Monday, May 23, 2016

Screenplay: Under the Sun(chapter one)

FADE IN ON TITLE CARD:
soundtrack sting(for this is wisdom being thrown on the audience)
"Vanity of vanities, saith the preacher, vanity of vanities.  All is vanity."

Narrator(O.S.)
"Vanity of vanities.  All is vanity."

FADE OUT

FADE IN ON

(CUE)CLOSE UP ON: the BITTER FACE of the Narrator: He is old, beaten into age by time, with white hair and long, white, beard.  He has weathered time by haggard acceptance.  His eyes contain wisdom, the mark of the time that corroded the rest of his person.

Narrator
"One generation passeth away, and another generation cometh, but the earth abideth forever."

CUT TO:
(LOW PERSPECTIVE ON:) A massive mountain stands before the camera.  The camera is near the base of the mountain, looking up.  The height of the mountain is impressive.  Trees, houses or other objects needed to reinforce perspective and distance.

(OVERHEAD POV ON:) Sand dunes.  Sunny. Staid.  A waste of sand as far as the eye can see.  The sand has blown and drifted, this way and that, making funny identions, hills, peaks and valleys are carved out of the brilliant oppressive sunlight.

(TIGHT SHOT OF:) Evening time, dusk orange in bg.  the silhouette of two hands, picking up sand and letting it slowly spill from between the fingers, time spilling back to the great dust bin of the earth.  The grains seperate at the edge of the hand, making an effect like vapor, granulation.

Narrator
"The sun also riseth, and the sun goeth down, and hasteth to his place where he arose."

CUT TO: sun shot with artifacts-a blue sky drowned in the brilliance of the sun, which dominates and obliterates our perspective of the static sky shot .  The artifacts are harsh and light, like visual static.

CUT TO: (stock footage) solar flares slowly and angrily rising off the surface of the sun.   The orange of the sun contrasts the inkblack of space.  Tendrils of fire reach out into the blank cold void of space.

Narrator
"The wind goeth toward the south, and turneth about unto the north; it whirleth about continually, and the wind returneth again according to his circuits."

CUT TO: CLOSE UP ON: (cue wind noises OS)Van Gogh's Starry Night, emphasizing the swirl of the wind through the royal blue night sky.  Here is our wind: the illustration of currents around the stars, swirls that travel around and about and inevitably across the canvas.

CUT TO: (stock footage) strong wind twirling a road sign as if it were a pinwheel while limbs writh in background.  Any expressive storm footage would do, as long as we can see movement and perhaps blowing rain to emphasive the strength and pull of the wind.  A road sign twisting is again prefered here, preferably being identifiable as a road sign while remaining illegible due to its constant motion.

Narrator
"All the rivers run into the sea; yet the sea is not full; unto the place from whence the rivers come, thither they return again."

CUT TO: (stock footage) The dark but reflective surface of a stream as it runs into a pond.  Through the darkness of the water and the reflection of a forest canopy, we see ripples which imply a hardy current.  Several dead, brown leaves drift by lazily on the surface of the water.

Narrator
"All things are full of labor; man cannot utter it: the eye is not satisfied with seeing, nor the ear filled with hearing.  The thing that hath been, it is that which shall be; and that which is done is that which shall be done: and there is no new thing under the sun."

(on "full of labor") CUT TO: LONG SHOT Pyramids, smokey, smoggy in dust and heat, sun behind.  The long shot is to emphasize the size and sturdiness, the very impressive mounds of the pyramids.

ANIMATION: MEDIUM.  Orange dusklight in BG, Row of dark silhouetted slaves in FG.   They toil slowly, arm motions up to down to up and over again.  Their action may be synced, like a chorus line of dancers, to imply monotony and emphasize their number and lack of dignity, the collective toil-the sociological scream of fatigue.

(on "under the sun", CUT TO: sun shot with artifacts)

Narrator
"There is no rememberance of former things; neither shall there be an remembrance of things that are to come with those that shall come after."

CU ON: Graves in a row, old dusty weeds grown up around them.  An old forgotten cemetary, where the lie the forgotten dead of a bygone era.  We see only the rows of markers amidst the scrubgrowth to mark the graves, and without them, the dead are gone from memory.

DISSOLVE TO: OVERHEAD ON Terrapin Square, with a superimposed title, the bustling city of old, Jerusalem.   People going this way and that, busily, or about their business.  There are stone buildings and dirt streets in the old city, and the people are dressed in robes, most white.

CUT TO: MEDIUM ON a woman with a bowl of fruit on her head, walking.

CUT TO: CU ON oranges in bowl, like a still-life painting that so many attempt.  (Hold shot until SUN SHOT CUE)

CUT TO: Still Life painting.  An orange on a table, painted by a fledgling artist to attempt capturing shadow and texture.  Results?  Nebulous.

Narrator
"I have seen all the works that are done under the sun; and, behold all is vanity and vexation of spirit."
(on "under the sun", FADE TO: sun shot with digital artifacts, the effect here is that the orange becomes the sun.)
(on "vexation", CUT TO: close up, bitter face)

CUT TO: MEDIUM SHOT of narrator at desk.  The only light spills in through the dusty air via an open window-a naked aperture of brilliant brightness.  There is high- contrast here, with the blackness pervading in the rest of the room, and the light bleaching over the simple desk of the narrator and his scrolls.

Narrator
"I gave my heart to know wisdom, and to know madness and folly: I perceived that this also vexation of spirit.  For in much wisdom is much grief: and he that increaseth knowledge increaseth sorrow."
(on "vexation" CUT TO CU on bitter face)
(return to MEDIUM SHOT of Narrator at desk on "he that increaseth")

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