Sertainty

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This thing damn near killed me last night. I don't really care what mark I get now, I'm just glad it's done!
It's the treatment-stage document for a feature length film. It's about angels and junk. Enjoy.
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‘Sertainty’

Darkness. A voice over starts talking about the Seraphim – the highest caste of angels. It says that they are God’s chorus, and his messengers. Images of events in which these angels have participated fade in and out whilst the voice speaks. It explains their role in the major events that are pictured – as the heralds of apocalypse; the ends of ages. It also says that none of them bore their task easily, but as their duty dictated, they complied.

A bright, circular courtyard. It is lit by an almost divine light source – shadows scurry from its intensity. A pair of weighty-looking doors on one side burst open, as if weighing nothing, and a SERAPH strides out. He is clad in brilliant white. Through the door stands a blurred figure – METATRON - similarly clad.

The doors swing shut with a bang, and the Seraph descends some steps into the courtyard. His body language betrays that he is deeply troubled. We follow him as he crosses the courtyard to a path on the opposite side. He makes his way along it until he disappears in the misty haze of the horizon.

A city park. BELLA stops for a cigarette. She sits next to the Seraph, who is clad in regular clothes. There is a ‘perfect day’ feeling in the people and the place around them. They speak, and although she learns that he has a problem, she does not learn exactly what. They warm to each other. Seeing the beauty of humanity, the Seraph resolves save them.

Seraph returns to heaven and speaks to Metatron, the voice of God. Metatron tells the Seraph that God has tired of humanity, and he will allow Earth to fall to Lucifer. Lucifer will find the Antichrist, who will in turn bring forth the final apocalypse. The fact that humanity will wiped out is driven home. Metatron is cold and uncaring.

The Seraph decides to find the human vessel of the Antichrist first. He goes to question ABADDON; one of the angels cast out with Lucifer (and also a rival for Lucifer’s throne). The Seraph journeys to see Abaddon. His realm is not one in which angels are meant to tread – he sees many things that shock his innocent mind. The kingdom is a swarm of activity, as Abaddon’s demons make preparations for war against Lucifer.

Abaddon is initially hostile towards the Seraph, but upon learning of his intentions begins to see advantages in helping him. Whilst Lucifer does not trust Abaddon, and as such has not revealed the whereabouts of the Antichrist to Abaddon, Abaddon does know one of Lucifer’s agents on Earth – BELHOR – would know the location. Abaddon tells the Seraph that Belhor resides in New York City.

New York City; night-time. Belhor - in the guise of a dirty human – shuffles along the sidewalk carrying groceries. Everything about him is generally repulsive. He walks up the steps to his house.

Inside, he is startled by the Seraph sitting in his shabby front room. He snarls and dives for the Seraph, but the Seraph is ready, and throws him off balance. Pinning him to the floor, the Seraph interrogates him, but Belhor tells the Seraph nothing. Instead, photographs and notes on the table betray the Antichrist’s identity - it is Bella. Reeling at this, the Seraph departs.

The Seraph returns to the park where he met Bella to collect his thoughts. Lo and behold, she appears again. Sympathetic that his ‘mysterious’ problem is still not resolved, she gives him the address of the bar she works at, tells him to visit later, and leaves.

When she is gone, Abaddon suddenly appears. He suggests the Seraph should kill the Antichrist to halt the impending Armageddon – but she is the reason he wanted to save humanity. Abaddon suggests he decide quickly – once Lucifer controls the Earth, Abaddon will not have the strength to stand against him.

That night, the Seraph stands in the street outside a bar, looking at the piece of paper Bella gave him. Just as he is about to leave, she walks out of the bar, locks up and starts to walk off without seeing him. He follows silently, a tear rolling down his cheek and a blade glints in his fist. Before he reaches her, however, a dark shape swoops down and barrels into him, catching the Seraph off guard and carrying him off.

The winged attacker releases the Seraph and flies away. Disorientated, the Seraph lands on a building. After collecting his thoughts, he drops his blade on the rooftop and flies off.

Returning to Abaddon’s realm, the Seraph questions whether the information Belhor had was right – how could such a good-natured person be the Antichrist? Abaddon explains that she is merely a vessel. She will not bring about the apocalypse wilfully – she is but a tool. When he is ready, Lucifer will send for her. With this revelation, the Seraph vows to protect her from Lucifer’s agents, rather than kill her. Abaddon curses his nature, but the Seraph leaves resolute.

The Seraph returns to the park to find Bella. Instead, Metatron is waiting. He warns the Seraph that he is naive, and that what he is doing is blasphemy - he will be cast out if he continues. Fighting Lucifer is a just cause, but not when it goes against God’s will. The Seraph resolutely ignores him, walking away.

Bella’s workplace. She is not there. The Seraph is told she didn’t turn up for work today. Given her address, he checks it out. Nothing.

The Seraph returns to Belhor’s house to question him, but instead finds Bella bound and gagged. He rips away her bindings, but is ambushed by Belhor. A vicious fight ensues. A naked flame is knocked over. The Seraph slays Belhor. As Belhor dies, the Seraph says he’s sorry – it pains his very nature to have had to do it. Belhor says they will never get away – one more powerful than he is already on his way to get her.

Bella is scared and confused. They ascend the building to escape the fire whilst the Seraph explains to her who she is, and her role in events to come. She is struck dumb with the magnitude of the situation. The Seraph goes to whisk her away, but as they get out onto the roof they are confronted by TEMELUCHUS.

Temeluchus, a powerfully built demon, wreathed in flame, is one of Lucifer’s most powerful lieutenants. He commands the Seraph to hand Bella over. The Seraph refuses. Titanic battle is joined between them. Although he fights valiantly, it is clear from the outset that the Seraph is hopelessly outclassed by Temeluchus.

Beaten and bloodied, the Seraph lies beaten. He cries as Temeluchus advances on Bella. She shakes her head and backs away as the demon advances. He tells her not to be foolish, but as she nears the edge of the roof it dawns on the demon what she is doing. Before he can stop her, Bella throws herself off the roof. The Seraph cries out. He has failed her.

Temeluchus sees Bella’s body lying broken on the sidewalk below. He snarls and goes for the Seraph, but at that moment Metatron lands on the rooftop. With a word, he banishes the demon, before approaching the Seraph. He tells him that he was warned, and now he must face the consequences. He is banished from Heaven. He may now spend time amongst those he wished to save, and perhaps in time will understand why God tired of humanity. Metatron flies off into the night, leaving the Seraph weeping on the rooftop.

The park. The Seraph sits on the bench where he first met Bella. He is a rambling mess, and drinks from a non-descript brown paper bag. The stress of being cast out has emotionally destroyed him. A mother and child walk past. The mother shoos her child past, giving the Seraph a dirty look.

CMW 2001 (Screenwriting) - Assessment I, Part III

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The third and final of my film proposals.
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The Wrong Symbol

In the future, society is divided by religion rather than nationality. Without the impartial intermediary bodies of central government, bloody world war is on the horizon. To mark yourself as different is folly. Lot is different.

An unkempt central town park. Lot sits on a bench defiantly, playing with a lighter. He is surrounded by a group of six youths wearing uniform clothes. Silver crosses are hung openly around their necks. They hold a variety of makeshift bludgeoning weapons. The leader questions Lot about his loyalties. Lot reaches into the folds of his jacket and pulls out a small double helix symbol on a chain and smiles. The gang becomes visibly aggressive.

A town street. Lot appears in view from around the corner, running. He is laughing. He throws the metal pole he is now carrying, splattered with blood, behind him. From around the corner comes the gang, chasing Lot. There are only four of them now. As Lot reaches the other end of the street a thick forearm appears suddenly from a doorway at neck height. Lot runs into it and falls heavily to the floor. He is struck in the head and loses consciousness.

Lot wakes hanging upside down in a dim warehouse. The stern face of The Shepherd is level with his own. He is wearing robes, with a book tucked under one arm and a bat slung over his shoulder. The Shepherd turns his back to address a large audience, denouncing those who do not accept the grace of God. The Shepherd reaches for a hot brand to the side of the stage and carries it towards Lot. He rips open Lot’s shirt and brands a pentagram onto Lot’s chest, saying that it is so the Devil will know to come for his soul when he dies.

The Shepherd opens his robe to reveal a serrated knife tucked into his belt. He tells Lot that his heathen days are done. The Shepherd reaches for the knife, but suddenly flaming bottles crash through the windows and land amongst the crowd. A group of people burst into the warehouse, firing shots into the crowd. Mayhem erupts. In the confusion, Lot reaches for the knife, stabbing The Shepherd in the chest.

Having scattered the audience, the newcomers approach the stage, just as Lot cuts himself free. They ask if he is okay. The leader pulls up his balaclava and frowns. He reaches into Lot’s shirt and fishes out the helix symbol. The leader reaches for his knife and stabs Lot. As Lot lies on the floor bleeding, the leader spits on him, calling him ‘heathen’.

The Wrong Symbol envisions a dystopian future where religious intolerance has escalated to crisis point, and killing ‘heathens’ is second nature to the indoctrinated. It carries a dark tone, warning of the dangers of an individual’s rebellion, even if the status quo is dire.

CMW 2001 (Screenwriting) - Assessment I, Part II

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The second of my short film proposals.
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Sour Ron: Social Worker

Sauron, the former Lord of the Rings, is now a social worker. He battles disinterested, unambitious unemployed people, trying to find them work, but becomes ever more disillusioned with his task.

A non-descript job centre. Sauron, dressed in full battle armour, is in an appointment with a Jim, a job seeker. Sauron questions Jim on his areas of expertise and in what areas he’d be interested in working. Jim is highly disinterested, responding without enthusiasm. Sauron attempts to level with him, but Jim responds only by asking him when he’ll get his dole money.

Later, Sauron’s manager, David, comes by Sauron’s desk. David threatens Sauron not to embarrass or upstage David at the board meeting that afternoon, and that he should know his place.

The board meeting. The boss asks David if he has any ideas how to improve success rates for job seekers. He does not. Sauron cuts in and says that he does. The board is more than willing to hear them. A montage – Sauron presenting his ideas to the board on a flip chart – a series of ambiguous pie charts and diagrams – using his enormous mace as a pointer.

After the meeting, Sauron is cornered by David, who asks him why he insists on trying to steal his job. Sauron grip on his mace tightens. A flashback – Sauron’s therapist tells him he needs to keep his violent urges in check. Back in the corridor, Sauron informs David that if he did his job properly then he’d have nothing to worry about.

At home, Sauron sits at the kitchen table whilst his wife makes dinner. He explains his problem to her whilst she bustles around him. He says that he doesn’t know what to do. She kisses the cheek of his helmet and tells him that if he’s unhappy he should try and follow his dream again - she’ll support him no matter what.

Sauron sits in a comfy armchair, thinking. He picks up the receiver of the phone next to him and dials a number.

Saruman, dressed in a white robe and fluorescent jacket, is being shouted at by a man for writing him a parking ticket. His phone rings; it is Sauron. After deliberating Sauron’s proposal, Saruman says he’s in.

Sour Ron comically satirises one of the most evil characters in book and film history. Placed him in a mundane situation with his prospects barred at every turn by those with more power, we learn what might have motivated him to once again pursue his dream to try to conquer the world.

CMW 2001 (Screenwriting) - Assessment I, Part I

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Exactly what it says on the tin! We basically had to write three proposal documents for original short film ideas, which in the industry are used to propose films without the lengthy process of writing a script, or even treatment, first.
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The First Day

A rat-race worker, unhappy with his job, finds a way to brighten up his day and make steps towards fulfillment – with a little help.

A shabby apartment. It is early morning and Adam has just awoken. He goes about his routine wearily: showering; getting dressed; eating breakfast. There is no lustre to his movement.

Later, in the car, the morning traffic is heavy and slow moving. Adam rests his head in his hand, entirely un-phased – he is used to this.

At work his office is neatly divided into rows of desks – the epitome of impersonal. Time moves quickly around him, but for him it moves slowly. As he types at a computer, blurred figures scurry around him, intermittently adding files to an ever-increasing pile on his desk.

Someone moves into Adam’s view – a woman. She moves at his speed, unlike the others around them. She too deposits a folder onto his pile, but on top is a post-it note. She walks away and he sees it. He smiles and looks up after her.

Adam stands in front of a photocopier, once more apathetic. The woman comes and stands next to him. She slides her hand into his and smiles knowingly. An identical smile crosses his face.

Adam and Megan hurriedly make their way down a corridor to a door. Megan jangles a key at Adam, slides it into the lock and opens the door. They go inside.

Noises of things crashing to the floor and giggling emanate from the room, which are heard by the office mail boy. He hurries off to find someone.

The couple are caught into a compromising position by a senior member of staff, resulting in the two being hauled before the boss. Megan is sent in first.

Adam waits outside. After a time Megan emerges, her face streaked with tears. A look of determination comes over his face and he storms into the boss’s office, and quits before he can be fired, telling the boss where to cram his job.

Adam and Megan are literally thrown from the premises by security. Now laughing, the two pick themselves up, grin at each other and stroll off hand in hand. Adam throws his car keys down a drain, done with commuting.

The First Day is a view into an everyman’s life – mirroring the unhappiness many people have with their own lives, but who subconsciously wait for some sort of catalyst before they do actively anything to improve their lot.

CMW 2001 (Screenwriting) - Week Two

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This week we had to write what is called a 'treatment' in the movie business - it's basically a prose account of what happens in the story. People often don't have time to read full scripts, so treatments are written to give convey the story and characters.
Our brief was to plan a sequence (the equivalent of a scene in a stage play) during which a character and/or their circumstances are changed: either they want something and get it/fail to get it; their life goal moves forwards or backwards; or their material or emotional situation changes, for better or worse.
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A luxury yacht floats serenely on the still waters of a Mediterranean harbour. The cloudless sky is lit by the full moon, and the water can be heard lapping gently against the sides of the boat.

A HANDSOME MAN stands on the deck of the yacht, sipping a dark cocktail. He looks out over the bay and smiles.
Suddenly, we see the boat explode; sending splinters high into the air. A great plume of black smoke blocks the moon from view.

Rewind in time to a week before. The handsome man leans against the bar of a very upmarket hotel in Palermo, Sicily. Although he is alone, he has an air of confidence about him. As before, he is sipping an expensive-looking cocktail. He surveys the other patrons of the bar – a varied group of wealthy, famous and influential people. He is clearly not a local, but due to the variety of people the bar, he does not stand out.

In particular, his attention rests with a couple sitting in a private booth not too far away. The WOMAN is young, beautiful and vibrant; a classic beauty. Her clothing is expensive, her make-up immaculate, and even in the low light her jewellery glitters, catching the eye. The man, one VINCENTIO MARINO, is older – old enough to be her father. He, too, is well dressed in a tailored suit. He holds himself with the practiced confidence of someone who owns the room.

As the handsome man watches, another man approaches their table. He whispers something in Vincentio’s ear, which causes his brow to wrinkle. Excusing himself from the woman, both men leave and exit through a side door.

The woman relaxes back into the seat and begins playing with her napkin. Seeing this opening, the handsome man sets down his drink and goes over. He says something witty and charming, and she looks up. She smiles. He introduces himself as TOBIAS BLACKWOOD. Through indirect questioning, he discovers she is Vincentio’s mistress. He is flirtatious with her, and she is responsive. Their conversation carries on until Vincentio returns.

Although not directly confrontational, Vincentio and Tobias spar verbally. Tobias is polite yet condescending throughout the exchange. Ultimately, Tobias makes his goodbyes and leaves, kissing the woman’s hand, and secretly slipping her a piece of paper. Vincentio watches Tobias leave, allowing the woman to read the piece of paper – which has Tobias’ room number on and a time on it.

Later that night, the woman walks across the hotel lobby. She is still wearing her dress from earlier in the evening. Her demeanour is nervous, fearful; yet she does not falter. She reaches the other side of the lobby and presses a button to call the elevator. She waits, looking around. There is a ‘ding’, and the doors open. The ELEVATOR OPERATOR smiles and asks her which floor she would like.

The woman exits the lift and makes her way to the room indicated on the slip of paper. She approaches the door and finds a note informing her the door is open, and to come on in.

Vincentio sits at his desk, looking over figures. There is a knock on the door, and the elevator operator enters. He goes over to the desk and whispers something in Vincentio’s ear. Vincentio considers this information for a moment, before telling the elevator operator to have “him” followed.

The next day, Vincentio and the woman are having lunch. They talk sporadically, Vincentio leading the conversation, with the woman providing one or two word answers. He then leads the conversation onto the subject of loyalty and betrayal. As he does so, the woman drinks from her glass. As Vincentio makes his most important point, the woman gags. She splutters a little, then falls off her chair to the floor. Vincentio wipes his mouth nonchalantly with his napkin and leaves the table.

A luxury yacht floats serenely on the still waters of a Mediterranean harbour. The cloudless sky is lit by the full moon, and the water can be heard lapping gently against the sides of the boat. Tobias stands on the deck of the yacht, sipping a dark cocktail. He looks out over the bay and smiles.

CMW 2001 (Screenwriting) - Week One

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So it's the beginning of a new year at university - and this one actually counts towards my degree! To that end, I'm feeling a lot more dedicated this time around, and plan to get all of my assignments done on time - even ahead of schedule perhaps?
So far so good. I got my first bit of homework done, which was also a proper bit of writing. The brief was to write a one-page script consisting entirely of action - so no dialogue basically - showing a protagonist going about their daily business, and their feelings towards these activities, and the location had to change at least once.

Anyway, here's my effort:
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INT. APARTMENT BEDROOM – MORNING

The unpleasant, electronic sound of a wake-up alarm. A MAN is sitting hunched over on the edge of his bed, rubbing his eyes. We cannot see his face as a result. The curtains are closed, and the room is dark, although we can see the space is cluttered.

CUT TO:

INT. SHOWER – MORNING

The man’s head is leant against the shower wall, as water cascades over him and onto the grubby tiles. The sound of the water falling is prominent, reminiscent of rainfall.

CUT TO:

INT. HALLWAY BY FRONT DOOR – MORNING

The man shuffles wearily down the hallway to the door, and leans down to the mat to pick up his mail. He rifles through it slowly, before dropping it all back onto the floor. He turns his back on it and shuffles back up the hallway.

CUT TO:

INT. CAR – MORNING

We see the man’s face for the first time. He has one hand on the steering wheel and is resting his head in the other. The traffic stops and starts frequently, and is slow when it does move. The man looks entirely disinterested, as if he is used to this.

CUT TO:

INT. OFFICE – MID-MORNING

Man is sitting at is desk, typing. His face is blank, emotionless. Time moves normally for him, but everyone around him is blurred, as if time is moving more quickly for them. Several of the blurred shapes deposit files onto a towering stack on the side of his desk.

CUT TO:

INT. OFFICE COPY ROOM – AFTERNOON

The man stands in front of a photocopier, shoulders hunched and arms hanging straight down. The machine’s whirring and its green light moving back and forth are the only things that distinguish this image from a photograph. A woman comes and stands next to him. Without looking at him, she slides her hand into his and smiles knowingly. An identical smile spreads across his lips.