CAUGHT DEAD IN RED
INT. HOUSE NIGHT
FADE IN
Lobo hoists himself upto the balcony with his eyes squinted mockingly reminiscent of Clint Eastwood ruined by the teeth clamped around what vaguely seems like a bouquet. He climbs into the balcony. The door groans as he casts himself into the house course shadows cutting at him.
Sparsely lit light the room appears to be tastefully done with the barest of furniture. He walks decidedly and peers around and heads towards the bedroom where he crouches and searches under the bed. With a sigh of satisfaction he pulls out a violin case and gathers himself up keeping one hand on the case and the other clutching the roses. He walks back into the room and looks towards the balcony but stops to inhale deeply. Leather? A woman’s perfume!!!
Anna
Check baby! Its over!
She walks out of the shadows towards lobo with a cruel snub nosed wheel gun aimed steadily at his face.
(beat)
You were supposed to be dead by now.
He quietly places down the violin, raises his hand in mock surrender gesturing the bouquet towards her.
Lobo
You call this living?
Anna
You sure are stupid to come back here with so many on your tail.
Lobo
Well, since its so obvious I’m fired and at,
I decided on a career change.
Thought of picking up the violin and hitting the streets for alms.
Anna
(scathingly)
Knives wants you dead, Lobo.
Lobo
And you? What do YOU want, Anna?
He takes slow swaggering steps towards Anna and she cocks the gun at him with more determination.
Anna
The don is dead, Lobo. My father is gone. And now its down to just the two of you. And Knives wants its all, Lobo.
(beat)
Lobo looks her dead in the eye right over the barrel of the gun.
Anna
He knows, Lobo. I know he knows.
He sent me to kill you. I bet he sent his dogs first.
If I don’t pull the trigger, he’d kill me. He doesn’t need me anymore anyways.
Lobo
Proves my point, doesn’t it? Bluto cares more to destroy Popeye and take whats Popeye’s than Olive herself.
She looks towards him apprehensively as he steals a small step towards her and she lowers the gun and he leans forwards and steals a kiss with the gun against his jaw.
Lobo
Women and their mysteries. She asks the one she loves for his life and pleads for her enemy.
(beat)
He turns aways from her and takes a step.
Lobo
Tell Knives I’m coming for him and this time will be the last.
Anna takes back a hold of the gun and points it decisively at Lobo with his next step.
Anna
NO! JACQUES!!!
Lobo notices that from the farthest corner of the living room a huge body morphs out of the shadow walking towards him brandishing a 9mm. The man takes huge confident strides overs her and strikes with the butt of the 9mm.
The strike lands with a nasty scrunch and a shot rings out. Smoke runs out of Anna’s snub nosed. Lobo has caught the butt of the 9mm an inch away from his face crushing Jacques hand, as Jacques looks on Lobo with a dumbfounded expression and a thud.
(beat)
Lobo
(Grins)
I should have known better than to buy 13 red roses with my kind of luck.
He moves towards Anna sympathetically where her face distorts into a frantic plastic mask of horror, her eyes rolling hysteria writ and she points the gun a Lobo slowly backing away.
Lobo
Its ok, angel. Relax. Its over.
(beat)
Vincent approaches out of the darkness looking down at Jacques impassively.
The gun falls from Annas hand, where the other cluthes at her stomach and bile runs down from the corner of her lip. Lobo rushes to her. He breathes heavily and for a moment loses himself between grief and rage.
Lobo
(sobs)
Its over, baby.
He picks up Annas revolver and points it at Knives with a malice scratched on his face. Knives looks on to him impassively.
Lobo
Check, Knives. Lets finish this.
(beat)
Knives
(coldly)
Once upon a time, Lobo, nothing stood between us.
There was the Don. There was always Anna. And you and I.
The Don I protected is dead.
You were the son to him, and I was the dog at his feet.
The Anna I loved is dead.
She wanted you for.A.Long.Long.Time.
Noticed?
Once again, nothing stands between us.
May the best man win?
They stand in that tense moment looking at each other impassively till their expressions turns to bitterness and hatred. The intensity rises as Knives lets out a battle cry, pulls out twos blades and spears towards Lobo chucking one at him slashing with other. Knives feints to the side and another shot rings out. Both stumble away from each other.
(beat)
Lobo realizes he’s fatally wounded with a knife sticking at his side and falls against the battered roses and stray petals and the violin case. Knives has one knee bent on the floor and is gasping for breath. He’s shot in the shoulder a few inches from his heart and bleeding from the neck where a bullet grazed him.
Knives
I win, Lobo.
Lobo
(gasps for his last breath)
Its over, Knives.
Lobo sticks out the finger as he falls where a ring with a poking end circling the finger.
Knives grimaces as the violin case opens to and a barrage of grenades pouring out.
EXPLOSION!!!
REEL BURNS OUT
Showing posts with label Script. Show all posts
Showing posts with label Script. Show all posts
Saturday, January 22, 2011
Monday, August 23, 2010
The Deluge - Script
FADE IN
INT. CLINIC- MORNING
(Anushka and Bose are facing each other separated by a large mahogany desk. Anushka is peering over her notes, Bose is sprawled in his seat nonchalant with his eyes fixed on a window away from her.)
ANUSHKA
[Looks at Bose and his posture and shakes her head] Is everything alright?
BOSE
[Has his gaze fixed on the window, a certain silohette passes by seen only by him. He does not reply.]
ANUSHKA
I hear that you've refused to take the medicines again and cooperate. He's not real, Debashish, and these pills ensure he doesn't harm you, or you end up in more difficulty.
[She notices his silence with resignation, assumes his gaze and goes back to her notes]
BOSE
[Voice Over]
They always refer to him in third person. As if he has no rightful name, no identity.
[ Sarcastic Laughter] As if he is nothing. I've known him as a good mate for sometime now.
ANUSHKA
Debashish, has he spoken to you again?
BOSE
[Shakes his head and sighs]
ANUSHKA
[frowns] I'm having a hard time believing you.
INT. HOSTEL CORRIDOR- DAY
BOSE
[He is standing at one end of the corridor, the camera zooms in till it catches his strange expression and keeps zooming till it reaches his eye uptil the pupil and the screen goes black]
ONI
[He is standing in the other end of the corridor in the shadows and walks towards where Bose is standing. The footsteps and the knock of his broken heel is heard distinctively. He walks down the corridor till he is close enough and his face is partially revealed, a strange smile dancing on his lips.]
INT. HOSTEL ROOM- DAY
(The bare room has two figures facing each other, contrasting in the looks and the moment. Bose is sprawled out lazily like a cat on the bed half facing towards Oni who is pacing back and forth the length of the room in a restless obscure pursuit. The Tibetan Book of The Dead is lying open and faced down on Bose's stomach, as he is busy rolling a joint with sheer glee. Every now and then the dark figure of Oni looks at Bose.)
BOSE
Finished…
[Picks up the joint with a sense of satisfaction and shows it off to Oni whose face is half stuck in a sneer and a scowl. He puts it to his lip and picks up the book.]
ONI
Cute!
[Pulls out a cigarette and lights it flamboyantly.]
BOSE
I know, I'm getting good at this.
[Lights the joint and focuses on the book.]
ONI
You think this is real?
[Shoots his arms wide like a gothic christ and sneers, cigarette hanging from the lip.]
ONI
This is the GOD DAMN EXTENT of our existence! What the fuck do we know of the world beyond. And don't get me wrong, even with all our notions where does it come from? However did it reach us? Who as the right to say what is real and what is not? After all there is an opionion and then there is a clash of perception. And we all know humans are prone to make mistakes along the way!
BOSE
What’s it to you? Fuckin' anarchist!
[Takes a deep drag off the joint and exhales a billow of blue-grey smoke. Oni goes back to pacing as Bose is caught in coughing fit, the books falls off his hand till Bose catches him self with a heavy whack on his back and picks up the book.]
ONI
Think about life and what it exactly represents. What good are ya'll? Yeah breathe, you live, you eat, you shit, you kill or you get killed and you die! Ever thought of that?
BOSE
Ho-hum.
ONI
[Stubs out the cigarette on the floor and reaches out for an apple lying on the fruit basket and peers at it. He motions close to take a bite, smiles and keeps it back.]
BOSE
Yeah? And Macintosh is Satan. How? Think about the brand representation with the apple and the bite bitten off. Now think about the fall of man from the garden of Eden and the image that goes with it.
ONI
You were better off with the fuckin' (Sun Tzu's) Art of War than that religious, all knowing, spiritual piece of...
INT. CLINIC- MORNING
ANUSHKA
Debashish, we're all here to help you. You know how you've been addressed regarding this issue...
EXT. THE COLLEGE SPOT- MORNING
(Bose and Oni are sitting like the best of mates conversing animatedly in what seems an intense conversations till a group of girls pass by.)
BOSE
Stereotyping and generalizing is after all human tendency, mate. Its hard on all of us but we learn something at the end of the day.
[Oni has not yet remarked and Bose catches him staring at the women with an intense look on his face and a classic smile.]
(The girls look at them in an obvious and distressed manner)
BOSE
Onie...
(The girls head off hurriedly and Oni keeps on looking at their dissappearing figures)
INT. HOSTEL ROOM- EVENING
[Bose is sitting on his bed looking towards where Oni once stood and stares into the empty space. He picks up the book and throws it against the door, the sharp THUD is heard.
(Oni is on the other side of the door when he hears the thud ad he closes his dark eyes in a painful expression.)
BOSE
[Take the bottle of the pill and violent unscrews the top and gulps down a few till he chokes.] Why... why... why...
[Bose who bursts into tears, tears at his hair till he loses out and sobs and holds his head in his hand.]
EXT. COLLEGE MORNING
(Bose is sitting alone and talking to his side as if he is conversing animatedly with someone till a group of girls pass by.)
BOSE
- Its hard on all of us but we learn something at the end of the day.
[He keeps looking to his side in an inquisitive manner.]
(The girls look at him with a distressed expression and start walking away fast)
BOSE
Onie...
(The girls head off and Bose is left with the fading monologue.)
INT. CLINIC MORNING
ANUSHKA
Do understand, Debashish, from what you have told me and trust me I've checked, there are no records of this character called Oni. He did not study Delhi University, and no he was not in Alliance Francais. Nobody close to his appearance lives in the East Side of Delhi in Kirti Apartments. What is surprising me is that the areas exist but the man does not and there is a middle aged couple living there.
EXT. THE COLLEGE SPOT- EVENING
(Bose is sitting brooding looking at the people walking by, he starting tapping his feet in a strange jittery manner and puts is head into his hands. Oni comes in and bumps into him, deliberately pushing him aside.)
BOSE
[Furiously] WHAT???
ONI
Qui? You looked as if you needed a push in the right direction.
[lights a cigarette and leaves it hanging on the lip.]
ONI
By the way, the name is Oni! In the orient... it means the devil.
INT. CLINIC- MORNING
ANUSHKA
- We're all here to help you, Debashish. And I promise you from here on it would only get better in the times to come. But I must insist that you take those pills that I gave you and I'll see you again next week around this time to see your progress. Try not to be late...
[Without a word Bose gets up and makes his way out of the officer. The only thing noticed is the door that closes behind him that reads out her name in bold caligraphy "Anushka Sharma, Psychiatrist".]
(She sighs and walks out from her chair towards the window; pulls out her cigarette, lights it and inhales deeply. Her calm face is distorted and screams of an adolescent girl is heard.)
EXT. ROAD TO HOME- MORNING
(Bose is seen walking morosely and he looks behind him every now and then as if looking for someone till he sighs with resignation. He hears the rumbling sound of an Auto and hails it. As he's about to board it he lights a joint.)
(A black figure is noticed out of focus in the distance as Bose lights his cigarette. The figure is smoking as well; Bose boards the Auto and moves out of frame.)
(The figure is noticed to be that of Oni smoking and as the focus clears and zooms, the intent on his face is noticed. He is standing in what seems to be a circle of cigarette stubs, a sign of impatience.)
INT. CLINIC- MORNING
(Anushka is still smoking her cigarette and staring out the window.)
BEHIND ANUSHKA, HER DESKTOP PICKS UP STATIC AND STARTS ON ITS OWN WITHOUT HER NOTICING. AN ARTICLE/ FACEBOOK PROFILE IS NOTICED SIGNIFYING AN ACT OF MURDER WITH THE PICTURE OF A YOUNG MAN NOTICEABLY WITH ONI'S FACE.
[Anushka stubs out her cigarette and chucks it out the window. She takes a room freshner and sprays. As she moves back to her desk she notices a book lying next to where Bose was sitting and she picks up the book. She opens the book and turns.]
ONI
[Appears out of nowhere and mutters in a raspy whisper] MISS ME?
ANUSHKA JUMPS IN FRIGHT.
FADE OUT
(A small montage alongside the ending score: Picture of Bose with a caption that reads "Debashish Bose pursued his love for music and became a successful blues guitarist. He never saw Oni again...
Picture of Anushka with a caption that reads: She was found dead that evening, the cause of death remains mysterious.)
CREDITS
http://www.youtube.com/watch?v=2JAaftYdTj8
INT. CLINIC- MORNING
(Anushka and Bose are facing each other separated by a large mahogany desk. Anushka is peering over her notes, Bose is sprawled in his seat nonchalant with his eyes fixed on a window away from her.)
ANUSHKA
[Looks at Bose and his posture and shakes her head] Is everything alright?
BOSE
[Has his gaze fixed on the window, a certain silohette passes by seen only by him. He does not reply.]
ANUSHKA
I hear that you've refused to take the medicines again and cooperate. He's not real, Debashish, and these pills ensure he doesn't harm you, or you end up in more difficulty.
[She notices his silence with resignation, assumes his gaze and goes back to her notes]
BOSE
[Voice Over]
They always refer to him in third person. As if he has no rightful name, no identity.
[ Sarcastic Laughter] As if he is nothing. I've known him as a good mate for sometime now.
ANUSHKA
Debashish, has he spoken to you again?
BOSE
[Shakes his head and sighs]
ANUSHKA
[frowns] I'm having a hard time believing you.
INT. HOSTEL CORRIDOR- DAY
BOSE
[He is standing at one end of the corridor, the camera zooms in till it catches his strange expression and keeps zooming till it reaches his eye uptil the pupil and the screen goes black]
ONI
[He is standing in the other end of the corridor in the shadows and walks towards where Bose is standing. The footsteps and the knock of his broken heel is heard distinctively. He walks down the corridor till he is close enough and his face is partially revealed, a strange smile dancing on his lips.]
INT. HOSTEL ROOM- DAY
(The bare room has two figures facing each other, contrasting in the looks and the moment. Bose is sprawled out lazily like a cat on the bed half facing towards Oni who is pacing back and forth the length of the room in a restless obscure pursuit. The Tibetan Book of The Dead is lying open and faced down on Bose's stomach, as he is busy rolling a joint with sheer glee. Every now and then the dark figure of Oni looks at Bose.)
BOSE
Finished…
[Picks up the joint with a sense of satisfaction and shows it off to Oni whose face is half stuck in a sneer and a scowl. He puts it to his lip and picks up the book.]
ONI
Cute!
[Pulls out a cigarette and lights it flamboyantly.]
BOSE
I know, I'm getting good at this.
[Lights the joint and focuses on the book.]
ONI
You think this is real?
[Shoots his arms wide like a gothic christ and sneers, cigarette hanging from the lip.]
ONI
This is the GOD DAMN EXTENT of our existence! What the fuck do we know of the world beyond. And don't get me wrong, even with all our notions where does it come from? However did it reach us? Who as the right to say what is real and what is not? After all there is an opionion and then there is a clash of perception. And we all know humans are prone to make mistakes along the way!
BOSE
What’s it to you? Fuckin' anarchist!
[Takes a deep drag off the joint and exhales a billow of blue-grey smoke. Oni goes back to pacing as Bose is caught in coughing fit, the books falls off his hand till Bose catches him self with a heavy whack on his back and picks up the book.]
ONI
Think about life and what it exactly represents. What good are ya'll? Yeah breathe, you live, you eat, you shit, you kill or you get killed and you die! Ever thought of that?
BOSE
Ho-hum.
ONI
[Stubs out the cigarette on the floor and reaches out for an apple lying on the fruit basket and peers at it. He motions close to take a bite, smiles and keeps it back.]
BOSE
Yeah? And Macintosh is Satan. How? Think about the brand representation with the apple and the bite bitten off. Now think about the fall of man from the garden of Eden and the image that goes with it.
ONI
You were better off with the fuckin' (Sun Tzu's) Art of War than that religious, all knowing, spiritual piece of...
INT. CLINIC- MORNING
ANUSHKA
Debashish, we're all here to help you. You know how you've been addressed regarding this issue...
EXT. THE COLLEGE SPOT- MORNING
(Bose and Oni are sitting like the best of mates conversing animatedly in what seems an intense conversations till a group of girls pass by.)
BOSE
Stereotyping and generalizing is after all human tendency, mate. Its hard on all of us but we learn something at the end of the day.
[Oni has not yet remarked and Bose catches him staring at the women with an intense look on his face and a classic smile.]
(The girls look at them in an obvious and distressed manner)
BOSE
Onie...
(The girls head off hurriedly and Oni keeps on looking at their dissappearing figures)
INT. HOSTEL ROOM- EVENING
[Bose is sitting on his bed looking towards where Oni once stood and stares into the empty space. He picks up the book and throws it against the door, the sharp THUD is heard.
(Oni is on the other side of the door when he hears the thud ad he closes his dark eyes in a painful expression.)
BOSE
[Take the bottle of the pill and violent unscrews the top and gulps down a few till he chokes.] Why... why... why...
[Bose who bursts into tears, tears at his hair till he loses out and sobs and holds his head in his hand.]
EXT. COLLEGE MORNING
(Bose is sitting alone and talking to his side as if he is conversing animatedly with someone till a group of girls pass by.)
BOSE
- Its hard on all of us but we learn something at the end of the day.
[He keeps looking to his side in an inquisitive manner.]
(The girls look at him with a distressed expression and start walking away fast)
BOSE
Onie...
(The girls head off and Bose is left with the fading monologue.)
INT. CLINIC MORNING
ANUSHKA
Do understand, Debashish, from what you have told me and trust me I've checked, there are no records of this character called Oni. He did not study Delhi University, and no he was not in Alliance Francais. Nobody close to his appearance lives in the East Side of Delhi in Kirti Apartments. What is surprising me is that the areas exist but the man does not and there is a middle aged couple living there.
EXT. THE COLLEGE SPOT- EVENING
(Bose is sitting brooding looking at the people walking by, he starting tapping his feet in a strange jittery manner and puts is head into his hands. Oni comes in and bumps into him, deliberately pushing him aside.)
BOSE
[Furiously] WHAT???
ONI
Qui? You looked as if you needed a push in the right direction.
[lights a cigarette and leaves it hanging on the lip.]
ONI
By the way, the name is Oni! In the orient... it means the devil.
INT. CLINIC- MORNING
ANUSHKA
- We're all here to help you, Debashish. And I promise you from here on it would only get better in the times to come. But I must insist that you take those pills that I gave you and I'll see you again next week around this time to see your progress. Try not to be late...
[Without a word Bose gets up and makes his way out of the officer. The only thing noticed is the door that closes behind him that reads out her name in bold caligraphy "Anushka Sharma, Psychiatrist".]
(She sighs and walks out from her chair towards the window; pulls out her cigarette, lights it and inhales deeply. Her calm face is distorted and screams of an adolescent girl is heard.)
EXT. ROAD TO HOME- MORNING
(Bose is seen walking morosely and he looks behind him every now and then as if looking for someone till he sighs with resignation. He hears the rumbling sound of an Auto and hails it. As he's about to board it he lights a joint.)
(A black figure is noticed out of focus in the distance as Bose lights his cigarette. The figure is smoking as well; Bose boards the Auto and moves out of frame.)
(The figure is noticed to be that of Oni smoking and as the focus clears and zooms, the intent on his face is noticed. He is standing in what seems to be a circle of cigarette stubs, a sign of impatience.)
INT. CLINIC- MORNING
(Anushka is still smoking her cigarette and staring out the window.)
BEHIND ANUSHKA, HER DESKTOP PICKS UP STATIC AND STARTS ON ITS OWN WITHOUT HER NOTICING. AN ARTICLE/ FACEBOOK PROFILE IS NOTICED SIGNIFYING AN ACT OF MURDER WITH THE PICTURE OF A YOUNG MAN NOTICEABLY WITH ONI'S FACE.
[Anushka stubs out her cigarette and chucks it out the window. She takes a room freshner and sprays. As she moves back to her desk she notices a book lying next to where Bose was sitting and she picks up the book. She opens the book and turns.]
ONI
[Appears out of nowhere and mutters in a raspy whisper] MISS ME?
ANUSHKA JUMPS IN FRIGHT.
FADE OUT
(A small montage alongside the ending score: Picture of Bose with a caption that reads "Debashish Bose pursued his love for music and became a successful blues guitarist. He never saw Oni again...
Picture of Anushka with a caption that reads: She was found dead that evening, the cause of death remains mysterious.)
CREDITS
http://www.youtube.com/watch?v=2JAaftYdTj8
Wednesday, February 10, 2010
Sweet Nothings: A Rogue Production
Scene 1: A day on the terrace
Location: The terrace
The setting is somewhere around dusk, where there is the silhouette of a boy and a girl sitting at the edge of a 4-5 storey terrace set against the horizon. From the focus, it is evidently noticeable that the boy has long brown hair and is sitting in a contemplative position looking at the sea crashing against the shores, throwing a shy glance at the girl every now and then. The girl has short red hair, tattoo on her back, and multiple piercings on the ear as the metal glints in the setting sun. She is dressed in a casual attire of tank tops and shorts, and there is a bubbly aura about her. The camera moves towards them and sets the closure, when it suddenly pans forward and shows both of them from an overhead angle. The boy’s converse shoes are shown tilted towards each other, whereas the girl is wearing home slippers, her toe nails painted in an off beat color and the heels of her feet bouncing off the wall every now and then. Moreover, it is easily noticeable that there is a pavement below their feet with a flow of people making their way by foot and an occasional car passing the curb.
Scene 2: The Conversation
Location: The terrace
The camera focuses on the lovely profile of the girl, and it is noticeable that there is laughter in her face and she is obviously swaying from one shoulder to the other expressing the joy in her heart. The boy’s side profile is noticeable from the angle, and it is evident that his piercing eyes are set on the horizon.
Girl: So, what now? We have the world at our feet…
Boy: What if they don’t exist?
Girl: (laughs) Lets find out...
And the camera pans in an overhead shot which shows their feet and the pavement again as the boy turns towards the girl.
Boy: How?
Here she looks down and a shingles single slippers off her feet and its drops to the flow of the pavement below. It almost misses the trunk of a man, who is walking and attending a phone call at the same time and hits the pavement with a smack. Nobody notices the slipper and they keep walking on. The next shot is that of the boy and girl looking and laughing with all their hearts.
Scene 3: What’s the difference?
Location: The terrace
Alternative 1
The camera is set on their backs and as the sun is setting, they huddle closer to each other till the girl kisses him on the cheek and rests her head on the shoulder looking down at the people making their way beneath her feet.
Alternative 2
The camera is set on their backs and it circles them both. The boy still looking at the horizon with piercing depth, and there is a grit resolute on the girls face. As the camera reaches their back, it is noticed that the girl is holding on the ledge with all her strength. Suddenly she let goes. In the next angle, she is shown flying towards the ground with a smile on her face till she reaches flat on the road and the blood drips from the orifices of the face.
At the hospital, the girl is shown lying on the bed with a cast on her leg staring out at the world beyond the window. The guy strolls towards her and with a shrug hands her the flowers and smiles as he notes the delight on her face.
Boy: You know, there is nothing much to matter in the world out there. But for us, my world resides in you as yours resides in me…
And the camera closes in on the girls face as the emotions cloud her eyes with his form obvious on her pupil.
Location: The terrace
The setting is somewhere around dusk, where there is the silhouette of a boy and a girl sitting at the edge of a 4-5 storey terrace set against the horizon. From the focus, it is evidently noticeable that the boy has long brown hair and is sitting in a contemplative position looking at the sea crashing against the shores, throwing a shy glance at the girl every now and then. The girl has short red hair, tattoo on her back, and multiple piercings on the ear as the metal glints in the setting sun. She is dressed in a casual attire of tank tops and shorts, and there is a bubbly aura about her. The camera moves towards them and sets the closure, when it suddenly pans forward and shows both of them from an overhead angle. The boy’s converse shoes are shown tilted towards each other, whereas the girl is wearing home slippers, her toe nails painted in an off beat color and the heels of her feet bouncing off the wall every now and then. Moreover, it is easily noticeable that there is a pavement below their feet with a flow of people making their way by foot and an occasional car passing the curb.
Scene 2: The Conversation
Location: The terrace
The camera focuses on the lovely profile of the girl, and it is noticeable that there is laughter in her face and she is obviously swaying from one shoulder to the other expressing the joy in her heart. The boy’s side profile is noticeable from the angle, and it is evident that his piercing eyes are set on the horizon.
Girl: So, what now? We have the world at our feet…
Boy: What if they don’t exist?
Girl: (laughs) Lets find out...
And the camera pans in an overhead shot which shows their feet and the pavement again as the boy turns towards the girl.
Boy: How?
Here she looks down and a shingles single slippers off her feet and its drops to the flow of the pavement below. It almost misses the trunk of a man, who is walking and attending a phone call at the same time and hits the pavement with a smack. Nobody notices the slipper and they keep walking on. The next shot is that of the boy and girl looking and laughing with all their hearts.
Scene 3: What’s the difference?
Location: The terrace
Alternative 1
The camera is set on their backs and as the sun is setting, they huddle closer to each other till the girl kisses him on the cheek and rests her head on the shoulder looking down at the people making their way beneath her feet.
Alternative 2
The camera is set on their backs and it circles them both. The boy still looking at the horizon with piercing depth, and there is a grit resolute on the girls face. As the camera reaches their back, it is noticed that the girl is holding on the ledge with all her strength. Suddenly she let goes. In the next angle, she is shown flying towards the ground with a smile on her face till she reaches flat on the road and the blood drips from the orifices of the face.
At the hospital, the girl is shown lying on the bed with a cast on her leg staring out at the world beyond the window. The guy strolls towards her and with a shrug hands her the flowers and smiles as he notes the delight on her face.
Boy: You know, there is nothing much to matter in the world out there. But for us, my world resides in you as yours resides in me…
And the camera closes in on the girls face as the emotions cloud her eyes with his form obvious on her pupil.
Icarus Rising: A Rogue Production
Scene 1:
Location: Whistling Woods
Scope: Black and White, low frame rate
The focus is set in black and white (with distortions giving a vintage effect) on the luminous sight of the sky and the clouds hovering by and gradually moves on to the institute building with the students and faculty piling in and guests lolling about. The engagement of the human activity is shown through a slight jerky and archaic footage with major distortions (white spots and lines) till the camera deliberately pans right and focuses on a single individual who is mopping the floor.
Transition is shown through a deliberate err in editing where the screen blacks out for a second or half till the next scene
Scene 2:
Location: A & D Wing
Scope: Black and White, mediocre frame rate
The camera focuses on the man mopping the floor with a dull look on his face till a waltz number begins and his face perks up. He listens to the music with intent and then looks at the mop and bucket and continues with his work. Only this time he slowly starts dancing with the mop while indulging with the work. His little number becomes more and more romantic, as if the mop were an imaginary woman till he tips it and comes back with only one hand on the mop and the other in the air. He turns and slips, the mop drops and clatters to the floor.
Scene 3:
Location: A & D wing
Scope: Black and White, Increased frame rate
The man comes into the frame in an attempt to catch his balance. As soon as he does he notices the sudden change in his environment and he takes a look at himself. He finds himself dressed in waist high trousers, suspenders and hat and says something but is barely audible. He tries again till he says something obviously silly and then laughs as he realizes he can speak but there is no sound coming from his lips, instead he gives up and claps his hand to initiate a burst of sound in polka/ clarinet instrumental and does a silly jig. He tries to spin around and this time he finds a small red rose in the backdrop, whose red sparkles against the black and white back drop and he picks it up with a shy look in his eye.
Scene 4
Location: A & D Wing to Recreation Room
Scope: Technicolor
The footage shudders and the man thinks he is in and earthquake till he finds ground and balance and he sees himself without a warning in a Technicolor frame and looks at himself with an audible “aha!” He looks around at his surrounding and hears a small romantic tune playing in the distance.
Alternative 1:
See’s a woman in the distance wearing white/ blue and attempts a romantic interlude by handing her the red rose. They hold each other and he looks her in the eye, till she turns and in a dramatic mood throws her face in her hand and with the other pushes him away. He turns dejected and notices a door with the quote “Exit” and walks through it.
Alternative 2:
Hears the tune and follows it till he reaches a door (recreation room) and knocks on it with a romantic look in the eye. Instead of the door opening, there is another knock on the other side. He knocks again to hear another knock in reply. He knocks musically, to get another musical reply… till he bursts through the door.
Scene 5:
Location: Recreation Room
Scope: Eastman Chrome tone
He finds himself at the billiards table with the sound of jazz, and the footage mostly continues with shots of cigarette in hand, smoke twirling in the air, the clink of whisky tumblers and the activity of the billiards with emphasized focus on the pocket balls flying helter and skelter with a cue break, and the obvious passing of the gave with a few frames devoted to the roll of the red ball towards the pocket and the cue ball hitting the 8.
Scene 6:
Location: A & D Wing
Scope: Eastman Color.
Coming out of the room, the man walks back down with a simple smile as he forgets about his earlier activity and the wet floor, till he slips and falls hard to the floor.
Scene 7
Location: A & D Wing
Scope: True Resolution
Finding himself on the floor, the man is shown rising to the sound of inspirational music and finds himself rising back in his overalls and reaches the mop to look around at the true resolution. He goes back to work, the camera focuses on him and slowly focuses out spanning in a few seconds as the credits start rolling.
Location: Whistling Woods
Scope: Black and White, low frame rate
The focus is set in black and white (with distortions giving a vintage effect) on the luminous sight of the sky and the clouds hovering by and gradually moves on to the institute building with the students and faculty piling in and guests lolling about. The engagement of the human activity is shown through a slight jerky and archaic footage with major distortions (white spots and lines) till the camera deliberately pans right and focuses on a single individual who is mopping the floor.
Transition is shown through a deliberate err in editing where the screen blacks out for a second or half till the next scene
Scene 2:
Location: A & D Wing
Scope: Black and White, mediocre frame rate
The camera focuses on the man mopping the floor with a dull look on his face till a waltz number begins and his face perks up. He listens to the music with intent and then looks at the mop and bucket and continues with his work. Only this time he slowly starts dancing with the mop while indulging with the work. His little number becomes more and more romantic, as if the mop were an imaginary woman till he tips it and comes back with only one hand on the mop and the other in the air. He turns and slips, the mop drops and clatters to the floor.
Scene 3:
Location: A & D wing
Scope: Black and White, Increased frame rate
The man comes into the frame in an attempt to catch his balance. As soon as he does he notices the sudden change in his environment and he takes a look at himself. He finds himself dressed in waist high trousers, suspenders and hat and says something but is barely audible. He tries again till he says something obviously silly and then laughs as he realizes he can speak but there is no sound coming from his lips, instead he gives up and claps his hand to initiate a burst of sound in polka/ clarinet instrumental and does a silly jig. He tries to spin around and this time he finds a small red rose in the backdrop, whose red sparkles against the black and white back drop and he picks it up with a shy look in his eye.
Scene 4
Location: A & D Wing to Recreation Room
Scope: Technicolor
The footage shudders and the man thinks he is in and earthquake till he finds ground and balance and he sees himself without a warning in a Technicolor frame and looks at himself with an audible “aha!” He looks around at his surrounding and hears a small romantic tune playing in the distance.
Alternative 1:
See’s a woman in the distance wearing white/ blue and attempts a romantic interlude by handing her the red rose. They hold each other and he looks her in the eye, till she turns and in a dramatic mood throws her face in her hand and with the other pushes him away. He turns dejected and notices a door with the quote “Exit” and walks through it.
Alternative 2:
Hears the tune and follows it till he reaches a door (recreation room) and knocks on it with a romantic look in the eye. Instead of the door opening, there is another knock on the other side. He knocks again to hear another knock in reply. He knocks musically, to get another musical reply… till he bursts through the door.
Scene 5:
Location: Recreation Room
Scope: Eastman Chrome tone
He finds himself at the billiards table with the sound of jazz, and the footage mostly continues with shots of cigarette in hand, smoke twirling in the air, the clink of whisky tumblers and the activity of the billiards with emphasized focus on the pocket balls flying helter and skelter with a cue break, and the obvious passing of the gave with a few frames devoted to the roll of the red ball towards the pocket and the cue ball hitting the 8.
Scene 6:
Location: A & D Wing
Scope: Eastman Color.
Coming out of the room, the man walks back down with a simple smile as he forgets about his earlier activity and the wet floor, till he slips and falls hard to the floor.
Scene 7
Location: A & D Wing
Scope: True Resolution
Finding himself on the floor, the man is shown rising to the sound of inspirational music and finds himself rising back in his overalls and reaches the mop to look around at the true resolution. He goes back to work, the camera focuses on him and slowly focuses out spanning in a few seconds as the credits start rolling.
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