Monday, June 13, 2016

Screenplay: Under the Sun(chapter four)

"So I returned, and considered all the oppressions that are done under the sun: and behold the tears of such as were oppressed, and they had no comforter; and on the side of their oppressors there was power; but they had no comforter."
(on "I returned" CUT TO: Terrapin Square, bustling)
(on "under the sun" CUT TO: sun shot w/artifacts, w/sickly avian caw)

CUE CU on Azalea screaming.  Her face fills the screen.  Her eyes are ablaze with hatred, her mouth open, her teeth showing like animal fangs.  Gone is her former beauty.

"Wherefore I praised the dead which are already dead more than the living which are yet alive."

CLOSE ON Sarah laughing, in slow-motion, as if in conversation with Narrator, her looking straight on, as if from Narrator's POV.  Her face is happy, bringing remembrance of former happiness, that though they were young and their relationship undeveloped, Sarah and the Narrator were geniunely happy.

"Yea, better is he than both they, which hath not yet been, who hath not seen the evil work that is done under the sun."
(on "under the sun" CUT TO: sun shot w/artifacts, soundtrack sting)

FULL on Narrator from inside POV, standing in doorway of unlit room, his back to us, while he faces without, his attention focused without.  He and the doorway are all reflective, meditative bits, that he considers the without while none of what he sees touches him.

"Again, I considered all travail, and every right work, that for this a man is envied of his neighbor.  This is also vanity and vexation of spirit."
(on "vexation" CUT TO: bitter face)

FULL on Narrator picking at a fruit plant in a closed courtyard.  The fruit plant is big, almost the height of the narrator, but not quite, so it is a youngling compared to his other plants on his first estate.  We see the scale of his operation has disminished to the level of a mere hobby.

"The fool foldeth his hands together,and eateth his own flesh.  Better is an handful with quietness, than both the hand full with travail and vexation of spirit."
(on "vexation" CUT TO: bitter face)

MEDIUM on Azalea, dressed well, at a big dining table, at the head, while SERVANTS work around her.  The  face of Azalea is empty, like an appliance when out of use.  On the table is a floral arrangement.  She seems austere and commanding, important while the shapes of SERVANTS move this way and that around her and before her, putting things on table.

MEDIUM on Floral Arrangement, sitting stationary, center-mass amidst dinner table.

"Then I returned, and I saw vanity under the sun."
(on "returned" cue long on terrapin square)
(on "under the sun" cue sun shot w/artifacts)

CUE on Azalea screaming (again).  Repetition is requisite for flavor.

"There is one alone, and there is not a second; yea, he hath neither child nor brother: yet there is no end of all his labour; neither is his eye satisfied with riches; neither saith he, For whom do I labour, and bereave my soul of good?   This also is vanity, yea, it is a sore travail."

FULL on CHILD 1 throwing a stone absently into distance.  We see the arc of the stone as it travels, and then bounces along the ground.

TIGHT on stone rolling to a stop in the dirt.  We might wonder if the words of the Narrator roll a stop in the bleak blankness of the open exposed dirt of the dooryard.

"Two are better than one; because they have a good reward for their labor.   For if they fall, the one will lift up his fellow: but woe to him that is alone when he falleth; for he hath not another to help him up."

MEDIUM on Narrator and Child 1 tending the flower plants in his otherwise bleak courtyard.  Their backs are turned to us, with their attention drawn to the plant, which is just slightly visible between the father and son.

"Again, if two lie together, then they ave heat: but how can one be warm alone?  And if one prevail against him, two shall withstand him; and a threefold cord is not quickly broken."

MEDIUM, Narrator in focus in fg, lying on his side in bed, regarding the empty room with a thoughtful face(this is because he is a thoughtful man, with a face that seems caught in the alert state of minding his own train of thought).  In the background, behind him, lying face-up on the bed is Azalea.  She is austere and prim, poised, even in slumber.

"Better is a poor and a wise child than an old and foolish king, who will no more be admonished.  For out of prison he cometh to reign; whereas also he that is born in his kingdom becometh poor."

CLOSE on CHILD regarding ground.  It should be apparent now that he has grown, either by a hairdo or the size of his clothing.

CLOSE OVERHEAD POV on Child's rocks and circle.  There are more rocks, showing that the atom is more complicated, with rocks about the middle scattered and rocks on the line of the circle.  Gone is the simplicity of the hydrogen atom.

LONG on Azalea, in full party dress, in center of a crowded gathering in the Narrator's dining room.  Even amidst the merriment of her guests, she cannot hide her stern countenance.

"I considered all the living which walk under the sun, with the second child that shall stand up in his stead."
(on "under the sun" CUT TO: sun shot w/artifacts)

MEDIUM on Pregnant Azalea standing beside a worn wooden post in the evening.   She looks uneasy, unpleasant, and generally not nice by the set of her face.  By now we have seen her many times, but never yet in quite a pleasant way.

"There is no end of all the people, even of all that have been before them: they also that come after shall not rejoice in him.  Surely this is also vanity and vexation of spirit."

CUE Azalea screaming.  In repetitions, meanings are jumbled and jostled constantly.
(on "vexation" CUT TO: bitter face)
CUE Azalea screaming again(after BITTER FACE)

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