Tuesday, March 20, 2007/20.3.07
Page One, Four Panels:
Panel One: EXT - City Docks - Evening. A paper boat travels a bit and promptly sinks.
Caption 1: I used to see it as a game, really --
Panel Two: We revealing an older gentleman dressed in early fall clothing, approaching another person, a young woman in an oversized pea coat with short bright red hair, nearly blood red who is looking off across the docks at the boats.
Man: Miss, was that your boat?
Panel Three: She looks past him, smiling, and we suddenly realize that her eyes are completely white, perhaps with a tinge of silver where her pupils should be.
Caption 2: A thrill, something to pass the day.
Faye: yes, but you can keep it. I always make more. Good evening.
Panel Four: Her walking cane snaps out beside her, and she begins to walk off, leaving the man to gape after her.
Page Two, Six Panels:
Panel One: Ext - Docks - Cont’d. LS of Faye, wandering down a dock in a busy city harbor, while workers are trying to unload various cargo ships.
Caption Three: You see, the problem was how easy it came to me.
Panel Two: Medium shot of her feeling about the various crates sitting down. A foreman takes notice and shouts at her. She doesn’t hear him over the machinery.
Foreman: Lady! Whada ya, deaf? Look -- MISS, you can’t be hanging round here.
Faye: Sorry, what?
Foreman: What are you doing here?
Panel Three: Faye smiles and points up. The foreman is giving her a look as if she’s crazy.
Faye: The cranes.
Foreman: The cranes?
Faye: They’re soothing.
Foreman: They’re sooth- HA! Ah ha ha ha. Can’t say I’ve heard em called that before. But hey you can’t stay here, miss. I ain’t got insurance for an audience.
Panel Four: Faye leans forward so her eyes glow.
Caption Four: The lying --
Faye: I understand, but you see-
Foreman: Jesus Christ!
Panel Five: MS of the foreman and Faye facing off. The foreman seem's to be weakening.
Faye: So many sounds in this town, and well -- this is the best way to drown them all out. You wouldn’t deny me a bit of peace, would you?
Foreman: Go sit at the front of the dock, then. Guys’ll be less likely to drop sumpthun on yer head there. But you give me any problems or I see my boys taking five with ya and yer outta here, got it?
Panel Six: CU of Faye looking a bit evil while smiling, she slinks back into the shadows, her silver white eyes the only thing showing.
Faye: Got it.
Page Three, Five Panels:
Panel One: Ext. Dock - Later. Wide angle of the last of the dockmen locking the gate to leave for the night.
Caption Five: -- The waiting --
Panel Two: A solitary watchman begins to settled down in his booth by the gate with his coffee and magazine.
Panel Three: Faye steps from the shadows, peeling off her pea coat. Her eyes still white, but her cane nowhere in sight.
Panel Four: Back to the watchman in his booth. He is watching some show on his tiny tv while adjusting the sandwich he’s brought with him. He sings along with a jingle on the tv.
Watchman & TV: It’s fizzy it’s funny, you get more for yer money... it’s Bungee.. An active drink, for an active life.
Panel Five: Below him, faye has pressed herself against the outside of the booth, a blackjack in her hand. Suddenly his phone rings.
Watchman: ‘Allo? Wha... oh what have I told you about calling me when I’m at work? ... Yeah, I know... well I missed ya too. But Kim you can’t keep calling me, what if my boss stopped in. Yeah I know he never does.
Watchman: So, have you felt it kick tonight? When what happened? While watching American idol, well, I’d kick ya too if you made me watch that shit. What, no I’m not watching it now.
Page Four, Five Panels:
Panel One: CU of the watchman's hand scrambling to turn the volume off.
TV: Welcome back, our judges will be releasing-
Panel Two: Reaction of Faye listening to him. She's near tears. She can see a light coming from the water towards the docks.
Watchman: Yeah... no I love you too. Babe, I’m watching an bunch of boats sit dead in the water. What’s gonna happen, I get dry rot? Yes I know. No, I know that too. Well that was a few weeks ago and it was in New York. Who the hell would want something in Jersey? Right, I know.... I know. Kimberly! Christ I know, okay? Breathe. The doctor told you, you can keep stressing yourself out like-
Faye (quietly): Shit.
Panel Three: The watchman has his back to Faye, who is posed to strike, her blackjack in hand. The light is getting closer
Watchman: Okay, uh huh. Yup -- yup -- yup. Okay, I gotta go. Seriously. Okay. Uh huh. Love you too. See you in a couple of hours. Bye.
Cellphone closing fx: Snap!
Watchman: What the hell-
Panel Four: CU of his hand rolling towards the phone. Suddenly a blackjack comes down onto it.
Caption Six: -- and the attack.
Panel Five: He cries out and crumbles to the floor of the small booth. Faye is pressing her foot onto his already injured hand, she raps him over the nose, causing it to shoot blood every which way.
Watchman: P-please -- please --
Watchman: I-I’m having a baby.
Watchman: Oh christ -- your eyes!
Page Five, Five Panels:
Panel One: Faye raps him again, this time breaking his other hand causing him to scream.
Watchman: right drawer, right drawer! Oh god, please don’t kill me. Please. Not like this. Take whatever you want. They’ve got tons of stuff on there still! Computers -- TVs -- cellphones! Just please, I don’t want to die!
Panel Two: She looks to see the light has turned out to be a medium sized boat, which has pulled up to the dock, men are beginning to get off. One looks rather important. She is frowning.
Faye: what's your feeling about headaches?
Panel Three: Faye, toying with the keys, unlocks a the gate where a truck is waiting. gets up and goes to the gate, hurrying to unlock it. Another man is waiting on the other side.
Blythe: Took you long enough, Marlowe won’t be pleased.
Faye: You’re in, aren’t you?
Panel Four: Medium Shot of a very imposing, but sleek male standing on the dock, watching other scruffy looking strong men load the truck.
Caption Seven: “Talent’s talent,” he tells me, “an’ ya don’t squander
God’s gift, lovey”
Panel Five: CU of the man's grinning, showing off his golden teeth.
Caption Eight: Wonder if he knows where he can stick this gift.
Page One, Three Panels:
Panel One: CU of a female hand wearing a short leather gauntlet, snapping back to catch a large rubber bouncy-ball.
Psychic (O.P): Yes well, I see boff a positive ann ah neegative here cheyel…
Panel Two: Loose CU of the owner of the hand (MARE) rolling the ball over the back of her hand before her face as she hold a cellphone to her ear. She’s alone in a very very small studio apartment. Her walls are covered with news clippings and posters giving the whole place a very urban punk style. Her windows have dark bed sheets drawn over them. MARE seems to be taking this phone call very serious, her face looking very concerned.
PSYCHIC (O.P over the phone): The star Thanh Long ’ll help ya make yourself noooticed and ta be in good shape, mary, and magnanimous.
MARE: Right, so where this catch?
Panel Three: Medium LS of MARE stretching in front of a mirror in her crappy studio apartment. We can see that it only has enough room for a full-sized bed (which is unmade and messy), a small desk with a laptop (and a ton of junk paper) and a microwave and a Chinese changing screen which is partially blocking a toilet and sink in the corner. She lets her ball drop into the overflowing wastepaper basket beside the desk.
PSYCHIC (O.P.): Be patient cheyel, ders moe good news.
MARE: *sigh* Sorry. Hold on a sec,
Page Two, Four Panels:
Panel One: Medium of MARE switching the phone over to speaker phone. We see that she has a rabbit’s foot hanging from the corner of the mirror. Near that a four leaf clover has been taped to the glass.
MARE: Ok, go on.
PSYCHIC (O.P): Yer goin’ ta enter a paceful peeriod.
Panel Two: LS of MARE doing “proud warrior”, (the yoga pose where you place both arms straight out at your sides and you have one knee bent and one leg stretched out to one side, balancing yourself) in what little room she has (the floor is a mess too). The Phone is sitting on her desk now as the psychic’s voice boom forth into the room.
PSYCHIC (O.P): Cut to da chase, yer emanatin such a positive energy, yer eyes are soooo bright and yer smile is soooo charmmin’ dat’cha painlessly gatha all the hearts in yer path.
Panel Three: Medium of MARE stretching back into a deep backbend.
PSYCHIC (O.P): Paychence cheyel. Das haf yer problem. Yer in such a goddamn hurry all da time. Now, do ya want ta hear da rest of dis o not?
MARE: I’m not paying you 3.75 a minute for my health.
PSYCHIC (O.P.): Heh, what about yer mental health?
Panel Four: Medium LS of MARE kicking up high at a stuff animal she’s hung (noose like) from the archway of the very short hallway/breezeway of her room that leads to the door. Her kick is quite impressive, knocking the toy up and away.
MARE: I try not to think about it anymore.
Page Three, Four Panels:
Panel One: CU of MARE spinning a butterfly knife about in her fingers. She’s chewing on a beef jerky stick (slim jim whatever).
MARE: So, you gonna get to this negative some time today or what?
PSYCHIC (O.P): Yer a hardheaded one, aincha?
MARE: Don’t need to be a psychic to figure that out, lady.
Panel Two: CU of MARE slipping the closed knife into her boot.
PSYCHIC: Well, hart wise, beware o temptations cuz the opposition ‘tween da stars Thien Su and Hoa Quyen are great.
Panel Three: Loose CU of MARE (still chewing on her jerky looking over a folder)
MARE: I’m not worried about the heart stuff. Skip it.
PSYCHIC (O.P): Skip it?
Panel Four: Medium of MARE walking away from us, back to her bed. Her desk is in the foreground. We can see some of the papers within the folder she just dropped behind. A surveillance picture of a middle aged guy in a nice suit shaking hands with a few dignitaries is on top. The cellphone is half buried under the folders.
PSYCHIC (O.P): Den what do ya want?
MARE: I told you when I called.
Page Four, Three Panels:
Panel One: CU of MARE laying on her back on her messy bed, staring wearily up at her ceiling.
MARE: What do all the people who call you want?
Panel Two: Medium side angle of MARE she’s rolled onto her side now. We’ve pulled back a bit to see more of the bed. It’s a mess and various small boxes with caliber numbers written on the sides are laying nearby. She has one box in her hand and is tapping the lid.
MARE: Why does anyone bother waste twenty dollars to listen to you guys stall and stall?
Panel Three: Loose CU of MARE up on her elbows holding a gun in her hands and peering through the empty chambers.
MARE: I want to know my future, Miss Clara.
Page Five, Six Panels:
Panel One: CU of the cellphone. It’s flashing the words: INCOMING CALL.
Cellphone: BEEP BEEP BEEP!
MARE (O.P) Damn it.
Panel Two: MS of MARE holding her phone under her chin while slapping a clip up into a gun.
MARE: Miss Clara, stay on the line… this will only take a sec…
MARE (linked): Steven? Hi! Oh no, I was just talking to a friend, nothing too important. You’re picking me up -- uh, wow!
Panel Three: Loose MS of MARE holding the files from earlier over the “bathroom” sink while lighting the end with a Zippo.
MARE: Well actually I’m not home. Hmm? NO… no I’m standing on a subway platform actually. Yeah, my provider rocks.
Panel Four: LS of MARE rapidly throwing her hitman gear together. In the foreground the fire is eating the files which she’s discarding into the sink. We can read the name STEPHAN REGAN under the picture of the nice man with the dignitaries.
MARE: Why don’t I just meet you there, kay? Yeah… I know not very romantic. Well, you gotta do what you gotta do. Where are you now? Uh huh. Okay. Give me twenty minutes. These trains are acting a bit nuts tonight, I might have missed mine. K, see ya soon.
Panel Five: CU of MARE standing before her mirror again. She’s touching her rabbit’s foot. In her other hand she’s holding her phone out away from herself again, flipping it back on speaker.
MARE: Miss Clara? My future?
PSYCHIC (OP): I-I don’t know, luv. Ya can’t jus pin point-
Phone fx: Beep
Panel Six: Low angle Medium MS of Mare holding the phone at her side now her whole body has slumped. She looks defeated already. In the foreground we see a wrinkled newspaper with the horoscopes in sight. The listing for Taurus is most prominent and reads:
Newspaper: Taurus: The actions of the past have come back to haunt you. Time to take stock and re-evaluate what matters most. A errant path can lead to hard times. The end of a long journey is near.