Post by Casablanca on Jan 6, 2010 23:36:36 GMT -5
This is a teaser to my next film. Essentially, it is just a small scene. The context, and much of the dialogue will be in the film, though I cannot guarantee if it will be exactly in this manner (aka, in the cafe at this time), as this is just being used for promotion. Lines, or scenery, may differ in the final film.
We fade in to the interior of a café; small, but comfortable, and only slightly occupied. At the table we are focused on, two people sit, facing each other. They are Charles and Madeline Livingston; both in their forties. He seems sophisticated, wearing a black trench coat, black scarf. She is elegant, wearing a fine dress, not too thin, not too large. Her hair is up. The look of their faces indicate that they are neither happy, nor sad, but reflective. They are obviously in the middle of a lengthy conversation that has been going on for some time, and is likely to continue for even longer. We have come in right in the middle of a portion of it, as we can tell by the fact that right when we come into focus, Charles is finishing saying something.
He finishes before we can make sense of it, and then sits back in his chair a little, adjusting before he completes his sentence.
Charles Livingston
...I have taught English for twelve years now…twelve years, and every expression I have learnt, every phrase to be said, I thought I have used…every, distinct pair of words...and do you know why I thought this?
He leans forward slightly, putting both of his elbows on the table, his head slightly in his hands.
Charles Livingston
...It is because…for the life of me, I never thought that words could change their meanings.
He waives his hand in the air to emphasis his point.
Charles Livingston
(Quicker Tone To Illustrate What Would Happen)
Words change their meanings, there is an altercation...…and then you have a vast array of possible combinations…a whole new set of expressions.
There is a slight pause before he continues on.
Charles Livingston
But alas, whenever I opened my mouth and told you…”I love you”...
He moves his hand back to his face and remains still.
Charles Livingston
…I saw the words deteriorating into something…something empty, banal...until there they were, nothing but a hollow prayer of contentment. Then it struck me, the words have modified...not in a literal sense, they haven’t changed...themselves…but in concept...a...a facade, of sorts, you may put it.
He takes a sigh as he lowers his eyes.
Charles Livingston
I assumed there was nothing left to say, but…I never thought I would say that I didn’t love you...but I was…I was the entire time... just keeping it under a veil of…endless pretense.
He scoffs as he finishes saying the sentence. The camera then cuts to Madeline, staring at her husband without any conviction towards belief or disbelief; just awe and curiosity. She makes no attempt to speak, nor to move, she just sits like a statue. As we see Charles, again, his eyes are lowered, but his head confident. He makes a shrug with his mouth, alone, and then leans backward in his chair, at the same time, spotting that his wine glass has run empty. He turns his head behind him and spots the waiter coming in their general direction. He faces back and raises his hand in the air to get the waiter’s attention. Madeline remains the same, staring straight ahead, not at Charles, not at anything except her own thoughts. After a second, her mouth moves as she prepares to speak. When she does, her voice is quiet and very gentle.
Madeline Livingston
Life has an uncanny way of ceasing to rise above the inadequate...
She leans forward a little bit, still looking gloomy as she did, though never anything but civil. Charles shoots her a glaze.
Madeline Livingston
...Don't you find?
Charles puts his hand back down and faces her completely. His mouth creases into half of a smile and after a few second he lets out a good-hearted, warming and friendly chuckle as he turns back to his original position, the waiter approaching.
We slowly fade to the title, leaving them to finish their conversation.
"Spring, 1952, Four Into the Afternoon"
[/color][/center]He finishes before we can make sense of it, and then sits back in his chair a little, adjusting before he completes his sentence.
Charles Livingston
...I have taught English for twelve years now…twelve years, and every expression I have learnt, every phrase to be said, I thought I have used…every, distinct pair of words...and do you know why I thought this?
He leans forward slightly, putting both of his elbows on the table, his head slightly in his hands.
Charles Livingston
...It is because…for the life of me, I never thought that words could change their meanings.
He waives his hand in the air to emphasis his point.
Charles Livingston
(Quicker Tone To Illustrate What Would Happen)
Words change their meanings, there is an altercation...…and then you have a vast array of possible combinations…a whole new set of expressions.
There is a slight pause before he continues on.
Charles Livingston
But alas, whenever I opened my mouth and told you…”I love you”...
He moves his hand back to his face and remains still.
Charles Livingston
…I saw the words deteriorating into something…something empty, banal...until there they were, nothing but a hollow prayer of contentment. Then it struck me, the words have modified...not in a literal sense, they haven’t changed...themselves…but in concept...a...a facade, of sorts, you may put it.
He takes a sigh as he lowers his eyes.
Charles Livingston
I assumed there was nothing left to say, but…I never thought I would say that I didn’t love you...but I was…I was the entire time... just keeping it under a veil of…endless pretense.
He scoffs as he finishes saying the sentence. The camera then cuts to Madeline, staring at her husband without any conviction towards belief or disbelief; just awe and curiosity. She makes no attempt to speak, nor to move, she just sits like a statue. As we see Charles, again, his eyes are lowered, but his head confident. He makes a shrug with his mouth, alone, and then leans backward in his chair, at the same time, spotting that his wine glass has run empty. He turns his head behind him and spots the waiter coming in their general direction. He faces back and raises his hand in the air to get the waiter’s attention. Madeline remains the same, staring straight ahead, not at Charles, not at anything except her own thoughts. After a second, her mouth moves as she prepares to speak. When she does, her voice is quiet and very gentle.
Madeline Livingston
Life has an uncanny way of ceasing to rise above the inadequate...
She leans forward a little bit, still looking gloomy as she did, though never anything but civil. Charles shoots her a glaze.
Madeline Livingston
...Don't you find?
Charles puts his hand back down and faces her completely. His mouth creases into half of a smile and after a few second he lets out a good-hearted, warming and friendly chuckle as he turns back to his original position, the waiter approaching.
We slowly fade to the title, leaving them to finish their conversation.
"Spring, 1952, Four Into the Afternoon"
