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Moonrise Kingdom script at the Internet Movie Script Database. The end of the path cut through the high grass where Sam and Suzy met the day before. Overthinking “Moonrise Kingdom”: The Nature of the Threat The plot, in a nutshell: Suzy and Sam meet during the island's annual community. Moonrise Kingdom is a American coming-of-age film directed by Wes Anderson, written Eventually, a group of Khaki Scouts confronts Sam and Suzy and try to capture Sam and Suzy on the steeple of the church in which they first met.
Now officially wed, Sam and Suzy exit the wedding chapel and lead the group through the camp to the marina. They depart, and sail off… and then turn around, and come right back. Sam confronts the other scout.Moonrise Kingdom HD (2012) - Sam and Suzy
An emergency siren sounds. Two teams of scouts playing capture the flag start to chase after Sam, and he runs away frantically — eventually onto a wide sport field, where he grabs a flag marker, and then onto a hill, where he tries to scare the approaching mob off by throwing the flag down at them. As he does, though, he gets struck by a bolt of lightning! Suzy runs up to him: Using her binoculars, he spots another way they can escape.
He tells them that the kids have been found and are at the fort now. They notify the Bishops in turn, and they all depart immediately for St.
Amid heavy rain and turbulence, Jed pilots the seaplane toward the island, with Social Services riding inside; meanwhile, Scout Master Ward races determinedly across the channel in his motorboat. On the island, Sam, Suzy, and Troop 54 scramble away from Fort Lebanon through some woods; at the Fort, scouts try frantically to pack everything up as a flood warning goes out over the radio. Commander Pierce informs them all that their designated storm shelter is St. He joins them, looking for his troop.
Pierce chastises Ward for losing his entire troop, then strips him of his field command.
They continue the evacuation — but just as Commander Pierce heads back to his tent to retrieve his medicine, a flash-flood rips through the fort, stranding Pierce and setting his tent aflame.
Scout Master Ward jumps into action and saves the commander! Scout Master Ward tells them Suzy and Sam have escaped again. He and Becky then go back out with volunteers to help the others. Just as Sharp notices eleven familiar-looking children dressed in animal costumes up in the choir loft, Social Services arrives, demanding to know where Sam is. Social Services is furious, writes him up for gross misconduct, and they start to argue with each other.
Suddenly the lights go out, however… and when they look back up, Suzy and Sam have disappeared. As he follows after the children, Sharp uses his walkie-talkie to call and ask Social Services something. We intercut between him and the children: Over the radio, we hear Social Services deny him his application. Bishop for their legal perspective. They talk it over, extremely confident they can litigate. A little electric zap crackles at their lips; Sam still has a big of lightning inside of him.
Tears streaming down his cheeks, Sam agrees. But just about to cheer, another bolt of lightning hits the roof.
Moonrise Kingdom Script at IMSDb.
Dangling off the edge of the roof, at the end of the rope, Captain Sharp holds onto Sam and Suzy. He tells them evenly: Suzy smiles after him, looks pensively at the canvas and then walks out of the frame. And then the camera pans down and we see what Sam was painting: When they ran off together for the first time, what did each of them bring? He brought a hatchet, a compass, a tent, matches, and all the other wilderness survival tools that he could carry, including, most notably, a map.
She brought a collection of novels, the record player, her left-handed scissors, and most notably, a cat. He brings science, their daily bread, rigor, and systematization.
Overthinking “Moonrise Kingdom”: The Nature of the Threat
If we expand this out to include things that they bring to the table on a more abstract level, Sam is a member of a public organization scoutingand Suzy, for all that she hates them, has a family.
From a certain point of view, this complementarity is romantic. But the faultline is placed oh so specifically along gender-normative lines! Suzy is all blurry lines and jagged edges. Sam is right angles and flat surfaces.
So why is it that the major threat, that drives climax of the film, is the idea that Sam, specifically, is going to be taken away and institutionalized? And why is the threat so abstract and symbolic?
With his perfectly appointed campsite, and his agendas and checklists, and so on? What if… what if we think of this institutional cruelty not as something that might be applied to Sam, but as something he has the capacity to become?
Wes Anderson stalwarts will recognize this fashion choice from The Royal Tenenbaums.
There are two ways of reading this. The depressing one is to think that the ending is not so happy as it seems. Sam has not been rescued at all. He IS the system. Anderson had considered incorporating animation for the reading scenes but chose to show her reading with the other actors listening spellbound.
Jack Wood Island saying: He wanted to ensure that even if a prop is only briefly seen in the film "you kind of feel whether or not they've got the layers of the real thing in them". Anderson used Google Earth for initial location scoutingsearching for places where they could find Suzy's house and "naked wildlife", considering Canada, Michigan and New England.
Anderson presented her with concepts of how the characters should look. She drew on photographs from the s and the uniforms of Boy Scouts when designing Suzy and Sam's costumes. Their characters inspired many Halloween costumes in Principal photography took place in Rhode Island from April to June The set for the Bishop home was constructed and filmed inside a former Linens 'n Things store in Middletown, Rhode Island.
Kunze wrote that the story depicts "preteen romance", exploring child sexuality in the vein of The Blue Lagoon.