perlakuan/kehidupan manusia yang dilakonkan semula untuk pendengaran atau tontotan umum. Maknanya kebanyakan drama atau filem yang kita tonton saban hari itu ialah mengenai pelbagai perlakuan manusia.

KENAPA KITA NAK TULIS DRAMA?

Kebanyakan orang yang menulis drama (atau lain-lain genre) ialah kerana mereka mempunyai bakat semulajadi anugerah Allah. Melalui bakat itulah mereka meluahkan idea dan rontaan perasaan yang bersarang disanubari melalui karya mereka. Mereka akan berasa puas bila idea dapat dicurahkan untuk dikongsi bersama orang lain. Ada orang yang tidak begitu berbakat, tetapi mereka mempunyai minat yang mendalam terhadap penulisan skrip drama. Hasil usaha mereka akhirnya mereka berjaya menjadi penulis drama dikagumi. Menulis drama merupakan satu dari cabang untuk meluahkan idea rasa seni untuk dipersembahkan kepada orang lain. Bila orang lain terhibur, kita akan terhibur.

SKRIP DRAMA, APA ISTIMEWANYA?

Skrip drama berbeza daripada novel dan cerpen atau puisi. Bagi novel dan cerpen, pembaca akan dijelaskan secara terperinci tentang sesuatu situasi dan latar bagi sesuatu peristiwa yang berlaku melalui penerangan pengarang. Tetapi dalam sesebuah naskhah skrip drama, seseorang pembaca hanya akan diberikan gambaran umum (deskripsi) tentang sesuatu situasi, latar atau tempat, dan dialoglah yang akan menyampaikan mesej dan pemikiran pengarang. Hal inilah yang membezakan drama daripada karya sastera yang lain. Skrip drama yang baik akan dapat memberikan gambaran jelas tentang pemikiran pengarang melalui unsur-unsur dramatik dalam dialog yang dihasilkan boleh menimbulkan perasaan marah, gembira, lucu, dan seumpamanya. Sebuah drama yang baik juga harus mempunyai unsur suspens, ketegangan dan seharusnya mampu membina rasa ingin tahu pendengar atau penonton apakah kesudahan drama tersebut.

PENDUKUNG WATAK/PELAKUN

Sebuah skrip drama mesti mempunyai watak-watak yang mampu membawa cerita untuk terus berkembang. Watak-watak inilah yang menjadi cerita, dan bakat lakunan merekalah yang menghidupkan cerita. Oleh itu watak adalah penting dalam sesebuah dalam drama. Wataklah yang menggerakkan plot cerita. Dalam sesebuah drama terdapat watak utama dan watak sampingan. Selalunya dalam sesebuah drama terdapat satu atau dua watak utama. Watak pertama ialah watak yang menyokong idea penulis. Watak kedua ialah watak yang menentang idea penulis. Mudahnya, watak baik (positif) dan watak jahat (negatif). Pertentangan idea ini akan menimbulkan konflik dan pertentangan konflik inilah yang membentuk struktur konflik dramatik yang menarik. Watak sampingan ialah watak-watak yang lain yang menyokong untuk menghidup dan memeriahkan jalan cerita hingga ke akhir.

PLOT

Plot sangat penting dalam pembinaan struktur drama. Plot adalah struktur drama yang dibina melalui dialog dan aksi setiap watak. Dialog terbina melalui kata-kata atau bahasa. Melalui dialog inilah konflik dan perkembangan cerita berlaku. Konflik memainkan peranan yang cukup penting dalam membangunkan struktur sebuah drama. Bertolak daripada konflik dan ketegangan inilah sesuatu peristiwa digerakkan dan dilanjutkan perkembangannya hingga kepada peleraiannya atau kesimpulan cerita.

BABAK

Bahagian dalam drama yang menjelaskan peristiwa yang berlaku dalam sesuatu latar tempat dan masa disebut babak. Pertukaran latar tempat dan masa membawa perubahan babak.

BAHASA/DIALOG

Asas sebuah drama ialah perkataan atau dialog. Drama terbina oleh dialog dan aksi. Oleh itu, bahasa yang menjadi asas perkataan adalah elemen yang cukup penting bagi sesebuah drama. Daripada bahasa yang dituturkan oleh pelakon itu, pemikiran dan gagasan pengarang disampaikan. Sesebuah drama yang baik akan menggunakan bahasa yang ringkas, padat dan mudah difahami supaya berkesan kepada penonton. Ringkasnya, menggunakan bahasa pertuturan harian. Bukannya bahasa surat atau bahasa berbunga-bunga seperti novel, cerpen atau puisi. Gaya bahasa atau dialog yang meleret dan sukar difahami akan menyebabkan pendengar dan penonton bosan dan akhirnya hilang tumpuan. Gaya bahasa dalam sesebuah drama akan memberikan latar zaman, masyarakat dan tempat. Justeru itu, dialek sesuatu daerah boleh digunakan oleh sesuatu watak untuk menghidupkan lagi perwatakannya, tetapi pastikan yang pendengar dan penonton dapat memahami dialek tersebut. Kekuatan sesuatu watak itu terpancar daripada cara dialog yang diucapkannya. Watak yang gagal mengucapkan dialog mengikut sesuatu keadaan lakunan akan sukar menarik perhatian penonton. Oleh itu, pemilihan ayat atau unsur bahasa penting dalam mengekalkan keinginan pendengar dan penonton sesebuah drama.

JENIS-JENIS DRAMA

Terdapat tiga jenis drama yang utama, iaitu:
• Tragedi – sebuah drama yang mengisahkan suka duka dan tragisnya kehidupan watak utamanya. Kisah watak utama ini selalunya berakhir dengan tragedi.
• Komedi – Drama ini memaparkan kisahnya dalam bentuk lucu dan menghiburkan. Ceritanya serius, tetapi disampaikan dalam bentuk kelucuan oleh watak-wataknya. Drama ini selalunya digunakan untuk menyindir masyarakat. Plot drama komedi boleh berakhir dengan kepuasan penonton (kegembiraan) dan boleh juga berakhir dengan kedukaan .
• Melodrama – Drama ini bersifat sentimental dan ceritanya sering berkisar pada persoalan keluarga atau wanita. Drama ini selalunya akan menyentuh emosi pendengar atau penonton.

BERAPA PANJANG/LEMBARAN SESUATU SKRIP?

1. Skrip drama radio 15 minit. 9 muka surat
2. Skrip drama radio 30 minit. 18 – 20 muka surat.
3. Skrip drama radio 45 minit. 25 -27 muka surat
4. Skrip drama tv/telefilem/filem.120 -150 muka surat.
5. Skrip sitcom tv 30 minit. 50 – 60 muka surat

Skrip hendaklah ditaip langkau dua menggunakan Times New Roman 12 point.
Manakala jumlah muka surat yang diberikan merupakan anggaran sahaja. Adakalanya ia bergantung kepada cerita dan kandungan babak didalam sesuatu skrip.

DARI MANA NAK DAPAT IDEA UNTUK MENULIS?

Idea boleh datang dengan macam-macam cara. Dari pengalaman, pemerhatian, bacaan, cerita orang, perbincangan dengan kawan-kawan dan macam-macam. Yang penting bila kita dapat idea, kita tahu macamana nak diadunkan untuk dijadikan suatu cerita yang menarik. Anda perlu ada satu buku nota kecil untuk mencatatkan idea yang diperolehi. Ini memudahkan anda untuk mengingat semula idea yang datang semalam atau pagi tadi.

BANYAK PERKARA DAH TAHU, TAPI MACAMANA NAK TULIS?

Ini satu masalah. Orang lain saya tak tahu. Tapi bagi saya inilah masalah yang selalu memeningkan. Macamana nak mula? Idea dah ada, tapi nak mula dimana?
Saya atasi masalah tersebut dengan mengambil jalan mudah: tulis saja apa yang nak tulis. Bantai saja. Tak payah kira plot, tak payah fikir pasal plot, babak dan sebagainya. Kita boleh sunting dan buat susunan kemudian. Sekarang ni apa susah, guna komputer. Bukan guna mesin taip ketuk yang terpaksa buang kertas atau guna cecair pemadam. Kita keluarkan dulu apa yang terkandung difikiran kita, kemudian kita susun semula elok-elok. Bila kita tulis stail ini, percayalah bahawa hasil yang akan kita dapat adalah amat baik sekali dan adakalanya kita sendiri merasa kagum dengan apa yang terhasil. Inilah pengalaman saya selama ini. Tapi semuanya terpulang kepada stail dan ikut keselesaan masing-masing.

PERKARA-PERKARA TERLARANG

Dalam apa-apa hal pun perkara terlarang tetap ada. Demikian juga dengan penulisan skrip drama. Perkara terlarang ialah perkataan/aksi lucah, adegan jenayah melampau, sindiran politik keterlaluan, sentimen agama dan lain-lain perkara yang boleh menimbulkan keresahan dan huru hara yang mengancam kesejahteraan rakyat dan negara. Kalau anda tulis juga, skrip tersebut tentunya akan menjadi koleksi peribadi yang tersimpan di perpustakaan anda serta tidak dapat disampaikan kepada khalayak.

AKHIRUL KALAM

Setelah anda meneliti tulisan ini, diharapkan anda mendapat sedikit pengetahuan tentang kaedah-kaedah penulisan skrip drama. Ia mungkin belum cukup untuk menjadikan anda penulis skrip yang baik . Anda perlu banyak belajar melalui pembacaan dan mendengar/menonton drama. Tulisan ini juga bukanlah yang terbaik. Ia sekadar panduan untuk dikongsi bersama. Saya tidak mempunyai apa-apa kepentingan. Saya sampaikan kepada anda dengan ikhlas sekadar ilmu yang terbatas agar sekurang-kurangnya andalah pewaris penulisan skrip dimasa hadapan. Insyaallah.

Al Faqir Ilallah
NASIR AWANG.

APAKAH YANG DIKATAKAN DRAMA?

Sebelum anda menulis sebuah skrip drama, anda tentu nak tahu apakah itu drama. Anda tentu pernah mendengar drama radio, sering menonton drama/telefilem atau filem di TV juga dipawagam. Mengikut kata pakar-pakar, drama ialah satu rakaman perlakuan/kehidupan manusia yang dilakonkan semula untuk pendengaran atau tontotan umum. Maknanya kebanyakan drama atau filem yang kita tonton saban hari itu ialah mengenai pelbagai perlakuan manusia.

KENAPA KITA NAK TULIS DRAMA?

Kebanyakan orang yang menulis drama (atau lain-lain genre) ialah kerana mereka mempunyai bakat semulajadi anugerah Allah. Melalui bakat itulah mereka meluahkan idea dan rontaan perasaan yang bersarang disanubari melalui karya mereka. Mereka akan berasa puas bila idea dapat dicurahkan untuk dikongsi bersama orang lain. Ada orang yang tidak begitu berbakat, tetapi mereka mempunyai minat yang mendalam terhadap penulisan skrip drama. Hasil usaha mereka akhirnya mereka berjaya menjadi penulis drama dikagumi. Menulis drama merupakan satu dari cabang untuk meluahkan idea rasa seni untuk dipersembahkan kepada orang lain. Bila orang lain terhibur, kita akan terhibur.

SKRIP DRAMA, APA ISTIMEWANYA?

Skrip drama berbeza daripada novel dan cerpen atau puisi. Bagi novel dan cerpen, pembaca akan dijelaskan secara terperinci tentang sesuatu situasi dan latar bagi sesuatu peristiwa yang berlaku melalui penerangan pengarang. Tetapi dalam sesebuah naskhah skrip drama, seseorang pembaca hanya akan diberikan gambaran umum (deskripsi) tentang sesuatu situasi, latar atau tempat, dan dialoglah yang akan menyampaikan mesej dan pemikiran pengarang. Hal inilah yang membezakan drama daripada karya sastera yang lain. Skrip drama yang baik akan dapat memberikan gambaran jelas tentang pemikiran pengarang melalui unsur-unsur dramatik dalam dialog yang dihasilkan boleh menimbulkan perasaan marah, gembira, lucu, dan seumpamanya. Sebuah drama yang baik juga harus mempunyai unsur suspens, ketegangan dan seharusnya mampu membina rasa ingin tahu pendengar atau penonton apakah kesudahan drama tersebut.

PENDUKUNG WATAK/PELAKUN

Sebuah skrip drama mesti mempunyai watak-watak yang mampu membawa cerita untuk terus berkembang. Watak-watak inilah yang menjadi cerita, dan bakat lakunan merekalah yang menghidupkan cerita. Oleh itu watak adalah penting dalam sesebuah dalam drama. Wataklah yang menggerakkan plot cerita. Dalam sesebuah drama terdapat watak utama dan watak sampingan. Selalunya dalam sesebuah drama terdapat satu atau dua watak utama. Watak pertama ialah watak yang menyokong idea penulis. Watak kedua ialah watak yang menentang idea penulis. Mudahnya, watak baik (positif) dan watak jahat (negatif). Pertentangan idea ini akan menimbulkan konflik dan pertentangan konflik inilah yang membentuk struktur konflik dramatik yang menarik. Watak sampingan ialah watak-watak yang lain yang menyokong untuk menghidup dan memeriahkan jalan cerita hingga ke akhir.

PLOT

Plot sangat penting dalam pembinaan struktur drama. Plot adalah struktur drama yang dibina melalui dialog dan aksi setiap watak. Dialog terbina melalui kata-kata atau bahasa. Melalui dialog inilah konflik dan perkembangan cerita berlaku. Konflik memainkan peranan yang cukup penting dalam membangunkan struktur sebuah drama. Bertolak daripada konflik dan ketegangan inilah sesuatu peristiwa digerakkan dan dilanjutkan perkembangannya hingga kepada peleraiannya atau kesimpulan cerita.

BABAK

Bahagian dalam drama yang menjelaskan peristiwa yang berlaku dalam sesuatu latar tempat dan masa disebut babak. Pertukaran latar tempat dan masa membawa perubahan babak.

BAHASA/DIALOG

Asas sebuah drama ialah perkataan atau dialog. Drama terbina oleh dialog dan aksi. Oleh itu, bahasa yang menjadi asas perkataan adalah elemen yang cukup penting bagi sesebuah drama. Daripada bahasa yang dituturkan oleh pelakon itu, pemikiran dan gagasan pengarang disampaikan. Sesebuah drama yang baik akan menggunakan bahasa yang ringkas, padat dan mudah difahami supaya berkesan kepada penonton. Ringkasnya, menggunakan bahasa pertuturan harian. Bukannya bahasa surat atau bahasa berbunga-bunga seperti novel, cerpen atau puisi. Gaya bahasa atau dialog yang meleret dan sukar difahami akan menyebabkan pendengar dan penonton bosan dan akhirnya hilang tumpuan. Gaya bahasa dalam sesebuah drama akan memberikan latar zaman, masyarakat dan tempat. Justeru itu, dialek sesuatu daerah boleh digunakan oleh sesuatu watak untuk menghidupkan lagi perwatakannya, tetapi pastikan yang pendengar dan penonton dapat memahami dialek tersebut. Kekuatan sesuatu watak itu terpancar daripada cara dialog yang diucapkannya. Watak yang gagal mengucapkan dialog mengikut sesuatu keadaan lakunan akan sukar menarik perhatian penonton. Oleh itu, pemilihan ayat atau unsur bahasa penting dalam mengekalkan keinginan pendengar dan penonton sesebuah drama.
JENIS-JENIS DRAMA
Terdapat tiga jenis drama yang utama, iaitu:
• Tragedi – sebuah drama yang mengisahkan suka duka dan tragisnya kehidupan watak utamanya. Kisah watak utama ini selalunya berakhir dengan tragedi.
• Komedi – Drama ini memaparkan kisahnya dalam bentuk lucu dan menghiburkan. Ceritanya serius, tetapi disampaikan dalam bentuk kelucuan oleh watak-wataknya. Drama ini selalunya digunakan untuk menyindir masyarakat. Plot drama komedi boleh berakhir dengan kepuasan penonton (kegembiraan) dan boleh juga berakhir dengan kedukaan .
• Melodrama – Drama ini bersifat sentimental dan ceritanya sering berkisar pada persoalan keluarga atau wanita. Drama ini selalunya akan menyentuh emosi pendengar atau penonton.


BERAPA PANJANG/LEMBARAN SESUATU SKRIP?
1. Skrip drama radio 15 minit.
9 muka surat ditaip langkau dua menggunakan Times New Roman 12 point.
2. Skrip drama radio 30 minit.
18 – 20 muka surat.
3. Skrip drama radio 45 minit
25 -27 muka surat
4. Skrip drama tv/telefilem/filem
120 -150 muka surat.
5. Skrip sitcom tv 30 minit
50 – 60 muka surat
(angka yang diberikan merupakan anggaran sahaja)
DARI MANA NAK DAPAT IDEA UNTUK MENULIS?
Idea boleh datang dengan macam-macam cara. Dari pengalaman, pemerhatian, bacaan, cerita orang, perbincangan dengan kawan-kawan dan macam-macam. Yang penting bila kita dapat idea, kita tahu macamana nak diadunkan untuk dijadikan suatu cerita yang menarik. Anda perlu ada satu buku nota kecil untuk mencatatkan idea yang diperolehi. Ini memudahkan anda untuk mengingat semula idea yang datang semalam atau pagi tadi.
BANYAK PERKARA DAH TAHU, TAPI MACAMANA NAK TULIS?
Ini satu masalah. Orang lain saya tak tahu. Tapi bagi saya inilah masalah yang selalu memeningkan. Macamana nak mula? Idea dah ada, tapi nak mula dimana?
Saya atasi masalah tersebut dengan mengambil jalan mudah: tulis saja apa yang nak tulis. Bantai saja. Tak payah kira plot, tak payah fikir pasal plot, babak dan sebagainya. Kita boleh sunting dan buat susunan kemudian. Sekarang ni apa susah, guna komputer. Bukan guna mesin taip ketuk yang terpaksa buang kertas atau guna cecair pemadam. Kita keluarkan dulu apa yang terkandung difikiran kita, kemudian kita susun semula elok-elok. Bila kita tulis stail ini, percayalah bahawa hasil yang akan kita dapat adalah amat baik sekali dan adakalanya kita sendiri merasa kagum dengan apa yang terhasil. Inilah pengalaman saya selama ini. Tapi semuanya terpulang kepada stail dan ikut keselesaan masing-masing.
PERKARA-PERKARA TERLARANG
Dalam apa-apa hal pun perkara terlarang tetap ada. Demikian juga dengan penulisan skrip drama. Perkara terlarang ialah perkataan/aksi lucah, adegan jenayah melampau, sindiran politik keterlaluan, sentimen agama dan lain-lain perkara yang boeh menimbulkan keresahan dan huru hara yang mengancam kesejahteraan rakyat dan negara. Kalau anda tulis juga, skrip tersebut tentunya akan menjadi koleksi peribadi yang tersimpan di perpustakaan anda serta tidak dapat disampaikan kepada khalayak.
AKHIRUL KALAM
Setelah anda meneliti tulisan ini, diharapkan anda mendapat sedikit pengetahuan tentang kaedah-kaedah penulisan skrip drama. Ia mungkin belum cukup untuk menjadikan anda penulis skrip yang baik . Anda perlu banyak belajar melalui pembacaan dan mendengar/menonton drama. Tulisan ini juga bukanlah yang terbaik. Ia sekadar panduan untuk dikongsi bersama. Saya tidak mempunyai apa-apa kepentingan. Saya sampaikan kepada anda dengan ikhlas sekadar ilmu yang terbatas agar sekurang-kurangnya andalah pewaris penulisan skrip dimasa hadapan. Insyaallah.
Al Faqir Ilallah
NASIR AWANG.

APAKAH YANG DIKATAKAN DRAMA?

Sebelum anda menulis sebuah skrip drama, anda tentu nak tahu apakah itu drama. Anda tentu pernah mendengar drama radio, sering menonton drama/telefilem atau filem di TV juga dipawagam. Mengikut kata pakar-pakar, drama ialah satu rakaman perlakuan/kehidupan manusia yang dilakonkan semula untuk pendengaran atau tontotan umum. Maknanya kebanyakan drama atau filem yang kita tonton saban hari itu ialah mengenai pelbagai perlakuan manusia.

KENAPA KITA NAK TULIS DRAMA?

Kebanyakan orang yang menulis drama (atau lain-lain genre) ialah kerana mereka mempunyai bakat semulajadi anugerah Allah. Melalui bakat itulah mereka meluahkan idea dan rontaan perasaan yang bersarang disanubari melalui karya mereka. Mereka akan berasa puas bila idea dapat dicurahkan untuk dikongsi bersama orang lain. Ada orang yang tidak begitu berbakat, tetapi mereka mempunyai minat yang mendalam terhadap penulisan skrip drama. Hasil usaha mereka akhirnya mereka berjaya menjadi penulis drama dikagumi. Menulis drama merupakan satu dari cabang untuk meluahkan idea rasa seni untuk dipersembahkan kepada orang lain. Bila orang lain terhibur, kita akan terhibur.

SKRIP DRAMA, APA ISTIMEWANYA?

Skrip drama berbeza daripada novel dan cerpen atau puisi. Bagi novel dan cerpen, pembaca akan dijelaskan secara terperinci tentang sesuatu situasi dan latar bagi sesuatu peristiwa yang berlaku melalui penerangan pengarang. Tetapi dalam sesebuah naskhah skrip drama, seseorang pembaca hanya akan diberikan gambaran umum (deskripsi) tentang sesuatu situasi, latar atau tempat, dan dialoglah yang akan menyampaikan mesej dan pemikiran pengarang. Hal inilah yang membezakan drama daripada karya sastera yang lain. Skrip drama yang baik akan dapat memberikan gambaran jelas tentang pemikiran pengarang melalui unsur-unsur dramatik dalam dialog yang dihasilkan boleh menimbulkan perasaan marah, gembira, lucu, dan seumpamanya. Sebuah drama yang baik juga harus mempunyai unsur suspens, ketegangan dan seharusnya mampu membina rasa ingin tahu pendengar atau penonton apakah kesudahan drama tersebut.

PENDUKUNG WATAK/PELAKUN

Sebuah skrip drama mesti mempunyai watak-watak yang mampu membawa cerita untuk terus berkembang. Watak-watak inilah yang menjadi cerita, dan bakat lakunan merekalah yang menghidupkan cerita. Oleh itu watak adalah penting dalam sesebuah dalam drama. Wataklah yang menggerakkan plot cerita. Dalam sesebuah drama terdapat watak utama dan watak sampingan. Selalunya dalam sesebuah drama terdapat satu atau dua watak utama. Watak pertama ialah watak yang menyokong idea penulis. Watak kedua ialah watak yang menentang idea penulis. Mudahnya, watak baik (positif) dan watak jahat (negatif). Pertentangan idea ini akan menimbulkan konflik dan pertentangan konflik inilah yang membentuk struktur konflik dramatik yang menarik. Watak sampingan ialah watak-watak yang lain yang menyokong untuk menghidup dan memeriahkan jalan cerita hingga ke akhir.

PLOT

Plot sangat penting dalam pembinaan struktur drama. Plot adalah struktur drama yang dibina melalui dialog dan aksi setiap watak. Dialog terbina melalui kata-kata atau bahasa. Melalui dialog inilah konflik dan perkembangan cerita berlaku. Konflik memainkan peranan yang cukup penting dalam membangunkan struktur sebuah drama. Bertolak daripada konflik dan ketegangan inilah sesuatu peristiwa digerakkan dan dilanjutkan perkembangannya hingga kepada peleraiannya atau kesimpulan cerita.

BABAK

Bahagian dalam drama yang menjelaskan peristiwa yang berlaku dalam sesuatu latar tempat dan masa disebut babak. Pertukaran latar tempat dan masa membawa perubahan babak.
BAHASA/DIALOG
Asas sebuah drama ialah perkataan atau dialog. Drama terbina oleh dialog dan aksi. Oleh itu, bahasa yang menjadi asas perkataan adalah elemen yang cukup penting bagi sesebuah drama. Daripada bahasa yang dituturkan oleh pelakon itu, pemikiran dan gagasan pengarang disampaikan. Sesebuah drama yang baik akan menggunakan bahasa yang ringkas, padat dan mudah difahami supaya berkesan kepada penonton. Ringkasnya, menggunakan bahasa pertuturan harian. Bukannya bahasa surat atau bahasa berbunga-bunga seperti novel, cerpen atau puisi. Gaya bahasa atau dialog yang meleret dan sukar difahami akan menyebabkan pendengar dan penonton bosan dan akhirnya hilang tumpuan. Gaya bahasa dalam sesebuah drama akan memberikan latar zaman, masyarakat dan tempat. Justeru itu, dialek sesuatu daerah boleh digunakan oleh sesuatu watak untuk menghidupkan lagi perwatakannya, tetapi pastikan yang pendengar dan penonton dapat memahami dialek tersebut. Kekuatan sesuatu watak itu terpancar daripada cara dialog yang diucapkannya. Watak yang gagal mengucapkan dialog mengikut sesuatu keadaan lakunan akan sukar menarik perhatian penonton. Oleh itu, pemilihan ayat atau unsur bahasa penting dalam mengekalkan keinginan pendengar dan penonton sesebuah drama.
JENIS-JENIS DRAMA
Terdapat tiga jenis drama yang utama, iaitu:
• Tragedi – sebuah drama yang mengisahkan suka duka dan tragisnya kehidupan watak utamanya. Kisah watak utama ini selalunya berakhir dengan tragedi.
• Komedi – Drama ini memaparkan kisahnya dalam bentuk lucu dan menghiburkan. Ceritanya serius, tetapi disampaikan dalam bentuk kelucuan oleh watak-wataknya. Drama ini selalunya digunakan untuk menyindir masyarakat. Plot drama komedi boleh berakhir dengan kepuasan penonton (kegembiraan) dan boleh juga berakhir dengan kedukaan .
• Melodrama – Drama ini bersifat sentimental dan ceritanya sering berkisar pada persoalan keluarga atau wanita. Drama ini selalunya akan menyentuh emosi pendengar atau penonton.


BERAPA PANJANG/LEMBARAN SESUATU SKRIP?
1. Skrip drama radio 15 minit.
9 muka surat ditaip langkau dua menggunakan Times New Roman 12 point.
2. Skrip drama radio 30 minit.
18 – 20 muka surat.
3. Skrip drama radio 45 minit
25 -27 muka surat
4. Skrip drama tv/telefilem/filem
120 -150 muka surat.
5. Skrip sitcom tv 30 minit
50 – 60 muka surat
(angka yang diberikan merupakan anggaran sahaja)
DARI MANA NAK DAPAT IDEA UNTUK MENULIS?
Idea boleh datang dengan macam-macam cara. Dari pengalaman, pemerhatian, bacaan, cerita orang, perbincangan dengan kawan-kawan dan macam-macam. Yang penting bila kita dapat idea, kita tahu macamana nak diadunkan untuk dijadikan suatu cerita yang menarik. Anda perlu ada satu buku nota kecil untuk mencatatkan idea yang diperolehi. Ini memudahkan anda untuk mengingat semula idea yang datang semalam atau pagi tadi.
BANYAK PERKARA DAH TAHU, TAPI MACAMANA NAK TULIS?
Ini satu masalah. Orang lain saya tak tahu. Tapi bagi saya inilah masalah yang selalu memeningkan. Macamana nak mula? Idea dah ada, tapi nak mula dimana?
Saya atasi masalah tersebut dengan mengambil jalan mudah: tulis saja apa yang nak tulis. Bantai saja. Tak payah kira plot, tak payah fikir pasal plot, babak dan sebagainya. Kita boleh sunting dan buat susunan kemudian. Sekarang ni apa susah, guna komputer. Bukan guna mesin taip ketuk yang terpaksa buang kertas atau guna cecair pemadam. Kita keluarkan dulu apa yang terkandung difikiran kita, kemudian kita susun semula elok-elok. Bila kita tulis stail ini, percayalah bahawa hasil yang akan kita dapat adalah amat baik sekali dan adakalanya kita sendiri merasa kagum dengan apa yang terhasil. Inilah pengalaman saya selama ini. Tapi semuanya terpulang kepada stail dan ikut keselesaan masing-masing.
PERKARA-PERKARA TERLARANG
Dalam apa-apa hal pun perkara terlarang tetap ada. Demikian juga dengan penulisan skrip drama. Perkara terlarang ialah perkataan/aksi lucah, adegan jenayah melampau, sindiran politik keterlaluan, sentimen agama dan lain-lain perkara yang boeh menimbulkan keresahan dan huru hara yang mengancam kesejahteraan rakyat dan negara. Kalau anda tulis juga, skrip tersebut tentunya akan menjadi koleksi peribadi yang tersimpan di perpustakaan anda serta tidak dapat disampaikan kepada khalayak.
AKHIRUL KALAM
Setelah anda meneliti tulisan ini, diharapkan anda mendapat sedikit pengetahuan tentang kaedah-kaedah penulisan skrip drama. Ia mungkin belum cukup untuk menjadikan anda penulis skrip yang baik . Anda perlu banyak belajar melalui pembacaan dan mendengar/menonton drama. Tulisan ini juga bukanlah yang terbaik. Ia sekadar panduan untuk dikongsi bersama. Saya tidak mempunyai apa-apa kepentingan. Saya sampaikan kepada anda dengan ikhlas sekadar ilmu yang terbatas agar sekurang-kurangnya andalah pewaris penulisan skrip dimasa hadapan. Insyaallah.
Al Faqir Ilallah
NASIR AWANG.

APAKAH YANG DIKATAKAN DRAMA?

Sebelum anda menulis sebuah skrip drama, anda tentu nak tahu apakah itu drama. Anda tentu pernah mendengar drama radio, sering menonton drama/telefilem atau filem di TV juga dipawagam. Mengikut kata pakar-pakar, drama ialah satu rakaman perlakuan/kehidupan manusia yang dilakonkan semula untuk pendengaran atau tontotan umum. Maknanya kebanyakan drama atau filem yang kita tonton saban hari itu ialah mengenai pelbagai perlakuan manusia.

KENAPA KITA NAK TULIS DRAMA?

Kebanyakan orang yang menulis drama (atau lain-lain genre) ialah kerana mereka mempunyai bakat semulajadi anugerah Allah. Melalui bakat itulah mereka meluahkan idea dan rontaan perasaan yang bersarang disanubari melalui karya mereka. Mereka akan berasa puas bila idea dapat dicurahkan untuk dikongsi bersama orang lain. Ada orang yang tidak begitu berbakat, tetapi mereka mempunyai minat yang mendalam terhadap penulisan skrip drama. Hasil usaha mereka akhirnya mereka berjaya menjadi penulis drama dikagumi. Menulis drama merupakan satu dari cabang untuk meluahkan idea rasa seni untuk dipersembahkan kepada orang lain. Bila orang lain terhibur, kita akan terhibur.

SKRIP DRAMA, APA ISTIMEWANYA?
Skrip drama berbeza daripada novel dan cerpen atau puisi. Bagi novel dan cerpen, pembaca akan dijelaskan secara terperinci tentang sesuatu situasi dan latar bagi sesuatu peristiwa yang berlaku melalui penerangan pengarang. Tetapi dalam sesebuah naskhah skrip drama, seseorang pembaca hanya akan diberikan gambaran umum (deskripsi) tentang sesuatu situasi, latar atau tempat, dan dialoglah yang akan menyampaikan mesej dan pemikiran pengarang. Hal inilah yang membezakan drama daripada karya sastera yang lain. Skrip drama yang baik akan dapat memberikan gambaran jelas tentang pemikiran pengarang melalui unsur-unsur dramatik dalam dialog yang dihasilkan boleh menimbulkan perasaan marah, gembira, lucu, dan seumpamanya. Sebuah drama yang baik juga harus mempunyai unsur suspens, ketegangan dan seharusnya mampu membina rasa ingin tahu pendengar atau penonton apakah kesudahan drama tersebut.
PENDUKUNG WATAK/PELAKUN
Sebuah skrip drama mesti mempunyai watak-watak yang mampu membawa cerita untuk terus berkembang. Watak-watak inilah yang menjadi cerita, dan bakat lakunan merekalah yang menghidupkan cerita. Oleh itu watak adalah penting dalam sesebuah dalam drama. Wataklah yang menggerakkan plot cerita. Dalam sesebuah drama terdapat watak utama dan watak sampingan. Selalunya dalam sesebuah drama terdapat satu atau dua watak utama. Watak pertama ialah watak yang menyokong idea penulis. Watak kedua ialah watak yang menentang idea penulis. Mudahnya, watak baik (positif) dan watak jahat (negatif). Pertentangan idea ini akan menimbulkan konflik dan pertentangan konflik inilah yang membentuk struktur konflik dramatik yang menarik. Watak sampingan ialah watak-watak yang lain yang menyokong untuk menghidup dan memeriahkan jalan cerita hingga ke akhir.
PLOT
Plot sangat penting dalam pembinaan struktur drama. Plot adalah struktur drama yang dibina melalui dialog dan aksi setiap watak. Dialog terbina melalui kata-kata atau bahasa. Melalui dialog inilah konflik dan perkembangan cerita berlaku. Konflik memainkan peranan yang cukup penting dalam membangunkan struktur sebuah drama. Bertolak daripada konflik dan ketegangan inilah sesuatu peristiwa digerakkan dan dilanjutkan perkembangannya hingga kepada peleraiannya atau kesimpulan cerita.
BABAK
Bahagian dalam drama yang menjelaskan peristiwa yang berlaku dalam sesuatu latar tempat dan masa disebut babak. Pertukaran latar tempat dan masa membawa perubahan babak.
BAHASA/DIALOG
Asas sebuah drama ialah perkataan atau dialog. Drama terbina oleh dialog dan aksi. Oleh itu, bahasa yang menjadi asas perkataan adalah elemen yang cukup penting bagi sesebuah drama. Daripada bahasa yang dituturkan oleh pelakon itu, pemikiran dan gagasan pengarang disampaikan. Sesebuah drama yang baik akan menggunakan bahasa yang ringkas, padat dan mudah difahami supaya berkesan kepada penonton. Ringkasnya, menggunakan bahasa pertuturan harian. Bukannya bahasa surat atau bahasa berbunga-bunga seperti novel, cerpen atau puisi. Gaya bahasa atau dialog yang meleret dan sukar difahami akan menyebabkan pendengar dan penonton bosan dan akhirnya hilang tumpuan. Gaya bahasa dalam sesebuah drama akan memberikan latar zaman, masyarakat dan tempat. Justeru itu, dialek sesuatu daerah boleh digunakan oleh sesuatu watak untuk menghidupkan lagi perwatakannya, tetapi pastikan yang pendengar dan penonton dapat memahami dialek tersebut. Kekuatan sesuatu watak itu terpancar daripada cara dialog yang diucapkannya. Watak yang gagal mengucapkan dialog mengikut sesuatu keadaan lakunan akan sukar menarik perhatian penonton. Oleh itu, pemilihan ayat atau unsur bahasa penting dalam mengekalkan keinginan pendengar dan penonton sesebuah drama.
JENIS-JENIS DRAMA
Terdapat tiga jenis drama yang utama, iaitu:
• Tragedi – sebuah drama yang mengisahkan suka duka dan tragisnya kehidupan watak utamanya. Kisah watak utama ini selalunya berakhir dengan tragedi.
• Komedi – Drama ini memaparkan kisahnya dalam bentuk lucu dan menghiburkan. Ceritanya serius, tetapi disampaikan dalam bentuk kelucuan oleh watak-wataknya. Drama ini selalunya digunakan untuk menyindir masyarakat. Plot drama komedi boleh berakhir dengan kepuasan penonton (kegembiraan) dan boleh juga berakhir dengan kedukaan .
• Melodrama – Drama ini bersifat sentimental dan ceritanya sering berkisar pada persoalan keluarga atau wanita. Drama ini selalunya akan menyentuh emosi pendengar atau penonton.


BERAPA PANJANG/LEMBARAN SESUATU SKRIP?
1. Skrip drama radio 15 minit.
9 muka surat ditaip langkau dua menggunakan Times New Roman 12 point.
2. Skrip drama radio 30 minit.
18 – 20 muka surat.
3. Skrip drama radio 45 minit
25 -27 muka surat
4. Skrip drama tv/telefilem/filem
120 -150 muka surat.
5. Skrip sitcom tv 30 minit
50 – 60 muka surat
(angka yang diberikan merupakan anggaran sahaja)
DARI MANA NAK DAPAT IDEA UNTUK MENULIS?
Idea boleh datang dengan macam-macam cara. Dari pengalaman, pemerhatian, bacaan, cerita orang, perbincangan dengan kawan-kawan dan macam-macam. Yang penting bila kita dapat idea, kita tahu macamana nak diadunkan untuk dijadikan suatu cerita yang menarik. Anda perlu ada satu buku nota kecil untuk mencatatkan idea yang diperolehi. Ini memudahkan anda untuk mengingat semula idea yang datang semalam atau pagi tadi.
BANYAK PERKARA DAH TAHU, TAPI MACAMANA NAK TULIS?
Ini satu masalah. Orang lain saya tak tahu. Tapi bagi saya inilah masalah yang selalu memeningkan. Macamana nak mula? Idea dah ada, tapi nak mula dimana?
Saya atasi masalah tersebut dengan mengambil jalan mudah: tulis saja apa yang nak tulis. Bantai saja. Tak payah kira plot, tak payah fikir pasal plot, babak dan sebagainya. Kita boleh sunting dan buat susunan kemudian. Sekarang ni apa susah, guna komputer. Bukan guna mesin taip ketuk yang terpaksa buang kertas atau guna cecair pemadam. Kita keluarkan dulu apa yang terkandung difikiran kita, kemudian kita susun semula elok-elok. Bila kita tulis stail ini, percayalah bahawa hasil yang akan kita dapat adalah amat baik sekali dan adakalanya kita sendiri merasa kagum dengan apa yang terhasil. Inilah pengalaman saya selama ini. Tapi semuanya terpulang kepada stail dan ikut keselesaan masing-masing.
PERKARA-PERKARA TERLARANG
Dalam apa-apa hal pun perkara terlarang tetap ada. Demikian juga dengan penulisan skrip drama. Perkara terlarang ialah perkataan/aksi lucah, adegan jenayah melampau, sindiran politik keterlaluan, sentimen agama dan lain-lain perkara yang boeh menimbulkan keresahan dan huru hara yang mengancam kesejahteraan rakyat dan negara. Kalau anda tulis juga, skrip tersebut tentunya akan menjadi koleksi peribadi yang tersimpan di perpustakaan anda serta tidak dapat disampaikan kepada khalayak.
AKHIRUL KALAM
Setelah anda meneliti tulisan ini, diharapkan anda mendapat sedikit pengetahuan tentang kaedah-kaedah penulisan skrip drama. Ia mungkin belum cukup untuk menjadikan anda penulis skrip yang baik . Anda perlu banyak belajar melalui pembacaan dan mendengar/menonton drama. Tulisan ini juga bukanlah yang terbaik. Ia sekadar panduan untuk dikongsi bersama. Saya tidak mempunyai apa-apa kepentingan. Saya sampaikan kepada anda dengan ikhlas sekadar ilmu yang terbatas agar sekurang-kurangnya andalah pewaris penulisan skrip dimasa hadapan. Insyaallah.
Al Faqir Ilallah
NASIR AWANG.

CONTOH SKRIP FILEM - GLADIATOR

OLEH KERANA SUSAH NAK DAPAT SKRIP FILEM MELAYU, ABANG AD CARI DALAM LAMAN WEB DAPATLAH SKRIP FILEM ORANG PUTIH. SKRIP BERLAMBAK-LAMBAK. TAK LARAT NAK BACA. ORANG PUTIH NI SEBENARNYA DEPA TAK KEDEKUT ILMU.
DEPA BANGGA KALAU DEPA DAPAT SEBARKAN ILMU PADA ORANG LAIN. ABANG AD CUBA MENCONTOHI SIKAP DEPA. ABANG AD BUKAN NAK CARI NAMA ATAU GLAMOUR. KALAU ANDA CARI DALAM LAMAN WEB MALAYSIA, ANDA JANGAN HARAP AKAN DAPAT BACA CONTOH SKRIP FILEM YANG PERCUMA MACAM INI. SEMUANYA KENA MASUK KURSUS DAN BERBAYAR. PUSAT SENI USM, ATAU AKADEMI SENI KEBANGSAAN PUN TAK BAGI KITA BACA CONTOH SKRIP SECARA PERCUMA. DEWAN BAHASA DAN PUSTAKA MELALUI UNIT SASTERANYA PUN TAK BUAT APA-APA. SEPATUTNYA DEPA PERLU ADA ARKIB SENI DILAMAN WEB DEPA YANG MEMUATKAN PELBAGAI JENIS SKRIP (RADIO/TV/FILEM/TEATER) UNTUK RUJUKAN PEMINAT SENI. DEMIKIAN JUGA DENGAN GENRE LAIN. TAPI DEPA TAK DAK INISIATIF ATAU DALAM PERANCANGAN TAPI TERTANGGUH! TAK TAHULAH PULAK KALAU-KALAU ADA. TAPI SETAKAT INI ABANG AD BELUM JUMPA LAGI. AWAT PERANGAI DEPA LAGU TU? KALAU KITA NAK BACA CONTOH SKRIP KITA KENA BELI BUKU ATAU BUKA LAMAN WEB ORANG PUTIH. ORANG KITA BUAT APA?

INI CERITA ORANG KITA YANG KEDEKUT ILMU:

Kisah seorang Tok Guru silat. Dia belajar dari Tok Guru dia kemudian dia perturunkan pulak pada anak-anak murid dia. Dia ajar sampai murid-murid dia pandai sampai mandi minyak, mandi limau dan tamat perguruan. Tapi ada beberapa "buah" yang dia tak perturunkan pada anak-anak murid-murid kerana dia takut anak murid akan lebih pandai atau menderhaka pada dia. Jadi dia tak ada "buah" nak kilas anak-anak murid dia. Satu hari dia diserang samseng. Dia kena belasah. Anak-anak murid semua konfiden Tok Guru depa boleh memang. Tapi bila dia kena kilas dengan samseng, dia tak boleh lawan, dia jerit minta tolong pada anak-anak murid. Anak murid sorang pun tak tahu nak buka kunci yang samseng kilas Tok Guru depa. Akhirnya dia kalah dan maut disitu.

Maknanya, satu ilmu sudah hilang dan akan berkubur bersama-sama dengan dia. Jadi ilmu akan semakin berkurangan. "SEBARLAH ILMU YANG BAIK WALAU SATU AYAT" -Muttafaq Alaih.


INI DIA CONTOH SKRIP DARI ORANG PUTIH YANG TAK KEDEKUT. ANDA BOLEH TELITI DAN BELAJAR BETUL-BETUL. PANJANG SKRIP INI 113 MUKA SURAT UNTUK TAYANGAN LEBIH KURANG 90 MINIT. SEMOGA ANDA BERJAYA

"ABANG AD GEMBIRA KALAU ANDA BERJAYA".


Gladiator (2000)

by David Franzoni, revised by John Logan.
Second draft. October 22, 1998.
More info about this movie on IMDb.com
"While stands the Colosseum, Rome shall stand.
When falls the Colosseum, Rome shall fall.
And when Rome falls -- the World."

Byron

FADE IN:

EXT. FOREST - DAY

Germania. The far reaches of the Roman Empire.

Winter 180 A.D.

Incongruously enough, the first sound we hear is a
beautiful tenor voice. Singing. A boy's voice.

CREDITS as we hear the haunting song float through dense
forests. We finally come to a rough, muddy road slashing
through the forest. On the road a GERMAN PEASANT FATHER
is herding along three sickly looking cows. His two SONS
are with him. His youngest son sits on one of the cows
and sings a soft, plaintive song.

They become aware of another sound behind them on the road
-- the creak of wood, the slap of metal on leather. The
Father immediately leads his cattle and his sons off the
road. They stand-still, eyes down: the familiar posture
of subjugated peoples throughout history.

A wagon train rumbles past them. Three ornate wagons
followed by a mounted cohort of fifty heavily-armed
PRAETORIAN GUARDS.

The young boy dares to glance up at the passing Romans.
His eyes burn with hatred.

INT. WAGON - DAY

Mist momentarily obscures a man's face. Frozen breath.
The man is in his 20's, imperious and handsome. He is
swathed in fur, only his face exposed. He is COMMODUS.

He glances up.

COMMODUS
Do you think he's really dying?

The woman across from him returns his gaze evenly. She is
slightly older, beautiful and patrician. A formidable
woman.

She is LUCILLA.

LUCILLA
He's been dying for ten years.

COMMODUS
I think he's really dying this time.

A beat. Their breath turns instantly to mist.

COMMODUS
He has to be bled every night now.

LUCILLA
How do you know that?

COMMODUS
I've been so informed.

She arches an eyebrow.

COMMODUS
If he weren't really dying he
wouldn't have sent for us.

LUCILLA
(a smile)
Maybe he just misses us.

COMMODUS
And the Senators. He wouldn't have
summoned them if --

LUCILLA
Peace, Commodus. After two weeks on
the road your incessant scheming is
hurting my head.

A beat.

COMMODUS
The first thing I shall do is honor
him with games worthy of his
majesty.

LUCILLA
The first thing I shall do is have a
hot bath.

The wagon rumbles to a halt. Voices are heard outside.

Commodus leaps out...

EXT. WAGON - OUTPOST - DAY

Three Roman SOLDIERS guard an outpost, a watchtower, on
the roadside.

COMMODUS
Why have we stopped?

PRAETORIAN GUARD MEMBER
We're here, sir.

COMMODUS
(to Soldier #1)
Where is my father?

SOLDIER #1
He's at the front, sir.

COMMODUS
Is the battle won?

SOLDIER #1
Don't know, sir. They've been gone
for eight days.

Commodus tosses off his furs -- beneath them he wears a
beautiful set of Lorica Segmentata -- the traditional
formed armor of Rome. He moves to a horse as:

COMMODUS
(to Soldier #1)
My sister wants a bath, take her to
the camp.
(to Soldier #2)
Take me to my father.

He leaps onto the horse and canters back to the Praetorian
Guard unit.

Soldier #2 climbs on his horse and leads them. Commodus
rides off with most of the Praetorian Guard unit.

Lucilla peeks her head from the wagon. She glances at the
remaining soldiers. Distinctly unpromising.

LUCILLA
(dry)
Civilization at last. Gods preserve
us.

EXT. HILL - TWILIGHT

The mighty catapults dwarf the humans. Soldiers from the
elite Felix Regiment -- a legion of the Roman Army -- haul
the monstrous machines up a hill.

The commanding General of the Felix Regiment, MAXIMUS,
walks between two of the catapults. He is a striking and
intense man in his 30's. Like all the soldiers who
surround him, he is caked with mud and exhausted.

He trudges up the hill with his two lieutenants, TITUS and
QUINTUS.

TITUS
You would do as well to read the
mind of a rhinoceros.

QUINTUS
These barbarians would rather drown
in blood than yield an inch. If I
didn't hate them so much I would
admire them.

They have reached the top of the hill. Stunning martial
preparations are underway. The catapults join ten others.
Archers are taking up position. Brutal "Scorpions" --
devices for firing multiple crossbow bolts -- are being
loaded. Soldiers are also loading the catapults with
enormous "Greek fire pots" -- large, round terra cotta
pots.

Maximus and his lieutenants gaze down from the hilltop.
Below them they can see a German encampment.

TITUS
They simply will not surrender.

A beat as Maximus gazes down at the German position.

MAXIMUS
(quietly)
A people should know when they are
conquered.

A beat.

MAXIMUS
At the first signal release the
catapults. We'll use the cavalry to
cut off the retreat.

QUINTUS
General, I don't recommend that.
Our cavalry might be caught in the
flames.

MAXIMUS
I hope not, because I'm going to be
leading them.

A beat as he gazes down at the enemy.

MAXIMUS
Why don't they know they're already
dead?

EXT. TREES - TWILIGHT

Maximus and Titus are on their horses, the cavalry of two
hundred Felix Regiment warriors surrounds them. Steam
flares from their horses' nostrils. They wait in a thick
stand of trees -- the German position can be seen across a
muddy plain.

A large wolf -- "The Wolf of Rome" -- waits at Maximus'
side.

Maximus nods to an archer. The archer lights the tip of
an arrow and sends it flaming into the night sky.

EXT. HILLTOP - TWILIGHT

Quintus waits. The catapults are loaded and waiting. So
too the Scorpions. So too the 200 archers of the Felix
Regiment.

He sees the flaming arrow flying up from below.

QUINTUS
Now!

The mighty catapults are released. The Greek fire pots
arc dramatically through the air. A moment later soldiers
release the Scorpions and hundreds of bolts streak through
the sky. The archers fire a murderous barrage of flaming
arrows.

EXT. TREES - TWILIGHT

The screaming is almost immediate.

Maximus and his cavalry watch as the fire pots crash down
into the German encampment.

EXT. GERMAN CAMP - TWILIGHT

The fire pots shatter -- pitch splashes everywhere --
seconds later the bolts and flaming arrows slice down and
ignite the pitch -- FLAME EXPLODES -- it is a hellish,
napalm-like vision -- the conflagration illuminating the
twilight.

The deadly rain of flaming arrows spreads terror through
the German camp --

EXT. TREES - TWILIGHT

Maximus watches the German camp.

MAXIMUS
(to his men)
Hold steady... steady...

He can see the nightmare destruction of the encampment
continuing -- fire pots and Scorpion bolts and flaming
arrows -- panic in the German encampment.

MAXIMUS
Steady...

He sees the Germans begin fleeing across the plain. He
quickly raises his sword and whispers a prayer, then turns
to his men:

MAXIMUS
Brothers -- I salute you! For Rome!

He spurs his horse and races out of the trees to the
plain...

EXT. PLAIN - BATTLEGROUND - TWILIGHT

Maximus leads the terrifying and relentless cavalry charge
-- Titus at his side -- the Felix Regiment screams out
fearsome war cries as they gallop across the muddy plain
toward the Germans --

Fire pots and flaming arrows are crashing down everywhere
around them --

The cavalry SLAMS into the Germans at full gallop --

It is carnage.

The Felix Regiment warriors slash ruthlessly with short
swords -- slicing a path of sheer destruction through the
Germans -- but the Germans fight with equal brutality --
and the Germans also fight with the desperation of a
hopeless last chance -- they pull and spear Roman soldiers
off horses whenever they can --

Maximus spins his horse and swings his sword with expert
efficiency -- a spear stabs through the neck of his horse
and it immediately collapses forward --

Maximus sails over the horse's head and crashes to the
muddy ground -- he jumps up and is in the midst of the
battle --

The flaming arrows and exploding fire pots create a
ferocious inferno everywhere around the battle -- the
flames silhouetting the fighting --

On the ground, Maximus proves his absolute worth as a
warrior -- he hacks and dodges -- ghastly images of true
ancient warfare -- Maximus' eyes burn with a zealous fire
as he fights for his life --

He finds he is momentarily at a terrible disadvantage --
Germans are surrounding him from all sides -- as he fights
he looks for an advantage -- for his soldiers -- for
anything -- he is doomed --

Then -- an almost mystical image -- Maximus' wolf leaps
through a wall of flame --

"The Wolf of Rome" savages several Germans around Maximus
-- giving him the help he needed.

The wolf and his master fight, side-by-side.

EXT. HILLTOP - TWILIGHT

We see an old man's face, staring down at the battle. The
face is weather-beaten, ailing. The roaring flames from
the battlefield below flicker in his sad eyes.

MARCUS AURELIUS, the Emperor of Rome, is on a horse. A
metal brace extends from the back of his saddle. He is
strapped to the brace with thick, leather straps.

He watches as the Felix Regiment below concludes the
battle. The cheering of the Regiment can be heard as the
final, isolated pockets of Germans are cut down.

Behind Marcus the sun is setting, painting the world blood
red.

EXT. BATTLEFIELD - SUNSET

Maximus, bloody and spent, walks through the aftermath of
the carnage. The Wolf of Rome is at his side. Dead and
dying by the hundreds are scattered everywhere. Roman
surgeons are attending to the wounded.

Marcus walks to him, embraces him warmly.

MAXIMUS
Caesar.

MARCUS
Maximus, you prove your valor again.
Let us hope for the final time here.

MAXIMUS
I don't think there's anyone left to
fight.

MARCUS
There are always people left to
fight...

Marcus takes Maximus' arm and they walk through the masses
of bodies. Maximus holds Marcus' arm firmly, quietly
supporting him as they walk.

MARCUS
But this night, at least, Germania
is at last defeated... What will you
do now, my friend?

MAXIMUS
Should Caesar permit, I'll go home.
I've been away too long. I've
forgotten my wife's face and I
barely know my son.

Suddenly, a tethered GERMAN PRISONER they are passing
calls out to them:

GERMAN PRISONER
THIS BLOOD MEANS NOTHING, CONQUEROR!

Maximus and Marcus stop. A soldier moves quickly to
silence the German Prisoner.

MARCUS
(to Soldier)
Stop...
(to Prisoner)
... You speak our language?

GERMAN PRISONER
You have been in my homeland for
twelve years. Of course I speak
your language. So did my son, who
you murdered. So did my daughter,
who you raped.

MAXIMUS
(to Marcus)
Come, Caesar...

MARCUS
No. Let him speak...
(to Prisoner)
... I am Rome, what would you say to
me?

GERMAN PRISONER
(points to sunset)
You are that sun, Rome, and your
time is over... You can slit a
thousand throats here, and you can
put a thousand babies to the sword,
but it will always be our home.

MARCUS
Now it is Rome.

GERMAN PRISONER
It will never be Rome. Not as long
as one German breathes.

The soldier moves to kill the insolent Prisoner.

MARCUS
No... Release him. Give him safe
passage. Let him go to his family.

The soldier leads the German Prisoner away.

Maximus and Marcus continue walking in silence for a beat.
Then:

MARCUS
Tell me again, Maximus, why are we
here?

MAXIMUS
For the glory of the empire, sire.

MARCUS
(quietly)
Yes. I remember.

They continue walking through the mountains of bodies...

EXT. ROAD - SUNSET

Maximus and Marcus are now walking along a road through
the dense forest. Slaves follow behind them, leading
their horses.

Both sides of the road are filled with the men of the
Felix Regiment. As Maximus and Marcus pass, the battered
and bloody soldiers drag themselves to their feet, raising
their swords, paying silent homage.

MAXIMUS
They honor you, Caesar.

MARCUS
I don't think they're standing for
me, Maximus. They honor you.

Just then Commodus canters into view with his Praetorian
Guard escort. He watches the army honor Maximus with rank
envy as he nears.

He rides up to Maximus and Marcus.

COMMODUS
Have I missed it?

He leaps from his horse.

COMMODUS
Have I missed the battle?

MARCUS
You've missed the war. We're done
here.

Commodus embraces him, awkward.

COMMODUS
Father. Congratulations. I shall
sacrifice a thousand doves to honor
your triumph.

MARCUS
Spare the doves and honor Maximus,
he won the battle.

Commodus embraces Maximus, even more awkward.

COMMODUS
General, Rome salutes you and I
embrace you as a brother.

MAXIMUS
Highness.

They walk, Maximus still supporting Marcus, as:

COMMODUS
Your Spaniards seem invincible. May
the Gods favor the Felix Regiment
now and always...
(to his father)
Here, Father, take my arm.

MARCUS
(ignores this)
Where's your sister?

COMMODUS
She's at the camp. She had no
desire to see the gore of the
battlefield.

MARCUS
(smiles)
Lucilla would eat every corpse here
if it brought her one step closer to
the throne.

Maximus laughs.

MAXIMUS
(smiles)
Caesar, you do the lady injustice.

MARCUS
It's a foolish old cobra who doesn't
recognize his own off-spring...
(he suddenly stops,
not feeling well)
I think... I should ride now.

Maximus waves for Marcus' horse. It is brought up.
Several soldiers carefully help the old man into the
saddle. He is then tethered to the brace on his saddle.
It is a slow, graceful and embarrassing ordeal for the
Emperor of Rome.

When at last he is strapped in, he looks to Maximus.

MARCUS
So much for the glory of Rome.

Without a word to his son, Marcus nods and the horse is
slowly lead away.

Commodus and Maximus watch him go.

COMMODUS
(neutral)
He's dying.

A beat.

COMMODUS
Poor old man.

MAXIMUS
(terse)
If you'll excuse me, Highness.

He turns and stalks away.

EXT. TENT CITY - NIGHT

We see the Roman encampment, a sea of tents. Hundreds of
campfires burn before the tents.

INT. HOSPITAL TENT - NIGHT

Maximus enters a large tent and is met by a spectacle of
the dead and dying. Roman surgeons are working feverishly
to save lives. Limbs are amputated, the bloody stumps
quickly cauterized with hot irons. Leeches and bronze
cups are employed for blood-letting to balance "humours."

Anesthesia as we know it is nonexistent. Wine amphoras
are passed around and orderlies fan narcotic smoke toward
the patients. Mostly, though, they just hold down the
writhing patients.

Maximus moves through the tent, offering a word of comfort
here and there. All the wounded are delighted to see him.

He goes to an older soldier, GALLUS, who has one wooden
hand. His other hand is bandaged.

MAXIMUS
What, Gallus, losing your other
hand?

GALLUS
Aye, General, they're going to make
a bronze one for it. Long fingers
this time.

MAXIMUS
And the women of your village will
crave your touch even more.

GALLUS
Ah, then you know the women of my
village.

Maximus smiles and moves on.

He stops at a young soldier, VALERIUS, whose head has been
shaved. A hole has been bored into his skull to relieve
the pressure on his brain. The young soldier is dying.

MAXIMUS
What's your name, son?

VALERIUS
Valerius, General.

MAXIMUS
The name suits you.

VALERIUS
Why am I dying?

A beat. Maximus sits by his cot. He takes Valerius'
hand.

MAXIMUS
You're dying because you love Rome,
as I do.

VALERIUS
I've never been to Rome.

MAXIMUS
Neither have I. Rome for us lives
here...
(he touches his
heart)
... it's a thing inside us that came
from our ancestors and that we give
to our children.

VALERIUS
It must be glorious, Rome. I've
only seen pictures. Is it a
glorious place?

A beat.

MAXIMUS
Yes, it's a glorious place.

VALERIUS
It must be.

He smiles. And he is dead.

Maximus sits for a moment. He gently closes Valerius'
eyes. And Maximus finds that he is weeping.

He is not ashamed of the tears.

INT. MESS TENT - NIGHT

An immediate swirl of noise. The grand mess tent is
crowded with soldiers. They are still filthy with caked-
on mud and blood. Wounds are bandaged and tankards are
raised in celebration of the victory.

Marcus sits in a central position and receives visitors.
Currently two Senators, FALCO and GAIUS, are bowing before
him.

FALCO
Hail, Marcus Aurelius.

MARCUS
Stand up, Senators. That unfamiliar
posture doesn't suit you.

GAIUS
We live in supplication to your
glory.

MARCUS
All the while conspiring with that
fat man in Rome. How is the old
monster?

GAIUS
Senator Gracchus is hale, sire.

MARCUS
Still damning me to the four winds?

GAIUS
Still eager for your triumphant
return to Rome, Caesar.

MARCUS
I would have silenced him decades
ago -- but I just like him too much.

Meanwhile, Maximus stands with his lieutenants, Titus and
Quintus. A wound on Maximus' arm has been bound.

MAXIMUS
(to Titus)
If you want to stay on, I support
you. So do the men. I'll ask the
Emperor to appoint you in my place.

TITUS
It won't be the Felix Regiment
without you.

MAXIMUS
I'll return after a season at home.
Maybe two.

QUINTUS
That means after three or four more
babies.

TITUS
And you'll be too fat from Vibia's
cooking to get on your horse by
then.

MAXIMUS
Should the Gods so bless me. I
would be thankful.

Commodus perambulates up to them.

COMMODUS
Hail, warriors. My congratulations.

TITUS AND QUINTUS
(bowing)
Highness.

COMMODUS
(to Maximus)
My old friend, my father tells me
you're returning to Spain?

MAXIMUS
Yes.

COMMODUS
A pity. I'll need men like you in
my army...

An awkward glance between the soldiers. This sort of talk
is offensively premature.

COMMODUS
There are larger division that might
appeal to you. Even the Praetorian
Guard. You've never been to Rome.
Imagine arriving as head of the
Praetorians! They have really
splendid uniforms.

MAXIMUS
(cold)
I'm going home.

Senators Gaius and Falco join them.

GAIUS
(to Maximus)
... And why not apply for entry to
the Senate?

FALCO
A war hero with a handsome face and
a strong heart could go far.

COMMODUS
General Maximus, may I present
Senators Gaius and Falco. Beware of
this Gaius, he'll pour a honeyed
potion in your ear and you'll wake
up one day and all you'll say is
"Republic, Republic, Republic..."

Laughter.

FALCO
Have you never considered Rome?

MAXIMUS
No.

COMMODUS
You've had my ear since we were
children. You could be a valuable
ally in the Senate.

GAIUS
Are you a believer in Republicanism?

COMMODUS
(laughs)
There -- I warned you.

MAXIMUS
I'm a soldier, not a politician.

Meanwhile, a dark eye is studying the men through a hidden
slit in the tent wall. The eye is particularly drawn to
Maximus.

GAIUS
If your heart lies with the people,
I would back you for the Senate.
I'm sure Gracchus would as well.

COMMODUS
Not a word about that sodomite
bastard.

GAIUS
(smiles to Maximus)
The august Senator Gracchus has been
rather a gadfly on the flesh of the
imperial family.

FALCO
He's a damned provocateur.

GAIUS
He lives under the antiquated
assumption that the Senate should
represent the people with vigor.

COMMODUS
I won't tolerate it. His incessant
criticism exhausts me. The man can
speak for five hours without taking
a breath.

GAIUS
He serves Rome best when he serves
it with honesty.

COMMODUS
(sharply)
Enough... Maximus, I would like to
inspect the Felix Regiment at dawn.
Please arrange it.

MAXIMUS
I can't do that.

COMMODUS
Excuse me?

MAXIMUS
My men have been fighting for five
solid days. They're too busy dying
to go on dress parade.

A beat. Commodus' eyes flash fire at this public rebuke.
He very quickly gets control.

COMMODUS
(smiles)
Of course, how foolish of me. Some
other time...

He notes his father being helped out of the tent by
several body slaves.

COMMODUS
Caesar retires early tonight.

INT. TENT CORRIDOR - NIGHT

Marcus is helped out of the mess tent into a tent corridor
attached.

He sees his daughter Lucilla in the corridor, spying in
through the slit in the tent wall. He watches her,
smiles.

MARCUS
If only you had been born a man...

She turns to him. He leaves his body slaves and goes to
her.

LUCILLA
Father.

MARCUS
What a Caesar you would have made.

LUCILLA
You're right.

MARCUS
I think you would have been strong.
I wonder if you would have been
just?

LUCILLA
I would have been what you taught me
to be.

A beat. They stare at each other. He finally smiles.

MARCUS
Well, pretend to be my loving
daughter tonight and walk with me to
my chamber.

She smiles and takes his arm. They slowly walk down the
tent corridor as:

MARCUS
This is a pleasant fiction, isn't
it?

They disappear into darkness.

EXT. TENT CITY - DAWN

Maximus is slogging through the mud and snow that blankets
the Rome camp. He stops to observe an unusual sight.

Commodus is stripped almost naked, his chiseled body
covered in a fine sheen of sweat. He and his six
CENTURION BODY GUARDS are going through their daily
ritual. They defy the sub-zero temperatures and hack at
small trees with swords.

It is an eerie, zen-like workout. Commodus' intense
concentration is unnerving.

Maximus watches for a moment then moves on. He approaches
a large network of tents. He enters.

INT. MARCUS' TENT - DAY

Maximus enters Marcus' darkened tent. Flickering braziers
provide the only light in the enormous Imperial tent.
Heavy beams support the canopy and they creak like the
timbers of a ship as the tent sways slightly in the wind.

Marcus stands before a map of the Roman Empire.

MAXIMUS
(bows)
Caesar.

Marcus holds out a scroll.

MARCUS
Read this.

MAXIMUS
I never acquired the art, sir.

MARCUS
Of course. No matter. In this
letter I denote my intention to
nominate you to stand for the
Emperorship after my death.

A stunned pause. Maximus stares at him.

MARCUS
My son is not a moral man. You have
known this since you were young. He
cannot rule.

MAXIMUS
Caesar, I am honored but --

MARCUS
For twenty years I have been
spilling blood. For twenty years I
have written philosophy and
ruminated and conquered. Since I
became Caesar I have only had four
years without war. Four years of
peace in twenty. So perhaps I can
be... forgiven.

A long beat.

MARCUS
While I have been fighting, Rome has
grown mad and corpulent and
diseased. I did this. And now I
shall make it right.

MAXIMUS
Sire, you brought the light of the
Gods to barbarian darkness. You
brought civilization and justice to
the farthest --

MARCUS
(fierce)
I have brought the sword -- nothing
more! Rome is far away and we
shouldn't be here. What matter is
it to the Gods if we subdue one more
tribe of Parthians or Gauls? What
matter is it to Rome if a thousand
more barbarians bend to our lash?

A beat.

Marcus sits. He doesn't look at Maximus.

A pause.

MARCUS
Winter, Maximus. It's winter now...

A beat.

MARCUS
There was a dream that was Rome. I
can only whisper of it now.
Anything more than a whisper and the
dream vanishes. It's so... fragile.
The true glory of Rome is in a very
fragile idea. Imagine a place
devoted to the rights of the
citizen. Where every free man has a
voice. That was the dream... And I
fear it will not survive the winter.

He holds out a hand to Maximus. Maximus takes his hand,
deeply moved, kneeling.

MARCUS
Let's just whisper here, you and I.

MAXIMUS
Yes, Caesar.

MARCUS
If the dream is ever to live again
the people must have a true voice.
The voice I took from them. That
all the Caesars took from them, bit
by bit, conquest by conquest. And
now that I am dying I am going to
give them that voice again.

MAXIMUS
You're not dying.

MARCUS
I am, Maximus. It's strange... I
find as I near the end I think
little of the waning moments around
me... instead I think much of the
past... and of the future. How will
the world speak my name in years to
come? Will I be known as the
philosopher? The warrior? The
tyrant? Or will there be a more
golden sounding to my name? Will I
be the Emperor who gave Rome back
her freedom?

A beat.

MARCUS
Before I die I will give the people
this final gift. I will give them
the Senate reborn. The voice of the
people empowered again, as it was
always meant to be. It is my design
that they will elect the next
Emperor. And I would put forward
your name with my backing.

MAXIMUS
Caesar, you do me honor -- but your
son has pride of place for
succession.

MARCUS
You are the son I should have had...
Although I fear in my deepest heart
that if you had truly been my son my
blood would have polluted you as it
did Commodus. We're a cursed
bloodline. We have lived so long in
power and depravity that we no
longer remember a life without it.
We can no longer even imagine a life
without it.

A beat.

MARCUS
Look at me, son.

Maximus looks at him.

MARCUS
Son... I know that one grove of your
vineyard is worth more to you than
all the treasures of Rome. I know
one loving word from your wife is
worth more than the accolades of an
Empire. But... a fond old man, who
loves you more than he can say, begs
you to at least think about what he
has said tonight.

MAXIMUS
I shall, Caesar.

A beat.

MARCUS
I'll keep this letter to myself. I
hope that with the sunrise you will
agree. And embrace me as a father.

Maximus nods and rises. He begins to go. Stops.

MAXIMUS
You have always been my father.

He goes.

INT. TENT CORRIDOR - DAY

Maximus emerges from Marcus' tent into a long tent
corridor, deep in thought.

LUCILLA'S VOICE
He always favored you...

He turns. Lucilla is waiting. She glides to him.

LUCILLA
Even over his son.

MAXIMUS
(turning away)
That's not true.

LUCILLA
Maximus, stop...
(he stops)
Let me see your face.

He turns to her.

LUCILLA
You've been crying.

MAXIMUS
I lost too many men.

LUCILLA
What does my father intend?

He turns and walks. She walks with him.

MAXIMUS
I don't know.

LUCILLA
You're lying. I could tell when you
were lying even when we were
children. You hate it.

MAXIMUS
I never acquired your comfort with
it.

LUCILLA
True. But then you never had to.
Maximus, stop...
(he stops again)
... Is it really so terrible seeing
me again?

MAXIMUS
No. I'm sorry. I'm tired from the
battle.

LUCILLA
And you are hurt to see my father
dying.

A beat.

LUCILLA
He will announce Commodus'
succession. That's why he summoned
us. Will you serve my brother as
you served his father?

MAXIMUS
I will always serve the ideals of
Rome.

A beat.

LUCILLA
Do you know I still remember you in
my prayers...? Oh yes, I pray...
Ever since that day you saved me
from drowning off Capri. Do you
remember?

MAXIMUS
Yes.

LUCILLA
Commodus was so angry that a mere
peasant -- a Spaniard no less --
touched the royal person, do you
remember his anger?

MAXIMUS
Yes.

LUCILLA
Mark this, Maximus: that is the man
who will be Emperor.

A beat.

MAXIMUS
May I be permitted to go, Highness?

She smiles sadly.

LUCILLA
There was a time when you didn't
call me "Highness."

MAXIMUS
And there was a time when you were
just a little girl drowning in the
sea. All that was a different life.

LUCILLA
(quietly)
Very different... I wonder if it was
better?

MAXIMUS
It was more honest.

A moment between them. We sense there is much to be said,
much that could be said.

Finally:

MAXIMUS
I thank you for your prayers.

He goes. She watches him walk away.

INT. MAXIMUS' TENT - NIGHT

Maximus kneels before a small altar in his tent. He faces
six small figures that represent his dead ancestors.

MAXIMUS
Ancestors, true bloodline, I ask you
for your guidance. Bring me your
solace and your wisdom. Blessed
Mother, come to me in my dreams with
the Gods' desire for my future.
Blessed Father, watch over my wife
and my son with a ready sword. Keep
them safe until my return. Whisper
to them in their sleep that I live
only to hold them again and all else
is dust and air. Ancestors, true
bloodline, I honor you and will try
to live with the dignity you have
taught me.

He looks at his "ancestors" for a moment and then blows
out the candles around them.

INT. MARCUS' TENT - NIGHT

Commodus' eyes are red with weeping. He sits, head down,
at the foot of Marcus' bed and speaks to his father.

COMMODUS
(quietly)
I search the faces of the Gods for
ways to please you... to make you
proud... and I can never do it. One
kind word -- one full hug where you
pressed me to your chest and held me
tight -- would have been like the
sun on my heart for a thousand
years... What is it in me you hate
so much? My eyes are your eyes. My
hands are your hands. All I have
ever wanted was to live up to you.
Caesar. Father.

He stands. We see that he is holding the scroll denoting
Marcus' intention to nominate Maximus as Emperor to the
Senate. Commodus cannot control his tears.

COMMODUS
Why does Maximus deserve what I
could never have? -- Why do you love
his eyes over mine? -- I would
butcher the whole world -- if you
would only love me...

Commodus weeps.

INT. MAXIMUS' TENT - NIGHT

Quintus is waking Maximus --

QUINTUS
General -- Maximus --

MAXIMUS
Quintus -- ?

QUINTUS
The Emperor needs you. It's urgent.

Maximus leaps up and throws on a cloak, strides out with
Quintus...

EXT. TENT CITY - NIGHT

Dead of night. Maximus and Quintus stride quickly through
the sleeping camp toward Marcus' tent.

MAXIMUS
What is it? Is he ill?

QUINTUS
I don't know...

They continue on toward Marcus' tent.

INT. MARCUS' TENT - NIGHT

Maximus and Quintus stride into the tent -- Maximus slams
to a halt. Stunned.

Commodus stands before him. Lucilla stands in a corner of
the tent, head down.

And Marcus Aurelius dead, lying on his bed.

Maximus stares at Marcus.

COMMODUS
Lament with me, brother, our great
father is dead. I want --

Maximus, not even hearing, steps past him to Marcus.

He stands for a moment and then slowly kneels before
Marcus and gently kisses the old man's forehead. A ritual
farewell.

A moment of silent mourning and then Maximus stands. He
turns very, very slowly to Commodus.

COMMODUS
General, the Gods' have taken the
great man and left me alone. My
first desire as Emperor is that you
take my hand in friendship. I need
you at my side, Maximus, at this
moment above all others. Stand with
me.

Maximus glares at him:

MAXIMUS
How did he die?

Commodus does not respond.

MAXIMUS
How did he die?

COMMODUS
The surgeons say it was his breath
that gave out.

Maximus glances to Lucilla, she avoids his eyes.

COMMODUS
Take my hand, Maximus. I only offer
it once.

A beat.

Maximus turns back to Marcus.

MAXIMUS
How will the world speak your name
now, old man?

Without a glance to Commodus, he stalks out.

A silent beat. Then Commodus nods to Quintus. Quintus
goes.

Lucilla looks at Commodus for a long moment, her face an
enigmatic tornado of complex emotions.

Then:

LUCILLA
Hail, Caesar.

INT. MAXIMUS' TENT - NIGHT

Maximus is kneeling before his ancestors, head down, his
fists clenched, praying.

Quintus and four Praetorian ASSASSINS suddenly burst in --
the assassins move immediately to bind Maximus -- swords
at his throat --

MAXIMUS
What -- ?!

QUINTUS
(ashamed)
Please don't fight, Maximus --

MAXIMUS
Quintus --

Quintus goes to Maximus' armor, which hangs nearby, and
slowly removes his seal of office.

QUINTUS
I'm sorry, General, Caesar has
spoken.

They pull Maximus out --

EXT. MAXIMUS' TENT - TENT CITY - NIGHT

Five horses are waiting.

MAXIMUS
Quintus, what -- ?

QUINTUS
(anguish)
I have no choice --

They are almost run over by a stern cohort of twenty
Praetorians who gallop past. Maximus knows immediately
what this means.

MAXIMUS
(suddenly)
My family?!

A beat.

MAXIMUS
What about my family, Quintus?

QUINTUS
(quietly)
They will greet you in the
afterlife.

Maximus lunges at him -- the Praetorians subdue him --
slamming him with a sword hilt -- knocking him
unconscious.

QUINTUS
(quietly, to
assassins)
Take him as far as the sunrise and
then kill him.

EXT. FOREST ROAD - DAWN

The four Praetorian assassins lead Maximus along a road.
He sits slumped in his saddle, drained.

ASSASSIN #1
All right, this is far enough.

The three other assassins climb from their horses.
Assassin #2 pushes Maximus from his horse. He falls to
the ground hard.

ASSASSIN #1
You two take him down there where no
one will find him.

ASSASSIN #3
Come on, General...

Assassin #3 and Assassin #4 drag Maximus down a densely
forested hill along the road. Maximus' hands are still
bound in front of him. He seems totally lacking in any
resistance.

EXT. FOREST - BELOW THE ROAD - DAWN

Maximus eyes the two assassins as they troop down the
hill away from the road, he notes their sparkling armor.
The armor of men who have never seen real battle.

MAXIMUS
Have you ever done this before?

ASSASSIN #3
What?

MAXIMUS
Killed a man with a sword?

ASSASSIN #3
Not like this, exactly... this is
good, you can stop.

They stop. They are far down the hill, out of sight of
the road.

MAXIMUS
It can be very messy -- you could
get blood all over your armor. You
don't want to hack me up now. You
want one clean stroke.

ASSASSIN #3
Would you kneel, General?

Maximus kneels, his whole body secretly coiling. Assassin
#3 stands over him as:

MAXIMUS
One good stroke -- you do know
where, don't you?

ASSASSIN #4
Be quiet.

MAXIMUS
If you miss the spot there'll be
blood everywhere. Quite a spray.

ASSASSINS #3
All right, where?

MAXIMUS
Here -- you don't want to hit the
vein on the neck --

Maximus points his bound hands at a spot on the back of
his neck.

MAXIMUS
Put the point of your sword here...
you want one, good blow right at
this spot --

Assassin #3 dutifully puts the point of his sword on the
spot on Maximus' neck.

A grave mistake.

Maximus instantly grabs the blade of the sword with his
hands and yanks it from Assassin #3 -- EXPLODING up -- his
hands are bleeding but he tosses the sword into the air
and catches it -- swings the sword with brutal efficiency
-- decapitating both assassins --

EXT. FOREST ROAD - DAWN

On the road above, the other two Assassins are on their
horses, waiting.

They hear a quick yelp from below. And then nothing.

Assassin #1 nods for Assassin #2 to check on the
execution. Assassin #2 canters off the road and down the
hill...

EXT. FOREST - BELOW THE ROAD - DAWN

Assassin #2 canters down the hillside.

He senses movement behind him -- spins around, drawing his
sword -- too late --

Maximus throws a sword -- it flashes through the air --
and into Assassin #2.

EXT. FOREST ROAD - DAWN

Assassin #1 waits on his horse. He hears the commotion
below -- spins his horse around just as Maximus bursts to
the road. He stands with a sword.

Assassin #1 spurs his horse and gallops toward Maximus at
full speed -- Maximus crouches and prepares --

Assassin #1 and Maximus swirl together for an instant --
both slashing brutally --

Assassin #1 continues to gallop past Maximus. He stops.
He looks down. A wound in his stomach. He falls off his
horse. Dead.

Maximus has also been wounded -- a deep gash on his side.
He fights the pain as he moves toward the horses...

EXT. FOREST ROAD - DAY

Maximus is galloping through the forest at lightning
speed, leading four horses behind him. The gash in his
side bleeding.

EXT. TENT CITY - DAY

A gloomy day. Emperor Commodus stands before the
assembled Felix Regiment.

The soldiers are already uneasy. They note Quintus
standing by Commodus, wearing Maximus' seal of office.
Where is Maximus?

COMMODUS
Even as the Gods curse this dark day
with clouds, so too does the sun
begin to shine forth on a promised
tomorrow. Even as we mourn the
passing of our father, so too do we
celebrate the coming of a bright,
new age for Rome. At my side,
brothers, you shall pull fresh
glories from the heavens. At my
side, brothers, you shall know the
adoration of the Gods. Doubly-dark
is this day because my friend, your
noble commander Maximus Meridas, has
been called to Rome to deal with
urgent matters of state...

Titus glances quickly to Gallus, whose hand is bandaged
from surgery. They know this cannot be true.

COMMODUS
Until his promised return I
appointed Quintus Domitian to serve
in his stead. I salute you,
Legionnaires!

QUINTUS
(raising his sword)
Hail, Caesar!

The Felix Regiment responds, many unsure.

FELIX REGIMENT
Hail, Caesar!

Commodus strides off and the Felix Regiment slowly
disbands, muttering to one another in confusion.

Titus and Gallus go to Quintus.

TITUS
Quintus, what is -- ?

QUINTUS
(firmly)
Don't speak of it. Never speak of
it.

He stalks off. Titus and Gallus, concerned, watch him
follow after Commodus.

INT. MAXIMUS' TENT - DAY

Lucilla stands in Maximus' tent. She looks around. She
gently touches his Lorica Segmentata. Her fingertips move
along the contours of his armor. She tries to retain her
neutral demeanor.

She notes his "ancestors" on the small alter.

EXT. HILLSIDE - NIGHT

Maximus continues to gallop, he is on a different horse.
He leads only two horses now.

EXT. VINEYARD - DAY

Maximus' home in Spain is beautiful beyond measure.

We see verdant farmlands and vineyards and a spacious
house nestled amid gently rolling hills.

Maximus' eight-year-old SON is in a paddock playing with
his pony. He stops, sees something. Over a hill, he can
just glimpse a battle flag, approaching.

He screams with joy and runs toward the flag as he calls:

MAXIMUS' SON
MOTHER! MOTHER! FATHER'S HOME!

Maximus' WIFE emerges from the house, drying her hands on
a cloth and smiles.

Maximus' Son races toward the flag. He can just see the
soldiers beginning to appear over the hill. Not a Roman
Legion at all. Twenty Praetorians canter over the hill.

Maximus' Son stops, confused.

EXT. OLIVE GROVE - DAY

Maximus is galloping up a hill, leading only one horse
now. The horse he is on is exhausted, spent, foam coats
its neck. It can't make it.

The horse collapses and Maximus falls. He immediately
leaps onto the remaining horse and continues riding up the
hill.

EXT. HILLS AROUND VINEYARD - SUNSET

Maximus is racing over the countryside, galloping in a
frenzy. His wound is bleeding profusely, coating the side
of his horse.

He rears the horse to a stop for a moment. Over a hill he
can see thick black smoke rising. He spurs the horse and
gallops over the hill...

EXT. VINEYARD - SUNSET

And his worst nightmares are realized.

His home and his vineyards have been destroyed. The earth
has been scorched and his house is still smoldering. He
rides up to the house and practically falls off the horse.

He pulls himself up and walks past the smoldering debris
of his house, fearing what he knows he will find.

He sees the bodies of servants scattered about in the
ruins. He sees a Praetorian battle flag.

He continues on, his wound bleeding more with every
tortured step. He finally stops. He stares up.

His wife and his son have been crucified and burnt. They
are nothing more than grotesquely twisted, charred shapes.

Maximus instantly collapses to his knees -- he howls out
his torment in a heartrending keen of despair as he coats
his face in the ashes of his dead world. He sinks into
unconsciousness, praying for death.

EXT. VINEYARD - DAY

An unusual jingling sound is heard. Maximus appears to be
dead, his gaping wound beginning to fester.

The source of the jingling becomes clear when we see the
feet of Bedouin brigands, with delicate anklets, shuffling
around him. A hand touches his sandals. Rich sandals.
Another touches his tunic. Good cloth.

Suddenly Maximus groans. The hands stop. He's alive. A
bit of quick language in an unknown tongue.

Then the hands grab Maximus and drag him away.

EXT. SLAVE WAGON TRAIN - DAY

Maximus' eyes slowly open --

Inches away from his face -- a lion roars --

Maximus lurches back.

He looks around to realize he is in a filthy slave wagon.
Three other wagons slowly move over the desert landscape.
Exotic animals are caged in pens or led alongside the
wagons: lions, panthers, zebras, a giraffe. A dozen
slaves are chained together alongside sacks of spices and
other cargo. Bedouin slave traders jabber in a surreal
babel of foreign tongues.

And someone is looking at him. JUBA, a striking African,
is gazing at him impassively as he chews something. Juba
is also chained.

MAXIMUS
(weakly)
Am I in Hades?

JUBA
Yes.

Juba spits what he has been chewing into his hands and
moves to Maximus.

JUBA
For your wound...

Maximus stares at him.

JUBA
(nods)
For your wound.

Maximus looks down -- the bloody wound at his side.

Juba carefully places his poultice over the wound --
Maximus hisses in pain -- Juba massages the poultice into
the wound gently as:

JUBA
If you die in the wagons they feed
you to the lions... The lions are
worth more than we are. I think we
are worth more than the zebras
though. So they don't feed us to
them.

Maximus stares at him. Juba looks down at him with the
barest hint of a smile.

JUBA
I'm not sure about the giraffe.

EXT. SLAVE MARKET - DAY

The heat of Morocco is unlike anything Maximus has ever
known. Shimmering heat waves undulate over the sand.

The provincial market is bustling like the proverbial
anthill. Slave traders and dealers and merchants move
around, all talking very quickly and very emphatically.

Maximus, Juba and a number of other slaves are on display,
poked and prodded and fondled. Their BEDOUIN SLAVE TRADER
sings out their praises to any passers.

The crowd parts almost magically for the dramatic arrival
of PROXIMO. Proximo is a large man of immense appetites.
He has the ferocious appearance of a true pirate. Two
slaves follow behind him and impotently swat at flies with
switches.

SLAVE TRADER
Proximo, my old friend, see what I
have for you today -- !

Proximo SLAMS a fist into the Slave Trader's face. The
Slave Trader sails back.

PROXIMO
Those giraffes you sold me won't
mate! All they do is run around not
mating! YOU SOLD ME EUNUCH
GIRAFFES!!

The Slave Trader pulls himself up, hugely obsequious.

SLAVE TRADER
I will make it up to you, Master.
It's bargain day for you! Look,
look, look -- I have two lions and a
panther -- hear how they roar for
you! "Bring me home, Proximo!"

Proximo examines the animals.

PROXIMO
How much for the lot?

SLAVE TRADER
For you -- 8,000 sesterces.

PROXIMO
For me -- 6,000 sesterces and I want
to see their balls first. And you
throw in those two slaves.

SLAVE TRADER
(moves to Maximus)
What about this one? Look at the
arms!

Proximo moves to Maximus. The Slave Trader forces open
Maximus' mouth.

PROXIMO
Good teeth --

Proximo notes the many old battle scars on Maximus' body.

PROXIMO
Where did you get those scars?

Maximus doesn't respond.

PROXIMO
Are you a soldier?

Maximus doesn't respond.

PROXIMO
Do you speak? --
(he roars back to a
slave)
KEEP THOSE DAMN FLIES OFF ME!
(back to Maximus)
He's dying.

SLAVE TRADER
1,000 sesterces.

PROXIMO
My ass...
(moves to Juba)
You throw in this one and we'll make
it 7,000 sesterces for the whole
lot.

SLAVE TRADER
I have to eat, Master! He's my
finest, I couldn't let him go as
part of the lot for less than 9,000
total...
(back to Maximus)
I tell you this one is prime. He's
a Spaniard and killed fourteen of my
men before he could be subdued!

Proximo looks at Maximus, notes the many battle scars
again. The scars, and something he senses in Maximus'
eyes, is enough for Proximo to consider it.

PROXIMO
(to trader)
All right, let's see.

The Slave Trader and his colleagues grab Maximus and
bustle him across the market, unlocking his chains.
Maximus has no idea what's going on.

In the center of the market place, a veritable GIANT of a
man sits on a small stool, a wooden sword in his hand. He
is hunched over and chained to the ground by a ten foot
chain shackled to his ankle. A think metal helmet is
riveted around his entire head, only long turfs of hair
emerging. His dim eyes stare listlessly through a slot in
the helmet.

The Slave Trader puts a wooden sword in Maximus' hand and
shoves him toward the Giant. The Giant stands. He towers
over Maximus.

The Giant suddenly swings his sword -- he moves with
remarkable quickness -- Maximus makes no attempt to block
the blow -- it sends him flying to the ground.

Maximus pulls himself up.

The Giant moves in and hits him again -- Maximus recoils
-- the Giant hits him again -- Maximus falls.

Maximus pulls himself up.

The Giant moves in again -- he slams him a few more times
-- Maximus makes no attempt to protect himself -- he
falls.

Maximus pulls himself up.

The Giant is about to attack again --

PROXIMO
(to Slave Trader)
That's enough.

SLAVE TRADER
STOP! STOP!

His colleagues race into the ring and haul the Giant away
from Maximus. The Giant quietly sits back on his stool.

Proximo studies Maximus for a moment and then glances to
the Slave Trader.

PROXIMO
I'll give you 500 sesterces.

SLAVE TRADER
No -- no -- 1,000!

PROXIMO
(laughs)
Come, don't quibble with your old
friend. I'll take the lions, the
panther, the Numidian and this one
for 7,000. And I'll buy you the
best whore in the town for two
nights. She's an enormous mountain
of flesh who craves a stern hand.

SLAVE TRADER
How could I say no to my old friend
Proximo?

EXT. PROXIMO'S SCHOOL - DAY

Maximus and Juba are crammed into a wagon with about ten
other slaves, including a very scared and reedy SCRIBE.
Other wagons are filled with exotic animals, including
several lions.

The wagons move through a crowded casbah and are taken
through an imposing set of gates to...

EXT. PROXIMO'S SCHOOL - COMPOUND - DAY

An open compound in Proximo's school. On one side of the
compound is a series of cages filled with wild animals of
every description -- including Proximo's two hapless
giraffes.

Proximo's house slaves begin unloading the newly purchased
exotic animals into cages as Maximus and the new slaves
are unloaded. Heavily armed guards supervise everything.

But Proximo's slaves are having a bit of a problem with
one of the new lions -- it growls and resists them.

Without the slightest hesitation, Proximo thunders to the
lion and grabs it by the mane -- manhandling it into a
cage.

PROXIMO
COME ON, YOU FILTHY BEAST!

He kicks the lion in the rear as he shoves it into the
cage.

Proximo's provincial school resembles nothing so much as a
seedy prison. The fading grandeur of the decaying
battlements and the sweeping North African architecture
only slightly mitigate the brutal feel of the place.

And if Maximus had any doubts as to Proximo's profession
-- all doubts are washed away when he sees the compound.

Twenty GLADIATORS are working out in the compound --
hacking at practice dummies and sparring. The many
heavily armed guards oversee everything. The gladiators
stop working out as they see the new slaves enter. They
eye their potential new opponents warily.

One huge, glowering gladiator -- VIBIUS -- watches with
particular interest. His eye is quickly drawn to the most
obvious athlete: Juba.

The new slaves are herded to the middle of the compound
and house slaves immediately begin throwing buckets of
water on them, cleaning them.

Meanwhile, Proximo shrugs off his cloak. A slave brings
him wine as he give his "welcoming speech" to the new
slaves:

PROXIMO
Slaves. I am Proximo, trainer of
gladiators. You live and die at my
pleasure. Fight well and you will
live. Fight poorly and you will
die. It is better to live.

Slaves now toss thick handfuls of powdered lime on the new
slaves -- they cough and clench their eyes shut, the lime
coats and stings their wet bodies.

PROXIMO
Here you will be trained in the art
of combat. Here you will be given
the tools to survive. Please my
patrons in the arena and all the
gifts of the world will be showered
upon you. Imagine riches beyond
your paltry dreams of riches!
Imagine fame beyond your rude
understanding of the word! All this
can belong to the select few who
prove their worth in the arena.

Slaves throw more water on the new slaves -- washing off
the lime.

PROXIMO
If... on the other hand... you
disappoint me... you will be
dismembered and fed to my jackals
limb by limb.

He gazes evenly at his new acquisitions.

PROXIMO
And my jackals are always hungry.

He strides off and the guards shove the new gladiators
toward their cells.

INT. PROXIMO'S SCHOOL - MAXIMUS' CELL - NIGHT

Maximus and Juba share a small, filthy cell. The cell
door faces the open compound. Across the compound they
can see the much more comfortable cells of the "star"
gladiators such as Vibius.

They both sit on the floor, leaning against the wall.
Juba is eating a bowl of food with a wooden spoon.
Maximus' bowl and spoon are at his side, he has not
touched them.

JUBA
Have you killed a man before?

Maximus does not respond.

JUBA
You should eat. You'll need your
strength tomorrow.

Maximus does not respond.

JUBA
I've never killed a man. But I
think you have.

Maximus does not respond.

JUBA
I almost killed once. The Romans
destroyed my village. I was with a
hunting party and when we
returned... I would have killed
every Roman in the world.

A long beat.

JUBA
If you don't eat you will die.

Maximus does not respond.

A beat.

JUBA
In the village I come from there was
a man once. He went fishing one day
and his boat was attacked by
crocodiles. One of them ate his
leg. He pulled himself to the shore
and a lion attacked him. It ate one
of his arms. He dragged himself
through the desert on the way home
and a scorpion stung his eye. So he
only had one eye. When he reached
the village I sat with him. I said,
"You have lost a leg, an arm and one
eye. You must have a mighty will to
live." He said, "No, Lord, it's
just better than the alternative."

Maximus finally looks at him.

JUBA
Life is a gift from our fathers to
us. Who are you to give it up for
lack of lifting a spoon?

Maximus does not respond.

EXT. PROXIMO'S SCHOOL - COMPOUND - NIGHT

Maximus and Juba are being observed. Proximo stands in
the shadows of the compound and watches intently.

EXT. SLAVE WAGON - PROVINCIAL STREETS - DAY

Blood appears to be flowing across an oxen's back. But
the blood is too rich, too red.

The oxen are pulling an open slave wagon through the
crowded streets of the town. Hanging above the street is
dyed wool drying in the sun. Vermilion and crimson dyes
drip down and splash across the oxen -- and splash across
the gladiators.

Maximus, Juba, the formidable Vibius are chained in the
back of the wagon. Also the frightened Scribe.

Proximo and a few of his guards drive the wagon. Proximo
has an umbrella over him, colored with years of dripping
dyes.

They pass a banner honoring Vibius, the star of Proximo's
stable.

Meanwhile, the terrified Scribe is almost weeping,
chattering nervously to Vibius, chained next to him:

SCRIBE
I know nothing of armaments and
warfare! I'm a scribe -- I write
down words! I can write down seven
languages --

VIBIUS
Be still.

SCRIBE
I don't -- how do you hold the
sword?! I've never held a sword!

VIBIUS
You point the sharp end at your
opponent and you shove it in his
guts.

SCRIBE
I can't -- I --

He suddenly vomits.

VIBIUS
(calling to Proximo)
Proximo! You insult me with this
carrion! Chain him to someone else!

PROXIMO
(calling back)
Don't worry, noble Vibius, he won't
be bothering you for long.

The Scribe begins to weep.

The crowds in the street jeer at the passing gladiators.
Occasionally throwing trash at them. A pack of children
run alongside the wagon, chanting:

CHILDREN
Dead guts! Dead guts! Dead guts!

Maximus watches the children for a moment and then another
sight draws his attention. Over some buildings he can see
vultures circling in the distance.

EXT. PROVINCIAL ARENA - DUGOUT - DAY

In the cramped holding area of the arena, a dugout beneath
the stands, Maximus and the other gladiators are waiting.

Proximo walks before them, giving a final "pep talk." He
gazes at them evenly, his eyes going from face to face.

PROXIMO
Some of you say you can't fight, you
won't fight... They all say that...
But one day you will pick up a sword
and thrust it into another man. And
the crowd will cheer you and love
you. And you will love them for it.
On that day... you will be a
gladiator.

He stops at Maximus.

PROXIMO
In this life, we all die. All we
can choose is how we die. And how
we are remembered. Be remembered
proudly.

Drums are heard from the arena. Proximo nods to a waiting
blacksmith.

The blacksmith begins slamming shackles on the gladiator's
wrists -- chaining them together in teams of two by a
chain about four feet long.

The blacksmith is about to chain Maximus to the Scribe.

PROXIMO
No...
(he points to Juba)
... give the Spaniard to him. Give
the Scribe to Vibius.

Proximo nods to Vibius, who, for reasons we shall soon
see, makes no protest to being chained to the whimpering
Scribe.

Proximo watches the blacksmith shackle Maximus and Juba
together and then strides off.

JUBA
(to Maximus)
Are we going to fight each other?

EXT. PROVINCIAL ARENA - DAY

Proximo sits in a box with several other GLADIATOR
TRAINERS. They drink wine and eat constantly. A
perpetual chatter of wagers and odds and side bets.

The arena is only sparsely attended this day.

PROXIMO
Make it 600 sesterces for each
decapitation.

TRAINER #1
How many strokes?

PROXIMO
Two.

TRAINER #1
For the great Vibius, one stroke.

PROXIMO
Done. 400 sesterces for two
strokes.

In the arena:

Proximo's chained teams enter the arena, five teams.
Maximus and Juba are chained together. Some of the small
crowd cheers for Vibius. He acknowledges the cheers. He
is chained to the weeping Scribe.

In the box:

Trainer #1 laughs.

TRAINER #1
(re: Vibius)
Who's he with?

PROXIMO
A Greek Scribe.

TRAINER #1
I'll raise the wager.

PROXIMO
(smiles)
Give me odds, friend.

In the arena:

From the opposite end of the arena a dozen armored, very
scary Andabatae thunder into the arena. Some of the crowd
cheers.

The Andabatae immediately race for the chained teams and
the battle is on.

Vibius spins into action -- dragging the weeping Scribe
after him as he circles opponents and fights -- the Scribe
is almost instantly killed -- Vibius immediately hacks
through the Scribe's wrist and frees himself, as Proximo
surely intended. Vibius is now free to fight alone,
swinging the chain as an additional weapon.

Juba's eyes dart everywhere as he tries to move with
Maximus -- Maximus neither helps nor hinders -- allowing
Juba to pull him along --

Proximo, now that his star Vibius is safe, watched Maximus
and Juba closely.

Juba fights well, with a strange elegance, his body
flowing like liquid -- but he is inexperienced. He
strikes a few blows and then tries to move away -- finally
he is in trouble -- cornered -- a huge Andabata is slicing
at him -- it is a desperate battle -- Juba is losing --
his sword is slammed away -- the Andabata raises his sword
for the kill --

And Maximus strikes.

With a sudden roar he EXPLODES into action -- he swings
past Juba and blocks the blow meant for Juba -- then he
slashes the Andabata -- killing him -- he pulls Juba after
him as he fights --

It is a dazzling display of Maximus' skill -- he moves
through the Andabatae at amazing speed -- spinning around
Juba and protecting him -- slashing ruthlessly -- pulling
Juba after him and commanding the battle -- Juba recovers
a sword and they fight together.

In the box:

Proximo watches, smiles. A gladiator is born.

EXT. ROME - WAGON - DAY

SENATOR GRACCHUS, an imposing, moral and corpulent man in
his 60's, is riding in a luxurious wagon with Senator
Gaius.

And CAPTAIN MARCELLUS, the handsome Head of the Roman City
Guard.

Their wagon slowly maneuvers through the crowded streets
of Rome. The cosmopolitan bustle of the great urban
center is everywhere around them.

GRACCHUS
We have plague in the Hebrew Quarter
and it is spreading... we have
looting at the granaries... we have
so much filth in the Tiber that the
water is undrinkable... we have
Praetorian Guard units that are
demanding protection payments from
the merchants at the exchange --

MARCELLUS
My City Guard units have tried to
curtail these excesses but no
constabulary can police the entire
city. And the Praetorians outnumber
us two to one.

GRACCHUS
Rome dies as the Emperor plays at
beneficence. At least Nero gave us
music!

GAIUS
Do you think he'll listen to us?

GRACCHUS
It is his duty to hear the will of
the Senate.

Their wagon stops -- hopelessly stuck in a massive traffic
jam of chariots, wagons and sedan chairs.

GRACCHUS
Not to mention the damn traffic!

INT. PALACE - THRONE ROOM - DAY

Emperor Commodus is standing before a group of male
children and their tutors in his throne room.

The throne room is still very much the province of his
father. Manuscripts and astronomical charts and papyrus
scrolls and wax tablets litter the heavy desk. A large
bust of Marcus Aurelius is in one corner.

Lucilla and Senator Falco are present. So too Senators
Gracchus and Gaius and Captain Marcellus.

A well-rehearsed child presents Commodus with a laurel
wreath.

CHILD
We honor Caesar with the laurel to
show our love and appreciation for
his benevolence.

COMMODUS
Caesar is honored to accept your
tribute, Citizen Scholar.

The child smiles and moves back to his fellows.

COMMODUS
(to all)
It is the most sacred duty of the
Emperor to oversee the education of
the young. If I could leave no
other legacy than the scholarship of
all children my life would be
blessed. Tutors, you hold the
future of Rome in your hands. Teach
them well so that they will bring
honor to the Empire. I salute you.

Commodus actually bows before them, an unimaginable honor.

The tutors bow in response and herd the children out.

COMMODUS
Look at them, Senators... my truest
gift to Rome.

GRACCHUS
Darling children, to be sure, now if
I may proceed?

COMMODUS
(sighs)
Very well...

Commodus moves to the desk, standing over it and gazing at
Marcus' scrolls as:

GRACCHUS
Caesar, your presence in Rome is an
invaluable opportunity to begin
correcting some of the ills that
have beset the city since your
father went to the wars. We would
like to --

COMMODUS
Peace, good Gracchus, peace...

Commodus slowly begins pushing Marcus' papyrus scrolls off
the desk to the floor, one by one, as:

COMMODUS
My beloved father was a careless
shepherd to his flock. I shall be a
good father to my children. I shall
remain in Rome and show them how
they are loved.

GRACCHUS
With respect, sire, the people don't
need love -- they need law. The
Senate has prepared a series of
protocols to begin addressing the
corruption in the city --
(Gaius hands him a
scroll)
-- starting with basic sanitation in
the Hebrew Quarter. If Caesar could
study this and --

COMMODUS
You see that's the very problem,
isn't it, my old, old friend? My
father spent all his time at study.
At books and learning and
philosophy...

As Commodus speaks he moves to the chair behind the desk,
tries it, doesn't like it, nods to a slave. The chair is
whisked away.

COMMODUS
He spent his twilight hours reading
scrolls from the Senate. All the
while, the people were forgotten.

GRACCHUS
The Senate is the people.

COMMODUS
I doubt many of the people eat so
well as you do, Senator Gracchus...

As Commodus speaks he moves to the bust of Marcus, studies
it, doesn't like it, nods to a slave and the bust is
whisked away. Lucilla watches this closely.

COMMODUS
I doubt many of the people have such
splendid armor, Captain Marcellus.
Or such fine mistresses, Senator
Gaius. No... only their true father
knows what the people need. I shall
show them they are loved. I shall
hold them to my bosom and embrace
them tightly --

GRACCHUS
Have you ever embraced someone dying
of plague, sire?

Commodus stops. Looks at him. A lethal moment.

COMMODUS
No. But if you interrupt me one
more time I assure you that you
shall. I will emulate the immortal
Caesars of the past. I will give
the people what they truly want.
Starting this day I will draw all of
Rome to the Colosseum. I will give
them bread. And they will want
nothing more.

Startled looks between Gracchus, Gaius and Marcellus.

GRACCHUS
You want to hold games?

COMMODUS
Not just any games, Senator! A
series of games that will make the
Gods envious and leave my children
happy! I will subsidize the arena
from this day forth -- and I will
culminate this celebration in a
great spectacle the likes of which
the world has never seen! A great
spectacle to honor my father!
Magnificent, unending weeks of
festivity all in the name of Marcus
Aurelius!

A beat.

GRACCHUS
If I may, Caesar... how are you
going to pay for this?

COMMODUS
That is not your concern.

Gracchus ignores a warning look from Gaius.

GRACCHUS
Respectfully, sire, taxation and
import duties are the exclusive
province of the Senate --

Commodus spins on him so quickly and with such feral
violence that everyone is shocked --

COMMODUS
MY FATHER DESERVES TO BE HONORED AND
I WILL HONOR HIM! -- AND THE PEOPLE
WILL LOVE ME! -- AND THE SENATE WILL
OBEY ME OR EVERY ONE OF YOU WILL
BURN! BURN! BURN! -- I WILL HAVE
ORDER!

He snarls like a great jungle cat and he stalks away.
Senator Falco quickly follows.

A dreadful silence.

Then:

LUCILLA
Gentlemen, in the future do not
concern my brother with these
matters. Come to me.

She sweeps out.

A beat.

MARCELLUS
Games? He wants to hold games?

GAIUS
It's madness.

GRACCHUS
No... it's not...

A beat.

GRACCHUS
He knows who Rome is. Rome is the
mob. He will conjure magic for them
and they will be distracted. And he
will takes their lives. And he will
take their freedom. And still they
will roar. The beating heart of
Rome isn't the marble of the Senate.
It's the sand of the Colosseum. He
will give them death. And they will
love him for it.

INT. PROVINCIAL ARENA - DUGOUT - TUNNELS - DAY

Maximus is marching relentlessly through the dugout and
cramped, serpentine trench-like tunnels that lead to the
arena.

We don't really see Maximus well in the dark tunnels.

Proximo scurries to keep up with him -- they brush past
gladiators who line the walls. Some are wounded, some are
being attended to by surgeons, some are shell-shocked,
some are nervously waiting to go on, whispering prayers.

We twist and turn in the tunnels with Proximo and Maximus
as:

PROXIMO
(quickly)
I've wagered on you against the
Celts -- ignore the others and go
for them -- there are two axe-and-
net and two long spear. Now the
Celts aren't used to the sun so you
have the advantage there...

The roar of the crowd is growing, they are nearing the
arena...

PROXIMO
And keep them moving, their lungs
aren't strong, ground the spears as
soon as you can and then go for the
ax-men. If you get all four there's
an extra bonus so don't be
distracted by the Spartans...

Without a word to Proximo, or a moment's hesitation,
Maximus strides into the arena.

EXT. PROVINCIAL ARENA - DAY

We continue with Maximus as he strides into the roaring
arena.

We finally see him in the blazing sunlight -- he wears
traditional gladiator armor and now has longer hair and a
beard --

A battle is already in progress, fighting and dead and
dying gladiators crowd the arena --

We stay with Maximus as he wades through his opponents,
fighting them heroically, slashing through them without
stopping --

The large crowd cheers mightily -- chants of "Spaniard!
Spaniard! Spaniard!"

We stay with Maximus as he cuts through the four Celts
like a scythe through wheat and then we dramatically pull
up and away --

Taking in the roaring arena and the hero.

EXT. PROXIMO'S SCHOOL - COMPOUND - NIGHT

A large mess area has been set up. The tables around the
compound are crowded with gladiators. Guards everywhere.

Maximus and Juba enter. Move to get food. All
conversation gradually drains away as the other gladiators
watch them. Silence.

Maximus and Juba note the strange silence as they move to
a large table.

Vibius is at the table with a number of other gladiators.
There are no places for Maximus and Juba.

Vibius stands and kicks two other gladiators off their
bench.

VIBIUS
MOVE ASIDE! THIS IS A TABLE FOR
MEN!

Maximus and Juba sit.

Vibius remains standing. He begins to pound on the table
with his fist. Soon all the gladiators are pounding on
their tables. It is a cacophonous din honoring Maximus.

INT. PROXIMO'S SCHOOL - PROXIMO'S CHAMBER - NIGHT

Proximo sits on a terrace overlooking his compound,
sipping wine. Various gladiators can be seen working out
below.

A guard brings Maximus. Proximo nods for the guard to
leave.

PROXIMO
(holding up a plate)
Butterfly?

The plate is filled with honeyed butterflies, their wings
still moving slightly.

Maximus shakes his head. Proximo pops one into his mouth.
He chews as he looks at Maximus.

PROXIMO
Perhaps you'd like a woman?

Maximus shakes his head.

PROXIMO
Boy?

Maximus shakes his head.

A beat.

PROXIMO
Gold?

Maximus shakes his head.

PROXIMO
Well, I have nothing left to offer
you! A man who turns down a
butterfly, a woman, a boy and gold
confuses me. Personally, I'd grab
them all and then grab some more
because the Gods are fanciful and
take us at their whim. Does the
Spaniard have any needs?

Maximus shakes his head.

A beat. Proximo studies him.

PROXIMO
You fight like a soldier. You have
wounds like a soldier who has been
on long campaigns. You eye the
world around you like an enemy.
What is your name, Roman soldier?

MAXIMUS
Gladiator.

A beat.

PROXIMO
And nothing more?

MAXIMUS
Nothing more.

A beat.

Proximo watches Maximus very closely for the following:

PROXIMO
In two days we leave for Rome.

Maximus' eyes suddenly flash to Proximo. He is
transfixed, his eyes burning.

PROXIMO
Ah... so it's Rome you want. Well
you shall have her, Gladiator. The
new Emperor has ordered a series of
matches to culminate in a grand
spectacle. If you do well I shall
become very, very rich. If you do
well enough I shall set you free.
Is it freedom you want?

A beat.

Maximus shakes his head.

PROXIMO
(quietly)
Not even that.

MAXIMUS
(barely controlled)
The Emperor -- will he be there?

PROXIMO
Oh yes. He's apparently quite mad
about the games. Spending a
fortune, which is, needless to say,
good for me again. But what is good
for you, Gladiator?

MAXIMUS
Have you -- how does one meet the
Emperor?

PROXIMO
As a gladiator?

MAXIMUS
Yes.

PROXIMO
One doesn't.

A beat. Proximo sees that Maximus' mind is racing.

PROXIMO
Except... If one has proven oneself
in battle. If at the end of the
games you are the final man standing
-- the Emperor will present you with
a small wooden sword. The sword is
your freedom.

MAXIMUS
He give it personally?

PROXIMO
He did to me...
(Maximus is surprised
at this)
Our great father Marcus Aurelius
looked into my eyes and touched me
on the shoulder.

MAXIMUS
You knew Marcus?

PROXIMO
I didn't know him. He touched me on
the shoulder. Just once. But that
was enough.

A beat.

PROXIMO
All right, Gladiator. We shall go
to Rome together and have bloody
adventures. The Great Whore will
suckle us until we are fat and happy
and can't suck another drop. That
is Rome.

INT./ EXT. SLAVE WAGON - OUTSIDE ROME - EVENING

Maximus is crouched in the back of an enclosed slave wagon
with Vibius, Juba and a few other gladiators.

In the distance, Rome.

INT. PALACE - COMMODUS' BEDROOM - NIGHT

Commodus sits on his bed, rubbing his aching head.
Lucilla is preparing a drink for him, a medicinal tonic.

COMMODUS
All my desires are splitting my head
to pieces -- there's so much I want
to do -- but all my efforts to show
my children they are loved go
unappreciated by those dragons in
the Senate --

LUCILLA
(mixing tonic)
Quiet, brother...

Unseen by him, she adds a little special powder to the
drink from a vial secreted in her robe.

LUCILLA
Leave the Senate to me. Don't
trouble yourself.

COMMODUS
All I want is to be a good father to
my people. Why don't they
understand that?

She goes to him.

LUCILLA
Shhh. The tonic will help...

She takes a sip and then hands it to him.

LUCILLA
Yes, just drink this down.

She sits on the edge of the bed. He drinks as:

COMMODUS
I must take a firmer hand with them.
They must know their father can be
firm. As our father was firm with
us.

LUCILLA
Our father lost his way. His
mistake was believing the old songs
of the "Republic." We know better.
So let the Senate talk. They have
no real power.

COMMODUS
Yes... yes... you always know the
way. You were always so wise in
these matters...
(he takes her hand)
You know if I didn't have my duty to
Rome I think I should be an artist.
I should go away and paint pictures
of the sea and leave all the
politics to you...

A beat. He is sleepy, he lies back on his bed.

COMMODUS
Will you stay with me?

LUCILLA
(smiles gently)
Still afraid of the dark, brother?

COMMODUS
Still. Always.

A beat.

COMMODUS
My dreams would terrify the world.

A beat.

LUCILLA
I'll stay with you until you are
asleep.

COMMODUS
(falling asleep)
And after... just sit with me. Keep
me safe...

He is asleep.

She watches him for a moment and then rises.

She goes.

INT. PALACE - HALLWAY - NIGHT

Lucilla moves down a long corridor in the palace and blows
out candles as she goes.

She finally arrives at her own chamber and enters...

INT. PALACE - LUCILLA'S CHAMBERS - NIGHT

Senators Gracchus and Gaius and Captain Marcellus are
waiting.

LUCILLA
He's asleep. Be quick.

GRACCHUS
We've taking a sounding, the Senate
is with us.

LUCILLA
Good.

GRACCHUS
But we are only words. We are air.
We need steel.

MARCELLUS
The City Guard is faithful to the
Republic. But we don't stand a
chance against the Praetorians.

LUCILLA
Can they be bought?

MARCELLUS
They are zealots -- totally
committed to your brother.

GRACCHUS
Well, can they at least be rented
for a day?

MARCELLUS
I doubt it. He pays them exorbitant
salaries and lets them loot and
extort as they see fit. The city
belongs to them.

LUCILLA
And they've started arresting
scholars now. Anyone who dares
speak out -- even satirists and
chroniclers.

MARCELLUS
And mathematicians and Christians.
All to fill the arena.

GAIUS
And what pays for it? These games
are costing a fortune and yet we
have no new taxes.

LUCILLA
The future. The future pays for
it...

A beat. She looks at them.

LUCILLA
He's started selling the grain
reserves.

GAIUS
No.

MARCELLUS
That can't be true...

LUCILLA
He's selling Rome's reserves of
grain. The people will be starving
in two years. I hope they are
enjoying the spectacles because soon
enough they will be dead because of
them.

MARCELLUS
Rome must know this.

LUCILLA
And who will tell them?! You,
Marcellus? You, Senator Gaius?
Will you make a speech on the Senate
floor denouncing my brother? And
then see your family in the
Colosseum? What town-crier would
dare?

A long beat.

LUCILLA
He must die.

A beat as her words sink in.

GAIUS
The Praetorians would only seize
control themselves.

LUCILLA
No -- cut off the head and the snake
cannot strike.

GRACCHUS
Lucilla, Gaius is right. Until the
City Guard can neutralize the
Praetorians we can accomplish
nothing.

MARCELLUS
And I haven't enough men.

LUCILLA
What about the army?

GAIUS
No Roman army has entered the
capital in a hundred years.

LUCILLA
So we do nothing?!

A door opens, a voice...

LUCIUS' VOICE
Mother...

An eight-year-old boy stands in a doorway, sleepy. He is
LUCIUS, Lucilla's son.

LUCIUS
I heard voices...

LUCILLA
(going to him)
It's all right, darling, you --

Lucius suddenly notices Senator Gracchus:

LUCIUS
(running to Gracchus)
Senator! What did you bring me?!

He leaps onto Gracchus -- Gracchus laughs and pulls
something from his robe.

GRACCHUS
For you prince Lucius... a sea
monster!

Gracchus gives Lucius a beautifully painted toy of a sea
serpent.

GRACCHUS
Off the coast of Achaea they grow
twenty times this size, with
snapping teeth to devour any nasty
Praetorians they come across... now,
where is Achaea?

LUCIUS
Below Macedonia!

GRACCHUS
Show me on the map.

Lucius runs to a map and stabs his finger at Achaea. We
sense this is an old game between them.

LUCILLA
Lucius, you go in now, I'll be in
shortly.

LUCIUS
(to Gracchus)
Thank you, Senator Mountain!

GRACCHUS
You're welcome, Prince Anthill!

Lucius goes. Lucilla shuts the door after him. A moment.
She turns to the others, a deep anguish in her eyes.

LUCILLA
What are you going to do?

Gracchus goes to her, holds her.

GRACCHUS
Peace child... One dark night the
Gods will light our path. They will
give us the voice we need. Have
faith in that. Have faith.

INT./ EXT. ROMAN STREETS - SLAVE WAGON - NIGHT

Maximus cranes for a sight of the Eternal City through a
hole in the wooden slats that cover the slave cart.

He can see only glimpses of Rome as they pass. But the
images are not what he expected. Alongside the undeniable
glory of the city, the madness and disease Marcus Aurelius
spoke of are readily apparent.

Maximus sees flashes of plague victims being tossed on
carts heaped with bodies -- he sees getting and spending
and commerce everywhere -- he sees fascist Praetorian
Guard units trooping past -- he sees the magnificent
architecture of the city -- he sees starving children
begging from filthy gutters -- he sees rich citizens out
for a stroll -- he sees a swirling combination of
sophistication and depravity, of civilization and
corruption.

He sits back in the cart, deep in thought. Vibius looks
at him.

VIBIUS
Not what you expected?

MAXIMUS
No.

VIBIUS
Rome is nothing but a slaughter
house. And we are the meat.

EXT. PROXIMO'S COMPOUND - NIGHT

The slave wagon pulls up to Proximo's rather grand Roman
compound. Guards unlock imposing gates and the wagon
drives in...

EXT. PROXIMO'S COMPOUND - COURTYARD - NIGHT

Inside the gates is a large courtyard, much like Proximo's
Moroccan school but much more impressive. A fountain with
an enormous statue of the war god Mars is central in the
courtyard.

The gladiators climb from the wagon, stretching after the
long journey. Vibius leads Maximus and Juba to the
statue. He wades through the fountain and kisses the toe
of Mars.

VIBIUS
Tradition. He watches over us.

Juba steps up and kisses the toe.

VIBIUS
(to Maximus)
Oh go on, it won't kill you.

Maximus kisses the toe as well.

PROXIMO
(calling to them)
Stop that! You'll get some
monstrous disease and then you'll be
worth nothing to me!

Guards come and lead them to their cells, which line one
side of the courtyard.

INT. PROXIMO'S COMPOUND - CELL - NIGHT

Later. Maximus and Juba again share a cell. It is more
comfortable than their cell in Morocco, befitting Maximus'
new status as one of the "stars." A high, barred window
on one wall opens to the city. Another barred window is
directly over them, twenty feet above.

Maximus pulls himself up to the side window, he looks out.

And sees at last... The Colosseum.

It is a breathtaking sight. Monolithic Albert Speer-like
columns of light shine up from the Colosseum. It seems to
illuminate the whole city and the heavens above.

Maximus drops back to the floor.

JUBA
Do you think it will be much
different? Here in Rome?

MAXIMUS
Bigger arena. Same killing.

A beat.

JUBA
Are you scared for tomorrow?

MAXIMUS
No.

A beat.

JUBA
Me too.

A beat.

JUBA
I never though it would be so easy
to kill.

A beat.

JUBA
So you're finally home.

MAXIMUS
This isn't my home.

JUBA
For all Romans... this is home.

A beat.

JUBA
(quietly)
Among my people we honor the soil of
our home. Our ancestors are in that
soil. All their dreams live there.
I will never see my home again. The
soil is dead and no one honors them,
so the dreams die.

A beat.

MAXIMUS
Perhaps one day you'll return.

Juba looks at him.

JUBA
How can I go back? I am not what I
was. When a man kills for no
reason, he has lost himself.

A long beat.

Juba leans his head back and quietly begins to sing. A
haunting lament in his native tongue.

EXT. COLOSSEUM - DAY

A flurry of images from around the Colosseum, the energy
mounting. At this point we see practically nothing of the
inside of the Colosseum:

Slaves are balancing high above the empty arena. They are
on ropes unrolling huge rolls of muslin; sun tarps that
provide shade below...

Merchants open stalls in the curved arcade around outside
of the Colosseum. They sell everything from food to magic
elixirs, from toys to aphrodisiacs. They immediately
start declaiming and demonstrating the virtues of their
products...

Gangs of whores of both sexes trawl the streets. They
have bizarrely-colored hair and elaborate makeup...

Citizens begin arriving, pushing past the vendors and the
pickpockets. We see whole families with picnic lunches...

Ferocious animals are brought into the Colosseum in barred
cages...

In the busy arcade, barbers and blood-letters practice
their craft alongside exotic alchemists, fire eaters and
contortionists...

Richer citizens arrive in sedan chairs and chariots, they
feign indifference to the hooting mob...

Mounted City Guard police units try to retain some
order...

Gamblers crowd betting booths and haggle mercilessly...

Finally, we see Maximus and the other gladiators in a
slave cart. Maximus watches everything as the slave cart
disappears into the Colosseum...

INT. COLOSSEUM - ROUTE TO HOLDING CELLS - DAY

The interior of the Colosseum is a busy world unto itself.

Maximus and the others are lead by Proximo's guards down a
long ramp and past countless animal cages. Gamblers
circulate everywhere and observe the warriors, angling for
the best odds and the best matches.

Maximus and the others are led even deeper into the bowels
of the Colosseum to a new whole subterranean realm.
Numerous cells line the walls. Racks and racks of
weaponry and armor.

And, most striking, everywhere around them is the heavy
machinery of the spectacles above. Huge "elevator"
platforms and ramps and pulleys and counterweights are
manned by teams of sweating slaves.

INT. COLOSSEUM - HOLDING CELLS - DAY

Finally, Proximo's guards lead the gladiators to their
holding cells. These cells are right at the edge of the
arena. Barred windows offer a sand-level view of the
action.

Maximus immediately goes to a window and looks out.

He cannot see much of the entire arena, but what he does
see transfixes him.

A band of Christians are huddled together. An eerie
silence from the Colosseum but for the prayers of the
Christians.

Maximus watches them. One little girl peels past her
mother's arm. She sees Maximus. She smiles.

Suddenly a dozen ferocious lions race up a ramp by Maximus
-- they roar into the arena --

We do not see the carnage. We watch Maximus' face as we
hear the sounds of the slaughter.

And the sound of the roaring crowd.

Maximus finally cannot watch. He drops his head.

INT. COLOSSEUM - TRAINER'S LAIR - DAY

Proximo is with a dozen other gladiator trainers and the
Colosseum's orator and majordomo, CASSIUS. They are
haggling in an secluded area not far from the arena
itself. Huge chalkboards chart the day's matches and
wagers and odds.

Colosseum touts continually erase and mark new figures on
the chalkboards to keep up with the swiftly changing
bouts.

The roar of the lions and the unnerving screams of the
Christians can clearly be heard.

CASSIUS
... and the Emperor will have no
more animal battles today --

Upset roars from some of the trainers.

TRAINER #1
You promised me a bear match,
Cassius!

TRAINER #2
I have ten damned gorillas! You
said gorillas yesterday!

CASSIUS
Talk to the man in the imperial box.
Who has the next slot...?
(he checks the
boards)
-- Lentulus, Gideon, Trebonius and
Proximo --
(to Proximo)
-- Nice to have you back, you
piratical bastard -- now listen, the
Emperor wants the Carthage
spectacle.

The four trainers explode in a flurry of resistance --

PROXIMO
No -- have pity, Cassius -- !

TRAINER #3
My men are too good for -- !

CASSIUS
You give us the Carthage match or
lose your spot on the rotation --
but don't worry -- gold is flowing
from the Emperor's fingers.

TRAINER #3
It'll cost you --

PROXIMO
I won't do it for less than 100,000
sesterces -- !

TRAINER #4
120,000! All I have is my best
Thracians!

CASSIUS
(to Proximo)
And I want to see this famous
Spaniard of yours -- his reputation
soars from the provinces. The
people are eager for him --

PROXIMO
I won't throw my Spaniard into a
spectacle! Damn you and damn the
rotation!

CASSIUS
You will and the price will be
90,000 sesterces each --
(to all)
-- which you all know is exorbitant
-- AND IF YOU EXTORTING BLOOD-WHORES
TRY TO PAWN OFF LESSER FIGHTERS ON
ME I WILL SEE YOU DEAD IN THE ARENA
TOMORROW!

TRAINER #4
My Thracians are worth -- !

CASSIUS
Give me your best, brothers. They
die before Caesar.

He strides back to the arena. The touts instantly begin
making new marks on the boards to represent the mysterious
"Carthage Spectacle" as some of the trainers hurry out.

Proximo walks with Trainer #4:

PROXIMO
I give you 30,000 my Spaniard will
kill at least one of your Thracians.

TRAINER #4
30,000?! On a Spaniard?! That
provincial sun has curdled your
brain!

PROXIMO
Then make the wager, you smug
bastard!

They disappear down a dark corridor, negotiating all the
while.

INT. COLOSSEUM - HOLDING CELLS - DAY

Maximus, Juba, Vibius and another of Proximo's gladiators
are being armed. They all wear mask-like helmets.

Proximo hurries to them.

PROXIMO
All right -- there are three other
teams, four men each --
(to Maximus)
You know what a Thracian looks like?

MAXIMUS
Yes, but --

PROXIMO
Ignore the others -- go for the
Thracians. The sun is to the east
-- over the gate -- keep your back
to the gate and you won't have the
sun.

MAXIMUS
What -- ?

Trumpets begin sounding from the arena.

PROXIMO
Hurry -- !

The guards quickly bustle the four toward a gate leading
to a dark tunnel to the arena.

PROXIMO
Die well and we'll sing songs about
you for a generation.

Short swords are shoved into their hands and the gate
rises. They are pushed into the dark tunnel leading to
the arena. The gate closes behind them.

The four gladiators stand for a moment and then slowly
walk down the tunnel to...

EXT. COLOSSEUM - ARENA - DAY

At last we see it.

The mighty Colosseum Arena.

Nothing we could have possibly imagined could have
prepared us for the sight of the thousands and thousands
of screaming spectators, the row after row of cheering
faces.

It is staggering.

But for Maximus none of this exists. His full attention
is focused on one spot alone. The Imperial Box.

He can see Commodus and Lucilla sitting in the box. The
box is elevated fifteen feet above the arena floor at the
top of a sheer black marble wall. A cohort of fifty
imposing Praetorian Guard Archers surround the box.
Commodus' personal Body Guard of six Centurions actually
stand in the box itself, eyes constantly watching like
modern Secret Service agents.

Commodus is untouchable.

Meanwhile, three teams move from different entrances to
the arena.

As Cassius orates to the crowd:

CASSIUS
This day we reach back to hallowed
antiquity to bring you... THE FALL
OF MIGHTY CARTHAGE...!
(the crowd cheers)
... On the barren armies of the
barbarian Hannibal! Ferocious
mercenaries and warriors of all
brute nations bent on merciless
conquest! Your Emperor is pleased
to give you... THE BARBARIAN HORDE!

He gestures to the gladiators in the arena. The crowd
laughs, jeering the "barbarians."

The drummers begin pounding out a more insistent, heroic
beat.

CASSIUS
But on that illustrious day the Gods
sent against them Rome's greatest
warriors...! The very life-image of
nobility and glorious valor... who
would on this day, and on these same
arid Numidian deserts, decide THE
FATE OF THE EMPIRE... Your Emperor
is pleased to give you... THE
LEGIONNAIRES OF SCIPIO AFRICANUS!!

The crowd EXPLODES in cheers as the huge doors at one end
of the arena suddenly burst open and ten chariots thunder
in --

Each chariot has a driver and an archer, both dressed in
theatrical versions of the familiar Roman Lorica
Segmentata.

A chaos of dust -- and the battle is on --

The chariots zoom around the arena -- the archers keeping
up a deadly hail of arrows.

Maximus immediately dives onto a passing chariot and kills
the charioteer and archer -- he dramatically leaps from
the front of the chariot to a lead horse and cuts it free.

And Maximus takes control, we see the General of the Felix
Regiment gloriously alive again as he barks out orders and
leads his gladiators in battle. They follow him
faithfully, his stern commands unquestioned.

His strategies are quick and smart, he makes the
gladiators work together.

This kind of slaughter could last for hours...

We see flashes of the endless battle... Maximus races on
his horse past another chariot, kills the driver, the
chariot smashes into a wall... the sun sinks lower, the
shadows on the sand lengthen... areas of the sand are
swamps of blood, Juba slips, pulls himself up fighting...
Maximus uses Vibius to create a diversion, two chariots
collide... the crowd roars... a gladiator is dragged
between a chariot and the side wall of the arena... the
drummers pound out their relentless tattoo...

Finally...

Maximus is on his horse across from the final chariot.

We can see that Juba and Vibius and a few other gladiators
are still alive. The rest of the arena is polluted with
the dead and injured.

Maximus spurs his horse and gallops toward the final
chariot -- the charioteer whips his horses and zooms
toward Maximus --

The crowd is breathless -- watching the final battle --

Maximus and the chariot speed toward each other -- like
Medieval jousters --

And collide in a flashing explosion of steel --

Maximus sails from his horse -- as the charioteer sails
from his chariot --

Maximus lands hard but quickly pulls himself up, he races
to the final charioteer. The charioteer is defeated but
not dead.

Maximus glances around, all his opponents are defeated.

He stands over the final charioteer. Then he simply
tosses down his sword.

The crowd is stunned by this strange act of mercy. But
then an enormous roar grows from the crowd -- wave after
wave of adulation for the hero of the day.

Maximus looks around, taking it all in.

Then he turns to the Imperial Box.

Maximus slowly walks to before the the Imperial Box. The
Praetorian Archers immediately raise their bows, pointing
down at him.

Maximus glares up at Commodus through his helmet mask.
Commodus returns his gaze, curious.

The crowd is intrigued, growing quiet. What is going on?

Then Maximus simply turns and begins walking away.

COMMODUS
Slave! Who are you?

The Colosseum is suddenly silent. The Emperor is speaking
to a gladiator.

Maximus keeps walking.

COMMODUS
SLAVE! WHO ARE YOU?

Maximus keeps walking, his fists clenched now.

Commodus suddenly grabs a spear from a nearby Praetorian
and hurls it with perfect aim -- the crowd gasps -- the
spear sails past Maximus -- actually nicking his shoulder
-- it slices into the sand ahead of Maximus.

Maximus stops.

COMMODUS
SLAVE! WHO ARE YOU?!

Maximus can hold it no longer. He spins to Commodus --
ripping off his helmet mask -- and THUNDERING:

MAXIMUS
I AM MAXIMUS MERIDAS, GENERAL OF THE
FELIX REGIMENT OF THE ROMAN ARMY AND
SERVANT TO THE EMPEROR MARCUS
AURELIUS!

Commodus eyes shoot wide -- Lucilla bolts up -- Gracchus
leans forward -- Proximo is stunned -- the crowd is
mystified --

MAXIMUS
I AM FATHER TO A MURDERED SON AND
HUSBAND TO A MURDERED WIFE AND
LANDLORD TO A MURDERED WORLD -- AND
I WILL HAVE VENGEANCE!

The Praetorian Archers tense their bows -- ready to kill
the defiant slave --

But something extraordinary stops them. Almost as one
being the crowd roars -- they leaps to their feet and
thrust their thumbs up! They cheer and stomp their
approval of Maximus.

Commodus looks around at the people of Rome, amazed.

He finally plasters on a benevolent smile and thrusts his
thumb up! The Praetorians lower their bows.

And the crowd cheers. Never in the long, long history of
the Colosseum have they ever seen such a thing.

Maximus leads his gladiators out of the arena.

INT. PALACE - THRONE ROOM - NIGHT

To our great surprise, Commodus is not raging. He sits
quietly on the polished marble floor in front of a model
of the Colosseum. He moves model pieces around in the
Colosseum, planning his festival.

Lucilla stands, tense.

COMMODUS
Why is he still alive?

LUCILLA
I don't know.

COMMODUS
He shouldn't be alive. That vexes
me. I am terribly vexed...

Lucilla watches her brother cautiously, expecting the
explosion. He carefully moves some model pieces in the
arena.

COMMODUS
There, that's better. Do you like
the platform here?

LUCILLA
Mmm.

COMMODUS
I do too. Simple, elegant...

Lucilla is growing more and more unnerved at Commodus'
unusual serenity.

COMMODUS
Father would have wanted something
more ornate but he's dead now.

A beat. Commodus laughs. A beat.

COMMODUS
Maximus Meridas haunts me. I see
Father turning away from me and
gazing at him. How many times did I
suffer that indignity, I wonder?

LUCILLA
What are you going to do?

COMMODUS
I'm going to kill him.

LUCILLA
Good.

COMMODUS
(glances at her)
Oh, you're too clever, Sister.
Don't tell me part of you won't weep
for him.

LUCILLA
When he defies my brother the
Emperor, he defies me. But you
shouldn't send assassins.

COMMODUS
No?

LUCILLA
The people embraced him today. They
will be expecting his next match...
(she kneels next to
him)
... let him die in the arena like
the slave he is. Let the people see
what comes of defying Caesar.

A beat as he looks at her.

COMMODUS
He wounded you deeply, didn't he?
Long ago.

She does not answer.

COMMODUS
Nonetheless, your political acumen
is, as always, unerring.

He picks up a model tiger and puts it in the arena. He
looks at the model tiger and smiles.

INT. PROXIMO'S COMPOUND - CELL - NIGHT

Maximus silently awaits Commodus' assassins with Juba.
They hear footsteps outside the cell. Maximus stands,
preparing for death.

JUBA
(also standing)
I will fight with you.

MAXIMUS
This isn't your battle.

JUBA
Better to die for a friend than to
die for gold.

The door swings open and they are surprised to see Proximo
sweeping in with a cloaked woman. The woman gives Proximo
a bag of money.

PROXIMO
Enjoy yourself, Madame...
(he glances to
Maximus)
General, perform well and there will
be riches for you.

He beckons to Juba, they go, shutting the door behind
them. The woman pulls off her cloak, it is Lucilla.

Maximus glares at her, his muscles tensing.

LUCILLA
Rich matrons pay well to be
pleasured by the bravest champions.

Maximus backs up, fighting the urge to strangle her on the
spot. He finally bumps into a wall of the cell.

MAXIMUS
I knew your brother would send
assassins. I didn't think he would
send his best.

LUCILLA
Maximus, listen to me --

MAXIMUS
My family were crucified and burnt
while they were still alive.

LUCILLA
I knew nothing of that.

MAXIMUS
(low)
Don't lie to me.

LUCILLA
I wept for them.

MAXIMUS
Don't.

A long, tense moment.

She does not look at him.

LUCILLA
Do you know what it is to be the
daughter of the Emperor? I learned
on the night my father had my
husband killed. I loved my husband
very much. Very... simply. He was
a man who believed in the Republic.
He was a man who thought Marcus
should be tending to Rome and not
conquering the world. One night my
father had him strangled for
conspiring with the Senate. My
father never spoke of it. I never
spoke of it. That is what it is to
be the daughter of Rome.

She finally looks up at Maximus.

LUCILLA
My son will live. He will survive
this cursed bloodline. Rome will
die and the jackals will pick her
clean -- but my son will survive.
Empires come and go. Cities crumble
to dust. Only family matters.

A beat. Despite himself, Maximus is moved.

MAXIMUS
My son was innocent.

LUCILLA
So is mine.

A beat.

MAXIMUS
I want your brother dead.

LUCILLA
So do I.

A beat. Maximus is surprised at her direct answer.

LUCILLA
My son will never be safe while he
lives.

A beat.

MAXIMUS
How do you plan it?

LUCILLA
The Senate is with us, and the City
Guard. We have growing power in the
streets. But we need a leader.
Someone the people can --

MAXIMUS
So the crown passes to your son.

LUCILLA
No. So that my son will be safe.
So that we may leave this charnel
house forever and never look back.
Look into my eyes, Maximus, and
believe what I say to you...

She rivets him intensely with her eyes.

LUCILLA
By all the Gods, and in the name of
my father who loved you, and in the
name of the husband I loved... I
swear to stand by your side in this
now and always.

A beat.

MAXIMUS
What is your son's name?

LUCILLA
Lucius Verus. Like his father.

MAXIMUS
I weep for him.

A long beat. Maximus' cold eyes give away nothing.

Lucilla turns and starts to go. She stops, not looking
back.

LUCILLA
Commodus plans to kill you in your
next match in the arena. He's
planning something. I will pray for
you. As I have always done.

She then pulls something from her robes and sets it down,
a little bundle wrapped in cloth. She sweeps out. The
sound of the door being bolted shut on the other side.

Maximus stands for a moment and then goes to what she has
left. He opens the cloth. Inside are his six "ancestor"
figures.

He picks up one of the figures. He looks at it deeply,
gently feeling along the contours with a finger.

EXT. COLOSSEUM - ARENA - DAY

The Colosseum is again packed. Commodus, Lucilla and her
son Lucius are in the Imperial Box.

It is late in the day and teams of slaves are cleaning the
arena after a bout. They haul off carcasses and toss down
fresh sand.

Meanwhile, Cassius is orating to the crowd:

CASSIUS
... in his majestic charity the
Emperor has deigned to this day
favor the people of Rome with an
historical final match. Returning
to the Colosseum today... after five
years in retirement... Caesar is
pleased to bring you... THE ONLY
UNDEFEATED CHAMPION IN ROMAN
HISTORY...
(the crowd is going
mad)
... THE LEGENDARY... TIGER OF GAUL!!

The crowd erupts in paroxysms of joy as TIGER explodes
into the arena in an ornate chariot. Tiger is a fierce
man in his 40's, his brutal, scarred face and hugely
muscled body a testament to his many years in the arena.

Tiger speeds around the rim of the arena in his chariot,
raising an arm in triumph. The crowd roars.

INT. COLOSSEUM - HOLDING CELLS - DAY

Proximo stands with Maximus, who is busy strapping on
armor.

PROXIMO
Gods! That old Homicide! The
Emperor must truly hate you.

MAXIMUS
What can you tell me?

PROXIMO
He cheats.

INT. COLOSSEUM - ARENA - DAY

Tiger waits. He stands in the center of the arena. He
has only a traditional short sword. The crowd is
breathless with anticipation. As:

CASSIUS
(orating)
And from the rocky promontories and
martial bloodlines of Spain...
representing the training lyceum of
Proximo Antoninus... I give you...
THE WARRIOR MAXIMUS!

The crowd cheers. Maximus appears from his gate. His
fans have increased in number considerably. They eagerly
crane forward and celebrate him.

Meanwhile, Maximus looks at Tiger. Only one man with a
sword? Maximus approaches, cautious but confident.

He stops a few feet from Tiger. They lock eyes, salute
each other and then turn to the Imperial Box, raising
their swords.

The crowd waits eagerly for the immortal words...

MAXIMUS AND TIGER
We who are about to die salute you.

The crowd cheers and Maximus immediately turns and starts
slashing -- Tiger easily blocks and strikes back --

The sword play is very fast -- they block and parry and
hack like lightning -- constantly attacking -- they are
perfectly matched --

As he fights Maximus becomes aware of a strange sound over
the roar of the crowd -- a low rumbling -- then he feels
something -- a vibration in the ground --

Suddenly traps doors swing open and four enormous
platforms rise into view. On each platform is a snarling
Bengal tiger restrained by a chain. Tiger's teams of
"cornermen" hold the chains through a pulley system. The
cornermen are safely inside cages. The platforms stop at
ground level.

The four ferocious tigers now mark the four corners of the
battleground.

Tiger takes advantage of Maximus' momentary confusion and
assaults brutally -- forcing him back toward one of the
tigers -- the tiger claws for Maximus -- Maximus just
evades it claws -- rolls for a new position -- another
tiger snaps at him --

Tiger attacks -- Maximus is on the defensive -- fighting
off Tiger and evading the four snarling beasts --

And then all four tigers are suddenly closer. The teams
of cornermen are letting the chains play out, bit by bit,
gradually reducing the size of the battle ground. The
crowd roars.

But the fight is hardly fair.

Whenever Tiger is near one of the tigers the cornermen
pull back the tiger slightly -- when Maximus is near a
tiger they let it out a bit.

Maximus and Tiger fight -- swirling action -- finally,
Maximus has the edge -- he circles so that the sun stabs
into Tiger's eyes -- then Maximus lunges forward under
Tiger's swinging sword and SLAMS into him -- they fall --
a tiger swats at Maximus' face -- he jerks his head back
-- he shoots out a leg and kicks Tiger's sword toward one
of the tigers -- it is out of reach -- Maximus leaps up
and stands over the winded Tiger, sword to his throat.

Tiger is gasping for breath, crushed.

Then one of Tiger's corners suddenly cheats -- they
completely release a tiger -- it leaps for Maximus --

Maximus barely has time to turn -- the tiger crashes into
him -- its claws slashing into his back, cutting through
his leather armor -- Maximus shoves an armored forearm
into the tiger's jaws and stabs with his sword --

Tiger takes this chance to pull himself up -- one of his
corners throws him another sword -- the crowd boos --

Maximus wrestles with the tiger -- spinning it around with
superhuman effort so it is always between himself and
Tiger -- so that Tiger can't get at him --

Maximus finally kills the tiger and leaps for Tiger -- he
quickly disarms him and tosses him to the ground --

Maximus stands over him -- ready to administer the coup de
grace.

All eyes turn to the Emperor.

Commodus slowly stands and steps to the edge of the
Imperial Box. He raises his arm and gives the fatal
thumbs down.

Maximus looks up at him.

And then defiantly tosses the sword to the ground,
refusing to kill Tiger.

Commodus is stunned.

The crowd gasps -- a collective intake of breath -- and
then an enormous roar building. It cascades around the
Colosseum. It is a roaring celebration of the unexpected
act of mercy. And the delicious act of defiance of the
Emperor.

Commodus slowly sits.

Maximus walks across the arena -- the people stand and
cheer for him. Cries of "Maximus the Merciful" can be
heard.

It is the birth of a hero.

INT. COLOSSEUM - HOLDING CELLS - DAY

Maximus is resting in his cell after the battle, head
down, deep in thought.

LUCIUS' VOICE
Is it true you're a General...?

Maximus looks up, Lucius is standing at his cell. Maximus
has no idea who the boy is -- just another young fan --
but Maximus is immediately struck by Lucius' resemblance
to his own son.

MAXIMUS
I was a General.

LUCIUS
I saw you fight. The Carthage
battle too. I've never seen so much
courage.

MAXIMUS
It doesn't take courage to kill.

LUCIUS
My father was killed.

A beat.

MAXIMUS
I'm sorry.

LUCIUS
He still comes to me in my dreams.
Do you have a father?

MAXIMUS
I had a father. He wasn't really my
father but I cared for him very much.

LUCIUS
I hope he comes to you in your
dreams. My father and I ride horses
in mine.

These simple words strike something deep in Maximus.

Lucilla appears from the shadows and puts her hands on
Lucius' shoulders.

LUCILLA
Lucius, run along now. I need to
talk to the General.

Lucius runs off to his Male ATTENDANT, who leads him away.

A long beat as Maximus and Lucilla look at each other.

Finally:

MAXIMUS
Where is my army?

A drum beat is heard. It increases throughout the
following scenes, building momentum like a Roman gallery
accelerating to ramming speed.

The conspiracy scenes are enclosed in a montage of scenes
in and around the arena showing Maximus' growing
popularity with the People of Rome...

EXT. COLOSSEUM - ARENA - DAY

Maximus is fighting an opponent.

The drums continue...

INT. THE SENATE - DAY

Lucilla conspires with Senators Gracchus and Gaius and
Captain Marcellus in a dark corner of the Senate.
Whispers.

LUCILLA
... Maximus will summon his army
from Ostia and he will strike from
the inside as his army strikes from
the outside. But he insists that
the Senate be present.

GAIUS
We've been ordered to attend.

LUCILLA
How many are with us?

GRACCHUS
About half. But once the tyrant is
dead. All.

A beat.

GRACCHUS
I want to meet him.

LUCILLA
I'll arrange it.

GAIUS
And what of the Emperor?

A beat.

LUCILLA
He has withdrawn. He's not eating.
He doesn't go out. He won't even
see me... I don't know what tempests
rage within him but...

GRACCHUS
We should fear for the blackest
storm.

LUCILLA
Yes.

A beat.

GAIUS
One question... who is to be the
actual Regicide?

A beat. She glances at him.

The drums continue...

EXT. COLOSSEUM - ARENA - DAY

Maximus defeats his opponent. He stands over him. He
does not kill him.

He tosses his sword down and walks away. The crowd goes
crazy, roaring their approval of Maximus.

Senator Falco, sits in the stands and watches with some
alarm. He glances around as the crowd exalts Maximus. He
is becoming a hero to the people.

The drums continue...

INT. COLOSSEUM - HOLDING CELLS - DAY

Maximus returns to the holding cells. Vibius and Juba are
waiting.

VIBIUS
You didn't kill him.

MAXIMUS
I will not kill another warrior.
There is no honor to it.

Maximus goes. Vibius thinks about it, listening to the
adulation of the crowd.

The drums continue...

INT./ EXT. SLAVE WAGON - ROMAN STREETS - DAY

Maximus and the other gladiators are in a slave cart on
the way from the arena. A gang of children run alongside
the cart, cheering and chanting:

KIDS
Maximus the Merciful! Maximus the
Merciful!

The drums continue...

INT. PROXIMO'S COMPOUND - CELL - NIGHT

Maximus and Juba are with Lucilla and Gracchus. Lucilla
is writing on a piece of parchment.

MAXIMUS
Tell him we will enter Rome on the
first day of Commodus' festival.

LUCILLA
And they will march on Rome for you?

MAXIMUS
Yes. But this letter must go to the
lieutenant named Titus, no one else.

LUCILLA
Captain Marcellus will take it. And
his City Guard will by with you when
you get to Rome. Is that enough to
face the Praetorian Guard?

MAXIMUS
(looks to her)
The Felix Regiment will never be
defeated.

A beat.

GRACCHUS
I only have one question for you,
General... Why?

A beat.

GRACCHUS
You will lead an army of your
brothers on Rome. Many will die.
Why?

MAXIMUS
I want Commodus dead.

GRACCHUS
That's not the reason. Tell me the
truth.

A beat.

MAXIMUS
Because one night an old man
whispered to me about a dream. I
will die for that dream.

A long beat.

GRACCHUS
I knew the old man well. And I
loved him very much. In our youth
we would spend hours building that
dream together. After he went to
the wars and lost his way... I was
very cruel. I tormented him to
remember that dream we spoke of.

MAXIMUS
He did.

GRACCHUS
You can have no idea how much that
means to me.

A beat.

GRACCHUS
Any man who will die for a whispered
dream deserves my respect. I honor
you, General.

The drums continue...

EXT. COLOSSEUM - ARENA - DAY

Vibius defeats an opponent -- he stands over him. He
looks around at the crowd. Then he tosses down his sword
and walks off.

The crowd goes mad with pleasure. Vibius eats it up,
raising his arms and soaking up the applause.

Maximus watches from the holding cells. He smiles.

The drums continue...

EXT. STREET - NIGHT

Proximo supervises as a huge banner is unfurled. It
covers the side of a tall building.

It shows a dramatic painting of Maximus.

Proximo supervises happily as torches and braziers are lit
to illuminate the mammoth banner.

The drums continue...

EXT. COLOSSEUM - ARENA - DAY

The ending of a group fight -- Proximo's gladiators
triumphant.

The crowd waits for the delicious act of defiance. We
note many placard and banners honoring "MAXIMUS THE
MERCIFUL."

Maximus, Vibius, Juba and a few other gladiators toss down
their weapons and walk off, leaving their opponents alive.

The crowd roars. They have completely embraced Maximus
and his fellow gladiators.

Gracchus, in the stands, laughs.

The drums finally conclude.

INT. PALACE - LUCILLA'S CHAMBER - DAY

Lucilla is with her HANDMAIDEN. They sit before a large
mirror, the Handmaiden perfecting Lucilla's makeup for the
day.

One of Commodus' Centurion Body Guards enters, bows.

CENTURION
Madame, the Emperor would like to
see you.

Lucilla quickly glances to her Handmaiden in the mirror
and then braces herself, stands, and quickly leaves with
the Centurion.

INT. PALACE - HALLWAY - DAY

Lucilla strides quickly, nervously, down the long corridor
to Commodus' chambers. She enters...

INT. PALACE - COMMODUS' BEDROOM - DAY

Commodus is wrapped in a sheet, gazing out a window.

LUCILLA
Caesar...

He turns. She stops.

He looks as if he has not slept for days. If a word could
now sum up his clouded face it is this: tormented.

She goes to him, embraces him. He holds her tightly.

COMMODUS
I am sorry to have kept you away...
I needed this time to think...

LUCILLA
Of course...

He moves away from her, slowly moving around the room.

COMMODUS
I limited my world to these four
walls so as to let my mind free...
again and again my mind settles on
but one question... What kind of
world are we making when the people
of Rome prefer a slave in the arena
to their father?

A beat. Commodus' strange philosophical bent is unnerving
Lucilla.

COMMODUS
It is my responsibility to make the
world as it should be. How is it I
have made this world?

LUCILLA
Brother, do not be influenced by the
mob. They are a great, faceless
beast --

COMMODUS
They are not "the mob," Lucilla,
they are the people. They are my
children and all I want to do is
love them.

A beat. He stands before a bust of Marcus Aurelius. He
touches it.

COMMODUS
Our father loved Maximus... and I
love him still... yet he defies me,
he tasks me in front of my children.
And they love him for it. Just as
Marcus loved him for it. Tell me
why, Lucilla.

LUCILLA
They see themselves in him. They
throw in their own sad dreams
alongside his. They think he fights
for them.

COMMODUS
And what do I do but fight for
them?! I give them games to please
them. I strangle dissent to give
them peace. I empower the
Praetorians to give them order.
What more can I do?!

A beat.

COMMODUS
Say I should fight him, in the
arena. Let my children see who the
Gods truly favor.

LUCILLA
And what if he should win?

A beat.

Commodus continues to slowly move around the room.

COMMODUS
A God is more powerful than a man...

This odd statement hangs in the air for a moment. Then:

LUCILLA
Caesar, you let this unduly worry
you. At best he is a passing fancy
-- he is a name, an image on a
banner, ephemeral -- he will be
forgotten as the next fancy
appears --

COMMODUS
But I need to know -- why do they
love him?

LUCILLA
Mercy.

He stops. Looks at her.

LUCILLA
He will not kill in the arena. He
is merciful. As they all wish they
were in their own hearts.

Something in her words has struck a chord in him.

COMMODUS
And for that moment in the arena
they are merciful too. For a
moment... they are Gods. Offering
life.

He looks at her.

COMMODUS
But who can be more merciful than
the Emperor of Rome?

EXT. COLOSSEUM - ARENA - DAY

Maximus is fighting a thick GIANT of a man. A few quick
blows and the Giant falls -- like a mighty tree he crashes
to the sand.

The arena cheers their hero.

Maximus stands over the beaten Giant. The crowd waits for
the famous act.

Maximus salutes the Giant and tosses down his sword,
refusing to kill. He walks away.

The arena explodes in cheers -- a chant of "Maximus the
Merciful" grows to deafening proportions.

Suddenly the arena is filled with Praetorians -- they
block Maximus' exit from the arena -- the crowd boos --
horrified --

The Praetorians surround Maximus. He is unarmed, but
coils for the inevitable battle.

Then the Praetorians part...

And Commodus walks through them. He carries something
wrapped in a rich cloth. Maximus glares at him.

The Praetorians move back and the crowd watches eagerly.
The Emperor and the Gladiator, at last.

Maximus and Commodus stare at each other. The crowd
cannot hear what is said, but strain to observe this
incredible confrontation.

COMMODUS
Brother... we've taken a sad path
since we were children at Capri,
have we not?

Maximus doesn't answer.

COMMODUS
For my own part... I am sorry it
came to this. And to you alone of
all men, I acknowledge my errors.
And my regret. I shall live with my
sin for all my days.

MAXIMUS
As will I, Commodus. As will I.

Commodus unwraps the cloth bundle. Inside is a small
wooden sword. He holds it up so the crowd can see.

A collective gasp. The wooden sword, prized by all
gladiators above all else. Freedom.

COMMODUS
As the first act of my contrition I
offer you the wooden sword of
freedom.

He holds out the wooden sword. A beat.

COMMODUS
Take it, brother. Stand at my side
as a free man worthy of your
ancestors.

MAXIMUS
I only have ancestors because of
you, brother. You killed everything
that ever lived alongside me.

A beat.

COMMODUS
Take it, Maximus. Let us heal that
fatal wound together.

MAXIMUS
This is the new home you cursed me
to. And I am safer here from your
treachery than I could ever be
outside.

COMMODUS
Will you always mistrust me?

MAXIMUS
Why don't you ask your father that?

Commodus visibly flinches at that, but still holds the
wooden sword out. The crowd is breathless.

MAXIMUS
I have more power as a slave in the
arena than I could ever have as a
free man. As the Colosseum goes,
the people go. As the people go,
the Empire goes.

COMMODUS
(tense)
You think this is power? I could
show you power, slave --

MAXIMUS
No, Caesar... I will show you.

With that, Maximus does the unimaginable. He simply turns
his back on the Emperor and walks away.

And the crowd goes mad. They cheer the defiant gladiator,
their champion.

And, equally, they deride the Emperor. They mock him by
holding out food and trash like Commodus is holding out
the wooden sword. They laugh and jeer.

Commodus glances around at his children, lost.

Then he turns to the Imperial Box. He sees Lucilla
slipping out the back of the box. He watches her go.

And the crowd continues to jeer.

EXT. STREET THEATER - NIGHT

The crowd laughs riotously as Roman Actors perform a
typically ribald comedy in a secluded street:

An outrageously dressed version of Maximus is parading
around on an outrageously dressed version of Commodus,
riding him like a donkey and slapping his rear with a
wooden sword. The "Commodus" actor mews and brays and
wails like an infant.

Captain Marcellus of the City Guard gallops past them, on
his way out of Rome.

EXT. PROXIMO'S COMPOUND - COURTYARD - DAY

Maximus stands with Juba and Vibius. He draws a circle in
the sand with a stick. He draws a line to the circle.

MAXIMUS
The Felix Regiment will come from
here. We'll face the body of the
Praetorians outside -- here. Once
inside, my archers will take up
position to counter opposition
inside the Colosseum. I'll enter
and join you -- we'll attack here --

Maximus draws a line to the Imperial Box.

MAXIMUS
-- a covert assault from within.

VIBIUS
We'll be killed.

MAXIMUS
Probably.

A beat.

MAXIMUS
But if we aren't... think of the
glory. Do you remember glory,
Gladiator?

JUBA
And if we die that day -- we die
free men worthy of our ancestors.

VIBIUS
You didn't know my ancestors. A
rotten bunch.

Maximus points to the huge statue of Mars.

MAXIMUS
Then be worthy of him. The old
Titan who would rather die bravely
in a just battle than slink off to
grow old and fat.

JUBA
And impotent.

A beat. Vibius thinks about it.

VIBIUS
If I die, I want a hundred whores at
my funeral.

INT. PALACE - LUCILLA'S CHAMBERS - EVENING

Commodus sweeps in. Thinks Lucilla is standing there.
The woman turns, it is Lucilla's Handmaiden.

COMMODUS
Where is my sister?

HANDMAIDEN
She's out, sir...

COMMODUS
Where?

HANDMAIDEN
I... don't know, Caesar.

Commodus looks at her for a moment.

And then he slowly walks right to her. His face an inch
away from hers.

COMMODUS
Where is my sister?

INT. PROXIMO'S COMPOUND - PROXIMO'S CHAMBER - NIGHT

Proximo sits, considering Maximus.

MAXIMUS
Was it Centurion...? General...?

PROXIMO
Captain.

A beat.

PROXIMO
How did you know?

MAXIMUS
A soldier knows a soldier.

A beat.

PROXIMO
All that was a long time ago. Too
much wine and too many women. And
too much money.

MAXIMUS
No --

PROXIMO
This is who I am...
(he pats his ample
belly)
You see? There was a time I would
stand against ten men and never give
an inch, spitting into the jaws of
Hades all the while. There was a
time my heart swelled to strap on
the armor of Rome. But now...

Something flashes across Proximo's eyes, something like
tragedy.

PROXIMO
Now I am just an entertainer.

A pause.

MAXIMUS
You said something to me once. You
said in this life, we all die. All
we can choose is how we die. And
how we are remembered. Do you
recall those words?

PROXIMO
Yes.

MAXIMUS
Then be remembered proudly. This is
your time, Proximo. Stand at my
side and be what you were. What you
truly are. One last time.

A beat.

Proximo suddenly begins to weep rather histrionically --
Maximus is a bit taken aback -- Proximo dramatically
flicks tears from his eyes -- and then can't keep the show
up -- he bursts into laughter.

Maximus stares at him.

PROXIMO
(laughing)
You might have spared yourself the
speech, General. The lady Lucilla
bought all my gladiators two hours
ago!

MAXIMUS
You pox-ridden bastard -- !

PROXIMO
I am the richest trainer in the
Empire! And I will let my
gladiators do anything you like!
Conspire away, General!

Maximus can only laugh as well.

PROXIMO
But I tell you -- if you survive
this madness I want you to go into
business with me. I'll give you a
quarter of my holdings.

MAXIMUS
(standing)
A quarter?!

PROXIMO
A third. And not a hair more. And
you'll have to start in the
provinces! Cleaning up the lion
shit!

MAXIMUS
You know, if you were half so awful
as you pretend, you'd be a
terrifying man.

Maximus shakes his head, smiling, and goes.

Proximo sits for a moment.

Then he rises and goes to a heavy chest. He looks at the
chest for a moment and then opens it.

Inside is his old Lorica Segmentata. He gazes at his
armor, considering what he once was. And what he now is.

INT. PROXIMO'S COMPOUND - CELL - NIGHT

Maximus enters. Lucilla is waiting, extremely tense.

MAXIMUS
Lucilla --

LUCILLA
Don't even say it. I know it's
dangerous -- but I had to see you.
Captain Marcellus has gone to the
army with your message as you
instructed.

MAXIMUS
Good.

LUCILLA
He says the City Guard will be ready
at the south road at noon. They can
only wait for an hour so --

MAXIMUS
You've told me this already.

LUCILLA
Did I? All right then. So
everything is prepared. The Senate
will be in attendance and you have
your gladiators -- the usual cohort
of Praetorians will be inside the
arena --

MAXIMUS
Lucilla... why are you here?

A pause.

LUCILLA
Tell me honestly... please... do you
think it will work?

A beat.

MAXIMUS
No.

LUCILLA
Do you think we'll all die?

MAXIMUS
Yes.

She leans against a wall.

A pause.

LUCILLA
Will you swear something to me?

MAXIMUS
Yes.

LUCILLA
Will you swear it on the memory of
your son?

A long beat.

MAXIMUS
Yes.

LUCILLA
By all that you have ever loved...
swear that if you survive you will
take my son out of Rome. Swear that
you will go far away and never
return.

He steps to her.

MAXIMUS
(deeply)
I will.

A beat.

MAXIMUS
And if I should not survive... swear
to me that you will honor my family
in your prayers always.

LUCILLA
I will.

A long, difficult beat. She fights back tears.

LUCILLA
Had I not been the daughter of
Rome...

He puts a gentle finger to her lips.

MAXIMUS
Shhh... my heart breaks enough.

He holds her closely, tenderly.

INT. PALACE - LUCILLA'S CHAMBERS - NIGHT

Lucilla enters, deep in thought, still drained from her
meeting with Maximus.

She suddenly stops. Frozen.

Commodus is sitting across the chamber, Lucius at his
knee. An open scroll on Commodus' lap.

COMMODUS
Sister... join us. I've been
reading to dear Lucius.

LUCIUS
I've been reading too.

COMMODUS
Yes, he's a very smart little boy.
He'll make a grand Emperor one day.

Lucilla has not moved.

COMMODUS
Join us, sister.

Lucilla goes to them, sits.

COMMODUS
We've been reading about the great
Julius and his adventures in Egypt.

LUCIUS
She killed herself with a snake!

COMMODUS
(to Lucius)
And just wait until you hear what
happened to some of our other
ancestors! If you're very good,
tomorrow night I'll tell you the
story of Emperor Claudius. He was
betrayed! By those closest to
him...
(he glances up to
Lucilla)
... by his own blood... they
whispered in dark corners and went
out late at night and conspired and
conspired...

Lucilla looks as if she is going to be ill.

Lucius is busy scanning the scroll. Commodus gently
strokes his hair, his cold eyes never leaving Lucilla's.

COMMODUS
But the Emperor Claudius knew that
they were up to something dire. He
knew they were busy little bees.
And one night he sat down with one
of them and he looked at her and he
said: "Tell me what you have been
doing, busy little bee, or I shall
strike down those dearest to you.
You shall watch as I bathe in their
blood." And the bee knew he spoke
the truth, for the Emperor always
speaks the truth. And what do you
think happened then, Lucius?

LUCIUS
(still pouring over
the scrolls)
I don't know, Uncle.

COMMODUS
(glaring at Lucilla)
The bee told him everything.

Lucilla's face is tortured.

INT. PROXIMO'S COMPOUND - PROXIMO'S CHAMBER - NIGHT

Proximo is asleep -- a sound outside wakes him -- the
steady clip-clop of horses on stone. A lot of horses.

He rises and goes to a window overlooking the street
outside.

A stern Praetorian Guard cavalry unit is cantering into
position at his gates. Proximo grabs his clothes --

EXT. PROXIMO'S COMPOUND - NIGHT

With cool military precision the Praetorians take up
position at the gates before Proximo's compound, an
unassailable line. They quickly prepare their bows.

Meanwhile, another Praetorian unit has taken up position
at the other end of Proximo's compound -- sealing that
entrance as well.

EXT. PROXIMO'S COMPOUND - COURTYARD - NIGHT

Proximo is hurrying across his open courtyard when the
first flaming arrow arches into the compound -- it is
followed by hundreds more --

The Praetorians on either end of his compound keep up a
ceaseless hail of flaming arrows -- everything begins to
burn -- the caged gladiators are stirring now --
shouting --

Proximo races to his panicked guards --

PROXIMO
Release them! Release them all!
ARM THEM!

The guards sprint to the cells -- unlocking the gladiators
as quickly as they can --

Not quick enough for many -- Praetorians are now pouring
pitch through the gutter that runs along the bottom of the
cells -- igniting it and incinerating all those trapped
inside --

The compound is soon a raging inferno --

Proximo releases Maximus and Juba --

PROXIMO
Come --

MAXIMUS
But --

PROXIMO
If you want to live -- follow me --

VIBIUS
(calling to them)
Go, Spaniard! We'll show these
Roman dogs how gladiators fight!

Proximo hauls Maximus and Juba off as Vibius and the other
gladiators arm themselves --

INT. TUNNELS - NIGHT

Proximo is leading Maximus and Juba quickly through a
decaying cramped tunnel.

PROXIMO
All the old gladiator schools have
tunnels to the Colosseum -- most
have long since collapsed --

JUBA
How did they know?

MAXIMUS
We were betrayed.

JUBA
(stops)
I'll stay here. In case they
follow.

Maximus stops as well.

JUBA
Go! Bring us the army!

Maximus nods.

PROXIMO
Quickly --

He leads Maximus down the disintegrating catacomb of
tunnels --

EXT. PROXIMO'S COMPOUND - NIGHT

Vibius hoped to die fighting -- he never got the chance.

It is not a battle, it is a slaughter.

The Praetorians ruthlessly shoot anyone even approaching
the gates -- all the walls are covered -- most of the
gladiators die in the hellish inferno -- the relentless
rain of flaming arrows continues --

Vibius coughs in the thick smoke and rages for someone to
fight -- Praetorian snipers cut him down -- he dies
reaching for the statue of Mars.

INT. COLOSSEUM - SUBTERRANEAN - NIGHT

Proximo and Maximus emerge deep in the bowels of the
Colosseum.

PROXIMO
(points)
Down that corridor is the butchery
-- the blood sloughs lead to the
Tiber. Gods watch over you.

MAXIMUS
You're not coming?

PROXIMO
They are killing my men!

He races back into the tunnel.

Maximus moves quickly down the corridor. He can finally
see...

INT. COLOSSEUM - BUTCHERY - NIGHT

Grisly carcasses of every description hang from hooks.
Two bored butchers hack them up. The good bits are tossed
into a wagon to fed to the Colosseum animals. The waste
and offal are shoveled into a large sewer opening. A
butcher occasionally lifts a sluice-gate and a gush of
water flows into the sewer from above, washing down the
blood and carcasses.

Maximus crouches and creeps through the nightmare of
hanging carcasses and flies.

When the butchers are looking elsewhere, Maximus creeps to
the sewer opening and climbs in -- he immediately slides
down for a few yards in the slanting, slippery blood
sluice -- out of sight --

Then he thuds to a stop. He can go no further because the
remains of an animal carcass blocks his way. He tries to
slither past the carcass --

Finally, one of the butchers above lifts the sluice-gate
and a torrent of water flows down.

Maximus is washed down the hideous sewer.

INT. TUNNELS - NIGHT

Proximo and Juba are quickly marching back down the tunnel
toward the compound -- they are very close now -- the roar
of flame is heard -- the creak of falling timber -- and
the screams of burning men. They run.

They round a corner and see there is no way past the world
of flame ahead of them. The tunnel to the compound has
collapsed.

PROXIMO
Gods... they're killing them all.

Proximo leads them up a cramped stairway to...

EXT. STREET OUTSIDE PROXIMO'S COMPOUND - NIGHT

They emerge through a sewer entrance -- right into the
arms of the Praetorian Guard. Proximo and Juba are bound.
Proximo sees his compound burning. Sees the Praetorian
archers taking out any last survivors. Hears the screams.

INT./ EXT. VARIOUS LOCATIONS - ARREST MONTAGE - NIGHT

A quick sequence of brutal arrests as Praetorian Guard
units round up many associated with the plot. And many
that are not.

GAIUS' BEDROOM: Gaius and his wife are yanked awake and
hauled out.

CHRISTIAN HOME: A congregation of Christians is chained
together, their secret altar smashed.

CAFE: Greek Scholars are hauled away from their scrolls.

STREET THEATER: Actors are dragged off in the midst of a
performance.

GRACCHUS' STEAM ROOM: Gracchus is enjoying grapes with
his handsome catamite. A unit of Praetorian bursts in.
Gracchus looks at them. Sighs.

INT. PALACE - THRONE ROOM - NIGHT

Commodus stands with Lucius on a balcony overlooking the
city.

The roaring flames of the fire at Proximo's compound can
easily be seen.

LUCIUS
What is that fire?

COMMODUS
Why that's a bonfire, Lucius. I
arranged it just for you.

He puts his hand on the boy's shoulder.

Behind them, Lucilla sits slumped in a chair. Her face is
a mask of anguish at what she has been forced to do.

Two Praetorians enter with a bucket.

PRAETORIAN
Caesar...

Commodus goes to them. He talks quietly with them for a
moment and glances at what they are carrying.

COMMODUS
Oh... that's for my sister.

They bring the bucket to Lucilla and set it before her.

Commodus ignores her and goes back to Lucius on the
balcony.

Lucilla glances inside the bucket...

Captain Marcellus' head is floating in brine. Lucilla
moans. All is lost.

EXT. TIBER RIVER - NIGHT

Maximus splashes to the surface of the filthy Tiber,
gasping for air.

Animal carcasses float up next to him. He grabs onto one
and floats down the gently flowing river.

EXT. ITALIAN FRONT - CAMP - DAWN

The Wolf of Rome sleeps. Then its ears rise. Then its
head. It sniffs the air. The wolf slowly rises and
begins loping through the camp.

It passes slumbering soldiers and tents, smoke lazily
drifting up from campfires.

The wolf finally stops and looks up.

Maximus is on a horse. He climbs down. The wolf goes to
him and licks his hand.

Maximus begins marching through the camp, the wolf at his
side. Soldiers stir, amazed to see their General is
alive.

Gallus leaps up, stunned, and goes to Maximus. They
continue to march through the camp, more and more
astonished soldiers joining them.

They march toward the large tents at the center of the
encampment.

Titus emerges from his tent. Slams to a stop --

TITUS
By all the Gods...

He goes to Maximus and embraces him.

MAXIMUS
Old friend...

TITUS
You're returned from Hades! By all
the Gods!

MAXIMUS
Where is he?

Just then Quintus emerges from the largest tent. He
stares at Maximus, unbelieving.

A long beat as they look at each other.

Quintus knows his destiny. With quiet dignity he begins
whispering a prayer. Maximus moves to him, embracing him:

MAXIMUS
I forgive you.

He stabs Quintus with a dagger as he embraces him.
Quintus falls.

A beat.

Titus goes to the dead Quintus and pulls the seal of
office from his uniform. He hands it to Maximus.

An enormous roar of celebration from the Felix Regiment.

INT. PALACE - COMMODUS' BEDROOM - MORNING

A castrati choir sings a gentle hymn of celebration.
Their eerie voices and otherworldly harmonies undulate
around Commodus' bedroom.

The Emperor himself is in a chair, wrapped in a robe. His
body slaves work over him closely.

He is staring into a mirror, lost in another world as the
slaves carefully apply golden eye makeup to him.

The castrati hymn continues...

EXT. OUTSIDE THE COLOSSEUM - DAY

The hymn is all we hear as we see crowds moving into the
Colosseum...

It seems that all of Rome is here for this great day.
Huge throngs of citizens move like a massive wave toward
the Colosseum entrances. Vendors are doing brisk
business. Praetorian units in full dress uniform canter
past.

We elegantly float up along the outer tiers of the
Colosseum and then glide over the edge to see the arena
stands...

EXT. COLOSSEUM - DAY

The hymn is all we hear as we see...

The stands are filling. We see the rich and poor alike.
We see the orator Cassius. We see Senator Falco and most
of the Senate. We see the cohort of fifty Praetorian
taking up position around the Imperial Box.

A golden platform, with stairs down to the arena sand, now
extends about twenty feet from the Imperial Box to a spot
over the arena.

We float down the stairs and then we see the arena
itself...

It is stunning in its simplicity.

The days victims are tied to posts in the center of the
arena. Suspended above them is an enormous cloud. A
thick, tumescent bladder painted to look like a
threatening rain cloud.

We see Proximo and Juba. We see Senators Gracchus and
Gaius. We see Gaius' wife and Gracchus catamite and
Christian families and scholars and actors.

Seven stylized hills surround them.

The hymn comes to its soaring conclusion as we see the
damned.

TIME CUT:

Later. By now, the Colosseum is packed. All fifty-five
thousand seats are taken. Another ten thousand stand
wherever they can. A feral anticipation buzzes through
the crowd.

Outside the Colosseum, the streets are crowded with
thousands more who couldn't get in.

Trumpets blare.

Commodus' six Centurion Body Guards stride into the
Imperial Box.

Then Commodus enters. He is shrouded in a full lion's
skin, the head of the lion concealing his own. His head
is down, he does not look up.

Lucilla and Lucius enter after him and sit. Lucilla's
face is drained, her eyes defeated. Lucius is wearing a
miniature set of Lorica Segmentata, complete with
ceremonial dagger.

EXT. ROMAN STREET - DAY

A mangy dog is slowly crossing a dusty street on the
outskirts of Rome. The street is deserted. It seems that
almost everyone is at the Colosseum.

The dog stops. Looks up.

Then a sound is heard. The steady cadence of horses'
hooves.

The Felix Regiment rounds a corner. Maximus leads the
cavalry. He wears Lorica Segmentata. His corps of
archers and soldiers follow. They troop down the dusty
street.

Maximus and the cavalry canter past the mystified dog.

QUICK CUTS:

The Felix Regiment moves through the streets. The few
pedestrians quickly disappear into shops and around
corners. The roar of the Colosseum can be heard far in
the distance...

Arrows slice into isolated Praetorian sentries. The Felix
Regiment continues its stealth invasion...

Finally, Maximus reins his horse and his troops stop.

The mounted City Guard are waiting.

Without a word, the City Guard joins Maximus and the two
combined forces continue their inexorable march to the
Colosseum.

EXT. COLOSSEUM - DAY

Commodus, still swathed in the lion skin, his head down,
slowly walks out on the platform that now extends from the
Imperial Box.

The crowd grows hushed.

Commodus reaches the end of the platform and waits for a
moment. Then he dramatically flings off the lion skin.

The crowd gasps.

He is almost naked, his entire chiseled body is painted in
gold. His eyes are lost in an eerie reverie as he looks
around at his people.

He finally speaks:

COMMODUS
(serene)
Rome... This is the day that was
foretold. This is the day when your
father takes away all fear...
(he holds up his
hands)
With these hands I shall destroy
your enemies so that you may sleep
always and forever in peace. From
this day forth let it be known that
I, Lucius Aelius Aurelius Commodus,
have surmounted mortality. That I,
Lucius Aelius Aurelius Commodus,
assume my destined place... at the
side of the Gods.

The crowd is stunned. A few scattered laughs.

Lucilla stares at him, disbelieving.

COMMODUS
And as a righteous God, I shall ever
protect you. I shall cradle the
world on my benevolent hands and
clasp it to my heart. So I have
spoken! And let the heavens tremble
at my might!

EXT. ROMAN STREETS - DAY

Maximus continues to lead the combined Felix Regiment and
City Guard cavalry through the streets. The roaring is
closer now. They are nearing the Colosseum, they can just
glimpse the edge of the top tier over some building.

EXT. COLOSSEUM - DAY

Commodus continues:

COMMODUS
This day I reclaim Rome for her
people. I shall give you the
rebirth of your Empire! Reborn and
cleansed of her enemies!

He raises his arms. At his cue the Praetorian archers
raise their bows, ready, aiming at the victims.

COMMODUS
I will make a new Rome! Founded as
it was at the beginning! Archers --
GIVE US BLOOD!

The Praetorians suddenly point their bows higher and
fire --

They shoot the cloud -- the bladder EXPLODES and thick
blood rains down on the victims -- the blood splashes over
them, coating them.

EXT. OUTSIDE COLOSSEUM - DAY

The roar from the Colosseum is now deafening as Maximus
and the City Guard round the final corner -- the Colosseum
is before them -- the massive Praetorian Guard force is
caught of guard -- with crisp military efficiency the
Felix Regiment and the City Guard quickly canter into
place, an unbroken line of seasoned warriors facing the
Praetorians.

The huge mob outside the Colosseum is confused, intrigued,
watching the face-off. The mounted archers of the Felix
Regiment have drawn their bows.

Maximus looks down from his horse at a Praetorian Officer.

MAXIMUS
Throw down your weapons or we will
kill you.

A beat.

The Praetorian Officer glances at the formidable force
against him. He drops his sword. His men follow suit.

MAXIMUS
(he turns to his men)
FELIX REGIMENT! DO HONOR TO YOUR
ANCESTORS! I SALUTE YOU!

He spurs his horse and the Felix Regiment roars, springing
into action -- they gallop through the crowd and to the
Colosseum -- meanwhile the City Guard disarm and guard the
Praetorian --

EXT. COLOSSEUM - DAY

Commodus continues:

COMMODUS
As it was at the beginning so is it
now. The great She-Wolf of Rome
will again suckle us, again ravage
our enemies -- AND BRING US A WORLD
REBORN!

At his cue, two elevator platforms rumble into view,
rising from the bowels of the Colosseum to the arena sand.

On each platform is a cage full of ferocious wolves, they
snap and growl, straining to be released.

COMMODUS
So it was for Romulus and Remus,
sons of Mars, so shall it be for us!
The great She-Wolf will --

Suddenly -- the huge wooden doors of the arena burst open
and Maximus leads the Felix Regiment cavalry thundering
into the arena.

The crowd is stunned -- Commodus is stunned -- Lucilla
bolts up --

Commodus immediately spins to Lucilla, his eyes burning --

His Praetorian are momentarily confused --

At Gallus' command the Felix Regiment archers let fly --
multiple arrows and bolts cut through most of the
Praetorians -- some confusing skirmishes as the remaining
Praetorians fire back --

Maximus leaps from his horse and begins cutting the
prisoners free --

Meanwhile, Commodus strides back down the platform toward
Lucilla in the Imperial Box, murder in his eyes --

She suddenly hugs Lucius quickly and kisses him --

LUCILLA
Remember your mother.

She pulls the ceremonial dagger from his little uniform
and pushes him to his attendant -- his attendant pulls him
away as --

Lucilla spins to Commodus -- he grabs her into an embrace
-- he turns the knife on her -- thrusting deeply as he
kisses her --

A long kiss as he holds her tightly to him. Then he
gently sits her down on her throne. Her eyes wide, dying.

One of Commodus' Body Guards grabs him:

CENTURION BODY GUARD
Caesar -- we must go -- !

Commodus' six Centurion Body Guards begin hustling him out
of the Imperial Box --

COMMODUS
GET THE BOY!

He grabs Lucius from his attendant and drags him off --

They try to escape out the back of the Imperial Box -- but
Felix Regiment troops are blocking their way -- racing up
toward them --

CENTURION BODY GUARD
THIS WAY, CAESAR!

Below, through the confusion, Maximus sees Commodus
escaping with Lucius down through a side tunnel.

Maximus cuts Juba and Proximo free. Juba immediately
snatches up a sword. Maximus quickly offers a sword to
Proximo.

MAXIMUS
Captain?

Proximo takes the sword.

MAXIMUS
(re: Commodus and
the others)
Where are they going?!

PROXIMO
This way!

They race across the arena and into a tunnel...

INT. COLOSSEUM - BOWELS - DAY

Proximo leads them through a series of catacombs -- damp
tunnels shoot off in every direction -- everywhere around
them the heavy machinery of the games rise like mammoth
creatures to the arena above -- a baroque network of ropes
and pulleys and counterweights and elevator platforms and
air shafts and blood sewers -- And they suddenly run
directly into Commodus, dragging Lucius, and his six
Centurions coming the other direction.

The final battle begins with no preamble --

Maximus launches himself forward -- instantly separating
Commodus and Lucius -- he slams at Commodus with his sword
-- Commodus slams back --

Proximo and Juba race into the six Centurions -- a wild
free-for-all as they prove their worth as warriors -- Juba
fights with his usual elegant precision -- Proximo fights
as a man reborn, alive again --

Proximo takes cagey advantage of his knowledge of this
subterranean world -- spinning around machinery and
leaping over blood sewers and swinging heavy
counterweights --

Maximus and Commodus hack at each other with all the fiery
passion in them -- Commodus is a perfect match for Maximus
and equally ruthless -- their swords thrust and parry and
slice at amazing speed -- one false move, one mistake,
means death --

Meanwhile, the battle is turning into a victory for Juba
and Proximo -- they are defeating the Centurions --
Commodus sees this -- and sees Lucius crying in a
corner --

He screams to one of his remaining Centurions:

COMMODUS
KILL THE BOY!

Maximus whirls to Lucius -- Commodus attacks -- slashing
Maximus' shoulders -- Maximus sees Proximo racing to try
and save Lucius as he spins back to battle Commodus --

A Centurion raises his sword to kill Lucius -- Juba kills
his final opponent, turns -- Proximo just manages to push
Lucius out of the way -- the Centurion's sword slices into
him --

Juba flings his sword across the room -- the final
Centurion falls --

Maximus sees Proximo collapse to a wall -- dying --
Proximo locks eyes with Maximus as he slides down the
wall. The old pirate shrugs. And is dead.

Juba races to Lucius and holds the boy, turning his face
away from the slaughter --

Maximus, his furious passion redoubled at Proximo's death,
attacks Commodus with every ounce of strength in him --

Commodus' eyes begin to flash with something we have never
seen before, fear.

Maximus strikes mercilessly -- forcing Commodus steadily
back until they are fighting atop one of the elevator
platforms to the arena above.

MAXIMUS
For my wife!

Maximus strike hard -- Commodus barely blocks the blow --

MAXIMUS
For my son!

He strikes harder -- Commodus is losing --

MAXIMUS
For my father!

He strikes with everything he's got -- slashing Commodus
-- Commodus sails back -- his sword falling --

Maximus stands over him. Glaring. Commodus is panting,
defeated, glaring up at him.

A beat.

MAXIMUS
We who are about to die salute you.

Maximus raises his sword high -- Commodus raises an arm --
Maximus SMASHES the sword down -- and Commodus is dead.

A moment as Maximus stands over Commodus. Then he looks
at the series of counterweight ropes around the elevator
platform.

He slices through one of the ropes and the platform begins
to rise...

EXT. COLOSSEUM - ARENA - DAY

A trap door springs open and the elevator platform rises
to the sand of the arena. Maximus stands above the dead
Emperor.

The crowd stares in amazement -- and then begins to cheer
in joy at the return of their hero. A chant begins...
"Maximus the Merciful... Maximus the Merciful... Maximus
the Merciful..." which then grows to a refrain of
"Caesar... Caesar... Caesar..."

Maximus ignores them, his eyes drawn to one sight:
Lucilla.

He goes to the steps of the platform leading to the
Imperial Box. He slowly climbs the steps.

In the Imperial Box, Senator Gracchus is standing. So too
Juba and others.

Lucius is kneeling by his mother, holding her hand, his
head down. Lucilla is dead. Lucius mourns with quiet
dignity.

Maximus looks at Lucilla and kneels. He takes her other
hand. A long moment. He looks at Lucius.

Then he slowly bends forward and kisses Lucilla deeply,
the ritual farewell.

He stands.

Senator Gracchus steps to him:

GRACCHUS
General, the purple is yours if you
so desire. The Senate will support
you.

Maximus looks at him. And then at the people. The chant
of "Caesar... Caesar... Caesar..." is like a powerful
beating heart.

Maximus moves to the edge of the Imperial Box to address
the people. The crowd grows silent.

Maximus looks around at the blood of the arena.

MAXIMUS
Rome... you are better than this.
Look inside yourselves. I challenge
you to find your true voice. Help
the Senate speak for you. Make them
your champion... And dare to think
what could be.

A beat.

MAXIMUS
I give you back the dream.

With that he slowly turns and walks down the steps to the
arena sand. The crowd is absolutely silent.

He goes to Titus:

MAXIMUS
When everything has calmed down,
lead an orderly withdrawal. Take
them home.

Titus salutes.

Maximus return the salute and then leaps onto his horse.
As he canters toward the exit he turns for one final look
at Lucilla.

He sees that Lucius is now at the foot of the stairs, on
the arena sand, gazing at him.

Maximus stops his horse.

He canters back to Lucius. The boy looks up at him. A
moment between them.

Lucius thrusts up his hand. Maximus grabs his hand and
swings him onto the horse behind him.

A look to Juba. Juba bows his head with respect.
Farewell.

Maximus spins the horse around and begins cantering out of
the Colosseum.

Juba disappears into the crowd.

Maximus and Lucius canter across the arena and through the
huge doors...

EXT. COLOSSEUM - DAY

From high above we see Maximus and Lucius riding out of
the Colosseum and disappearing into the streets of Rome.

FADE TO:

EXT. VINEYARD - DAWN

Maximus stands with Lucius at his old vineyard.

It is still scorched and dead, weeds overgrowing the
vineyards, the house ruined.

Maximus puts a hand on the boy's shoulder, this boy so
like his own son.

MAXIMUS
It doesn't look it now... but soon
we'll have it growing again... Next
year there will be vines, and then
there will be grapes... It will be
alive.

We leave them, dreaming of the future.

FADE OUT.

THE END